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J O U R N A L I S M
ART Jack Vettriano Lucy Skaer Sonica Glasgow League of Writers Team Girl Comic CLUBS Daniel Avery DARKSIDE
AG E
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MUSIC Daedelus Steve Mason These New Puritans Public Image Ltd The Lemonheads Daughter HBS
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FILM Play Poland Africa in Motion Clio Barnard
W M A ES OF V E
Scotland Issue 97 October 2013
T SC A OT R TI T SH CI A N N
FREE
CULT U R A L
THEATRE THAT Festival Bullet Catch Glasgay! BOOKS Michael Pedersen FASHION London Fashion Week SS14
MUSIC | FILM | CLUBS | THEATRE | ART | BOOKS | COMEDY | FASHION | TRAVEL | FOOD | DEVIANCE | LISTINGS
DEMPSEY EMILY BARKER DAMIEN TUESDAY 15TH OCTOBER & THE RED CLAY HALO
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GLASGOW ORAN MOR
Sun 13th Oct
GLASGOW Oran Mor
BEN hem WATT ORAN MOR GLASGOW WED 13TH NOV
MARK EITZEL PLUS
P.53 The lost Lemonhead
P.35 Lucy Skaer
P.71 John Lydon
P.18 PlayPoland miš dir. Stanislaw Bareja
THE WYNNTOWN MARSHALS
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THU 24 OCT EDINBURGH VOODOO ROOMS
Friday 18th October 2013
GLASGOW Stereo + special guests
THURSDAY 24TH OCTOBER
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GLASGOW ORAN MOR
Led To Sea
THURSDAY 28TH NOVEMBER O2 ABC GLASGOW
MON 28TH OCT EDINBURGH Queens Hall 0131 668 2019
NICE N SLEAZY
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Sat 26th October
EDINBURGH Electric Circus
- ROOM FOR LIGHT TOUR -
GLASGOW The Garage (G2)
Friday 8 November plus special guests EDINBURGH Liquid Room
Edinburgh
Voodoo Rooms
SUN 10 NOV
FRI 15 NOV
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Contents
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Contents
32
Soundgarden's Ben Shepherd talks us through the genesis of his debut solo album as HBS.
06 Opinion: Skinny on Tour; Shot of the
35
In her biggest UK show since 2009's Turner, Lucy Skaer arrives in the Tramway.
Month; Stop the Presses proffers the last minute news; new Comedy ed Vonny offers a strong argument against categorising victims of rape; Crystal Baws returns with October's predictions.
08 Heads Up: A cultural event a day helps
Lifestyle 36
Showcase: We take a closer look at Glasgow's vibrant comics scene, offering up an array of work from the members of Glasgow League of Writers and Team Girl Comic.
38
Fashion: Trend report: London Fashion Week offers a glimpse into the sartorial crystal ball – you'll be wearing ethnic jewellery and a neon lip come next summer.
40
Travel: Vic Galloway takes a pilgrimage to Germany's krautrock shrines.
41
Deviance: A look at new exhibition focussing on LGBT mental ill health, plus one woman's struggle with society's insistence that all women are obsessed with babies.
43
Food and Drink: Oktoberfest is coming to Scotland and it's going to be beery. And Lederhoseny. Phagomania looks back to a simpler time when food photography looked repellent.
you twerk, jest and slay. Or something.
Features 10
As five very different Scottish films arrive on screen, we take a closer look at the nation's cinema and its newfound diversity.
12
These New Puritans' lead singer Jack Barnett discusses his band's striking new album Field of Reeds, as admired by Sir Elton.
14
Daughter's Elena Tonra discusses audience connections and nervous laughter ahead of their gig at Glasgow's Old Fruitmarket.
15
As it reaches its 20th year, Glasgay! lands in the Weege with a programme celebrating LGBT culture.
17
Daniel Avery, the Fabric DJ and producer admired by everyone from Weatherall to Erol Alkan discusses his debut fulllength LP Drone Logic.
18
It's film festival season in Scotland – a look at the highlights of Play Poland and Africa in Motion.
19
Now in its second year, Sonica presents another stellar array of events, exhibitions and performances aimed at showing Glasgow sonic art for the visually minded.
20 Macrobert's THAT Festival blends thea-
tre, film, spoken word and music – we find out what the programme highlights will be.
21
Neu! Reekie!'s Michael Pedersen tells us about his erection.
22
Much-maligned, outrageously successful painter Jack Vettriano gets locked in a toilet.
25
Maverick, dilettante, Victorian dandy, and newly-signed to Anticon, Daedelus unveils his new LP, Drown Out.
26 Director Clio Barnard introduces The
Selfish Giant, a reimagining of Oscar Wilde's fairytale set on the mean streets of Bradford.
28
29
31
A series of gigs arrives in Edinburgh in the form of the Pleasance Sessions, including a night programmed by this very publication featuring Rick Redbeard, LAW, Honeyblood and Siobhan Wilson. It'll probably be the best night ever. In between touring the Americas, China, Australia and New Zealand, Rob Drummond graciously drops by to show Bullet Catch to the home crowd in Glasgow. Nicolas Jaar and Dave Harrington team up as DARKSIDE. The duo explain their eclectic dancefloor philosophy.
October 2013
Review 47
Music: New albums under review this month from Future of the Left, Tim Hecker, Laurel Halo, Russian Circles, Monoganon and many more, plus Steve Mason flashes back to his favourite breakfast soundtracks, and we speak to the lost Lemonhead.
54
Clubs: Clubbing Highlights in full, plus a DJ Chart from Glasgow gig promoter Cry Parrot.
56 Film: V/H/S 2, The Crash Reel, Prince Avalanche and more under review
57
DVD: A look at this month's DVD releases, including Bachelorette, A Time To Love and a Time To Die, The Fury and others
58 Art: Reviews of Angela Ferreira at Stills and Andrea Buttner at Tramway.
59
Books: Reviews of Alan Moore's Fashion Beast, Margaret Atwood's Maddadam, Book of the Month Brand New Ancients and The Son.
60 Theatre: Paul Bright's Confessions,
Robert Softley's If These Spasms Could Speak and Forced Entertainment are among this month's highlights.
61
Comedy: Russell Brand's whipping boy Trevor Lock leads us down a meandering path of LOLs.
62 Competitions: WIN. Tickets for
Pleasance Sessions, and the chance to see the Pet Shop Boys at Hogmanay.
63 Listings: You know the drill – what's on
in Music, Clubs, Comedy, Theatre and Art in Edinburgh, Glasgow and Dundee throughout October.
71
The Last Word: John Lydon The PiL frontman tells us why he's turned his back on the Sex Pistols for good.
Contents
5
Editorial
Crystal Baws ARIES You just can’t seem to empathise fully with others until you’ve walked around for a day in their skin and hair. It’s the only way you can experience what it’s like to be them inside and understand the stresses they’re under: from a hard day at the office, to picking the kids up from school, all while being pursued by packs of hungry, stray dogs that bite at the flapping bits of skin around your ankles.
O
ctober sees the release of a fistful of films of Scottish origin. In defiance of popular stereotypes of our cinema falling predominantly into the twee tartanalia or gritty social realism categories, the works range in genre from sci-fi (Under the Skin, starring Scarlett Johansson as a sexy alien who sexes Weegies as part of some sort of terrifying sexy alien plot) through musicals (Sunshine on Leith – Mamma Mia but set in Scotland and with eh the Proclaimers instead of ABBA), and Irvine Welsh (a genre unto himself, Filth is the latest adaptation to hit the multiplexes) with a wee touch of the obligatory social realism thrown in, albeit one fused with a magical realism in the form of Paul Wright’s For Those in Peril. Our Film ed has taken this opportunity to look at the state of Scottish cinema as a whole. Turn to p10 and prepare to receive some insight from filmmakers and commentators from this fair land. Also in Film, the autumn festival season (cause unknown) continues with Play Poland and Africa in Motion both arriving with a selection of cinematic highlights from their respective locales. We hear from director Clio Barnard, who has made a film of Oscar Wilde’s iconic fairytale The Selfish Giant, reimagining its setting to a Bradford scheme. Music leads with some words with These New Puritans’ Jack Barnett, discussing album Field of Reeds in the wake of the world-shaking revelation that Sir Elton is a fan. Daughter founder Elena Tonra calls up from Nashville ahead of their Glasgow date, and things take an electronic bent as we talk to Alfred ‘Daedelus’ Darlington about his new grief-inspired album, and catch up with ambient prodigy Nicholas Jaar to hear about his new collaboration with guitarist Dave Harrington, the ambitious DARKSIDE. Our Music ed convinced a quartet of musical legends to provide us with an insight into their lives and creative processes – ‘lost’ Lemonheads co-founder Ben Deily looks back to the band’s formation ahead of the re-release of their early material, while Steve Mason tells us about
his favourite film scores. Soundgarden’s Ben Shepherd strikes out on his own as HBS, before John Lydon drops by to call David Cameron a bastard and deflect any mention of butter products. This month our Music section returns to a live setting, with a one-night-only gig as part of the Pleasance Sessions featuring Glasgow’s Honeyblood, Young Fathers cohort LAW, Siobhan Wilson and headlined by Rick Redbeard, he of Phantom Band infamy. You should probably buy a ticket, it’ll be guid. Another real treat this month comes from a surprising source – the widely disparaged painter Jack Vettriano. We dragged our old Art editor out of retirement to interrogate him, and he comes away with some fascinating revelations about the role of lingerie in human evolution and how painting sexy sexy ladies is just what anyone would do given half a chance. Enlightening. In more serious art coverage, we quiz Lucy Skaer ahead of her biggest UK show post-Turner, and look forward to Sonica festival, returning to Glasgow with a programme of sonic art for the visually minded. Books catches up with Neu! Reekie!’s Michael Pedersen after falling in love with his debut poetry collection, Play With Me. In true poetic form, he uses some highly unorthodox analogies for the growing success of their spoken word night which does indeed seem to be quietly taking over Scotland. Like a semi erect penis, apparently. [Rosamund West]
TAURUS In October media executives agree to produce the pilot of your TV show, The Young Adventures of Jesus Christ, starring a roller-skating messiah who teaches Bethlehem how to dance.
GEMINI Life is like a game of Monopoly: you look like a boot, your house is tiny and you spend half the time in prison. CANCER When you talk to your friends down the pub about how many ‘birds’ you made love to last night they have no idea just how literally your claims should be taken.
LEO Deciding it’s time you finally dealt with some household chores, you start defrosting the corpse freezer.
VIRGO While producing a report on how to improve efficiency savings at work, you inadvertently discover the company would actually be better off if all the employees were crushed into bone meal and sold as fertiliser. You dutifully hand in the report to your delighted boss who agrees to implement your recommendations immediately.
With Mystic Mark
LIBRA Your Jekyll and Hyde personality can manifest itself in a variety of ways. For instance, this month you’ll pass out only to revive days later naked in an empty penguin enclosure surrounded by skinned dolphins, wondering who shat in your pants.
SCORPIO Much like your ruling planet Mercury it’s unlikely that anyone from Earth will ever touch your pockmarked surface. The chances that anyone in their right mind would ever attempt to visit you are negligible; the vast majority of humans feel quite comfortable observing you in disgust from afar.
SAGITTARIUS When buying products you are particularly prone to buyer’s remorse. After spending an entire day looking for and purchasing the perfect watch, just a few hours later you can be seen fastening it around the neck of a seagull and crying as you hammer it to death with a brick in a sports sock.
CAPRICORN After the accident you have to have your groin amputated.
AQUARIUS As an enraged Daily Express reader, in October your furious attention turns to all the job-shy serf ghosts enjoying the afterlife of Riley in your Victorian townhouse for free.
PISCES You take comfort from the fact that humans are able to predict with greater accuracy what will happen to the stars than the stars can predict what will happen to humans. That said, this month the stars accurately predict it is actually you who will reach the end of your life cycle and violently explode.
This Month's Cover: Eva Dolgyra Eva moved to Glasgow from Athens to study Illustration at the Glasgow School of Art and now lives and works in the city as a freelance illustrator.
Shot Of The Month James Blake at O2 ABC, Wed 18 Sep, by Daniel Harris
The Skinny On Tour T
his month, The Skinny on Tor[sic] took in some kultur outside a very old and important building somewhere that isn't in the United Kingdom. It might even be a kapital city. Go on, try and guess – do your wßrst. For your chance to win The Bumper Book of Simon’s Cat by Simon Tofield. (courtesy of those lovely volks over at Canongate), just head along
6
Chat
to www.theskinny.co.uk/about/competitions and tell us where you think this shifty looking Skinny reader is holidaying. Competition closes midnight 27 Oct. 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 T&Cs can be found at www.theskinny.co.uk/about/terms.
THE SKINNY
It’s Time for a Bit of Equality “I genuinely believe – this won’t go down well, but – if you walk into Battersea Dogs Home with your legs covered in prime rump steak, you cannot complain if you get bitten.” Our Comedy ed was so incensed by this quote, she drafted a reasonable response
O
ut of context, it’s a pretty gauche opinion. When you attribute it to a discussion about rape it’s disturbing. Just as horrifying, is that it’s come from the mouth of a respected comedy critic for a national newspaper during John Fleming's chat show last Fringe. What’s more – she’s a woman. Kate Copstick is something of a ‘big deal’ in the comedy world; when she’s not making caustic statements about rape, she’s a serious arts journalist. With her longtime gig as a reviewer for The Scotsman, and a reputation for being a bit of a gob, people pay attention to what she has to say. With this penchant for saying the unsayable comes a certain hubris. A sense of being bulletproof. The idea that you can say what you want and there’s sod all anyone else can do about it. This reckless imperviousness flapped its wings this Fringe on Russell Kane’s festival chat show, where she savaged award-winning comedian Sarah Millican, saying “If she wasn’t a Geordie, she’d be told to ‘go away, lose weight and come back when you’re funny.’” Aside from the visible repressed outrage from Kane and his co-host, it disgusted fans and fellow comics alike. Why? Because it’s a crap opinion. When you lay into another woman because of her appearance, you’re not critiquing; you’re bullying. It’s got as much depth and relevance as a jibe from Mean Girls. What’s more, is if this had come from a bloke, he’d be shot down in flames. It’s time for a bit of equality. Time to be held accountable for your actions, regardless of gender, or status, or just plain stupidity. There are millions of young women desperate for cultural leaders to teach them about self worth, tolerance and about compassion.
What are we gaining by poking at someone’s weight? That’s pernicious enough, but it’s an altogether bigger deal when you start making indiscriminate generalisations about men, women, and sexual responsibility. Copstick continues, “One word [rape] covers both someone who is wandering along a road and some person completely unknown to her leaps out – which must be horrendous and terrifying and it’s not about sex, it’s about violence. It’s a very specific form of assault… That is one thing… That is horrendous… But then there’s some twat of a 19-year-old who dolls herself up, covers herself in make-up, goes out, gets shit-faced, gets a guy, gets more shitfaced, takes him back to her place or goes back to his place, takes some items of clothing off, starts playing tonsil hockey, has her nipples twiddled, starts playing the horizontal tango … It’s too fucking late to start complaining. It’s not his fault any more. You can’t go Yes-yes-yes-yes-yes-yes – Oh! – No! – It’s not fair.” It’s crass enough to summarise rape with a dog analogy, but to assume that a woman is begging for it because of her outfit, her locale, or the fact that she had a drink is missing the point somewhat. Call me old fashioned, but I think it’s time to smother the notion that skirt-length or vodka jellies transfer culpability. These details are irrelevant in comparison to the act of a man physically putting his penis inside a woman when she does not want it there. It’s time to acknowledge that it’s okay if at some point in the night you think, ‘Hey, I’m not so sure about this’ – for any reason. Our vaginas don’t come with a sense of duty. Changing your mind is still a no. No is not an ambiguous sentiment. It’s not some Robin
Words: Vonny Moyes
Thicke-flavoured word that we throw around to be coy. It means don’t. We need to teach women that we have that power. We need to recognise that rape is gruesome however it happens; be it a stranger, someone you know or even a partner. Imagine the horror of waking up sore, and that sickening feeling when you discover there’s a good chance you were sexually assaulted whilst non compos mentis? There are no degrees of realness; rape is rape. Not only is this mindset back-to-the-futuring the women’s rights movement by at least a hundred years, it’s doing a hell of a disservice to men. While entirely derogating half the population, it simultaneously nurtures engendered stereotypes that ‘justify’ reprehensible actions. Are men really animals, impervious to controlling themselves at the sight of skin or arc of a breast? Are they fundamentally powerless to decide where their sex organs go? Are we hostages in our own bodies, wandering around in a state of prerape, solely determined by our diligent efforts to bat off attackers? Also, if you’re raped, does that mean you didn’t try hard enough to stop it? This attitude essentially de-genders us and divides us into two categories: victims and criminals, where the former has to make allowances for the latter. Women are helpless and responsible; all men are evil and waiting for you to slip up. This is not real. How can we still permit such a fundamental lack of respect? For men, yes, but mostly for women. When you spout the same sort of tired rhetoric as the fossils in the Steubenville or Norwood rape cases, you’re underlining the entrenched prejudices that bridle us to the past. Chaining us to fear and fiction. You’re fortifying
the myth that we coordinate our own abuse with our actions. You’re reinforcing that we women are inferior. That we are incapable of making decisions. That our bodies are currency. That we should fear men. This is the same danced-around responsibility we put on the shoulders of our daughters as soon as they’re old enough to take notice of boys. What about teaching consent? What about discussing sexual autonomy? How about we stop telling girls how to dress, and start telling men not to rape? It’s time to take rape seriously. To empower victims. To give them the confidence to act without fear of reprisal – not only from the judicial system, but from other men and women picking apart their actions and victim-blaming. We need to give women the confidence to report crimes without worrying that everyone thinks like Copstick. Comedy is moving on from this, just like the rest of the world. In a year when Adrienne Truscott and Bridget Christie claimed the big Fringe prizes with unabashed celebrations of feminism, it’s beyond disappointing to hear such morally bankrupt contrivances spilling out of one of the most exalted critics in the business. It’s not even misguided Joan-of-Arc-ing; not some sort of perceived martyrdom with Cosptick speaking for the silent. It’s just a frighteningly bad opinion. And much like the Sarah Millican comments, it’s utterly irrelevant. The time has come to take a stance against damaging attitudes. We need to embrace progressive voices and stop giving mileage to vestiges of an era we’re doing our best to forget.
to have a more astute yet whimsical take on the things we take for granted. And in being smelly, untrustworthy, smelly hippies, there’s a good chance they’ve partaken of strange substances, helping to colour their worldview and therefore enhance yours. Examples: Ross Noble, Bill Bailey, Mitch Hedberg
comics will mostly seem drunk, drugged or otherworldly. Not caring about conventions means these cavemen-like characters can play with traditional comedy tropes and offer something new – and they give you fair warning of how many directions their mind will go in by the wayward follicles sprouting from their dome. A beard as haphazard as their mane may indicate an even weirder experience. Examples: Zach Galifianakis, Reggie Watts, Dylan Moran
thejohnfleming.wordpress.com
Hirsutes you Sir! Or, why comedians may put more into their appearance than you first thought Words: John Stansfield Illustration: Greg Wynne
Y
ou can’t always judge a book by its cover. Unless that cover has several wolves and an eagle on it. Also, if its title refers to ‘killing’ or ‘the end of days.’ Then you can go ahead and presume it’s the greatest piece of literature since Apocalypse Howl by Franco Vendetta. If you are the kind of person that judges books by covers, you more than likely judge humans by hairstyle. Which is also a risky business. Unless of course those people are comedians, in which case there is a fair chance you can get all the information you need about them by their preferred coifs. Some comedians actively encourage this judging, letting you know what you’re in for by the style they sport, slavishly attending to a barnet so that you will know if they are about to spout absurdisms, observations or pithy one-liners. Some, though, just like to look pretty for you. Balding It is a natural part of male life that you will lose hair as you get older. For most, a quick Bic razor to the remainder of the hair will suffice, letting you go about your day. For comedians, however, this is something that can be used to set tone. World-weariness sounds better coming from someone who may have torn their own hair out at the vapidity of youth and the stupidity of the
October 2013
modern world. Offering up vicious barbs about the decline of man can be very depressing, but uproariously funny. Examples: Louis CK, Larry David, Dara Ó Briain A Haircut This is when someone has had their hair done to such a degree that it’s all you can think about. It takes over. Highlights, straighteners, curlers and an atomic amount of hairspray make the act look different, letting you know from the off that they will be as flamboyant and ridiculous as their bouffant. Comedy audiences can be judgmental folks, so having such a ludicrous haircut can give you a mountain to climb from the off – and goes a long way towards explaining why people are only now warming to Russell Brand, despite his solid comedy chops that have been in evidence for years. Examples: Russell Kane, Russell Brand, Noel Fielding Long Hair Long hair will always single you out. No matter where you are from, it always seems that having long hair is subverting normal practices. How dare you not get your hair cut you hippy! Being singled out from youth helps these comedians to form their own outsider view of the world – to see it from outside the mainstream, and thusly
Disheveled Displaying as much disregard for their audiences as they do for their physical appearances, these
Opinion
7
As the nights draw in and the leaves fall from the trees, we look forward, amongst many cultural delights, to shooting a man in the face (Bullet Catch), pretending to be Bavarian (Oktoberfest), and getting stuck into some Japanese animation (Scotland Loves Anime)
Thu 3 Oct
Part live music, part visual art experiment, Live_ Transmission is the first of its kind – a unique audio-visual collaboration between electronic music pioneer Scanner, the ever inventive Heritage Orchestra, and visual artist Matt Watkins, for which they'll dismantle the work of Joy Division, and then artfully reconstruct it, piece-by-glorious-bloodypiece. Usher Hall, Edinburgh, 8pm, From £18
After touring it across the Americas, playwright, performer, and all-round talented bugger Rob Drummond brings his staged shockaroo, Bullet Catch, to Glasgow – a stunt-based performance piece built on storytelling, mindreading, levitation, and the promise of seeing Drummond shot in the face as he performs the famed bullet catch stunt. The Arches, Glasgow, 1-13 Oct, From £10
Scottish Poetry Library mark National Poetry Day with a special soirée taking in a duo of New Zealand guests – with poet, novelist, and memoirist C.K. Stead reading alongside poet, novelist and, erm, tango enthusiast, Kapka Kassabova. Keep an eye on the library's Twitter that day, where they'll be posting lines from their favourite poems about water. Scottish Poetry Library, Edinburgh, 6.30pm, £5 (£4)
Live_Transmission
C.K. Stead
Mon 7 Oct
Tue 8 Oct
Judy's Affordable Vintage fair bring their supersized vintage event, Vintage Nation, to Edinburgh – taking over the Corn Exchange with over 100 stalls of vintage clothing, accessories, furniture and collectables, bolstered by a live stage, a pop-up vintage tea room, and a beauty area where you can get Victory Roll up-dos for a fiver. Corn Exchange, Edinburgh, noon, £5
British born, by way of Norwegian and Pakistani parentage, vocalist and pianist Nadine Shah takes to a live setting to play tracks from her first full length LP – which for spoonerism lovers is entitled Love Your Dum and Mad – a gem of a debut that follows a string of accomplished EPs, built on her trademark gently tremulous textures and unique smoky intensity. King Tut's, Glasgow, 8.30pm, £7
After one date in Edinburgh during the Fringe, comedian/ actor/musician/all-round talented lass Vikki Stone returns to give her new show, Defintely, another airing – taking in a new selection of songs, stand-up and, depending on whether or not she can teach her dog to dance in time... dog dancing. Also playing Glasgow's The Stand the following evening. The Stand, Edinburgh, 8.30pm, £12 (£10)
Vintage Nation
Photo: Ryan Handy
Sun 6 Oct
Nadine Shah
Vikki Stone
Sun 13 Oct
Mon 14 Oct
The Skinny (yeah, us) host a homegrown showcase as part of The Pleasance Sessions, with The Phantom Band's frontman Rick Redbeard cherrypicking from his rough-hewn solo debut, joined by Glaswegian garage-rock duo Honeyblood, visceral Young Fathers affiliate, LAW, and rising chanteuse Siobhan Wilson. The Pleasance, Edinburgh, 7.30pm, £7 (£5)
Upper-level eatery Spoon turns vintage fair for the autumn A Spoonful of Vintage – with the cafe space taken over by a selection of vintage clothing and accessory stalls, alongside other rummage-able gems including ceramics, homewares, collectibles, and jewellery. There'll also be on-site vintage hairstyling from Edinburgh stylists, Boosh, and cake-heavy high teas throughout. Spoon, Edinburgh, 11am, Free
Paisley Spree returns with an even bigger programme of events for 2013 – a highlight of which looks to be a double headline set from Louis Abbott and his merry Admiral Fallow cohorts, playing alongside The Twilight Sad boys in the suitably epic 13th Century-dating Paisley Abbey, backed by the talents of the Royal Scottish National Orchestra. Paisley Abbey, Paisley, 7.30pm, £22
Rick Redbeard
Photo: David P Scott
Sat 12 Oct
A Spoonful of Vintage
Admiral Fallow
Thu 17 Oct
Fri 18 Oct
Sat 19 Oct
Shiny-header Lau master fiddler (as in he plays the fiddle, really well) Aiden O'Rourke takes to the intimate surrounds of Glasgow's The Glad Cafe to unveil his latest suite of new music – entitled Hotline – written, rehearsed and recorded on the Argyllshire coast, and taking its inspiration from an engineering project created during the Cold War just outside Oban. The Glad Cafe, Glasgow, 7.30pm, £12
Glasgow's WEST make beer their religion every Friday in October for their annual month-long Oktoberfest – in homage to the traditional German beer festivals – serving up their homebrewed artistan and wheat beers complete with music from The Brasswurst Bavarian Beer Band, a two-course traditional Bavarian meal, and an all-new recipe Oktoberfest bier. Slurp. WEST, Glasgow, 7pm, £19.95
All Night Horror Madness returns for another nightmarish sleepover at The Cameo, screening through from 11pm until morning – with classics such as Richard Hanely's psychedelic cult hit, Hardware; Brian De Palma's original take on Stephen King's Carrie (of which a third adaptation follows in 2013); and 80s Italian slasher epic Stage Fright. Cameo, Glasgow, 11pm, £18.50 (£16.50)
Aiden O'Rourke
WEST Brewery
Carrie
Wed 23 Oct
Thu 24 Oct
Fri 25 Oct
Original Incredible String Band member Mike Heron once again teams up with Glasgow's own kings and queens of modern folk, Trembling Bells, to perform a series of energised new arrangements of some Incredible String Band classics – this time around honouring Heron's 70th birthday year by covering a cherrypicked selection of rare tracks and favourites. The Glad Cafe, Glasgow, 7.30pm, £14
Africa In Motion returns for its eighth annual celebration of African cinema – this year with the overarching theme of movement. It kicks off with a opening screening in Edinburgh of Grigris – the story of a young man who dreams of becoming a dancer, in spite of his physical disability and dangerous dealings with petrol smugglers. Filmhouse, Edinburgh, 8pm, £8.20 (£6)
Manning their regular last Friday of the month slot at Summerhall, the Neu! Reekie! lot host a Scottish Mental Health Art & Film Festival special – furnished by musical outings from Edinburgh DIY folk-rock troubadour Withered Hand, and all-girl pop kids TeenCanteen, plus a special film screening, words and music set from Georgio Valentino and David McClymon. Summerhall, Edinburgh, 7pm, £8
Trembling Bells
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Chat
Grigris
Photo: Euan Robertson
Compiled by: Anna Docherty
Wed 2 Oct
TeenCanteen
THE SKINNY
Photo: Ryan McGoverne
Heads Up
Tue 1 Oct
Platform's annual mini-fest, Eastern Promise, returns for a fourth surveying of some of the finest alternative music-makers around – with this year's outing taking in sets from Fife-dwelling folkie James Yorkston, 12-stringed guitar experimentalist James Blackshaw, loop-laden singer Adam Stafford, and others. Buses run from Mono, 6.30pm. Platform, Glasgow, 4 & 5 Sep, 7pm, £15 (£10) weekend
A selection of Scottish musicians and spoken word artists join forces for Cry of the Cave People – a night of Nick Cave interpretation, mash-ups and general worshipping, featuring music from Artisan, Norman Lamont, Hookers for Jesus, and Isaac Brutal and the Trailer Trash Express, plus spoken word from Andrew Wilson, Ali Maloney, and Andrew Ferguson. Citrus Club, Edinburgh, 7pm, £7
James Yorkston
Fri 11 Oct
Stirling comes to life for the annual THAT Festival, an eclectic weekend of performance, dance, and music – with highlights including a special Neu! Reekie! outing, animation from BAFTA-winner Will Anderson, a headline set from Young Fathers, and Buzzcut Festival's A La Buzzcarte cafe where you can order bespoke performances at your table. Macrobert, Stirling, 9-12 Oct, various times and prices
Seemingly primed to take over the world one synth-pop earworm at a time, our September cover stars, CHVRCHES, take to Glasgow's O2 ABC for a two-night stint, playing tracks from their recently-released first LP, The Bones Of What You Believe – of which singles Lies, The Mother We Share, and Gun et al proved to be but the tip of their mighty electro-pop iceberg. O2 ABC, Glasgow 10 & 11 Oct, £13
Scotland Loves Anime returns for its fourth annual celebration of all things Japanese anime, taking place across Glasgow (11-13 Oct), and then Edinburgh (18-20 Oct), and throwing up such riches as the European premiere of Evangelion: 3.0 – the third and second last film retelling the 90s TV series, Neon Genesis Evangelion. Glasgow Film Theatre, Glasgow, 6.15pm, £7.50 (£6)
Neu! Reekie!
CHVRCHES
Photo: Eoin Carey
Thu 10 Oct
Photo: Edmund Frazer
Wed 9 Oct
Wed 16 Oct
Blogger and label owner Song, By Toad returns for a night of bad fun entitled, erm, BAD FUN! – this time joined by a trio of singer/ songwriters, each perhaps better known for their respective band work: Eef Barzelay of Clem Snide, Neil Pennycook of Meursault, and Chris Otepka of the Heligoats. They also play Partick Bowling Club the preceeding night for BAD FUN!'s first Glasgow outing. Voodoo Rooms, Edinburgh, 7pm, £5
The Berkeley Suite's messy monthly Wednesday night, Yebo – y'know, the one that blends hip-hop, trap, and footwork into one helluva midweek-bothering party – this month goes weekly, finding them joined by a series of special guests. Amongst them will be a live set from Young Fathers' main producer, G Hastings, on 16 October (see listings for the full month's line-up). The Berkeley Suite, Glasgow, 11pm, Free (£3 after midnight)
Neil Pennycook
Photo: Martin Senyszak
Tue 15 Oct
Photo: Julia Gomez
Sat 5 Oct
Photo: Takeshi Suga
Fri 4 Oct
Ali Maloney
Evangelion: 3.0
Young Fathers
Mon 21 Oct
Tue 22 Oct
Throwing up another goodie (as in, in addition to our Skinny-curated night on 12 October) Pleasance Sessions welcome Oxford-educated, dope smuggling charmer Howard Marks to debut his new spoken work piece – Scholar, Smuggler, Prisoner, Scribe – which finds him looking back at the four incarnations of his own life with suitably illuminating results. The Pleasance, Edinburgh, 7.30pm, £15
Mark Thomas tours his 100 Acts of Minor Dissent show, which chronicles his task of committing 100 acts of minor dissent in 12 months – cataloguing everything from the smallest, to grander confrontations. His 'book heckling' is particularly inspired – including slipping a note saying 'The person who bought you this book hates you' into Dan Brown books in stores. The Stand, Glasgow, 8.30pm, £15 (£10)
Following its Glasgow run at Citizens, Chris Hannan's new stage adaption of Fyodor Dostoyevsky's iconic novel, Crime and Punishment, has an airing at Edinburgh's Lyceum – retold with a fresh energy and bold conviction intended to shine new light on the story's relevance to today’s world of corruption and crime. Royal Lyceum Theatre, Edinburgh, various dates between 22 Oct & 9 Nov, From £14
Mark Thomas
Sun 27 Oct
Mon 28 Oct
Fruitmarket open their doors for their autumn exhibition, playing host to a major collection of work by FrenchAmerican artist and sculptor Louise Bourgeois – entitled I Give Everything – taking in a selection of works on paper centered on her Insomnia Drawings, a suite of 220 drawings and writings made between 1994 and June 1995 to combat her insomnia. Fruitmarket, Edinburgh 26 Oct-16 Feb, Free
After the early 2013 high of gracing our March issue cover in a rather fetching woolly jumper and scarf combo, former The Beta Band frontman Steve Mason returns to a live setting – still riding high on his most recent LP, Monkey Minds in the Devil's Time, a catalytic call-to-arms with a mantric message seemingly made for a live setting. O2 ABC, Glasgow, 7pm, £17
After their gem-like 2010 debut LP, The Fool, and subsequent meteoric rise, LA foursome Warpaint return to the live circuit to again make merry with the inde-rock template – by which we mean layering seductive webs of guitar tone, spectral harmonies, and dub-influenced basslines – previewing new tracks written during their recent time out. O2 ABC, Glasgow, 7pm, £15
Louise Bourgeois, sculptures
October 2013
Steve Mason
Photo: Eoin Carey
Sat 26 Oct
Crime and Punishment
Photo: Daniel Harris
Howard Marks
Photo: Chris Hannan
Sun 20 Oct
Warpaint
Chat
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Sunshine on Leith
Filth
Cine Caledonia — A New Dawn P
ity the Scottish film critic. While the other art forms covered in this paper are saturated with local talent, emerging filmmakers come at a trickle; it seems like we’re forever searching for the new Lynne Ramsay. Too often we are the bearers of bad news: the bad-guys who report that the latest film made on these shores has little artistic ambition and even less chance of turning a buck at the box-office. It might seem it from reading the vitriolic copy, but there’s no fun to be had in tearing films as chronic as Not Another Happy Ending or The Wee Man to shreds. But we are harbingers of doom no more. This month the script has changed. Over a heady autumn film schedule, UK cinemas will see a trio of fine – and very different – Scottish features fight for space on our cinema screens. There’s a coal-black comedy/morality tale (Filth, 27 Sep), a lyrical meditation on grief and mental illness (For Those In Peril, 8 Nov) and a breezy musical set to the hits of those folk-pop behemoths The Proclaimers (Sunshine on Leith, 4 Oct). Add to these the UK premieres of Starred Up, the new film from David Mackenzie, which is reported to be the Hallam Foe director’s return to form, Jonathan Glazer’s long-awaited Under the Skin, a dizzyingly sexy sci-fi mind-bender about a beautiful alien (Scarlett Johansson) seducing neds on the streets of Glasgow, and Here Be Dragons, Mark Cousins’ latest idiosyncratic essay film, at London Film Festival and you have one of the most exciting moments for Scottish cinema – ever. It’s not just in UK cinemas and festivals that our films have been making waves; Scottish cinema has been lighting up the international festival circuit also. “We didn’t go looking for a bumper
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crop of Scottish films this year, but we found one,” says Cameron Bailey, artistic director of the Toronto International Film Festival (TIFF), which screened four films hailing from these shores this year. For Bailey, the eclecticism is what he found most encouraging about these features: “The films are very different in story, style and tone, which I find is always a good sign. If one fairly small film industry can produce intense dramas like Under the Skin and Starred Up at the same time as it’s delivering an upbeat pop musical like Sunshine on Leith and a star-driven, international co-production like The Railway Man [which stars Nicole Kidman and Colin Firth], it’s evidence that its talent has both breadth and depth.” Allan Hunter, co-director of Glasgow Film Festival, who was in Toronto for this Scottish invasion, agrees with Bailey’s assessment. “I think there was an impression that Scottish cinema had ventured further and further down a deadend path of social realist miserablism,” he says. “Scottish drama seemed to have narrowed its focus to the point where the only thing it seemed to engage with was neds and nihilism. There may be people who argue that is not the case but it was certainly the image people had of Scottish cinema.” The Scottish films that have emerged over the summer’s festival circuit suggest we’ve turned a corner. “I think the films we are seeing now are in some measure a reaction against that,” suggests Hunter. “There are some adventurous producers and filmmakers determined to tackle a wider range of subjects and genres and to make films that might attract mainstream audiences as well as art-house crowds.” The filmmakers responsible for these bracing, bold films must be delighted? You’d think
significant development. “If we were going to compete with Hollywood, for example, what we would need available to us right now would be money to buy the option on a best-selling book to be able to compete with the studios and the bigger production companies in Europe, and engage A-list writers whose fees can vary from 100 grand to 250 grand a draft. So unless you can afford to buy those rights and pay that money for those writers, chances of success – really breakout success – are slim and it’s usually a phenomenon when it happens.” What’s that I hear, you say? A filmmaker wanting more money? What’s new? But when Berrie lays out the numbers it becomes clear Scotland’s film industry is running on (almost) empty. She puts our funding in context with adjacent countries of similar size. “Northern Ireland is sitting there with a fund per annum of about 12 million sterling, for the tiny film community there,” she says. “In the Republic of Ireland they’ve got 14-15 million, and they’ve taken a Gillian Berrie major cut – they were up in the 20s. Meanwhile we’re sitting with our four million, you know, pretending that everything is fine.” Our budget Starred Up made their world premieres. Berrie seems even more paltry when compared to our tells me that it isn’t just a coincidence that so many great Scottish films have come to fruition in neighbour to the east, Denmark, where Berrie has worked on a number of co-productions with 2013 – it’s a minor miracle. “I’ve been working in the Scottish film industry for nearly 20 years and Sigma films. “When I see the amount of care and attention going into the film industry there – 65 I’ve been campaigning for so long for more support, more money, a film studio, and we’re still, million a year – it just really frustrates me. We’ve I think, really way behind where we should be – such a wealth of talent, look what we can do on even ten years ago, when there was a more joined the small amount of money that we’ve got. Can up approach to this film industry in Scotland.” you imagine what we could do, looking at those Berrie argues that the mechanisms curmultipliers?” rently in place for the financing and production The question is, though, should Scotland of Scottish films aren’t sufficient to create any be chasing this Hollywood dream in the first so, but speaking to Gillian Berrie, the producer of Starred Up and Under the Skin, it’s clear that the Scottish film industry isn’t as rosy as it might seem to onlookers. “I guess I’m not feeling great about the industry at the moment, which is probably surprising for you to hear,” says Berrie by phone a few weeks after Under the Skin and
“I just want to make a big cautionary note to the government: please don’t take this for granted”
FILM
THE SKINNY
Starred Up
For Those in Peril
Look at your cinema listings. Scottish filmmaking is currently going through a purple patch last seen, well, never. We speak to film commentators and some of the filmmakers involved in this creative burst to see if Scottish cinema is as rosy as it seems place? The irony is, a film as daring and as brilliant (and as troubled – its production took over two years) as Under the Skin, the jewel in this wave of Scottish features, needs an independent producer like Berrie for it to come to fruition; it could never be made in Hollywood. TIFF’s director Bailey says as much when he speaks to us: “What I do see in [the films he programmed at TIFF] is real creative freedom from the filmmakers. Films like Under the Skin and Starred Up feel like they were made with uncompromising rigour from individual filmmakers. Even films made with more of an eye to commercial considerations retain a personal stamp. In my view, that’s what makes them successful beyond Scotland’s borders.” Mark Cousins, the Scottish-based director, whose essay films The Story of Children and Film (which screened at Cannes and Edinburgh) and Here Be Dragons (which premiered at Telluride and Toronto) enrich this cinema resurgence even further, is certainly in favour of Scotland finding our own path, and suggests this as one of the reasons for Scottish cinema’s apparent rude health. “The funding mechanisms have matured, in that they came to realise that in the UK and Scotland it doesn’t really make sense to try to ape the Hollywood model,” he tells me. “The people who are choosing content gradually understood that voice, subjectivity, authenticity, vision and passion are what make good films, not movie stars and metrics.” This model clearly works for a filmmaker like Cousins. He did claim, after all, to have made 2012’s This Film Called Love, his quixotic road movie starring himself and a portrait of Soviet filmmaking genius Sergei Eisenstein, for £10 by
October 2013
Interview: Jamie Dunn
shooting it on a low-end flip-camera. Cousins suggests that digital filmmaking and editing equipment are a contributing factor to this burst of creativity from our filmmakers: “The miniaturisation of the filmmaking process has loosened and opened up film production,” says Cousins. “Distinctive world views manage to survive the development system more than they used to, and outsiders get to make films more. If film had been digital since, say, the 20s, we’d have had more Bill Douglases and more Margaret Taits.” What a mouthwatering thought.
“Subjectivity, authenticity, vision and passion are what make good films, not movie stars and metrics” Mark Cousins
A filmmaker who typifies the model Cousins describes is Paul Wright, the writer and director of For Those In Peril, which debuted in Cannes along with The Story of Children and Film. When I speak to Wright, he confirms Cousins’ assertion about the freeing nature of digital. “We used a lot of mixed formats, Super 8 and my shitty camera phone,” he says when I ask about the mediums
he shot on, “but the main format was the Alexa [a high-end digital camera, used on gorgeouslooking features such as Skyfall and The Life of Pi], and it just meant the way we were filming was kind of about finding these moments and fragments of these little notes, so we were able to have that kind of looseness that maybe we wouldn’t have had if it was shot on film.” When I ask Allan Hunter if he has any explanation for this mini-Scottish cinema renaissance he points to an industry that’s been learning over the past ten years or so. “There is an element of coincidence to this,” says Hunter, “but there’s also a sense of some of the people who are here working away industriously all the time getting some projects into production at the same time. I’m thinking Arabella Page-Croft and Kieran Parker at Black Camel [co-producers of Sunshine on Leith], Gillian Berrie and Brian Coffey at Sigma. All of them are experienced now, well-connected and want to make films that are ambitious and connect with an audience. I think Sunshine on Leith will be a huge, popular, mainstream hit and probably the most successful Scottish film in a generation. If Sunshine on Leith was a company I’d buy shares in it! I think Starred Up is David Mackenzie’s best film and potentially his most commercial.” For Cousins, the most exciting aspect of this purple patch is that these filmmakers are thinking visually. “They’re not hanging on to the word, as they used to, as if imagery is second rate or redolent of surface,” he tells me. “Under the Skin imagines Glasgow visually as well as it has ever been imagined. David Mackenzie’s Starred Up sounds like it’s going to be a slice of realism, but it is very choreographed, almost like a musical
FILM
with the musical numbers cut out. My own essay films always start with imagery – the script never comes first.” When I ask Bailey why Scottish film has made such an impact at the big international festivals this summer he points to the creative freedoms evident in these productions. “I saw something in this year’s Scottish films similar to what I saw in the output of Canada’s filmmakers this year: a pleasing disregard for the border.” he says. “These are films made with actors, writers, directors and crews drawn from wherever best suits the production. They may be Scottish films, but they’re plugged into the world.” We’ll leave the last word to Berrie, the ferocious producer who helped Jonathan Glazer and David Mackenzie get two of these personal films with disregards for our borders on screen in the face of an underfunded national cinema. “We need a diverse range of films coming out of Scotland,” she says “from the art-house to the purely commercial. Something like Sunshine on Leith has got massive potential, and I think good luck to it. Filth as well. We’re just capable of so much more, that’s the thing. These really are wonderful films with some really talented people behind them. But I just want to make a big cautionary note to the government: please don’t take this for granted.” Filth is released 27 Sep Sunshine on Leith is released 4 Oct For Those In Peril is released 8 Nov Starred Up, Under the Skin and Here Be Dragons screen at the London Film Festival (9-20 Oct)
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Field Music Ahead of this month’s tour, we talk to These New Puritans’ Jack Barnett about their visionary, Elton-praised third album Field of Reeds
Interview: Chris Buckle
“T
his music’s symbolic,” sang Jack Barnett on These New Puritans’ debut Beat Pyramid. But while there were obscurities and tensions to sink into and unpick from the start, it wasn’t until 2010’s Hidden that his work’s symbolism and complexities truly began to take hold. As taiko drums confronted children’s choirs, lyrics spun riddles of Egyptian gods, swords and labyrinths, making an open mockery of early, confused efforts to align the band with the transitory pleasures of nu-rave. On tracks like We Want War, Barnett embarked on psychogeographic tours that evoked Sebald, Keiller and other chroniclers of the British landscape as much as any musical points of reference, resulting in an album of striking ambition – the sort of grand project that can see lesser acts flounder in a mire of self-importance, but which, for These New Puritans, evidenced a conceptual, compositional intelligence unafraid to challenge its listeners without severing all tethers to the mainstream. “We don’t fit easily into certain brackets,” says Barnett, speaking over the phone in-between legs of an extensive tour that’s seen them collaborate with avant garde vocalist Salyu in Tokyo and support Björk in Los Angeles, and which this month takes them around the UK. “I like the fact that we do that, because we always have one foot in popular music, or with a popular music audience, whatever that might entail. I like that it’s not exclusive.” This balance between experimentation and accessibility continues with recently released third album Field of Reeds, which ditches the militant percussion and mantric vocals of its predecessor in favour of a quieter, more pastoral tone. While much has been made of the album’s more esoteric aspects – the arrangement of tracks into extended suites; the estuarine topography traversed by its lyrics – it’s not as opaque as the sum of its parts, which incidentally range from a prototype Magnetic Resonator Piano to a hawk taking flight (together, a neat representation of an album with its roots in nature and its sights future-facing). To Barnett’s evident chagrin, the hawk recording has been a conspicuous focal point in recent interviews (“music doesn’t lend itself well to being talked about – there isn’t a good vocabulary for it really, so for that reason everyone has to talk about everything other than the music,” he sighs), but he volunteers background information for the other piece of kit, which uses electromagnets to warp the piano’s string vibrations into something straight out of the BBC’s Radiophonic Workshop. “Most of the time it’s obvious to me when I write a piece of music what instrument should carry a part or roughly what the sound should be,” he explains. “Because of the way we work, with lots of instruments, we can’t muck around in the studio – we kind of have to plan every hour precisely. But there was one sound on the album where I didn’t really know how we’d get it. We called it an ‘un-organ’ – a kind of organ sound, but something else. It was the last piece in the jigsaw. I thought I was going to have to sound design it, to fit this particular role, and then purely by chance we got a phone call from someone who had seen a demonstration of this instrument that had recently been invented. So yeah,” he deadpans, “that was a bit of luck.” It’s the first time the piano’s otherworldly timbre has featured on an album, but you don’t doubt for a minute that novelty played little part in its inclusion. When even the piano sound comes with a layer of mystery, it’s clear why These New Puritans attract active, investigative listeners. With recurring motifs and repeated imagery,
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their music offers a rabbit hole down which to get lost, seemingly filled with immeasurable meanings that beg to be deciphered. “Our music does seem to invite a lot of peculiar interpretations,” Barnett agrees. “It reminds me: I recently got a letter from a molecular biologist who was saying that Hidden was all to do with Christian symbology. That was quite an interesting read.” Not only does the example indicate the intellectual calibre of the average piece of These New Puritans’ fan mail, it also makes clear the breadth of interpretive possibilities. “A lot of interpretations seem to say and write that it’s really ominous and dark music,” Barnett adds, “but for me, quite a lot of the songs are quite hopeful. There’re bits of darkness in them and bits of lightness.”
“There are very few bands in the world who have the level of autonomy that we have” Jack Barnett
The other key narrative to have affixed itself to Field of Reeds is Barnett’s Kubrickian desire to get things absolutely perfect, Working Time Directive be damned. For Fragment Two, it reportedly took 76 takes for twin brother George to nail the drum sound the band had in mind. “The process of making this album necessitated inhabiting this very insular world,” Barnett reflects. “I think a lot of people got sick of us because we were determined to get it right at all costs.
It’s quite a difficult mindset to get out of actually – I remember a couple of weeks after we’d finished the album I went to buy a pair of shoes. I don’t care about shoes, it’s not something I think about, but I ended up taking them back and getting more, then taking them back and getting more until they were exactly right. I think we had to be a bit rehabilitated.” Barnett credits the process of rearranging songs for live performance with “bringing the pieces back to life” again after the precision engineering of the studio. “It’s a process I’ve enjoyed quite a lot for this album,” he says. “When you’ve been working on the music for a long time, getting it to its final state…” he pauses. “It sounds a bit like a bullshitty artist thing to say, but I’ve lived very close to this music and given so much for this album that it was difficult. I don’t like listening to things after I’ve finished them, because I think too much about what I would change. But when you’re reinventing the music live, you make it different every night and add different things. I think this band generally is probably the best we’ve had. We’ve a seven piece-band – small enough that we can have agility and big enough that we can bring a lot of different sounds. Plus we’ve got Elisa [Rodrigues, Portuguese jazz singer who appears on several Field of Reeds songs] singing with us, which is pretty fun because she can do her 50 per cent and I can do my 50 per cent. I don’t have to try and do everything – we can specialise a little bit.” And it’s not just vocal duties that are divided 50/50, with Barnett promising an equal split between Hidden and Field of Reeds material at the upcoming shows. “It gives us a big range of contrasts,” he somewhat understates. “It allows us to do a lot of stuff.” This freedom to ‘do a lot of stuff’ is not one Barnett takes for granted, noting that “there are very few bands in the world who have the level of autonomy that we have.” Indeed, These
MUSIC
New Puritans seem to occupy a blessed middle ground where they have the time and budget to, for instance, set-up 28 Thai gongs or spend a day recording the sound of smashing glass (both features on Field of Reeds), despite the decidedly un-commercial end results. Barnett has also recently become more involved in the band’s visuals, scripting a ten-minute animation for V (Island Song), due later this year. “Up to a point any idea is just as expensive and time-consuming as any other idea, they just have to draw it. So it’s amazing what you can do, in terms of the range of ideas you can use,” he enthuses. We end by asking about a tweet (“not ‘industry’ enough”) made the night of the recent Mercury Music Prize shortlist announcement, for which Field of Reeds was submitted for consideration but not chosen. “People had said to me ‘oh no, that’s so disappointing,’” Barnett explains, “but I never expected to get it. I just don’t think it’s the kind of album that would go on,” before noting that he’s “not deadly serious all the time” and drawing attention to the tweet that followed in order to prove it (“Maybe it’s the fact that we’re touring with the Operation Yewtree Roadshow as support act”). When asked more generally if there are any accolades that mean something to him, Barnett’s pensive interview manner suddenly becomes animated. “Yeah, yeah!” he replies. “In today’s Guardian, Elton John said he loves the arrangements on Field of Reeds. I genuinely think he’s an incredible songwriter, so that’s fantastic.” But, he adds, the most satisfying feedback comes from less starry quarters. “It’s more important to me when people come up to me and say things like ‘this album changed the way I think about music,’” he concludes. “That’s a wonderful thing to hear.” These New Puritans play Oran Mor, Glasgow on 17 Oct www.thesenewpuritans.com
THE SKINNY
H E DI D T H I NGS H IS WAY.
WHICH HEL PS EXPL A IN OUR MUTUA L A DMIR ATION. Look onstage any given night and you would see Frank Sinatra, in his trademark tuxedo, captivating audiences everywhere. Look a little closer and his favorite drink, Jack Daniel’s Tennessee Whiskey, wouldn’t be far away. Frank was never shy about how much he loved Old No. 7. In fact, he’s even laid to rest with a bottle of it. So we thought it was only fitting to show how much we loved him back. With a whiskey of his own. Jackdaniels.com/sinatraselect.
ACT BOL DLY. DR INK R ESPONSIBLY. SINATRA IS A TRADEMARK OF FRANK SINATRA ENTERPRISES, LLC, USED UNDER LICENSE TO JACK DANIEL’S. ©2013 JACK DANIEL’S. ALL RIGHTS RESERVED.
October 2013
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Never Let Me Go As Daughter explore America’s Deep South for the first time, founder Elena Tonra stops to ponder why they’re connecting with listeners far and wide
D
aughter are that rare beast: an act whose gradual ascendancy throughout 2013 has been seemingly without fanfare or hype. They are a genuine, old-fashioned word-of-mouth success. Debut album If You Leave, a sprawling, atmospheric adventure, received plaudits for its sharp reworking of indie-folk tropes. It’s a work of beautifully understated dramatics: the delicate precision of its guitars and its spare, elementary arrangements form an uneasy alliance with the dark husk of singer Elena Tonra’s voice and the unnerving candour of her lyrics. A schedule of non-stop touring at home and abroad has seen them win a sizeable, loyal following. And emerging signature tune Youth has seen festival crowds switch from curious to swooning in a (broken) heartbeat. Elena and band mates Igor Haefeli (guitar) and Remi Aguilella (drums) are part way through an American headlining tour, and she thinks for a moment when The Skinny asks her where she is today. “We’re in Nashville,” she says. “Yeah, it’s amazing really. We’ve not been here [the American south] before; we’re just thrilled to be here. The crowds are, you know, quite up for it in terms of participation, which is great.” Another pause. “I don’t know, the American crowds are just so expressive, I think in both singing and in heckling… in a nice way!” If You Leave is something of a live performance challenge. A shadowy, intimate work, much of its impact comes via what it dares to leave out: it’s an album that thrives on the space it creates. There are near-silent passages that ask much of the relationship between audience and band. At Liverpool’s Anglican Cathedral during their last run of UK dates, the tension, at times, was palpable. You prayed no-one whooped or whistled as the band began by stepping lightly through epic album-closer Shallows. “Oh that was awesome. That was a really special night,” says Tonra. “The setting was so impressive and it was just the kind of space where even we perhaps don’t want to make too much noise. The audience were quite quiet which can be unnerving. You feel
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like saying ‘Is everyone having a good time?’ Well, as good a time as you can have with our kind of music!“ Daughter’s emergence and development feels uncommonly unforced, the album preceded by a series of singles over the last couple of years that culminated in the release of The Wild Youth EP in 2011. It seemed entirely fitting that they announced, in late 2012, their signing to 4AD, that home of artful mavericks and wayward innovators. Smother, their first release for their new label, gave notice of a gradual shift away from a studied, skewed folk to something more expansive and free. Like much of the album, Smother is unflinching (“I’m wasted, losing time / I’m a foolish, fragile spine”) in its deconstruction of the delicate architecture of relationships. Beneath its swelling atmospherics, If You Leave documents “the lovers that went wrong” with a cool head and a level eye; it’s a blackened wonder but there’s no denying that it might not be for everyone. “Yeah. It’s not the easiest first listen,” says Tonra. “A lot of people have said that. They’ll say ‘Oh I’m not sure…’ and then they’ll come back and say they’ve got it, so maybe after repeated listening it starts to make sense. I don’t know. There was never really a plan, as such. We made it in confined spaces and we never really played it to anyone apart from the people we were working with.” “Production-wise, Igor had help from other people but he was very much in control of that side of things,” Tonra continues.” A lot of the time it was just me and Igor in a flat, coming up with ideas and then we went off for two weeks or so into the countryside in Dorset with our recording gear. So it was all very isolated and because of that we were never really sure how from the outside listening in other people were going to react to it – or even if it would turn out to be something that people could listen to or even want to listen to. A lot of people have been very positive about it. People have said that it makes sense with respect to their lives and experiences and that they’re able to connect with it. Which is surprising and really beautiful: to think that there
Interview: Gary Kaill Photography: Beth Chalmers
are other people who share the same thoughts, perhaps, that I have.” If You Leave doesn’t readily offer itself up. It demands much, challenges the listener to meet it somewhere in the shadows. But, like much of the most singular and uncompromising art, that effort pays back with interest. “Well that’s really nice of you to say. Thank you.” Tonra pauses to consider. “I’m glad you like it and that you took the trouble to listen. Some people have just quickly listened to it and gone ‘Nah – fuck it!’”
“When we’re in the songs, it’s almost like a trance” Elena Tonra
John Lennon once said that song-writing was the act of ridding yourself of the demon within, but Tonra is keen to avoid over-dramatising her work. “I can’t necessarily compare my experiences too directly with other people’s because there are people who have been through bizarre amounts of shit in their lives. I’m not trying to say I have a really hard life. I’m just trying to distil what I think. So, yeah, perhaps it is about releasing the demons but you just have to remember that you’re not writing for everyone and, you know, everyone has their own… shit.” Many of Tonra’s interviews since the album release have tried to uncover the source for her lyrics, something she always appears to graciously sidestep. She’s philosophical about the curiosity. “A lot of people do get caught up in the specifics of why I’ve written something,” she says.” I get questions like – ‘What is this about? What does it mean?’ And I just say that what I wanted to say, I’ve already said. I’ve already written as much as my brain wanted to let me write at the time, through the song. I always say I don’t want to tell people what the songs are about. I’d rather people find out for themselves by relating
MUSIC
the songs to their own lives.” We talk some more about the slightly surreal lifestyle defined by motorway miles and anonymous hotel rooms. The band is unsure how long the If You Leave cycle of promotion and touring will last. We cover the prospect of album number two – “I need a level of isolation for things to make sense. But yeah, there are a few ideas kicking around. There are just no songs as such yet. We’re not jamming in the back of the tour bus!” – and their growing confidence onstage. Tonra recently saw CHVRCHES for the first time, another act whose singer has received the occasional misguided duff notice for refusing to scissor-kick her way across the stage like David Lee Roth, and declares herself a fan: “I don’t get the criticism. She’s just performing the way she has to perform and it’s right and appropriate for what they do. Lauren’s brilliant live. I don’t know what some people expect. Dancing? I’m lucky in that I have a guitar to hide behind; I really can’t imagine what I’d do if I just had to perform without it.” Daughter’s brooding inner visions are captured in unflinching close-up on If You Leave but it’s onstage where they manufacture drama and test the boundaries of their material. Throughout our interview, Tonra is endearingly self-mocking (“Sorry. Are you sure you’ve got enough to make a feature?”) and giggles non-stop. She does the same onstage – often, if the crowd dares to break those high tension silences, mid-song. It’s an ultimately winning approach: “I’m not the kind of person who’ll just walk into a room and start talking to people. I do have that nervous laughter thing about me, which I think I’ll have forever. I guess that’s the way we perform. If I really fuck up, yeah, I’ll laugh during the song. It’s actually between the songs that’s most difficult. When we’re in the songs, it’s almost like a trance – we’re escaping into our own heads and then you come out and suddenly you’re like ‘Oh shit! People are here!’” Daughter play Glasgow’s Old Fruitmarket on 20 Oct www.ohdaughter.com
THE SKINNY
20 Years of Glasgay!
Warpaint
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Two decades on, Glasgay! continues to celebrate LGBT artists past and present across their annual multi-arts festival. We speak to playwright Stef Smith about one of this year’s programme highlights, Cured
appear to have all the problems other places might be riddled with, but it isn’t a stretch to imagine conversion therapy camps being set up here. “The legality is slightly different here, but it could exist,” Smith points out. Also, she explains, the way you are treated if you are gay isn’t only left to relevant legislation but also depends on “where you live, your ethnicity, and access to people who are like-minded.” Of course, it’s not all dreary – Smith admits that Cured has more humour in it than Roadkill did. What’s more, Menergy returns with Raja, winner of RuPaul’s Drag Race (Season 3). Then again, if you look at Scottee’s history in Eat Your Heart Out (affectionately abbreviated to EYHO), and his latest piece titled The Worst of Scottee, it becomes very obvious that drag queens – and more broadly, the man in makeup and a dress – is not there JUST for your entertainment. Meanwhile, the panel discussion What’s Next for Queer Performance? tries to look to the future. The blurb itself asks: ‘In the age of equal marriage, where will queer performance look next?’ Of course, this is a reference to the recent equal marriage bill, which is a great win for those campaigning for it. However, queer art isn’t just about equal marriage, and neither is all queer activism. Considering one of the newest popular TV shows in America is Orange is the New Black, featuring Laverne Cox – one of the first transgender women to have her own reality TV show – and that the country also produced Taylor Mac, and many other names not to be forgotten, it seems there will be a lot of catching up for Scotland to do in terms of the way queer performance, the queer performance scene and its activist intentions are discussed. Even though we can blame the American mentality for a long list of negative attributes in culture, the country is obviously making certain leaps of faith that Scotland isn’t willing to make just yet.
ariety’s the order of the day, with jazz, soul, synthpop, and some good old fashioned gee-tar on the menu at Glasgow’s O2 ABC this October. First up is a man who can’t seem to stop touring; the indefatigable Simon Green returns to Scotland as Bonobo (O2 ABC, 4 Oct), trusty live band by his side. This year has found Bonobo justly high atop festival bills around the world, and this gig is set to be yet another refined affair for the doyen of instrumental triphop. Expect to be captivated as the Brighton maestro blends electronica with his live band. The following night welcomes on stage a man who once performed as a James Brown impersonator in the late 90s, under the name ‘Black Velvet’ – now that’s smooth. Charles Bradley and his Extraordinairies (O2 ABC, 5 Oct) bring the funk, reviving that 70s sound with honest flair as they treat us to highlights from latest album Victim of Love. Surely to cope with demand, we’re getting not one but two nights of Glaswegian synthpop trio CHVRCHES (O2 ABC, 10 & 11 Oct) this month, hot on the tail of rabidly anticipated debut The Bones of What You Believe. Prepare for a dynamic set as increasingly confident pixie frontwoman Lauren Mayberry dazzles through fast loved hits such as The Mother We Share, Gun, and Lies; a firecracker pair of evenings not to be missed. Stepping down in tempo but not in quality, a night with John Grant (O2 ABC, 19 Oct) – aka former frontman of The Czars, or simply “the greatest motherfucker you’ll ever meet” – will be a bracing, intimate event. While his new LP Pale Green Ghosts pulses with a mostly electronic backing, Grant’s forte is in his naked songwriting, particularly on more guitar-centric ballads. To round off the month, the guitar baton is passed to Californian indie quartet Warpaint (O2 ABC, 28 Oct), who take the previous soloist’s poignancy and turn it into swooning psychedelia – think Melody’s Echo Chamber meets Haim (even though they predate the pair, you fashionistas!), with mesmerising all-girl vocals that evoke the more spine-tingling moments from our much missed Cocteau Twins. This tour marks a return to performing after a hiatus, in advance of their upcoming second LP, slated for release in January 2014. A busy month all round, then. [George Sully]
Cured, The Arches, 22-26 Oct, 7.30pm, £11/8
www.o2abcglasgow.co.uk
Interview: Eric Karoulla
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his October, Glasgay! celebrates 20 years of existence. That is, it’s been around since 1993. In legal terms, Glasgay kicked off 13 years after the decrimilisation of homosexuality in Scotland (1967 for England and Wales, 1980 for Scotland), and a year before raves were officially illegal in the UK. In the same way that Robert Softley’s If These Spasms Could Speak tries to dispell stereotypes about disability through art – and hence could be considered activist – Glasgay! is an entire festival of artistic activism, or activist art. In the organisers’ own words, it is “Scotland’s annual celebration of LGBT culture;” a month of celebration, from 9 October to 9 November. The theme this year is legacy, hence why the festival is bringing back Jackie Kay – who was involved in the very first Glasgay! in 1993 – but also looking to the future with the work of emerging playwrights like Stef Smith’s Cured. Having written Roadkill, which was picked up by Cora Bissett – one of Scotland’s most exciting theatremakers – Smith was commissioned to write Cured by Glasgay!’s artistic director Steven Thompson. It is a piece about various kinds of conversion therapy used to ‘cure’ or condition homosexual individuals to ‘convert’ to being heterosexual. While the play itself is based on various testimonies and research into relevant legislation and views regarding psychotherapeutic codes of conduct, the methods used are not a relic of the past. A similar premise is extensively explored by the French film Electrochocs (2006), set in Franco’ s Spain. The plot follows the tale of two lesbian schoolteachers, one of whom is sent to a psychiatric asylum to be ‘cured’ of homosexuality through electroshock therapy. Of course, some might say ‘that was the 70s’ and push the idea as a historical nightmare that won’t come back, but it doesn’t take long to think of places nowadays that might be enforcing these methods – Russia, for example, or, even closer to home, Greece. The latter is a country that is supposed to be a part of the European Union, and thus inherently assumed to be upholding the ideals ascribed in the European Charter of Human Rights. Cured is set in Scotland, which doesn’t
October 2013
Photo: Sonia Mallan
Stef Smith
MENERGY presents Raja, AXM, 9 Nov, 11pm-3am, £10 adv What’s Next for Queer Performance?, Gilmorehill Centre, 16 Oct, 7.30pm, free Find the full Glasgay! programme at glasgay.co.uk/
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THE SKINNY
Dance Evolution D
uring the notoriously prolonged production of My Bloody Valentine’s Loveless, frontman and sonic mastermind Kevin Shields told Vox magazine that “Sound is like a picture in my head... I’m thinking of writing them down some day.” Shield's tireless pursuit of emotional sonic transcendence nearly bankrupted Creation Records and its owner, Alan McGee, who eventually made some change back with Oasis. Daniel Avery, for whom Loveless is an all time favourite LP, shares a similar vision, but has been fortunate enough to render his psychedelic soundscapes in a landscape far less fraught with tension than his hero. “I think ‘trippy’ is the key word,” Avery notes. “I don’t want to use it as a cheap drugs reference, but trippy is definitely important. Loveless is basically the ultimate trippy record, for example.” Out this month, Drone Logic, the first fulllength from the producer and DJ, is a reliably and, it’s fair to say, refreshingly trippy record, as well as a steady and assured debut LP. Ostensibly still a club record, it nonetheless revels in feedback and delay to create dancefloor drama; it’s a detailed sound that’s practically slow-motion compared to that of the current spate of young producers flooding clubs and playlists. Over 12 tracks, Drone Logic conjures both menace and melancholy amid the euphoria – and while it’s full of moments that will ensure hands in the air, it’s obvious that Avery’s work is nonetheless indebted to more outsider influences such as Chris Carter and NEU!, with The Chemical Brothers as a wider reference point. Avery is something of a survivor of the indie dance scene of the mid 00s, a lively time that, at its height, gifted us the likes of LCD Soundsystem and Simian Mobile Disco, then quickly escalated to somewhat more aggressive excesses before being put out to pasture on a trailer for the first series of Skins. At almost the exact same time, Erol Alkan closed his legendary weekly Trash party in London after a decade of evolving, sweaty service. Having passed the club’s notoriously non-specific dress code test a few times, Avery caught the trail end of Trash and would continue to see Alkan elsewhere on visits to London, alongside the likes of Michael Mayer and Ewan Pearson, DJs known for their versatility and somewhat broader record collections than many others found in the stale superclubs of the time. “Now’s the most exciting time for electronic music in a while, because for whatever reason, crowds seem to have become way more receptive,” observes Avery, who, at 27, is something of a club veteran and saw the scene he was initially inspired by – and even a part of, through his retired ‘stopmakingme’ persona – “sort of dry up of ideas.” Or maybe we can’t see the wood for the trees? “There might just be a load of good music around?” he offers. If Avery’s acid-flecked sound isn’t thundering around clubs all freshers’ week long, then that’s because he’s done a fairly spectacular job of carving his own offbeat niche. At a mere 114 beats per minute, the album’s title track – ‘drone logic’ is, he says, a phrase that “doesn’t mean anything in particular, it just sounds right” – goes at an essentially leisurely pace that’s often relegated to the sole domain of the warm-up DJ. Made quickly and exclusively for a party, the record’s impact was said to be strong when a friend who dared to play it to a full room called with feedback the next day. Incidentally – not to mention usefully – that friend was one Andrew Weatherall, and the party was his much-fêted A Love From Outer Space (or ALFOS, to its devotees), an intimate dedication to everything slow,
October 2013
druggy and chugging. Still, Drone Logic has retained its appeal from London basements to huge outdoor festivals, such as earlier this year in Cophenhagen, where Avery witnessed the slow build of the track work one young man into such mania that it prompted a slow-mo stage dive. “I’ve seen sane kids, boys and girls lose their shit to weird records that Daphni is playing at a festival, or something Ben UFO is playing. And these kids love it all,” he says. “And the DJs don’t really care about what genre something comes from. It’s not eclecticism for eclecticism’s sake. The best DJs take things from different genres and make them sound like they’re from the same world. Things like Boiler Room have only helped with that breaking down of barriers.” As DJs, listeners and clubbers drown in splinter genres and promos, Avery is, like many, also committed to the notion of the DJ as curator, and cites Mary Anne Hobbs and her early Breezeblock shows on Radio 1 as a direct inspiration for his current monthly appointment on London’s Rinse FM. In fact, Avery was keen that the city itself left a mark on his debut LP, having rented a studio space in a shipping container beside the east of the Thames, contending with freezing temperatures but rewarded with beautiful views of the financial district at sunset. “The whole experience made me feel like I was very much in London and I like to think that it’s one that comes across on the record,” he says. “I think it has a British heritage to it but, more than that, I wanted it to sound like it could only have been made by me, in London, in 2013.” It was during this period that Avery began to experiment to create the record’s eventual live and enveloping feel, “mainly putting synths through guitar pedals, playing live drums on excited about a new idea or inspire you to try the tracks and using things the AMS reverb unit something new.” that Martin Hannett (of Factory Records) made It’s with Alkan, however, whom Avery shares famous – basically utilising a lot of methods northe most affinity. Though over a decade older, mally associated with bands.” Alkan shares with him a similar renaissance man ability, and while now in the position of being a sort of British clubbing institution, it’s easy to forget he once topped a DJ Mag readers’ poll ahead of the likes of Armin Van Buuren – which isn’t bad for a man who would regularly play The Fall or Talk Talk while warming up for techno pioneers. Nowadays, Alkan remains a forwardDaniel Avery thinking force and, as well as supporting the likes If ‘never meet your heroes’ is considered of Drone Logic, has been able to nurture offbeat a standard creative maxim, then Avery’s career artists such as Connan Mockasin through his thus far has been laced with opportunities for Phantasy imprint. disappointment and disillusionment; both seem“He is a good boss,” Avery affirms. “He’s a ingly dodged entirely. Having a direct line to the very good boss, in that we come from similar palm of Andrew Weatherall’s hand is an enviable places with similar reference points. We mixed position for any young DJ or producer to be in, the album in his studio in his house, excitedly but Avery has produced much of his finest work showing each other records and trying to work in a studio just down the corridor from the man out how things were done, how people got certain sounds. So the whole thing has just been a himself, having met Weatherall’s muse and engireally exciting, creative process.” Avery is also neer, Timothy J. Fairplay, and taken up residency pleased with the level of creative freedom affordin their East London labyrinth. Such a range of ed to him by Alkan and Phantasy, who, unsurprisintroductions came about via a mutual friend ingly, “aren’t looking for a radio hit.” Nonetheless, in Richard Fearless, producer and frontman of the label’s cult following and no doubt the Death in Vegas, but despite it resembling what support of a DJ as well-travelled as Alkan have might look like his own fan fiction, Avery reinoffered him gratifying exposure. Instead of endforces that the whole process was “bizarre, but less remix packages “that nobody cares about,” felt very right and natural.” But what’s it like in the two have instead sought reworks for Avery’s Weatherall’s Shoreditch bunker? original work from kindred spirits such as Paul “Aside from being surrounded by a staggerWoolford and Factory Floor, both of which have ing record and synth collection, it’s just a very achieved success on underground dancefloors in inspiring place with an ever-present creative atmosphere,” he reveals. “It’s not a knees-up boys all corners. “The stuff I’ve been doing seems to have club like I’m sure some people imagine it to be; clicked with a few people in a wider scale, from a lot of hard work goes on down there and the Maya Jane Coles to some of the Innervisions guys, results show. Simply being down there for ten like Marcus Vogel, who invited me to play with minutes and talking with everyone can get you
“I’ve seen sane kids, boys and girls lose their shit”
CLUBS
Interview: John Thorp
Photo: Steve Guillick
Fostered by Erol Alkan and Andrew Weatherall but with a tunnelling, paranoid sound all his own, Daniel Avery is convinced that now is the most exciting time for electronic music in a long while – and we’re pretty sure he’s the ringleader
him in Amsterdam recently,” he says. “It’s great, because these are people I respect across a really broad spectrum.” Nonetheless, those already accustomed to his particular sound – as well as those to whom the album may prove a very pleasant surprise indeed – will likely be excited to hear that Avery is still keen to press further, deeper and weirder with his music. “If anything, I just want to stick with Phantasy for the moment, where I’m quite happy, and can get weirder. I think I can push it into even more psychedelic directions,” he stresses. Having played in suddenly dance-dominated America over two tours in 2013, Avery looks an ill fit on the line-ups of certain commercial dance events that he’s graced the stage of nonetheless. “In America, I never try and be obtuse, but I don’t do what everyone else there wants to do,” he acknowledges. “But it’s cool when you notice that there’s kids who are just waiting for a drop but then eventually have got into a groove instead. I’m not going to make millions of dollars in America, but I feel zero affinity with that scene anyway.” Still, one of the more potentially clinical gigs on his recent tour paid alone for the ability to play elsewhere on the West Coast, and Avery still regularly turns down festivals that aren’t for him, preferring to play intimate gigs. “Then again,” he considers, “intimate gigs don’t necessarily have to be small. Playing in Room One of Fabric can be an intimate gig.” Drone Logic is released 7 Oct on Phantasy/Because Music; the official album launch party is at Dance Tunnel, Dalston, London, 4 Oct He plays The Warehouse Project, Manchester, on 8 Nov, and Fabriclive at Fabric, London, 15 Nov www.daniel-avery.tumblr.com
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Poster Boys
Play Poland returns this year with a focus on the great Polish tradition of movie poster design and welcomes legendary graphic designer Andrzej Pągowski to the festival Words: Jamie Dunn
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trip to your local world of cine would be a much more pleasant (and freaky) experience if the movie posters that festoon the cinema’s façade and stare at you as you wait in line for
tickets took their lead from Poland. Don’t believe me? Go now and search Google images for ‘Polish film posters,’ but make sure you’ve the afternoon free first as you’ll whittle away hours wading
through decades of the country’s graphic designers’ askance takes on Hollywood movies, as well as those from their own great filmmakers. In communist Poland in the 60s and 70s (the golden age of the Polish movie poster, which coincided with the golden age of Polish cinema) the movie poster wasn’t an advertising tool designed to maximise commercial potential, it was an art form. Instead of the airbrushed faces of the movie’s stars with hyperbolic review quotes scattered around their floating heads, a Polish movie poster goes straight to the essence of the film in question, becoming an expressionistic, nightmarish interpretation. One of the masters of this art form is Andrzej Pągowski. This is the man who imagined Rosemary’s Baby as a close-up of the title character’s hand, with the hairy, clawed mitt of her spawn of the devil lovingly clutching her index finger. It may be a massive spoiler, but it’s also a beautiful shorthand to the complex emotions at work in Roman Polanski’s pregnancy-horror masterpiece. This is typical of Pągowski’s designs, and Polish movie posters in general: it brings to the surface the ennui lurking underneath the bombast of these works of mass entertainment. Take, for example, Pągowski’s poster for 1987’s Empire of the Sun. The original one sheet shows a wide shot of main character, Jamie, in silhouette as he celebrates a Japanese fighter plane being shot out of the air and tumbling to the ground. Pągowski’s take isn’t a moment from the film, but a pair of eyes on the Japanese flag with a tear rolling down the red cheek of the sun: a far more accurate representation of the melancholy at the core of Steven Spielberg’s underrated film. Play Poland, that annual celebration of Polish cinema, welcomes Pągowski as this year’s festival’s guest of honour. On 4 Oct, Pągowski will meet with fans at Edinburgh Meow Studio and lead a two day graphics workshop Let’s Create a Film Poster. Moreover, several hundred works of
Polish School of Poster Art, divided in to smaller exhibitions, will fill the screening venues in Glasgow and Edinburgh. The essence of the Play Poland Film Festival is, however, movies themselves, and there are some great ones in this year’s programme. The feature-length debut of 32-year-old writer-director Tomasz Wasilewski, In a Bedroom, is certainly one of the highlights. It’s a fascinating character study of a call girl in contemporary Poland, but what really piqued our interest in the film is Wasilewski’s striking geometric compositions and tightly controlled emotional tone. Also making a fine debut is Filip Marczewski with Shameless, a sexually-charged drama centreing on the taboo desires of a handsome 18-year-old boy towards his sexy older halfsister. It’s far less sensational than this synopsis suggests, though: incest hasn’t been portrayed in such a non-judgmental fashion on screen since Louis Malle’s Murmur of the Heart. One of the films showing in Play Poland to have made a big impression on the festival circuit is In the Name Of..., Malgoska Szumowska’s sensitive portrayal of a priest in rural Poland who’s struggling not just with his chastity, but his sexuality. Andrzej Chyra, who plays the man of faith filled with unwanted desire, has been coming in for a lot of praise for his full-bodied performance. Other movies to look out for are second world war-set drama Manhunt; Three Sisters T, a darkly comic psychological thriller based on the true story of a middle-age man being tormented by three sadistic matriarchs; and, taking us back to movie posters, Behind the Poster a documentary celebrating the Polish poster heyday of the 60s-70s, which also looks to the country’s future crop of young graphic designers studying at the Academy of Fine Arts in Warsaw. Play Poland takes play in Edinburgh (3 Oct-12 Dec) and Glasgow (9 Oct-11 Dec). See the festival’s website for full details: playpoland.org.uk
A Continent on the Move
The 8th annual Africa in Motion festival courts controversy while exploring the huge diversity of African filmaking Words: Alan Bett
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ith cinema being such a fluid art it is fitting then that this 8th year of Africa in Motion takes its title verb so literally, with its theme for 2013 being Twende: Africa on the Move. (‘Twende’ is a Swahili word which translates as ‘let’s go!’) Screening in Glasgow and Edinburgh between 24 Oct and 1 Nov, the festival is concerned with all types of movement, as festival founder Lizelle Bisschoff explains: “The movement of people, immigration, asylum. Also physical movement, so we have a few strands about dance and sport, street life and city life. There’s a few films around political movement, a couple of North African films that deal with the Arab Spring. We have an evening of films which deal with the women’s movement and also a focus on sexuality.” So an overarching theme which opens itself to the full gamut of life, then. But AiM remains a festival of film rather than issues. “We’ve always, always, always presented ourselves as an art festival,” says Bisschoff. “It’s first and foremost a film festival, celebrating the brilliance of African cinema.” Cinema that has been neglected by western audiences – something AiM would like to remedy. UK Film Council Statistics show that between 1995 and 2005 only nine African films were put on general release in the UK. “So that’s less than one per year,” I’m told by Bisschoff. “I
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think now that over the last four or five years you can see that’s changing: there are more African films being screened in arthouse cinemas like Filmhouse and the Picturehouse cinemas.” If this is a drip feeding of the continent’s output throughout the year, then AiM welcomes a flash flood, offering Danny Glover starring in the surreal science fiction drama The Children’s Republic, where Guinea-Bissauan director Flora Gomes imagines a small state in a futuristic Africa being ruled by children, whose parents have abandoned them after ruining their country with war. There’s also South African filmmaker Andrew Worsdale returning 27 years after his controversial Shot Down was banned in his home country, who now brings us Durban Poison, a noir romance based on the true story of South Africa’s equivalent to Bonnie and Clyde. It’s an impressively diverse programme, a principle the AiM team were eager to achieve when curating a festival of film from this vast continent. The term ‘African cinema’ sounds ridiculous if used for anything other than a literal geographic grouping. “The use of that term indicates that there’s something uniform about it, which of course there isn’t,” says Bisschoff. “It’s hugely diverse, covering filmmaking from over 50 countries. I think that we’ve always shown films from as many African countries as possible.” And the menu of film they have to pick from
Town of Runners
has developed since Africa in Motion launched in 2006. From the 90s onwards Nigeria’s Nollywood has grown to become the world’s second largest film industry behind Bollywood in terms of number of productions, dominating the cultural landscape of Africa for years after. This was in sharp contrast to the cinematic output of West Africa, with a cultural elite making resource-heavy film after international training. Post-apartheid, South Africa as a country in flux has gained international recognition with (Academy Award winner) Tsotsi and District 9, leaving behind their darker days of oppressive censorship. It’s ironic then that AiM’s opening film for 2013 was momentarily banned by the powers that be in its country of origin. Of Good Report, a serial killer origins story with accusations of child pornography, was pulled from the Durban International Film Festival in July this year, a move which echoed darker days. It’s a brave and controversial choice, then, for AiM to place as a centrepiece to its programme.
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AiM challenges perceptions of what Africa is and how its cinema can be interpreted. The festival looks past the dominant discourse of conflict and poverty in the western media. Starting from the reflections of the Arab Spring (Winter of Discontent) to the Olympic medal winners from rural Ethiopian town Bekoji (Town of Runners) all the way down to the aforementioned controversy in the south, there are new narratives to be found for those willing to take a chance. “There’s lots of work to be done in audience development for African cinema in the UK,” Bisschoff explains. “But a festival like Africa in Motion shows that there are audiences out there. Of course you have to educate and familiarise them with African cinema.” It’s not Africa which needs to wake up then, it’s us who need to wake up to it. Africa in Motion runs 24 Oct-1 Nov at Filmhouse in Edinburgh and the Glasgow Film Festival. See AiM’s website for more information: www.africa-in-motion.org.uk
THE SKINNY
Facing The Future
Breaking down the walls between live music performance, visual art installations and bleeding-edge technology, Sonica returns to Glasgow with a fascinating bill. We speak to Sonica/Cryptic founder Cathie Boyd, and two of this year’s featured artists
Interview: Bram E. Gieben
Sonica 2013 Truce
October 2013
Photo: Robin Meier
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he Sonica festival returns this year with a programme just as packed as their 2012 debut was, but crammed into a four-day long weekend in a smaller selection of venues, allowing easier access to the entire programme for the Glasgow audiences. Sonica showcases ‘sonic art for the visually minded.’ Their hybrid performances and carefully-constructed interactive experiences exist on the front line of technology, creative practice and experiential art. The Sonica programme is curated by Patrick Dickie, Graham Mackenzie and Cryptic founder Cathie Boyd. Sipping a coffee in the cafe of Glasgow’s Tramway Theatre, Boyd is brimming with enthusiasm for Sonica as a concept, and in particular this year’s programme. “Cryptic have a history of working with technology,” she explains. “Looking at how technology can enhance a performance is very important to us. We live in a digital world now. When scientists are developing new technologies and prototypes, an artist will look at it in a completely different way – so there’s a lot of scope for bringing those together. In Sonica, these two realms are not divided.” Boyd says she is “really delighted with the number of live performances” taking place this year, as opposed to static installations. From Norwegian composer and sound artist Maja S. K. Ratkje, whose live collaboration with visual artist HC Gilje will showcase her jaw-dropping use of
cut-up and processed vocals, to Compositions for Involuntary Strings, a performance led by Michaela Davies which sees electronic muscle stimulation used to create a symphony from the paroxysmal movements of string players, there is more of a concert element at play in this year’s programme. “With Sonica, music is at the core of everything,” says Boyd. She has had “a passion for years about how music is presented visually,” and Sonica is an extension of this. Having run a series of events under the Cryptic Nights banner in 2009, she wanted to create a cultural space for some of the new generation of artists she worked with. One of those artists is Rob Van Rijswijk, who brings two collaborations with fellow Dutchman Jeroen Strijbos to this year’s Sonica. The first, Whispers, is inspired in part by a close friend’s battle with deafness. It features five ceramic ‘trumpets’ created by visual artist Pierluigi Pompei. “We looked at the sonic characteristics of the horns” he say. “And of course, ceramics are not great, because they hardly resonate at all. So that was a challenge for us, to find out what we could do with it.” Previously exhibited at the Ceramics Biennale in Korea, the piece is just as interactive as Rijswijk’s other work for Sonica, Walk Wth Me. Built around an app, which will be available after the festival has concluded, it is experienced by walking through specific locations in Glasgow, listening through a smart phone. “Here again, we are looking for the interaction with people,” says
ART
Rijswijk. “We like to go out of the four walls of the concert hall, because the outside world is more dynamic – it is more about stories, there is more to tell about people.” Another fascinating hybrid of installation and concert comes from Robin Meier and Ali Momeni. Their event, Truce: Strategies for Post-Apocalyptic Computation features compositions drawn from the Indian Dhrupad vocal tradition, harmonised with the song of a mosquito. The ‘truce’ in the title refers to the bond Meier and Momeni developed with their diminutive, biting subjects. “Even though the apparatus may look like a torture device, the actual effect is almost the opposite,” Meier explains. “The mosquito becomes something very fragile. You try not to hurt it. That’s how the installation began, I was holding up the mosquito and singing to it and it would tune in with my voice. So it’s like making peace with an insect which, if you saw it, you would usually try to kill.” This barely scratches the surface of what Sonica 2013 has to offer – a secret venue will be announced for Suspense, a collaboration between TAKTAL and visual artist Jack Wrigley, with music from Golden Teacher and Jack Perring. In Picture Windows, the windows of various public locations in Glasgow will be transformed for four days into pop-up sonic art exhibitions. “There’s a demand from the public for theatre to be much more fantastical and multilayered. As a result of the internet, we are much more used to multi-platform – it is part of our language,” explains Boyd By helping to define and develop that language, Cryptic are helping to trace the outer limits of what art, theatre, music and technology are capable when they interact. Experience it for yourself this October. Sonica takes place 31 Oct-3 Nov at various venues throughout Glasgow. See Listings for details, times and prices Read an extended preview of Sonica online sonic-a.co.uk
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THAT’s The Way To Do It
Aiming to provide a cultural tasting menu covering everything from theatre to dance, literature, music and even urban sports like parkour, this year’s THAT Festival programme is all about attracting a younger audience, according to curator Alice McGrath
“W
ithin the university we have students studying creative writing, film, and lots of societies relating to sport, drama and dance, so we have programmed this eclectic mix to try and appeal to all of these different interests,” Alice McGrath curator of THAT Festival explains. “There is also a participation programme, with workshops, and opportunities to perform, in a huge range of styles.” Featuring this year are high-profile names from the Scottish arts community, including Edinburgh-based cross-platform literary cabaret Neu! Reekie, who bring Anticon-signed hip-hop group Young Fathers to the festival, alongside rising indie stars Teencanteen, hosted by poet Michael Pedersen (interviewed opposite) and Rebel Inc. founder Kevin Williamson. Their event will also feature animation from Will Anderson, the director of the BAFTA-winning short The Making Of Longbird. Another big name from the Scottish arts scene who are taking part this year are Buzzcut, who have devised a special series of bespoke performances under the banner A La Buzzcut. Five performance artists will be in attendance, ready to perform for individual audience groups: “The audience will come to the cafe and have a starter, a main course and a dessert, and each aspect of their meal will be a performance,” McGrath explains. Other events include a parkour and beatboxing workshop from Bright Night International, under the title of Heartbeats/925, and returning
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shows from the Macrobert’s recent successful runs at the Edinburgh Fringe, including Joe Douglas’s one-man show Educating Ronnie, winner of a Fringe First Award. Dance is represented by ponydance’s Anybody Waitin’?, which McGrath describes as “dance comedy.” There will be a rehearsed reading of a forthcoming Macrobert production, Prom, which McGrath says is “all about beauty and ugliness.” Looking at end-ofterm proms, this rehearsed reading will provide valuable audience feedback for director Gareth Nichols and writer Ollie Emmanuel. “It’s really important for artists to see their work up on its feet in front of an audience,” says McGrath. On the literature front, there will be an appearance by Booker-nominated writer Adam Foulds, talking about his novel The Quickening Maze. The closing party is hosted by the No-Fi Disco, with an “anything goes” music policy. With a series of free events in and around Stirling University, and in the town centre, McGrath hopes to attract a diverse audience, both from the large student community in the town, and from beyond. These will be pop-up performances that McGrath hopes people “will stumble upon, and their interest will be piqued.” McGrath is overjoyed to see THAT Festival return for its sophomore outing. “This is the second year of THAT Festival, and we had train-loads of people coming up from Edinburgh and Glasgow last year,” says McGrath. “People came partly in support of the companies taking part in the festival, but also because it was a good programme.”
Interview: Illya Kuryakin
Anybody Waitin'?
This year is no different, and she believes that the winds of change are blowing in the right direction in the Scottish arts community. “I think we have turned a real corner... with Creative Scotland, people have gotten their heads around how it functions as an organisation, and how artists can function within that system. There is a lot more work being created, and Macrobert have changed what we do, so that we are producing a lot more work. We have produced the work of independent artists – and there was a real gap
THEATRE
in that provision. But I also think audiences are starting to come back – and that’s very very exciting. For a couple of years, it felt like it was a real struggle for people to find the time to go out to the theatre, or to afford to pay for tickets and enjoy live art. It might be early days, but it feels like that is starting to change.” THAT Festival runs from 9-12 Oct at the Macrobert in Stirling. For details, times and tickets, check their website www.macrobert.org
THE SKINNY
What’s He Playing At?
Following the success of his first full collection, Play With Me, and the continued dominance and expansion of Neu! Reekie!, we ask Michael Pedersen where it all began
“P
oetry sort of tumbled into my life,” explains Michael Pedersen, when asked how this all started. ‘This,’ being his recently released and critically lauded first full collection of poems, Play With Me, and his successful and expanding night of performance, animation and music, Neu! Reekie! – oh, and he’s also in the process of collaborating with various musical acts in a songwriting capacity. It was a chance encounter with a “Tom Buchan book (Poems 1969 – 1972): a thin, sharp yellow, aesthetically awkward looking volume that blew my cotton socks off,” he tells me. “I was in second year of Portobello High School when I yanked it from my ma’s bookshelf. The punch and proximity of the words were a revelation.” Fastforward some years and he is currently at Scotland’s cultural locus; one of its most interesting up-and-comers with a hand in established and new communities of artists. It’s quite a change of direction from where his life seemed to be headed after leaving school: “Throughout my teenage years and early twenties I was mostly trying to run away from Edinburgh; the bastard kept dragging me back. I left school a very serious (mostly hairless) young man, adamant of attending an ancient, collegiate university doon sooth (and reading Law). And I did – passed from Durham to Nottingham; Nottingham to London; London to Siem Reap. Travelling the world for a year in between (I know, a likely fucking story – but I plucked plenty of my principles out from time spent in India, Nepal, Cambodia, Vietnam and Japan – both from expats and the denizens). I came back to Edina for a pit stop in 2010 and never left. My anchor got stuck in Leith harbour / fell down an open drain.” Edinburgh and the worlds of poetry and performance can count themselves lucky it did. Play With Me is an accomplished debut collection; diverse and appreciable to many audiences, with Pedersen’s unique perspective and voice pushing the reader on to gobble these verses up in as few sittings as possible. “Poetry-wise it’s a pretty diverse menu,” he explains. “Talking Cambodian treehouses to NHS overdose clinics; teenage perversion to wet arses, quitting cheese and learning to read people as rivers. It’s like taking my hand and walking me through a peculiar puberty – sometimes we’re leaping forwards together, often we’re somersaulting backwards; an ending spoiler would be I’m not quite there yet. I’m caught between Irvine Welsh and Alasdair Gray – in terms of the landscape covered and the characteristic introspections (not as regards their brilliance).” As a collection it comes after two wellreceived chapbooks and brings together the best poems Pedersen has penned in the last few years. In typically self-deprecating style he describes it as “a greatest hits for someone who hasn’t had any charting hits; akin to sneaking cover versions of your own singles onto the new album.” He says his earlier chapbooks “reek of a writer over-ardent to find his work in print. For young poets keen to secure their inaugural chapbook publication there’s no telling them to slow down and really I don’t think it does any lasting harm – all the dribble and zeal of rushing into it. I used both experiences as an edification in working towards a full collection. So perhaps it’s less the greatest hits / cover version scenario and more a process of warming up or redressing the leftovers to accompany all the new recipes you’ve learned – a buffet fit for feasting on. I compare a lot of things in life to food.” Play With Me is something he is much more prepared to stand behind and he’s clearly proud
October 2013
Interview: Ryan Rushton Illustration: Ricardo Bessa
of it: “The collection felt ready to hatch because it wasn’t rushed but incubated lovingly up until the shell began to crack. Thought was given to sequencing, placement on the page, typography, all that; everything that needed pondering was bloody well pondered. This was partly due to deft editors politely prodding at me. The poems were put on the treadmill – losing words where they could, in some instances shedding stanzas. The collection started out a pub brawler and ended up an athlete – 100 plus pages down to 70 odds. I like to think that’s because we all saw the fire in its eyes. That’s not to say it’s flawless of course, it’s not.” Perhaps the collection’s greatest strength and weakness is its diversity; darting in a hundred different directions and sometimes missing the mark. The thing is, when it hits, it hits hard. Reading the poems the assumption one makes is that it is largely autobiographical. Pedersen often places himself, or a version of himself squarely in the middle of proceedings, encouraging the reader to follow him into awkward adolescence, booze-soaked epiphanies and the task of finding truth or honesty in amongst the morass of life in one’s twenties. When I ask him directly he describes poems like Colmar – the opener, on awakening teenage sexuality – or Jobseeker – a lament on returning to the broo many of us will relate to – as “100% autobiographical.” He explains that “If it’s not my story it’s likely to be somebody else’s I’m close with or have related to. Many pieces are self-reflections, others self-revelations, some nothing more than ugly self-indulgence; all are strung together using different versions of myself.” Nowhere are the varying voices and versions of Pedersen more apparent than in his live performances, of which he admits that “Yes, there are layers of meaning that can only be conveyed when experiencing the work live, just as there are insights that won’t be picked up on unless scrutinised on the page. How’d ya like your eggs? For me it varies day-to-day and that affects the way I write. I try to keep a balance although I’m not sure which way it’s heading.”
pieces (humour laced) or those poems I’d consider more stylistically accomplished.” Of course the place to see performances from Pedersen and his cohorts is Neu! Reekie!, which was conceived and is run jointly with Kevin Williams of renowned alt-publisher Rebel Inc. Pedersen relates how “Neu! Reekie! recently got described by a local councillor as ‘a weird laboratory of cross cultural pandemonium.’ I liked that. At its core N!R! is a meticulously curated medley of spoken word, animation, performance and music. Although we’ve been known to spiral out into: table sculptures; origami; digital portraits; live drawing; lightshows; and our (now formidable) Raffle of the Absurd – prizes for which have ranged from rare books and aged whisky to pig heads and dubiously labelled sugar pills.” The night is on the up. A recent Neu! Reekie! Michael Pedersen featured performances from names as mainstream as Liz Lochhead, as well as recent recipiIt is no surprise to learn that “performance- ent of this year’s SAY Award, RM Hubbert. It is clearly the place to be: “Neu! Reekie! is booming wise I try to memorise a lot of my works; which at the moment, there’s new limbs to every show; makes readings less clinical.” Seeing Pedersen it sort of gives me an erection, because despite read his work is to see him straining through his mouth and body each nuance of each word, wrap- gathering speed we’re still in the infancy of what ping his tongue around the complex syllable pair- we want to achieve,” Pedersen casually notes. ings he conjures and the rises and falls between He continues by saying that “If Neu! Reekie! itself high-faluting vernaculars and Edinburgh patter. was a penis it’d be starting to expand and twitch He also likes to experiment in each performance, a little, a semi at a push; a creature bubbling with saying “Not least is that I’ve lots of different verexcitement at the thought of the size and shape sions of each poem burned into my memory; the it’s destined to take; the extremity of which it cadence, the hostility and even the words are alone knows; and even then it’s only a gut feeling. alterable within each audience. There’s definite That’s not to say it’s strictly masculine, the same moments where I walk into a room and quickly metaphor exists with growing levels of vaginal realise if it’s to be the more performance-based moisture.”
“If Neu! Reekie! itself was a penis it’d be starting to expand and twitch a little, a semi at a push”
BOOKS
It’s charismatic analogies like that which must have convinced the great and good to perform at Neu! Reekie! in its early anonymity. Nowadays Pedersen is invested in the musical side of things. He has assembled and written songs for Jesus, Baby who have enjoyed a BBC Radio 6 session and some decent airplay. He admits “I’d like to collaborate more on songs – I’m working out a way to make this work with my good pal Bill Ryder-Jones (formally of The Coral, he’s went on to produce two sensational solo albums). I’m also hoping to collaborate with Scott Hutchison from Frightened Rabbit at some point – although nothing’s being confirmed and we’re still not sure just how that would work.” For now though it’s his poetry that leads the way, whether written or proclaimed to a growing number of admirers. It’s ideal for Pedersen: “Poetry is that allusive remote control that can pause, fast forward and rewind time, plus a wand and a crystal ball all rolled into one.” He describes it to me as a way to reconfigure past experiences with a greater dexterity than he could ever manage in the maelstrom of life. A key realisation for him was that “it wasn’t so much about having an extensive vocabulary, but an explosive one – there were/are writers out there using very simple language to say very powerful things. Building bombs.” This is exactly how the best verses of Play With Me land – like a rupture of truth and recognition, of wish-fulfilment, of dragging the base and crude into something transcendent. They leave you sputtering for air. www.facebook.com/neureekie
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The Art World’s Barry White Ahead of his major retrospective at the Kelvingrove, Scotland’s most successful artist Jack Vettriano gets down to the nitty-gritty of human nature
J
ack Vettriano is trapped in the toilet when I arrive. This gives me a moment to take in the penthouse suite of the luxury hotel where I’m to spend the next hour with Scotland’s most successful living artist. Decked out in stylish, modern furniture and with a balcony overlooking central Edinburgh, it’s more a wealthy bachelor’s living room than somewhere to spend a vacation. He’s soon liberated from the bog, asking me not to write about the escapade, but in an interview that ends with a lengthy treatise on procreation and, more specifically, the role played by women’s lingerie in human reproduction, the bathroom incident seems trivial. We’re here to discuss his retrospective at Kelvingrove Art Gallery and Museum in Glasgow. Featuring over 100 paintings, the show includes his best-known painting, The Singing Butler, which sold for £774,000 in 2004, and is the most comprehensive exhibition of his work to date. He’s surprisingly compliant for a man of his age and significance and happily sits where I ask him. His stiff posture and stilted small talk suggest he’ll be less compliant in conversation, but nothing could be further from the truth. At times during the interview I get the sense his honesty is almost pathological, and so unmediated are his answers that he strikes me as naïve. He is, nonetheless, charming and friendly and approaches every question with the seriousness you would expect from someone who once told The Telegraph he can get up in the morning and say to himself, “I fancy making £50,000 today.” But it wasn’t always like that, and Vettriano will be the first to tell you so. Born Jack Hoggan into a working-class family, Vettriano was brought up in the seaside town of Methil in Fife, where he left school at 15 to start working in the coalmines. In a strange inversion of logic common among social-climbing baby boomers, he now regards going down the pits as “the best thing I ever did, because it’s all turned out incredibly well.” At 21 a girlfriend bought him a set of watercolours and he started to “potter around.” “My friends were all down the pub playing darts, drinking pints and getting rat-arsed, and I was at home painting,” he says. “But I wasn’t trying to teach myself how to paint. I was trying to paint so I could say to people, look, look what I’ve managed to do. There was no set agenda, that in 20
years’ time I was going to be a professional artist. It wasn’t until I was 36, 37 that I could see that I had a certain talent.” Vettriano packed in his job, separated from his wife and moved to Edinburgh, where he set out to become a painter. He started dressing differently – “aye, no like a transvestite” – so he would stand out from the crowd and look more like an artist. Around this time he applied to study painting at Edinburgh College of Art, where his portfolio was rejected. But the rejection had little effect on his progress as an artist and in fact, like his childhood experiences down the mines, he has come to regard the rebuff as “another huge break, because if they had accepted me I wouldn’t be here today.”
“One day I just thought to myself, why don’t you paint women erotically dressed, the way that you would like them, the way that your wife used to dress for you” Jack Vettriano
Like anyone who has cast himself in their very own myth, Vettriano plays fast and loose with the facts of cause and effect. It seems a little too accommodating to suggest his youthful experiences of coalmining and his rejection from art school – aspects of his life that must have seemed pretty unfair and discouraging at the time – led to his success as an artist. He’s certainly not the only person to have
Elegy for A Dead Admiral 1994
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Interview: Andrew Cattanach
been seduced by his mythology and, without a doubt, this personal narrative has had some impact on his success. “The press loved the whole story,” he says. “Had I gone to art school there wouldn’t have been a story. The fact is, I went down the pits when I was 15. That’s what made the story.” He began his painting career copying his favourite paintings, some of which hang in Kelvingrove Art Gallery and Museum, including works by the Scottish Colourists and the Glasgow Boys. But he was soon frustrated with all the copying and for a brief while struggled to develop a style of his own. “What frustrates the amateur artist is that you think that everything’s been done, what else is there for you to do – there’s nothing you can do. And then one day I just thought to myself, why don’t you paint women? Why don’t you paint women erotically dressed, the way that you would like them, the way that your wife used to dress for you.” And here we arrive at Vettriano’s firmest conviction: the role of sexuality in his art. He is unequivocal about the importance of eroticism in his work, but when pressed about the representation of women in his paintings, which, according to Alice Jones in The Independent has led to him being labelled a chauvinist, he shows no remorse. “That’s the one thing I have no issue with. You can criticise the way I actually apply paint to canvas, but my subject matter, I have no problem with that at all. I think we’re living in a curious world of hypocrites who on the one hand will rubbish my work and who will then go home and watch some porn. People, especially in this country, are not particularly honest about
ART
their sexuality. There’s too much being hidden underground. “I think my work, if it suffers, it suffers because there are some people in power who think that sex is not real art. They think that maybe intercity decline, industrial decline and drug problems – that’s art, that’s addressing real issues. Whereas, if you’ve got a couple sitting on a sofa with a glass of champagne, you know, and she’s got her suspenders and everything on, then that’s not art. That’s somehow not art. And I will argue till the day I die that that is art. Because that is exactly why we are here, to reproduce. And what she’s doing is putting on her finery in order to attract him. He’s got on his finery in order to attract her – so they can mate and the species can continue. Now I know you can knock a few holes in that argument, but that’s why we’re here.” I was not expecting Jack Vettriano to appeal to evolutionary theory to justify his depiction of women wearing stockings, and at first it seems disingenuous. Does he really believe his admirers see him as an advocate for furthering the human race? I start to wonder, in parody of Vettriano’s cod-Darwinism, if these are his genes talking. Is this a childless man taking credit for some of the procreation going on in the world? Is he vicariously furthering the human race like some kind of art world Barry White? “And on that note,” Vettriano’s publicist interjects, “I’m afraid you’ve run out of time.” We finish the interview and he shakes my hand. “Tell me,” he asks in hushed earnestness, “do you like my work?” www.jackvettriano.com Jack Vettriano: A Retrospective, Kelvingrove Art Gallery & Museum, until 23 Feb 2014, £5/3
THE SKINNY
5th and 6th October 2013: Hanson St, Glasgow Patriothall, Edinburgh St Mary’s Mill, Selkirk Courtyard Studios, Irvine 12th and 13th October 2013: The Briggait, Glasgow Albion Road, Edinburgh 19th and 20th October 2013: Meadow Mill, Dundee 26th and 27th October 2013: South Block, Glasgow Langstane Place, Aberdeen For more information about participating artists, venues and additional activities please visit waspsstudios.org.uk /waspsstudios
playpoland.org.uk
@waspsstudios
October 2013
23
Have the of your
Tyne
Life
Discover a fashion-conscious city adorned with not one but two colossal shopping malls. Indulge in luxury department store Fenwick, stacked with exclusive brands and this season’s ‘must-haves’, or really prove your style credentials and find your own look in the independent and vintage stores of High Bridge. With your perfect outfit in the bag, get ready for a night of Geordie hospitality on the Toon. You’ll be spoilt for choice on a city break that’s far from uniform.
www.NewcastleGateshead.com
Fenwick Newcastle
AW13 Trend Report – Oversized coats and totes For AW13 the major fashion houses have super-sized their collections. From Mulberry’s giant tote and clutch bags to MaxMara’s boxy coats, the fashion buzz word this season is oversized. Block colours are essential to complement this trend for enlarged outerwear and accessories, so make a bold decision and go with this season’s must-have hues: cherry red and burnt orange. To discover all the latest trends and leading designers visit Fenwick on Northumberland Street, Newcastle.
Win
a weekend break in NewcastleGateshead Visit www.NewcastleGateshead.com for the chance to win a city break for two people, including: • Two nights’ bed and breakfast at four-star Hilton Newcastle Gateshead. • Dinner for two at Electric East. • A £200 Fenwick gift card. • Return first class rail travel from your nearest East Coast mainline station to and from Newcastle courtesy of East Coast. Closing date: Sunday 1 December 2013. Full terms and conditions apply – see website for details.
Book your train in advance at eastcoast.co.uk for their lowest fares. Terms & conditions apply. Subject to availability.
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The Stolen Breath of Things Alfred ‘Daedelus’ Darlington tells us how grief inspired his new album, examines the dangers of ‘press-play’ electronic music and gives some insights into the roots of the LA beat scene
A
lfred Darlington is a mercurial chap – whether you know him from the twelve albums he has put out, beginning on Californian labels like Plug Research and Mush, and eventually finding a home on UK label Ninja Tune, or whether you first encountered him as one of the impressive stable of beat-makers behind the Flying Lotus-helmed, staggeringly talented Brainfeeder roster, the flagship label for the thriving LA beat scene, he has undeniably become a key influence in electronic music; an artist impossible to pigeonhole. The past year has seen him touring the world with the Archimedes, a robotically-controlled mirror array which he comissioned to be built as an alternative to the ‘shock and awe’ tactics of video-mapped live visuals, lasers, strobes and dry ice. Two years on from the elegant, stately album Bespoke, Daedelus has signed to Anticon, home to a wealth of underground hip-hop, and more recently, to artists who are “playing around with emotional tropes,” as he puts it, like Baths, Deej and WHY? “This is such an emotionally-driven record, it kind of transcends the current musical zeitgeist, at least for me,” says Darlington. “It pulled me to places I didn’t expect.” The emotional turmoil he alludes to was the fallout from the death not only of a family member, his grandmother, but also the untimely death of his friend, collaborator and fellow Brainfeeder alum Austin Peralta. Drown Out is, at least in some ways, an attempt to process and transcend the grieving process. Darlington felt unable to bring in guest rappers or singers, apart from his wife Laura, who features on the sublime Tiptoes. Still, he was “very tempted” to enlist the help of his newfound Anticon label-mates, “but the record had its own plot. It’s so strange to think of it in that way, so outside of oneself. I mean obviously every kick and snare and melodic fall has to come from somewhere, and it has to go through me at some level... It would have been too hard for me to take what is a bunch of hurt, and sadness, and conflict, and make someone else responsible for it.” For a record which has its roots in grief and sadness, it is by turns uplifting and sublimely melancholic. It convincingly conveys every stage of the grieving process, from anger to acceptance. “I would love to think that on some level, it gets there,” says Darlington. “We have to accept
October 2013
Interview: Bram E. Gieben
the limitations, rather than try to transcend them. A lot of that is to do with the stolen breath of things – that we can have this ongoing conversation with someone and then that is something which ends; with death, or loss, or disease.” He remains hopeful that Drown Out can communicate these themes, even without words. “It’s like you are crafting these paragraphs, but they really aren’t finished until they meet ears. Then... they become people’s memories and experiences, and all these wonderful things. This record was tough because I knew that there was more finality in the mix than ever before, not only with the loss I was feeling, but also, even more so, just the music itself. I had this feeling that it was almost like a Jackson Pollock artwork – you’re throwing stuff against a wall, and it may be scattershot, it may end in pretty shapes and lines, but in some way it’s not meeting its intention. It continues to be a difficult piece for me even now that it’s out.” In recent years, there has been a rising tide of more emotionally complex electronic music, in particular coming from labels like Tri-Angle. For Darlington, some of this music has drawbacks, in terms of its presentation. “There is a battle going on between anonymity and obviousness,” he believes, going on to talk about the limited range of emotions dance music has traditionally sought to access: “You can have the party uplift, you can have the desire for drunken carousing, and getting drunk, and loud. And that’s kinda it, for most things.” He describes trance as being made of “highly-charged emotional chords that are relegated to doing only a few things,” and speaks of the fact that “generally you only have one ‘face’ you are afforded per genre. Screwface for jungle, bass face for dubstep, the eyes blank thing for gabba.” He is a fan of the “more modern movement, that’s more nuanced.” This more nuanced electronica allows itself to “flit around with different BPMs,” and “there are a variety of expressions and things that are happening.” However, he does have reservations about the anonymity prized by some Tri-Angle artists, and others like Burial: “It’s cool that they are plumbing those emotional depths, but I feel a little bit like the chance to interact with these artists has disappeared, because they hide behind masks or anonymity... I don’t mean to single out Burial, there are lots of artists in that same
camp, it’s just a moment in time in electronics that we’re dealing with.” In contrast, in the LA beat scene, there is a willingness not only to be recognised, and to connect with an audience in a direct, human way, but also “to go to weird ends; to weird places.” He speaks of the rich seam of “plundering” in the beat scene as “a lot of musical sources that have been either happened upon, or purposefully chosen because of our shared history in the city... you have these disparate sources all pooling in the same vicinity. That willingness to take widely and bring in is important.”
“Every kick and snare and melodic fall has to come from somewhere” Daedelus
Thinking back to the origins of the beat scene, he laughs: “One of the first tracks that really felt like the beat scene, to me, was by Mr Oizo – his track Stunt. It’s a crazy electro banger. Kutmah, at one of these sketchbook sessions ages ago, would put that track on at 33 rather than 45rpm. That’s the most beat scene track there is, and it’s by a French producer who was trying to make a banger. And that’s kind of the spirit around here. Everything has been flipped, from jazz, to old hip-hop, to modern variants, and everything goes through these crazy lenses and becomes this new thing.” He is also enthused by the prospect of working with “the next crazy wave of amazement,” in the form of recent Brainfeeder signings The Underachievers, Jeremiah Jae and Jonwayne, who he describes as “exceptionally talented musicians... willing to tell the weirdest stories ever.” The fact that FlyLo’s rap alter-ego Captain Murphy has been embraced by the likes of Odd Future excites him, and he can see a time where “it’s just gonna get really weird.” He can even picture FlyLo working with Bieber and Miley. “I’m not saying this is what I wanna see happen – the commodification, or the commercialisation...
MUSIC
but I do think that when these weird things rub together it creates this friction that is sometimes very special.” Using the Archimedes on tour has transformed the way he interacts with his audience. “It’s just so funny when you see someone witness themselves at the show, you can see them pause, and stop their flailing, because, maybe, of how ridiculous they looked, but then you also see how much it heightens the situation... It’s wonderful that it allows people, instead of losing themselves in a night, with all the lasers and fog in the world, to be more present, I would hope.” There are drawbacks: “Perhaps it reflects a little too much on the balding that’s happening to me... but that’s okay too, it keeps the honesty on high,” he says. “I think other people will come up with robotic-assisted shows soon – we’re just a little ahead of the curve, I guess.” Another area where Darlington is ahead of the curve is in railing against the culture of ‘press play’ in electronic music. “It’s extremely dangerous to me, because we are culturing a group of audiences, and we shouldn’t lie to ourselves,” he believes. “As our shows get bigger, with more shock and awe, it becomes a wonderfully immersive visual environment, but if nothing is happening on stage, and that curtain is pulled back... As people become more and more technologically sophisticated, they understand how little is going on. At what point does the movie lose its shine, the performer become unnecessary, the hologram lack its lustre? The musicianship, the camaraderie that brought them there, is lost to video-mapped machination.” After twelve years, does he still enjoy his career? “That’s the craziest thing,” he laughs, “I get more joy out of it than ever.” He has his frustrations: “When people weigh in on your value to the commercial world in very easy to add up dollar signs, it’s hard.” Nevertheless, he says,“the thing it comes back to again and again is how much joy I get from the creation process.” Joy and grief, frustration and celebration – these are the themes of Daedelus’s new album. Complex, nuanced, and heart-stoppingly beautiful, Drown Out is a record you could happily submerge in. Drown Out is released via Anticon on 14 Oct daedelusmusic.com
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Realist Fairytale The Arbor director Clio Barnard speaks to The Skinny about her second feature film The Selfish Giant, an adaptation of the Oscar Wilde fairytale of the same name, which sees her back on the Arbor estate in Bradford Interview: Tom Seymour
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s Clio Barnard talks about her second feature, The Selfish Giant, her infant son can be heard playing in the background. He comes to the phone once or twice, trying to get her attention, and she carefully mothers him without breaking stride in the interview. It’s apt that Barnard’s son should try and get in on our conversation. After all, he’s key to the creation of The Selfish Giant: it’s his favourite bedtime story. “My son requested it again and again,” Barnard says. “It’s a Victorian fairy story about the wounds of love. It’s beautifully written and it’s very sad; a fable about excluded children that contains something eerily truthful in it.” In Oscar Wilde’s children’s story, the giant of the title builds a wall to stop children from playing in his garden, letting it fall into a perpetual winter seared by the north wind. But a gap is found in the wall, and as the children return again spring returns in full blossom. Seeing this, the Giant emerges from his castle, and the scared children flee. But a single boy remains, trying to climb a tree. The giant takes him in his hand and helps him, before tearing the wall to pieces. ‘And the tree broke at once into blossom, and the birds came and sang on it, and the little boy stretched out his two arms and flung them round the Giant’s neck, and kissed him.’ Barnard says that her version of The Selfish Giant “is in the tradition of realist films like Vittorio De Sica’s Bicycle Thieves, Ken Loach’s Kes and The Apple, the Iranian film by Samira Makhmalbaf. But I referenced Oscar Wilde’s fable because telling a fairytale based on real lives creates a paradox.” In Wilde’s story, the child, who dies at the end of his story with stigmata on his hands, welcoming his friend to heaven, is an allusion to Christ. But Barnard’s film has no sacred ending. “Sometimes I think we can idealise children and childhood,” Barnard tells me. “But when I made my first film The Arbor, I saw loads of children that are excluded, not just from school, but from society. And then they’re demonised.” Set in the Brafferton Arbor estate on the south-western edge of Bradford, The Selfish Giant is about young boys who don’t get much attention. It makes you think back to the kids in your class who rarely turned up to school, and of whom no one asked too many questions. It shows, with a burning anger and a tender eye, the fate of those pushed to the very edges of British society. “The film is born out of my anger about young people, who have become very important to me, and what’s not being done for them,” she says. The Arbor was a formally audacious documentary about the tragic playwright Andrea Dunbar, who grew up on these same streets. Although The Selfish Giant is straighter-played and more elemental in its formal technique, both films throb with the anger of an ignored people. A major inspiration for the new film was Matty, a local Bradford boy whom Barnard met while filming The Arbor. Excluded from school, Matty turned to scrapping (scavenging on the streets for discarded metal before selling it to a scrapyard) to give himself a sense of a living. “Matty has been very angry and frustrated and misunderstood in his life, and that made him volatile. But he also rejected youth culture; he wasn’t interested in consumerism, and he was labelled a pikey for it, but he went scrapping and wore the dirt of it with pride.” She met the film’s two stars – Connor Chapman and Shaun Thomas – doing outreach
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work in Brafferton Arbor’s local school. Chapman plays Arbor, a whirlwind of a kid, powered by energy drinks and prone to lashing, violent mood swings. His best friend is Swifty (Thomas), a shy boy with a natural connection to horses, who carries the term ‘pikey’ like a noose round his neck. School does nothing for them, before getting rid of them with the excuse ‘it’s not right for them.’ Arbor’s father is missing; his mother is trying vainly to discipline and care for him. Swifty’s case is worse: the first time we meet his father (Steve Evets), he’s selling the family’s sofa and shouting at Swifty’s mother (played with gut-wrenching depth by Siobhan Finneran) as she serves countless children tiny portions of cold baked beans. The struggle of maternity in the face of overwhelming odds is a key theme in The Selfish Giant, but this is not a feminist take Barnard consciously wrote in, more simply a reflection of the reality she sees on the streets of Bradford. “I knew I wanted to make a film about men and boys, and the surprise for me was that Swifty and Arbor’s mothers became so important to the final film. These are women that fight tooth and nail, but what they’re up against is a total lack of opportunity for their children, both in and out of school. I talked to a woman whose boy had been excluded; she told him to go back to school, every day, regardless. But school is a very difficult environment for boys who don’t feel they belong.”
“Sometimes I think we can idealise children and childhood. But when I made my first film, I saw loads of children that are excluded, not just from school, but from society” Clio Barnard
The film builds to a beautiful crescendo: a wordless scene between Siobhan Finneran as Swifty’s Mum and Chapman’s Arbor that’s freighted with meaning. “We did several different takes of the scene, and I was experimenting with different lines of dialogue, and then at the end of the day I suggested Siobhan try the scene without saying anything, and she just worked this magic. She starred in the film of Andrea Dunbar’s Rita, Sue and Bob Too, so I was actually quite nervous about meeting her. She’s a phenomenal actress.” Chapman, though, is just as good. It’s almost unbelievable that both he and Shaun Thomas had never performed in front of a camera before, such is their ease and energy on screen. Both stars accompanied Barnard to the Cannes Film Festival this year, standing on the stage at the end of the film as it received a sustained standing ovation.
“They put the spotlight on them, and I just stood there and looked at their faces,” Barnard says. “It was just a wonderful moment. I told them during the film shoot how well they’d done, but until then I don’t think they’d ever realised the extent of their achievement. They were totally amazed by it all.” The Selfish Giant lays itself open to the ‘grim up north’ and ‘poverty tourism’ fallacies that attach themselves so readily to the social realist canon. Yet it’s not didactic, neither is it worthy. It’s an honest and heartfelt attempt to communicate something that transcends the streets of
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the Arbor and the poverty of its children. As it builds towards a tragedy, both small, slight and all the more painful for it, it asks us who the selfish giant is. Is it Swifty or Arbor? Is it the scrapmonger who exploits them, or the school that rejects them? Is it the remote policies sent forth from Whitehall? Is it God himself? Or is it we the audience, who will see this film and maybe tear up, and then walk out of the cinema into the veined streets of a divided Britain? The Selfish Giant is released 25 Oct by Artificial Eye www.cliobarnard.com
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In Session
This month sees the unveiling of The Pleasance Sessions, a multidisciplinary festival which unites independent Scottish labels, promoters and some magazine for a fortnight of music and more on Edinburgh University’s campus. We speak to some of the players
he pleasure of watching a great performance can be greatly enhanced by the surroundings. Venues don’t need to be pretty – some of the best are little more than sweat-soaked basements – but there’s an element of fun added when you’re entering some grand hall for a gig. Some of the finest concert venues in the capital are owned by the University of Edinburgh, but unless you’re a student there’s not always a chance to visit for a show unless you’re around for the Fringe festival in August. So the news that the Scots Baronial splendour of the Pleasance Theatre will be throwing open its doors this month for the first Pleasance Sessions is worth celebrating. The Sessions, which take place from 10-26 October, feature live music, comedy and spoken word performances in the Pleasance Theatre and the adjoining Pleasance and Cabaret bars. Sessions to scribble on your calendar include those curated by the knowledgeable folks at Gerry Loves Records, Song, by Toad, Limbo and – on Saturday, 12 October – this very magazine. Throwing caution to the wind, we’ve curated a night of not one, not two, but four of the sharpest rising acts in Scotland to play its songwriting showcase. If you want conclusive proof that the nation’s music scene is in rude health then you best get yer sel along. Headlining will be Rick Redbeard, esteemed frontman of The Phantom Band, currently carving a path in his solo guise. He’ll be joined on the night by Honeyblood, LAW and Siobhan Wilson. The music doesn’t stop there of course, and other Sessions certain to entertain feature such Skinny favourites as Adam Stafford, Plastic Animals, John Knox Sex Club and Conquering Animal Sound. Rae Baker, head of events at the Edinburgh University Students Association, which runs the Pleasance Theatre, hopes to see the Sessions become an annual fixture in the Edinburgh gig calendar. “We were very keen to encourage more unique live shows in Edinburgh, and we had an idea of the type of shows we wanted to stage given the unique atmosphere the Theatre creates. Combined with the wealth of talent that Scotland is producing, that led us quite naturally to these artists, labels, magazines and promoters. There is a strong sense of collaboration and innovation within the festival and that led us to these particular curators. It’s lovely to see that has translated into the creation of the Pleasance Sessions.” Leading the charge on 12 October at The Skinny’s showcase will be a man who needs little introduction to regular readers of these pages. Aberdonian songwriter Rick Anthony first drew national attention while prowling the stage with Glasgow cosmic rockers The Phantom Band, but this past year focus has switched to his solo career. No Selfish Heart, released in January on Chemikal Underground, is a collection of melancholic – but at times darkly humorous – vignettes. The album received strong reviews. But Anthony, who records under the piratical nom de guerre Rick Redbeard, admits that he gets more satisfaction from writing or recording than reading the musings of music hacks. “I’d obviously rather have good reviews than bad ones, but it’s only part of the process when you release the record – after a month it’s over and you can stop Googling yourself like a total loser.” As raw as his songs can sound, Anthony stresses that they are not strictly autobiographical. “I tend to think far more in terms of
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characters and stories. The album is almost entirely fictional – there is not a huge amount of me on it. Rick Redbeard is more like a fictional character that I use as a means to express ideas or feelings about the broader human condition rather than purely a stage name. By embracing the fictitious and not trying to keep things personal I have a much wider scope of inspiration and stories to draw on. And I don’t tend to like songs that are literally about the minutiae of someone’s life or their problems – I find it a bit icky and self-obsessed to a point just short of mental illness.” Anthony is currently involved with the recording of a new Phantom Band album but admits he’s already thinking about another solo record. “I’m always writing new songs, so aye, you could say I’m at work on it. Not sure when I’ll get round to recording it mind you.” The distinctive voice of Lauren Holt, aka LAW, is just one of the reasons that this solo artist has been steadily gathering acclaim and momentum – despite a distinct lack of her music being publicly available. An intense performer, her shows have a habit of leaving a mark on all those lucky enough to see them. One typical response, posted online under a photograph of a recent Edinburgh gig, summed up the prevailing mood among her growing number of fans; “We need more recordings!” To be fair, you can already find the excellent track Hustle on YouTube. But if you want to hear more you’ll need to see her live. “We’ve recorded a lot of material so far and we plan to do more,” Holt explains. “We don’t just want to give it all away, so the plan is to release it eventually in an interesting way.” A former student in Liverpool, an experience memorable for seeing the Silver Jews at the Zanzibar, Holt is now based in Edinburgh and has been working on tracks with hip-hop trio – and good pals – Young Fathers. “We met the same way you’d meet anybody. Then I heard their music and wormed my way in. I saw their live show and hadn’t seen anything like it before; seeing them play makes you feel ripped off for paying to see other bands stare into their guitars for an hour.” Holt is determined not to follow anyone’s path but her own. “I plan on doing the right gigs at the right times and in the right places. People don’t want to see the same performance time and again, so I’d rather make each one a worthwhile show rather than going through the motions, being predictable.” If you were to chart the progress of every band that formed in Glasgow in 2012, few could match the rise of Honeyblood. The primal sound created by drummer Shona McVicar and guitarist/vocalist Stina Marie Claire Tweeddale seemingly arrived fully formed and quickly attracted fans and critical praise. A two-track cassette, Thrift Shop, put out by CATH records led to festival appearances across the UK, including T in the Park and The Great Escape, and support slots with the likes of Crocodiles and Giant Drag. Freshly signed to Brighton indie giants Fat Cat – a label with a serious reputation for spotting the best Scottish bands – the duo recently released their debut single Bud and hope to complete work on an album by Christmas. “It seems like everything is coming at once,” admits Stina. So what’s their secret? “I have no idea and that’s the truth! Patience. We have had the pleasure of working with such great people. Giant Drag was fun. They’re a band I’ve loved forever.
Law
Siobhan Wilson
Honeyblood
It’s also exciting to play with bands whom we have become friends with and then see them go on to be great, like PINS and TRAAMS. We love PARLOUR from London. I can’t wait til they release something.” Hard work and long-term planning has paid off for Honeyblood. Stina started the band – in spirit at least – in her bedroom aged 14. Fast forward a decade and now they’re making a big noise both on and off stage, making them an obvious booking. “I’m actually so happy we get to play with Siobhan Wilson again at The Pleasance. She’s my favourite current songwriter by a long shot. Her voice is mesmerising. Every time I see her I think I must sound like a strangled cat in comparison.” That recommendation leads us neatly to our final act. From the spacious Haussmann boulevards of Paris to the windswept wilds of Glasgow’s Sauchiehall Street, you’ll find numerous fans of Siobhan Wilson and her elegant, expressive music. Between her upbringing in Elgin and eventual relocation to Scotland’s largest city, Wilson, a classically-trained cellist, spent five years living in Paris from the age of 18. In that time, she secured a deal with the fan-funded label My Major Company, recorded an album in Woodstock and saw her music advertised in the New York Subway. It wasn’t always a smooth ride for the singer-songwriter, but one that’s given her experiences aplenty and a new appreciation of her home country. “I would describe Glasgow and its music
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scene as raw, honest, melancholic, tough and colourful. That’s why I love living here and I find it so inspiring to write music in this grey city. I wasn’t born here but I feel like – for now – I really belong. I loved France and spent a lot of time singing and listening to Gainsbourg, Brel, Tellier and Biolay. If I were to compare the reaction and reception of the audience in the two countries I would say they are similar to each other because they have both been polite, eager, supportive and enthusiastic listeners. My music has probably changed a lot now too though since I moved back to Scotland a couple of years ago.” An EP, Glorified Demons, announced her return to the Scottish scene and led to her recording sessions for the BBC’s Vic Galloway, amongst others. Siobhan is tight-lipped about plans for an album, for now at least. “I am bursting with news about my new material but I’m afraid I shall hold my peace for now until the time is right to tell you.” The singer does however always try out new compositions on stage, so her performance at the Pleasance Sessions is not to be missed. “The Pleasance Theatre is an absolute treasure of a venue. I’m very much looking forward to playing there again.” The Pleasance Sessions run from 10-26 Oct, see listings for a full guide to what’s on. The Skinny presents... Rick Redbeard / LAW / Honeyblood / Siobhan Wilson takes place on 12 Oct www.eusa.ed.ac.uk/eusalive/about/pleasance
THE SKINNY
Photo: Iain Scott
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Photo: David P Scott
Interview: Chris McCall
First Person Shooter Rob Drummond’s award-winning Bullet Catch returns to the Glaswegian stage this October after having toured the globe. We catch up with the playwright to hear about life on the world stage Interview: Eric Karoulla
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riginally performed at the first Behaviour Festival at the Arches in 2008, Bullet Catch involves exactly what the title implies – a theatre show about a bullet catch, one of the most dramatic magic tricks around. What began as a performance for an audience of twenty people has become an internationally acclaimed show. National treasure Stephen Fry has even weighed in on the positive reviews, entreating his Twitter accolytes to “Shoot someone in the face for a ticket” when it was playing down in London. The play is based on a true story of a bullet catcher from 100 years ago who died on stage live in front of an audience. The fatal stunt was rumoured to have been a suicide, but never proven, as he’d been shot by an audience member during a show. While this sounds quite straightforward – and extremely dangerous – there are other ideas in the show beyond Drummond showcasing his magic skills. “It’s really about big questions, like the purpose of living in a world that’s been, through science, revealed to be meaningless. It’s about finding meaning, and hope, and about despair in many ways.” In spite of the risks involved with using guns – especially as part of a performance – Drummond seems very relaxed with the nature of a bullet catch show. “What I like about the show is it takes on a
different tone for different audiences. It depends on the audience member. If they are very nervous and insecure then it becomes a very nervy show. If they’re loud and blasé, it becomes a variety show,” he points out. The dialogue between performer and audience takes on a different turn when guns are part of the way of life in a particular area. There have been occasions when the bullet catch hasn’t happened, since the chosen ‘assistant’ and any subsequent chosen audience members within the same show downright refused to pull the trigger.
“It’s about finding meaning, and hope, and about despair in many ways.” Rob Drummond
Drummond also points out that variations in culture and context affect the performance greatly. “In New York, they were quite blasé about the gun,” he recalls. “Whereas in Britain, in London and Edinburgh, it’s very much a taboo to
see that gun brought on stage.” Considering the reputation Glasgow has for violence – the reputation many comedians often play on – it would seem counterintuitive to assume this show would not play on that too. With modern films brimming with violence, some would say we are desensitised to it. Following the conclusions drawn by Jenna Watt in Flâneurs about the bystander effect, it might be said that we are not insensitive to violence – like someone getting beaten up or killed – but rather that we are uncertain of our own strength. According to Drummond, watching a fight without interfering involves an evolutionary process of learning by observation. Of course, there is no explicit violence in this performance, but from the moment he hands someone a gun, he also explores the idea
of consent and free will in this play – when we do things as part of a performance, is it consensual? Do we feel we have to go along with what the performer asks because we are under pressure, because we are being watched by an entire audience? Or do we abandon consent at the door because the ticket has been paid for and we have entered a potentially dangerous space through our own free will? A concept explored by Ontroerend Goed in Fight Night this Fringe, the idea of free will is a slippery one. Do we really have free will to make decisions, or are we just selecting options from a menu? Bullet Catch, The Arches, 1-13 Oct (not 7) 7.30pm, 3.30pm (Sat & Sun only), £15/11/10 (earlybird) www.thearches.co.uk/events/arts/rob-drummond-bulletcatch-2
A co-production between the Royal Lyceum Theatre, Citizens Theatre and Liverpool Everyman and Playhouse Theatres
CRIME AND PUNISHMENT
D A O R DARK
ière World Prem
A new adaptation by Chris Hannan Based on the novel by Fyodor Dostoyevsky
by Ian Rankin & Mark Thomson
22 October – 9 November 2013
A co-production with Wales Millennium Centr e
Does anyone ever have the right to commit murder?
25 September – 19 October 2013
PARTNERS E IN CleRr oIfM a deal! It’s a kil
lyceum.org.uk Tickets: 0131 248 4848 October 2013
Photo by Tim Morozzo
like a serial killer. ... im h e lik k in th to He forced us
PARTNERS E CRIfM N I Save £10* when you book Dark Road andler o a deal! It’s a kil
Crime and Punishment together.
*A £1 transaction fee will be added to all bookings. Offer not available on Premium Seats.
Royal Lyceum Theatre is a Registered Company No. SC062065. Scottish Charity Registered No. SC010509.
THEATRE
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THE SKINNY
Turn to the Darkside
Genre-defying prodigy Nicolas Jaar has teamed up with guitarist Dave Harrington for an ambitious project which throws elements of rock’s outer limits into Jaar’s potent mix of jazz, house and ambient. We discuss their venture into the DARKSIDE
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t 23, Nicolas Jaar has already assembled a list of accolades that suggests a level of creative maturity far beyond his years. The ChileanAmerican’s 2011 debut LP Space is Only Noise was hailed by many critics as the album of the year, and in 2012 he was voted the best live act in the world by Resident Advisor readers. As if that wasn’t enough, Jaar has recently wound up one record label, Clown & Sunset, in favour of his new imprint Other People; and somewhere along the way, he’s found time to study comparative literature at Brown University. Perhaps surprisingly for a man whose music is marked by an otherworldly sense of space and timelessness, Jaar is fundamentally restless in his determination to explore new creative avenues. The latest of these is DARKSIDE, a collaboration with his touring guitarist and fellow New Yorker, Dave Harrington. Following their debut EP in 2011, DARKSIDE are set to release their first full-length, Psychic, this month. While the record is unmistakably a Jaar project in its rich textures, elastic sense of temporality, and seamless fusion of disparate genres, Harrington’s background in rock and blues adds a new dimension to the mix. The results have some uncanny, unexpected echoes, with certain points recalling the solemn post-rock soundscapes of Labradford, while others suggest Pink Floyd’s dreamy theatricality. The duo’s name is not, however, a nod to that outfit’s magnum opus, as Harrington assures The Skinny when we catch up with the pair over the phone from New York. Rather, he explains, the word came into use when they first started working out material together in 2011, and discovered an intuitive musical connection – one that could sometimes be unnerving, in its sense of accessing “the other part, the dark part, the part you don’t see. The part that’s secret, maybe a little dangerous.” The word eventually “became like an adjective, something we would use when things got a little bit scary, intense, exciting, or noisy.” That instinctive approach to composition has always been central to Jaar’s creative process. He tends to speak about his music in terms of honesty, integrity and experimentation, eschewing any sense of a prior overarching vision, and Harrington clearly shares this mindset: the way they work, he explains is “not very calculating... we respect each other, and we work
October 2013
together well, and we have fun. So, if there’s any vision, it’s that we trust each other.” It’s a compositional approach perfectly suited to collaboration, and this shared understanding goes some way to explaining the eerie sense of connection evident on the appropriately-titled Psychic. Jaar also has a sense of wider cultural currents that might relate to his own work in unexpected ways. At one point our conversation turns, somewhat surreally, to Swedish house megastar Avicii, whose recent True LP is a bizarre amalgamation of populist 4/4 dance music and country. Jaar sees this, along with Daft Punk’s recent embrace of live instruments on Random Access Memories (which was remixed in its entirety by Jaar and Harrington, under the name Daftside) as evidence of a broader cultural movement: “We all want to just go in this weird direction,” he suggests, “to combine these two things that really should not work.” That said, both members of DARKSIDE are keen to stress the project’s serendipitous origins. Without their creative relationship, Jaar explains, “I wouldn’t be making guitar music. So whether it’s part of the zeitgeist or not, honestly, Dave and I just needed to get into a studio together two years ago, we needed to make music.” Yet he is aware of the duo’s distinctive value, declaring himself to be “very excited by what is left to be done with rock instruments, and how they can be combined with electronic instruments in maybe novel ways... There’s something there which still excites me, the idea of layering real drums with electronic drums, and layering guitars with synths – there’s still, it seems to me, things there left to be done.” From many producers, such sentiments might sound naive, but even a cursory listen to Psychic demonstrates how assured Jaar and Harrington are in their ability to mould genuinely new, cohesive forms and textures from this combination of rock and electronica. While collaborations between artists from different generic backgrounds often feel awkward and artificial, the duo’s shared faith in the creative value of instinct and intuition allows them to avoid such pitfalls. That spirit, in fact, is wired into the band’s very reason for existence: DARKSIDE really developed as a means of pursuing improvisation and experimentation, aside from Jaar’s more
high-profile solo work. “You know, we’d be in Oslo playing a festival with Nico and we’d get asked to play an afterparty in a tiny club as DARKSIDE,” Harrington explains. “Basically all of those shows were experiments. Each one would be radically different. One would focus on playing slow, one would be focused on playing loud. It was just whatever was exciting us at the time: we could use these shows – that were mostly pretty small – as kind of workshops, experiments, little laboratory environments.” Of course, Jaar has always been known for his fearlessly unorthodox, improvisational approach to live performance as a solo artist as well; but both recognise that working as a duo has brought a new creative depth to the experience.
“We all want to just go in this weird direction, to combine these two things that really should not work” Nicolas Jaar
Despite DARKSIDE’s germination in this kind of impromptu, small venue approach to live performance, both Jaar and Harrington are enthused by the prospect of touring larger venues in October, when they will play Fabric in London, Berghain in Berlin, and the AB Club in Brussels. For Harrington, “playing in larger venues can be very exciting. Sometimes DARKSIDE can be like a bulldozer if we want it to be, or a wrecking ball. What we do live is very much built around improvising, trying to do something that fits that room, that night, that moment. So if it’s a big room and a big moment, we’re gonna pull out the wrecking ball!” Jaar concurs, dismissing the idea that large venues are necessarily impersonal. “It can feel really good to play in front of a lot of people, because DARKSIDE’s music is kind of meant to fill a big space, and we feel very close to the crowd.”
CLUBS
Interview: Sam Wiseman
That represents one way in which the duo are crossing conventional boundaries between rock and electronica. “When you see those DVDs of Queen playing in the most gigantic stadiums,” Jaar explains, “guitar just does the job, you know? It’ll just fill any space, and so will huge electronic synths – with that, playing to a lot of people feels intimate.” That closeness is also maintained, Harrington stresses, by avoiding a conventional performance of recorded material. “When everything’s on the line, when anything can happen, when you open yourself up to being an improviser and an experimenter, in front of a lot of people, those people become part of what you’re doing, whether they like it or not.” With its emphasis on slow and fluctuating BPMs, Psychic also suggests that the duo’s upcoming shows will challenge typical expectations of a dancefloor-friendly set at venues like Fabric and Berghain, just as Jaar’s solo shows have. He’s keen to stress, however, that the choice of venues doesn’t reflect a deliberate intention to explore the boundary between gig and club night; rather, he explains, such decisions are guided by the club scene’s emphasis on sound quality. “I want to play a show with the best sound possible, honestly. I don’t care about much else... I want the music to go through speakers that I can trust, so that’s why we picked those venues.” Characteristically, then, Jaar is unwilling to position himself as an artist who deliberately challenges orthodoxies, preferring to stress the instinctive approach behind his music. In Harrington, he’s clearly found a kindred spirit: through collaboration and improvisation, the project has further accentuated the sense of fluidity and possibility that has always permeated Jaar’s work. In fact, he’s so enthused by DARKSIDE that he believes the project represents a longterm future, despite his restlessly creative nature. “Most people usually start with a band and they go solo,” Jaar explains, “but I weirdly happen to have reversed that. I was solo for five years, but now this is a new phase.” As always, however, the only certainty is that whatever he goes on to do, Jaar will continue to produce music that defies expectations and conventions. DARKSIDE release Psychic via Matador on 7 Oct www.darksideusa.com
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A Different Animal As HBS, Soundgarden’s Ben Shepherd sneaks under the wire with a diverse collection of haunting folk ballads and kaleidoscopic psych rock. He explains why he kept us waiting
“F
uck time, man. Take your time,” Ben Shepherd drawls as our interview runs dangerously close to the moment he should probably be on stage. We join him as Soundgarden’s most extensive UK tour in 17 years rolls into the Manchester Apollo, the closest they’ll get to the Barrowlands (“This is the perfect tour to do that; pisses me off we’re not. Me and Cornell realised yesterday that we’ve never even played Edinburgh,” he laments). But nobody’s here to pick holes in the band’s itinerary, or recap their resurrection. This is purely about Hunter Benedict Shepherd. Wise and opinionated, occasionally shy and self-deprecating, Shepherd cranes his towering 6’4” frame as he races between topics, people and eras – one minute he’s praising Joy Division, or proudly showing off photographs of his teenhood band March of Crimes on an early tour with Melvins and Malfunkshun like pictures of his firstborn, the next he’s recalling the post-Soundgarden wilderness years when he could barely afford to eat. On the face of it, his solo LP In Deep Owl is a hard-fought victory. In the acid-drenched haze of Hater and Wellwater Conspiracy, Shepherd had more in common with garage rock progenitors like The Stooges and 13th Floor Elevators, but as HBS his gift as a compelling and irregular songwriter is fully exposed. Announced at the tail end of the summer and arriving, as it has, on the eve of being thrown back into the Soundgarden machine for a month of gigging, Shepherd’s painfully aware of the pitfalls in promoting the album now, but this was no rushed release. “It was supposed to come out before we were even reunited,” he says of the timing. “I should’ve put it out back then, when it could stand on its own legs rather than riding the coattails of Soundgarden. I made my own label just to put this out.” Flashback to 1991, and an eager to impress Shepherd, bound by phantom major label duress from the moment he joined the band, couldn’t quite resolve the freedom they were afforded to perform outside their day jobs. “I did Hater as a side-project self-consciously,” he remarks almost guiltily. “We were doing pre-production at Avast! Studio for Badmotorfinger and I brought in a song. The engineer, Stuart Hallerman – who later helped with Deep Owl – said ‘You should make this a single and do it on your own.’ I asked Matt [Cameron, drummer] when we were taking a break between takes, ‘Is this a good idea? Is that legal, that we can do stuff outside of Soundgarden?’ He was like ‘Yeah, man.’ I’d always treated Soundgarden as my main priority – I wish we all did.” Disillusioned after Soundgarden came out the other end of the industry meat grinder in 1997, a short-term retreat from music was understandable enough, but Shepherd says a later unexpected blow nearly spelled the end of it. “Soundgarden got robbed. We’d sold our building and I was moving the equipment out. I flew down to LA for a weekend to finish off a soundtrack I was helping with, but when I came back everything was gone. Two records that I’d recorded, all of my equipment – all gone,” he throws his hands up. “So for a few years I thought ‘Alright, the world’s telling me nobody cares – fuck it, I won’t play.’” Besides recording and touring with Mark Lanegan and dusting down Hater’s 2nd album in the middle of the last decade, it wasn’t until 2009 that Shepherd finally found himself tinkering with a guitar in a buddy’s studio. A reluctant soloist
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Interview: Dave Kerr Photography: Alexander Bell
at first, he maintains that In Deep Owl simply wouldn’t have happened without the encouragement of those around him, but concedes that the more he eased into the project, the tighter he gripped the reins. “My friends Dave [French] and Chad [McMurray] conned me into making a record. I recorded two songs and they were like, ‘Keep going, make more.’ I thought ‘OK, but you fuckin’ guys don’t wanna record with me! Whatever your idea is, I’ll probably throw it over the ropes; My attitude was, ‘I don’t have a band; I get to do this my way.’ To me, solo records bunk if other people contribute too much. It’s not a true picture of a solo artist.” Knuckling down to the task, Shepherd chose to ignore external influences but kept two trusted allies on speed dial in case of a creative bind. “I wanted to stay in my own head, didn’t want to listen to music at all – I purposely did that. I wanted to see where I was – no influences, nobody. But I did call up Mark and Chris, because I’ve never been the singer like that where you have to do everything on your own, arrange the whole recording session and keep it on track. I’d seen Mark do it, so I called him up and said ‘Man, if I get stuck with lyrics I think are stupid or bad ideas, will you help me out, answer the phone and talk me down from this mental assbeating?’ He said yes, same with Chris. Those are the only two guys in the whole world I would trust at that point, without messing with my head. Fortunately, I never got in that jam.” At times the results evoke a kind of modern Americana last heard on Lanegan and Mike Johnson's Field Songs, to which Shepherd contributed heavily and co-wrote the blissful instrumental Blues For D. He’s having none of that comparison. “Nah, those songs belong to those guys,” he shrugs. “I was just there. There’s a whole spectrum of music that I will play and will always do by myself or with other people, which will tend to be more electric. At the point I did Deep Owl, the idea was simple: this is what I’m into now. But I have way older songs; 500 of all different genres. Regardless of who I’ve played with, those are the songs that I’ve always had and always related to. If anything, being compared to Lanegan just makes me go ‘Fuuuuck!’ That’s way too good a company.’”
“Solo records bunk if other people contribute too much. It’s not a true picture” Ben Shepherd
Although clearly intended as a solo effort in the truest sense from the beginning, In Deep Owl is very much an album of two halves. “I was half-way through when drummers started showin’ up, like [original Pearl Jam drummer] Matt Chamberlain and Matt Cameron.” Shepherd couldn’t turn them away. “I said, ‘Sure – if you guys wanna record, pick a song and let’s go.’ That changed everything. I thought ‘Fuck, now I have to get real.’ Without the involvement of those guys I’d have stuck to this being one man and his guitar.” Inevitably, with Shepherd being the principal songwriter behind such anomalous
moments from Soundgarden’s catalogue as Badmotorfinger’s Somewhere, Superunknown’s Head Down and Down On the Upside’s An Unkind, In Deep Owl trades in the same vocabulary of eerie, middle-eastern melodies and off-kilter percussive arrangements. Stuttering jams like Baron Robber, which escalates into an untameable wrecking ball, could easily have seen another life. “I think all of them could’ve been Soundgarden songs,” Shepherd confesses. “The band actually said, ‘We could do Baron Robber,’ when it came to pre-production for King Animal and I said ‘No, that record’s already done, man. It’s its own thing.’” With personal trials to ruminate over, Shepherd chose not to take the obvious path by approaching Deep Owl as a series of first person confessionals. “It’s where I was mentally, but each song is a different character. I imagined this train that they were were on, all on the one car. I had the thread of music that would tie it all together, without making it a concept record – just
MUSIC
a certain sound that shows up and links it all back together. The Train You Can’t Win was supposed to be an instrumental song that plays through every stop, it was meant to be in-between every song and there to finish off the record. I wanted the vocals to sound so low, like they were coming from the other room.” Does Shepherd intend to take the HBS train out on the road? “I’m sure I will,” he nods. “But probably not in America.” Was he tempted to test the water onstage in Manchester tonight? “Fuck no,” he barks, suddenly wearing his other hat as he scrawls his signature across The Skinny’s weathered copy of Superunknown. “This is a Soundgarden show,” he says, the name through him like a stick of rock. “This is the only band I’d be in.” In Deep Owl by HBS is available digitally now and on vinyl via INgrooves/Fontana on 1 Oct hbenshepherd.com
THE SKINNY
g Fest n i t i r W w Ne er 21-26 Octob
ival
h/ n / Stef Smit o rs a e P a rn Mo Triple Bill eadings ty if F e rs e Rehearsed R v ra T Gunn Macleod with Innis & e tr a Iain Finlay e h T e el Lunchtim Critics’ Pan es s y la P n e Performanc d id H ys £4 Headset Pla Tickets from www.traverse.co.uk / 0131 228 1404
/shopprincesmall
@princes_mall
www.shopprincesmall.com October 2013
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Factish Field | Project 1 Karen Cunningham
11.10.13 / 6 – 8pm Exhibition Preview City Observatory & City Dome 38 Calton Hill Edinburgh EH7 5AA ++44 (0)131 556 1264 mail@collectivegallery.net www.collectivegallery.net
Funded by
Tuesday – Sunday 11am – 5pm Open from 12.10.13
In association with LUX
Image: Karen Cunningham, Fib, 2013, still from HD video.
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THE SKINNY
A Brief History of Time Back in town after four years in New York, Lucy Skaer gives us a few words on her biggest UK show since the 2009 Turner Prize
Liquidity in the Mind of the Fool
o, I don’t want to talk much about this show,” says Lucy Skaer, as we sit down to talk about her upcoming show at the Tramway. Having neglected to bring a pack of playing cards with me, I contemplate suggesting we play Twenty Questions. To think in terms of oblique classification would not in fact be a bad starting point for considering Skaer’s work, which mutates and re-purposes objects and materials so that their properties and functions rarely end up as they started out. Marking her recent return to Glasgow after four years in New York, the show is billed as Skaer’s most ambitious since her Turner Prize nomination in 2009. That exhibition saw her install the huge skull of a sperm whale in Tate Britain, concealed behind a screen so at first you didn’t see it. Tramway’s ‘industrial cathedral’ of a gallery is an apt stage for a homecoming – and could pack a fair few whale carcasses – but conversely, Skaer isn’t planning to take advantage of its volume and is instead thinking on a domestic scale. “I’m going to have almost a domestic theme so I think the work’s going to be made uncomfortable by the space, which is something I’m interested in,” she tells me. “I’m not going to have any big objects. There’ll be things that can assert themselves in the space but in more kind of a spartan way.” The theme of the show is prehistory, a term which Skaer associates with Darwinism and the understanding of geological time. In the past she’s talked about ‘pre-meaning’ to describe the experience of viewing the work that she tries to orchestrate; a slowing-down of one’s interpretation of it. But for Tramway the focus is on ideas of time itself, such as those that preoccupied the British modernists. She mentions Virginia Woolf, whose novels convey a sense of time outside the narrative – where tumbleweeds flourish and characters die mutely in parentheses, but nothing really happens save time going by. “For me that idea of time relates to sculpture because sculpture is always primarily a first-hand experience, and through sculpture you can drag references that are usually third, fourth, fifth-hand and put them back into first-hand experience, although in a different way,” says Skaer. This attempt to collapse time in on itself will underpin the show, with various disparate-seeming works characteristically coming together in one installation. Skaer has been producing small-scale lozenge-shaped forms, some of which
October 2013
will be dotted about the space. All of them are titled either ‘You’ or ‘Me’, prompting works with illuminating titles like You, Me, You, You, Me, You. The idea is to overload them with meaning, says Skaer; a kind of distraction to force them out of their schema and change how one reads them. “Obviously, the ones that say ‘You’ or ‘Me’ are often exactly the same. So I’m interested in overburdening them with meaning and pushing them to almost an absurd level, [so] that they become a kind of conversation in the room a bit like a play.” The point about the lozenges in this show is that they are ceramic – a material with almost infinite associations stretching through history, from the far past to the present and traversing the realms of utilitarian, rarefied, archaeological and fine art objects. Skaer has been researching early modernist Studio potters such as Bernard Leach, who applied a philosophical position to their pots. “Leach has written about the philosophy and experience of making pots and I’m interested in how all this meaning starts to adhere to those pots at that time – so the Studio pottery movement makes these steps to conceptualism, I guess, but it never really gels,” says Skaer. Along with the lozenges Skaer is showing a film she shot for a project in Leeds called Film For An Abandoned Projector. Embedded in resin in one of the lozenges, the original film is now unwatchable, but she is showing a re-edited version of it, having first punched out all of the frames and the negative to leave a white hole with just a margin of footage. Part of it was shot walking along the corridor in her studio, and in a weird mirroring transferral she is going to recreate the corridor in Tramway and install the film at the end of it. Skaer’s frequent tactic of dismantling or disabling an object’s content but offering up extraneous meaning in its place could be described as contrary. Her explanation for why she does it is clear enough – to intervene in the way the viewer interacts with the work – but it’s harder to work out whether any of the objects and materials is then significant, except as a sign or reference. “Of course it could have been something else,” is her reply when I ask why she chose her father’s coin collection to embed in the lozenges and whether it could have been something else. She adds that some objects she uses are personal to her, though she uses them in an impersonal way. The recent past and the present will be
referenced in the show within some print works made using plates from the Guardian newspaper. The plates are from the six-week period prior to the show and so record events like the war in Syria. This may or may not be apparent by looking at them, though – with what seems by now almost a comic perversion, Skaer is removing most of the text from them. By transferring the ink from the plates onto a neoprene blanket she can adjust and remove parts before rolling them to paper. Like enough, smudges and the benday dot will be all that remains. “Text provides a very quick shortcut because people are more comfortable interpreting text than image,” she explains. “What I’m interested in with prehistory is it being, as well as in the ancient past, something that could be current; that could be a way of understanding the world without narrative or without written language.” Despite trying to get away from written
ART
language within the work, Skaer is pretty precise about the language she uses to describe it in conversation and diligent in correcting my sloppy phrases. Taking in the natural world, cultural history, current affairs and the language of sculpture, it seems as though her serious, brainy study should have a name; something Latinate, ending in -ology. Skaer, no doubt, would disagree – instead she is concerned to pre-empt the work’s longevity. “Obviously if I re-show the work at a later date it’ll be fundamentally changed by having a distance from now. I’m interested in removing timelessness as a conceit of art, this idea of the exhibition as you see it being the first-hand experience, because as soon as those works age more they change. Usually art’s not thought about quite like that.” Tramway, 25 Oct-15 Dec, free
Ballast (Force Justifed)
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Photo: 'Tulips and Roses'
“S
Photo: 'Tulips and Roses'
Interview: Jac Mantle
COLIN BELL & NEIL SLORANCE DUNGEON FUN
JOHN LEES & IAIN LAURIE AND THEN EMILY WAS GONE
STEPHEN SUTHERLAND & GARY KELLY NEVERENDING
The Glasgow League of Writers 36
GORDON MCLEAN & CAIO OLIVEIRA NO MORE HEROES
T
he Glasgow League of Writers (GLoW) are a motley crew of comic book scriptwriters (several of whom have won awards) who meet every fortnight to workshop each other’s scripts, chat about the industry and help each other
SHOWCASE
produce their titles and get them on the shelves. Their works ran the gamut from superheroes and aliens to smaller tales about everyday life and have been read all across the world. www.glasgowleagueofwriters.com
THE SKINNY
AMANDA HATEBALL
GILL HATCHER THE LAST LAUGH
Team Girl Comic October 2013
JEF SINCLAIR SOME DAYS
T
eam Girl Comic is a Scottish collective of women from a variety of backgrounds who share a love for telling stories through the medium of comics. Founded by Gill Hatcher in 2009, the group has rapidly grown to become a thriving social community and support network
SHOWCASE
for women creating comics in Scotland. TGC regularly publish anthologies that showcase their latest work, and update a webcomic that offers a weekly snapshot of their lives. teamgirlcomic.com
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Sportsluxe Goes Street
I Want Candy
Luxe sportswear is fast becoming as ubiquitous with the S/S catwalks as leather is to A/W. As an increasing number of editorials embrace the ‘tomboy’ and androgynous looks and the creative classes cry out for cool workwear, the trend (particularly on the London and NY catwalks) has grown from strength to strength. Granted, there are designers who are synonymous with the trend already, so there was little surprise that the likes of House of Holland, Sister By Sibling & Nasir Mazhar showcased street-led, sloganclad designs. What was more surprising and refreshing, however, was that traditionally more luxe and demi-couture designers also showed pieces that would not look out of place on a street-fashion starlet. From Richard Nicoll’s use of Lurex Merino to Christopher Kane’s oversized jumpers and Fyodor Golan’s slogan sweatshirts, the influence of street fashion pervaded the high end of the market. Interestingly, however, the opposite phenomenon simultaneously occurred, as normally street-heavy looks from Ashish and KTZ increasingly embraced the ‘luxe’ aspect of the sportswear aesthetic. Both designers showcased more mature, directional and intelligent looks, while still retaining their whimsy and street credibility.
This one is for the sweet toothed. The past couple of seasons have been no stranger to the candied pastel look, but this season, it seems almost every designer attached a penny sweet to their moodboard. From gentle to overt uses of the colour palette, everywhere you looked, feminine hues of mint, candy floss and gumball were present. But where were they best displayed? Mint, faded turquoise and in particular candy floss pink were used to great effect at J JS Lee, as the colours softened her uniquely stark, modernist tailoring. A special mention also goes to the mint overcoats and jackets seen at Peter Pilotto and Burberry Prorsum, which made the models look as if they were being hugged by a giant mint-chip cone. Overall, the collections had us craving cola cubes and Love Hearts; no mean feat for our generally black leather-clad fashion team.
Fyodor Golan
Peter Pilotto
London Fashion Week
Words: Alexandra Fiddes & Emma Segal
Take it to the Maxi
The Return of Denim
This is another trend that just won’t quit. In a collection that the designer himself described as ‘avant bland,’ JW Anderson showcased his technical ability and artistry with sheer tierruffled maxi dresses, that were delicate in detail but rigid in structure. Elsewhere, more glamorous takes on the trend were shown; the sister design duo behind Felder Felder showed flowing maxi dresses in sheer white and printed blue chiffon and silk – quilted panels and PVC inserts added an interesting twist.
This functional material has, in the recent race towards Sportsluxe, tended to fade into the background of the S/S collections; this season, however, denim has come back into play in new manifestations. Holly Fulton’s collection as a whole offered an interesting and beautiful departure from her signatures, and this was nowhere more apparent than in the crescent cut out denim t-shirt she sent down the runway. The crescent shaped accessories also contained the fabric, and it was used to great effect in her print dresses. We also enjoyed the sequined, frayed denim looks at Ashish, and frayed denim featured prominently in Marques’ Almeida’s collection.
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Lifestyle
Holly Fulton FASHION
THE SKINNY
Mellow Yellow
Black and White Stripes
Whether it was sherbet, buttercup or lemon, there was a surprising amount of (the notoriously difficult to wear colour) yellow on the catwalks. Opening the SS14 proceedings, and a fan of the sunshine hue, was Turkish born Bora Aksu, who was showing for the tenth time at London Fashion Week. The collection was full of pretty frills and gathering, sheer pockets and hand crocheted fabrics. There were nippedin waists and prim shaped dresses, shorts and capes in a pretty palette of bright zesty yellow alongside china blue and white. The prim vibe continued at Emilia Wickstead who showed beautifully tailored skirts with elegant folds and neat boxy cropped jackets to match. Fyodor Golan took a different tack, with cheeky standout pieces (a skirt and bandeau top) made of plastic acid yellow smiley faces. Or do like Lucas Nascimento did, and pair a flash of yellow (here as an unusual jutting neckline) to add fun to business-like grey.
We coveted them at Ashish – shimmering and glittering on polo shirt dresses in the labels’ signature sequins. We loved the styling idea of combining thick, in-your-face versions, with baby pink like at Jean-Pierre Braganza. And we adored the elegant tomboys at Richard Nicoll showing off fine graphic stripes with a slight sheen (a nice touch) in mini-dress form or as skirts paired with clean separates and sheer layers.
Mini-trend: Neon Lips Team Skinny likes to appreciate the entire styling of runway looks, from head to toe. And this season, we couldn’t help but noticing the key makeup statement of choice was a neon lip. For subtler, pink manifestations look at J JS Lee and Fyodor Golan, and for full on orange lip inspiration, check out Tabernacle Twins who showed as part of Fashion Scout.
Fyodor Golan
Richard Nicoll
SS14: Trend Report Peekaboo and Sheer
Mini-trend: Ethnic Jewellery
There were some truly outstanding examples of peekaboo and sheer looks this season. Special mention must go to the oversized overcoats and leggings at KTZ, as well as the impossibly chic cloudy macs from Terra NY (displayed in the Designer Showrooms). Antipodium offered an interesting take on the trend, with its barelymetallic pleated skirts and dresses; and at J W Anderson, the technique was used to great effect on a variety of silhouettes, from billowing peasant dresses to minimal graphic crop tops. Finally, at both Bora Aksu and Thomas Tait, white graphic looks were transformed by the inclusion of sheer detailing.
Although we’re not particularly keen on the term ‘ethnic’ (a lazy way of describing something that is ‘non-western’), large statement pieces of silver jewellery from other cultures, including Indian, Tibetan and African, were seen at KTZ, where they gradually became part of the garments themselves, and at Ashish (jewellery from Pebble London) where the pieces emphasised the magpie nature of the collection. Think layered oversized cuffs, huge pleated neckpieces, brooches and large crown-like headpieces.
KTZ October 2013
KTZ FASHION
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Vic Does Deutschland As Germany continues its rise as Europe’s de facto cultural epicentre, Vic Galloway analyses the rich past and present of its enduring music scene
A
s a broadcaster, journalist and author, taking a week away from the Edinburgh International, Fringe and Book Festivals is a most curious thing to do in August. But when invited by the Initiative Musik GmbH in Germany to embark upon a week-long tour of their four main music cities, it was a no-brainer. I had only vague awareness of Germany’s current music scene and sparse knowledge of their Federal system, so it was a fact-finding mission from the off. Being the only UK representative, I was part of an 18–strong group of music writers, radio presenters and bloggers from across the globe. Hand-picked from as far and wide as the USA, Canada, Estonia, Greece, Finland, Italy, South Africa, South Korea, Ukraine, Poland, Cameroon, Japan and Uzbekistan amongst others, I found myself in good company indeed – here was a group of nerds like myself, who’d happily chatter all day about pop culture obscurities. We laughed, we bonded, we stroked our chins! As you might imagine, the daily routine was tightly scheduled and organised within a minute of its own life. This suited us fine actually – the more you experience and immerse yourself in, the better. With a day in Cologne, another in Düsseldorf and two days respectively in Berlin and Hamburg, it was an enlightening whistle-stop tour. Over the six days I’d not only find out huge amounts about German music past, present and future, but I’d see a country whose cultural life seems to be blossoming, thanks to investment and encouragement from all sectors. Here are a few highlights of a week scouring the German urban landscape for aesthetic artefacts and nuggets of sonic invention... Studio für elektronische Musik When looking into the earliest experiments in electronic music, you may hear about the Westdeutscher Rundfunk (WDR – West German Broadcasting Corporation) who set up a studio in 1953 especially for its development, way before the BBC’s Radiophonic workshop. 71 year old Volker Müller was our passionately animated guide, an original tape operator and engineer from the years 1971 until 2001 when the studio was eventually closed. Here’s a man who aided and abetted Karlheinz Stockhausen amongst other luminaries. Now housed on the outskirts of Cologne under a health-complex, the reconstructed studio is more or less a museum with a vast assortment of synths, analogue desks, tone generators and tape machines. Those with an interest in the dawn of sampling and looping were left with their jaws agape.
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Kompakt Records Celebrating its 20th anniversary, Cologne’s internationally revered minimal techno and electronica label opened their doors and welcomed us into their lair. Housing a vinyl and CD store, warehouse, recording studio, live agency, meeting rooms and in-house, chef-run kitchen under one self-managed roof, it’s every creative’s dream come to life. After a guided tour by co-founder Reinhardt Voigt we were treated to label signings Coma performing a live instore, before emptying our wallets in the shop. Cologne Cathedral (Kölner Dom), Gerhard Richter Window & Päffgen Brauhaus Cologne is home to the largest Gothic cathedral in Northern Europe and the city is proud. An enormous tourist attraction, it was augmented inside by an exquisite, abstract stainedglass window by artist Gerhard Richter in 2007. Glorious and yet utterly non-religious, the design was criticised when unveiled, but is now part of the cathedral’s unique, imposing charm. Having visited the offices of INTRO magazine and the C/O Pop Festival offices to meet and greet various Cologne scenesters, we paid a visit to one of the city’s most traditional hostelries, ‘Päffgen’ Brauhaus, our dinner-venue of choice. Meat, meat, two veg and even more meat was the order of the day as my Canadian counterpart tucked into a ¾ metre long wurst! When in Germany... Hans Peter Zimmer Stiftung – Hauschka Whenever the city of Düsseldorf is mentioned, the term ’Krautrock’ immediately trips off the tongue. Home of electronic pioneers, Kraftwerk and other essential groups such as Neu!, its punk and post-punk scenes in the late 1970s and 1980s also blazed a trail, giving way to the proto-industrial movement that would take hold across the world. It’s an important city, but today it somehow plays second fiddle to its nearby rival Cologne. However, when shown around the Hans Peter Zimmer arts compound, a real sense of unbridled resourcefulness shone through from their connected community. We were introduced to the enchanting, effervescent, gifted composer and ‘prepared’ pianist, Hauschka, currently signed to Fatcat Records. With a private, solo recital in one of the complex’s many gallery spaces, he demonstrated why he is sought after for film and theatre soundtracks, as well as unique concert performances.
Vic Galloway and Michael Rother
Kling Klang studio & Slowboy Gallery Now at a secret countryside location run by sole original member Ralf Hütter, every fan-boy who visits Düsseldorf needs to pay homage to Kraftwerk’s Kling Klang Studio at the original Elektro Müller building. We duly did and... There was nothing to see! Still, I can now say I’ve been there. Far more interesting however was a city tour with local music aficionado Dr Michael Wenzel, and his meticulously planned route complete with an eccentric DJ who played relevant pieces of vinyl at every pit stop. From punk Mecca Ratinger Hof, via the tragic story of Kraut-synth wunderkind Wolfgang Riechmann, to meeting legendary, deceased drummer Klaus Dinger’s wife and local artist Miki Yui at her Slowboy gallery; it was riveting. Yet again, I purchased another sackfull of goodies including an original pressing of La Düsseldorf’s Viva album and the Klaus Dinger Lick my ass if you can book. Salon Des Amateurs – Stefan Schneider & Sven Kacirek Bringing our Düsseldorf experience to an end was a one-off performance from To Rococo Rot’s visionary Stefan Schneider and drummer Sven Kacirek, in the acclaimed arts hub known as the Salon Des Amateurs. Coaxing us through a menacing set of throbbing, improvised electronics the assembled crowd were spellbound in an unassuming venue that has seen Michael Nyman, Mouse on Mars and Kriedler through its doors over the years. The aforementioned Hauschka has even named an album of his after the venue.
Berlin’s DIY scene has flourished over the decades. Venues such as these are crucial in uniting the young punk, queer, techno and even Muslim fringe groups within the city. A boat trip around the canal and river systems of Berlin played host to breakthrough German acts Kid Simius and Claire as we admired the ever-changing architecture and scenery. Kraftwerk 3D Exhibition & Talk and Q&A with Michael Rother, Andreas Dorau & Kurt Dahlcke Leaving Berlin, by way of an astonishing Kraftwerk 3D exhibition of projections currently used in their live show, we soon arrived in Hamburg via train. My inner fan-boy jumped once again, as we were introduced to Neu! and Harmonia guitarist Michael Rother. Approachable, straightforward and down-toearth it was a pleasure to hear him talk about the late 1960s and 1970s, Bowie, Eno and Germany’s curious indifference to ‘Krautrock.’ Has there been a more influential sub-genre of 20th century music? Flanked by the equally significant Kurt Dahlke of the Ata Tak label and Der Plan, and Neue Deutsche Welle prankster Andreas Dorau; an absolutely fascinating afternoon was spent in their company.
Reeperbahn Tour & Dockville Festival No trip to Hamburg is complete without a Beatles tour, stopping at the Kaiserkeller and Star Club sites where the band cut their teeth and learnt their chops. On a short Reeperbahn sightseeing mission to Hamburg’s seedier, edgier music venues such as the infamous Molotow, we were under the wing of hilarious, foul-mouthed, Dear Reader at Badeschiff & Berlin night-life electro-punk, anti-guide Lars Lewerenz. The Undoubtedly one of the world’s major creative metaphorical cherry on the cake of the tour hubs, Berlin is steeped in potent, political hiscame in the form of the Dockville Festival set to tory and an underlying tension between east and the mechanised docklands backdrop of cranes, west. Today its unification has brought with it an oil-tankers and industrial buildings. Combining outpouring of innovation in music, arts and new mainstream acts such as Foals and Woodkid media. Vibrant areas such as Neukölln, Kreuzberg with new talent Vimes and Fenster, as well as our and Friedrichshain are 24-hour party zones with very own Chvrches; it’s the brainchild of artists, low rents and breathtaking club spaces. Clocking instigators and free-thinkers. A fitting end to an up the miles with visits to the Spacehall record inspiring adventure! shop, local label Robosonic, an intimate acoustic As you read this piece, I’m heading back to show from South African Berliner Dear Reader in Hamburg once again for the annual Reeperbahn the converted warehouse Badeschiff and beers in Festival which hosts another selection of homeDas Gift, Barry Burns from Mogwai’s bar, the tone grown and international acts including Anna was set for two evenings of tasty, Turkish food Calvi, Roosevelt, The Strypes, 65 days of Static, and righteous, repetitive beats. Barbarossa, Kraak & Smaak, David Lemaitre, Efterklang and many more. It’s a well organised Kreuzberg Tour & Berlin Boat Trip urban music, arts and trade festival on a par with Pounding the streets of a hip, bohemian city is The Great Escape or a mini SXSW, and even more the only way to get to know it and with a team proof that this powerful, European epicentre is of experts at hand we visited the Festsaal further upping its game in the cultural stakes Kreuzberg, whose bookings look like a who’s who – something we in the UK could learn something of the finest incendiary, independent, DIY music from. Deutschland, ich liebe dich! in recent memory. Tragically scorched in an Vic Galloway presents on BBC Radio Scotland on Mondays, electrical fire this year, they’re raising the money 8.05-10pm, and co-hosts Rapal TV on BBC Alba on Thursdays, 10pm. His book Songs In The Key Of Fife is out to make the space come to life again. Legendary now, published by Polygon SO36 punk club was also on the agenda, and entering its hallowed corridors you understand how www.twitter.com/vicgalloway
TRAVEL
THE SKINNY
Oh Baby, I Just Don’t Care! The world tells us all women are fascinated by babies. What if that’s not true? Words: Miriam Prosser
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Coming Out of the Mental Health Closet A mental health project assistant at LGBT Health and Wellbeing in Edinburgh discusses a new exhibition looking at LGBT mental ill health
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his month, the small animal hospital within the Summerhall complex will be home to a collaborative exhibition, as part of the Scottish Mental Health Arts and Film Festival. It will feature a diverse range of installations and artworks exploring mental health around the festival’s theme, My Reality. LGBT Health and Wellbeing is facilitating a range of pieces which tackle the ways in which LGBT people, in particular, experience mental ill health and the dual discrimination that comes with it. The reality for many LGBT people is that mental ill health is a big issue. Living in a world which stigmatises and discriminates, it’s no real surprise that our mental wellbeing suffers. Since 2003 studies by Stonewall, the Gay and Lesbian Equality Network, the University of Brighton and the Scottish Transgender Alliance show a sobering picture of just what this means. When compared to the general population, LGBT people are three times more likely to experience mental health problems – around 75% of us. Self-harm is eight times more prevalent among LGB people, rising to 20 times more likely than the general population among transgender people. Suicidal behaviour is three times more prevalent among lesbian, gay and bisexual people and over a third of transgender people have taken steps to end their life. Because of the stigma around both mental ill health and LGBT identities, this reality is often invisible. Both subjects can be difficult to talk about, and people are often doubly marginalised and silenced by society – from service providers to family and friends. At the same time, it can be a powerful and positive thing to take ownership of the identities and labels that fit. The exhibition will be an opportunity for both artists and audience to tell their own stories and to bear witness to others’, as well as celebrating the artistic achievements of a wide range of people with experience of mental health issues.
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Drawing from the experience of dozens of LGBT people, one exhibit explicitly explores the ways in which labels are claimed by individuals – or enforced by others. As Sally, one of the artists involved, puts it, the piece examines; “the effects of sometimes passing comments which have left indelible marks on the recipients’ sense of self.” She says; “It has been a privilege to be involved in collecting other people’s labels. It has illustrated to me how carelessly we pass judgement – and just how dangerously those judgements stick.” Many artists will be engaging with their own labels in very personal pieces of work. Designed specifically for the strange and atmospheric setting, these promise to be powerful and moving installations.
“Homosexuality was classified by the World Health Organisation as a mental illness in itself right up until 1992” Sally explains: “I have struggled with mental health problems all my life. I also identify myself as a lesbian. It was a shock for me to realise there was so much stigma around the diagnosis of Borderline Personality Disorder (BPD). Yet it was a diagnosis that made sense to me, a label that fits and I willingly wear; it also gave me access to an effective treatment. My installation tries to give the label of BPD some normalcy and a home. For some of the exhibition I will be present and
Words: Katherine McMahon Illustration: Jamie Jones wearing the label, inviting the audience to engage with the human at the end of it.” Homosexuality was classified by the World Health Organisation as a mental illness in itself right up until 1992. Transgender people still often have to engage with the pathologising formal diagnosis of gender dysphoria to access the support they need. This, added to the ways in which stigma and discrimination impact the mental wellbeing of LGBT people, means that LGBT history is tangled up with the social history of mental health. Elspeth, another LGBT artist, is creating an installation based on the letters of patients of what was the Royal Edinburgh Asylum for the Insane, now the Royal Edinburgh Hospital. She says: “Many patients wrote desperate pleas to be released from their confinement, in letters to their friends and families, but the Board of Lunacy decreed that if the letters were critical of the Asylum or showed signs of the patient’s illness, they should not be sent. There are a thousand unsent letters in the archive. Some of them are heartbreaking: in a letter to the Rev Dr Nesbit, Agnes S said ‘Sir, my father called last Wednesday I made an apology, but he says I am fit for nothing.’” “Reading through the letters and notebooks of patients long gone has been fascinating and deeply touching. These patients’ voices were never heard at the time. Now we are making their presence very visible and audible. Now we are there to listen to them.” If any of these issues affect you and you’d like some support, you can get find LGBT Health and Wellbeing at lgbthealth.org.uk or call LGBT Helpline Scotland on 0300 123 2523 (Tues and Wed, 12-9pm). The Scottish Mental Health Arts and Film Festival runs from 5-20 Oct. Free. There will be opportunities to reflect on your own experiences, interactive exhibits and workshops www.mhfestival.com
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got more interesting when my sister got pregnant. I know this because suddenly, people had questions. They wanted to know about my sister’s choices regarding birth, breast-feeding, and child-rearing; about baby weight and diet and mysterious baby-stuff I don’t have answers to. I’m not a terrible person. I’m not so hideously self-involved that when the conversation turns to babies I just switch my brain off and drool, daydreaming about my dinner. (Actually, I do do that. But not about my sister’s baby, I’m not that much of an asshole!) During Zoe’s pregnancy we became closer than we’ve ever been, and at every step I knew the important stuff: Were they healthy? Were they happy? Was she looking after herself? I made an effort to know these things because they matter to me. If my friend has a baby, that matters to me too. What is important to those you love is important to you, right? But I could not tell you how much my niece weighed when she was born, and if I could, I probably wouldn’t. Because it pisses me off that you expect me to know. I was in no way prepared for the sort of indepth cross examination I would get around the photocopier. I understand that people ask to be polite, that it’s an expression of kindness. I like talking about my family and friends; I could talk to you about my sister until you’re so bored you want to hack off your own foot and beat yourself to death with it. I find her fascinating. I find people in general fascinating. But babies? Not so much. When you have a female body, you are expected to care. If you adopt a position that’s very ‘whevs’ about it all, people start to get weird. The way you are spoken to makes it impossible to just not bother adopting a position on it. My mum has known me for 29 years, and still recently lumped me into the baby-sitting chat when discussing a family holiday. She assumed that I would love to babysit my niece, instead of being horrified by the prospect. Did she assume this of my dad? No, she did not. Is he in fact way more qualified to look after a child than me, having been around for the raising of two already? Yes he is. Does he have a vagina? No. That’s how he gets out of the baby chat. People don’t bother to include him. Me, I couldn’t give less of a stuff, but when pregnancy happens, if you’re a woman, you start to exist in relation to it. There is no opt-out. I am frustrated that because of my body type (you know, boobs and a vagina and whatnot) I will spend my life being expected to adopt some kind of position on babies. People will assume I’m interested. If I say I’m not, it will be a stand that I have taken, rather than just a preference. I gather from reading the Guardian that at some point people are going to want me to explain when I’m going to have babies myself, or why I don’t plan to. Yawn. Why would I have babies? Isn’t it a bit old-fashioned now to start assuming that people are going to do stuff just based on their gender? We all know that women can be doctors and men can be nurses; we’re getting used to the idea that mum can go out to work whilst dad kicks ass at child-rearing. So why are we making any assumptions at all about who is interested in procreation?
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THE ROAMIN’ NOSE IS
1 YEAR OLD! CELEBRATE WITH US...
...EVENTS THROUGHOUT OCTOBER
nor th lanar kshire’s
cultural festival
October 2013
encounters 2013-what will yours be ? Performing & visual arts; author visits & talks; ceramics, crafts & creative workshops; focus on families days; Mushaira; museum events; schools’ programme; Discovery Film Festival… and much more...
Quick... Sign up for a brochure at your local library, or log on to: www.northlanarkshire.gov.uk/encounters.
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14 Eyre Place, Edinburgh EH3 5EP | 0131 629 3135 | www.theroaminnose.com Tuesday – Saturday 10am-10pm | Sunday 10am-8pm | Closed Monday
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THE SKINNY
Scotchtoberfest Do you like cold beer, intrusive music, and funny costumes? If you do, get ready for our guide to experiencing the best of Oktoberfest right here in Scotland
Words: Peter Simpson Illustration: Maisie Shearring
Around the World in 20 Drinks: Canada Canada is the latest stop on our global booze tour, where everything is frozen and the beer has bits of Christmas tree in it Words: Peter Simpson
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ummer is long gone, Christmas isn’t for another couple of months, and the weather’s so changeable that it’s really tricky to know what to do with the central heating. You could put it on ‘once a day,’ but then what if it gets cold during the day? ‘Twice’? ‘Twice,’ in October? Hey everyone, check out Moneybags and all his ‘warmth’! Luckily, the Germans have brought a little something with them to help us all get through this difficult time. It’s Oktoberfest! Yeah! WAIT, WHAT IS OKTOBERFEST? Imagine if rehearsals for an all-brass production of the Brothers Grimm crashed into a beer garden – that’s Oktoberfest. Every year at the start of October, Bavaria becomes overrun with Lederhosen-wearing booze enthusiasts spreading the good word about beer. The Munich Oktoberfest draws around 6.4 million visitors every year to wallow in the brassy, hoppy, pretzely vibe in a huge mini-city comprised entirely of temporary pubs and places to buy slightly distressing German sausages. It’s lovely. COOL STORY BRO, BUT I LIVE IN SCOTLAND. Alright ‘bro,’ stay chill. The good news is you can experience Oktoberfest in this very Scotland. An enormous blue and white tent filled with beer and weird, ‘traditional’ music is on the way, making its first stop in Edinburgh. Princes Street Gardens will become a temporary German
October 2013
outpost from 9 to 13 October, bringing a little bit of Bavarian style to the Capital. Things then move to Glasgow for the next few weekends, with Glasgow Green experiencing the kind of debauchery not seen since… well, since the Stone Roses in June. Bad example. SO WHAT CAN I EXPECT? Well, the aforementioned drinking – it’s all enormous steins filled with a special Oktoberfest beer which the organisers “bring over in a very big truck.” There is also room in said truck for pretzels the size of your face, along with a range of Lederhosen for you to rent if you really want to get into the swing of things. HANG ON. DID YOU SAY ‘YOU CAN RENT LEDERHOSEN’? Yes. Yes we did. A whole array of dungaree-type leather garments are on the cards, so if you love the Sound of Music or are the kind of person who is fond of overcommitting to a night out, you’re in good company. CRIKEY. THESE GUYS AREN’T MUCKING AROUND. Indeed they aren’t. Not to be outdone, some of Scotland’s regular beer lovers are getting in on the Oktoberfest. Glasgow’s own WEST Brewery, presumably a bit miffed at making their own German beer all year only to find a tent filled with German beer turn up across the park, are
continuing their annual Oktoberfest nights. Fridays in October will see the civilised side of Oktoberfest revealed. No sitting in a tent here, just plenty of brilliant beer, and a band called Brasswurst. You read right, Brasswurst. BADUM-TSH Hey, don’t drum roll at the messenger. If that doesn’t appeal, why not try Glasgow Beer Club’s Scotoberfest. Again, we don’t come up with the names. These guys are taking over Pollokshaws Burgh Hall for a night to bring the German love of drinking and abrasive tubas to the people of the Southside, and they’ll even give you a souvenir glass to take home with you, which is nice of them.
Canada, you something-something land. Like the USA but with cheaper hospitals and policemen in delightful red uniforms, the Canadians have a lot of interesting methods to teach us about when it comes to booze. Methods such as ‘just let that freeze over, it’ll be fine.’ Icewine comes from vines that have frozen while they’re still growing, and is a concentrated and intense blast of grapey goodness that sounds like it should be similar to Buckfast but really isn’t. An icewine from Ontario hit the headlines when it went on sale in 2006 – for £18,000 a bottle. It’s not like Buckfast. Ice cider follows the same principle – let your apples freeze in the harsh Canadian winter, then make them into a complex and full-bodied cider to help you through said winter. Good work with those elements, Canada, but the story of the Newfoundland Screech makes us wonder whether you’ve been spending a bit too long out in the cold. The Screech, named after the horrendous noise made by an American soldier when he first tried it during the war, is a specially-selected blend of Jamaican rums. So far so cultural, but then there’s the Screech-In. It’s a ceremony involving a shot or two of rum, a large frozen cod, some semi-formal paperwork and a man standing in a pub in a fisherman’s overcoat. Trust us, we have not made any of this up. Still, all that time in a winter wonderland has resulted in one of the best innovations we’ve seen in this series making beer out of Christmas trees. While we can’t give Canada full credit for Spruce Beer – the Vikings were making it back in the day, and they’re sticklers for attribution – Canadians have refined and honed the formula over time. There are alcoholic versions, there are soft versions that taste like a root beer bumped into a hedge, it can easily be brewed up at home, and it reminds everyone of the joys of Christmas. That is to say drinking, and keeping trees in your home. Good job, Canada!
SO BASICALLY, THIS IS ALL JUST… DRINKING. Yes. Drinking special, interesting beers, eating incredibly ill-advised food, wearing ridiculous outfits and trying not to be deafened by music blaring in your ear. It’s a night out, but it’s totally cultural. You’re convinced, we can tell. Now let’s find out where they keep those funny German hats... edinburgh-oktoberfest.co.uk glasgow-oktoberfest.co.uk westbeer.com glasgowbeerclub.org
FOOD AND DRINK
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Phagomania: The Food, The Bad and The Ugly We’ve all taken (and tweeted) a picture of a good meal, but one blog is dedicated to the art of the bad food photo. We take a trip back to the past to find out why there was so much jelly going around Words: Lewis MacDonald
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ime to point and laugh at the past, as in Kim Webb of San Antonio, Texas, this column has found a kindred spirit. Collecting various old cookbooks and recipe cards, her Bad and Ugly of Retro Food blog has been showcasing the wonders of both awful photography and questionable food palettes of the 60s and 70s to the world. Set up by Kim to counter the current engrossment with perfectly and tastefully shot food photography, detracting from what the food should really be about – eating. And the internet agreed, it seemed. Kim didn’t expect the level of popularity the site reached. “If someone told me it has the potential to reach over 100K views when I first started,” she explains, “ I wouldn’t have believed it.” What we don’t believe is the amount of mayonnaise and cold, leftover vegetables we used to go through. Even lobster. Lobster? Smother it in mayonnaise. Rack of lamb? Cake it in jelly and serve it with some boiled eggs. In the world of bad food photography there’s nothing a sprig of parsley, mayonnaise and soft lighting won’t sort out, a motto that seems to have escaped us over the years. So why do the photos strike a chord? Kim thinks she knows why: “I think it triggers nostalgia in a lot of people. There are those who remember eating it, cooking it, smelling it, etc. “For the younger people, it’s a morbid fascination that food wasn’t always beautiful and perfectly packaged. Who nowadays can imagine slicing into a jellied tongue or eating bologna with a cherry glaze sauce?” Indeed. You won’t find trending, Instagrammed jellied tongue on your ‘15 minute recipe from celebrity chef du jour’ app, but today’s image filters might have made a big difference to the pictures. Kim says: “With today’s skills and equipment, the same gelatin mold from 1971 could possibly look edible. There wasn’t as much doctoring of the photographs. What I saw in those cookbooks is probably what it would look like if I tried to cook it.” It is that honesty that makes us even more glad we are not subjecting ourselves to these culinary monstrosities. But really, look at that radish garnish. If you do try that next time they’re to hand, be sure to take a photo. www.badanduglyofretrofood.com
Food News Food news goes large this month, with lots of beers, lots and lots of chili, two villages, a ‘supertheatre’, and everyone’s favourite foodbased readers’ survey Words: Peter Simpson
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his month’s food news is all about big events. Big, we say! Big! Right, now that’s been made clear, let’s get started with a chili-making competition. Yes, it’s the now-annual Chili CookOff organised by Lupe Pintos. The West End of Glasgow is set to be transformed into a spicy, coriander-packed battleground as the likes of Stravaigin and defending champs The Left Bank are joined by relative newcomers such as The Squid and Whale and Little Urban Achievers Club in a fight to see who can do chili the best. And it will be a fight, as this is serious business as evidenced by the big crowds and men dressed as animals. Serious business. 19 Oct, tickets from Lupe Pintos, 313 Great Western Rd, £10 From competitive cooking to beer. Not just one beer though, a whole load of beers, courtesy of Stewart Brewing. The Stewart chaps have
teamed up with Midlothian Science Festival to let you non-brewing luddites see where the magic happens at their new brewery, followed by tastings from their award-winning and bloody lovely beers. You’ll marvel at big tanks filled with brown ooze, have a few drinks, and maybe even learn something. And that’s big. 10 Oct, tickets free but limited, midlothiansciencefestival.com for more info Okay, time to ramp up the bigness. What we need is a food event with its own village. Wait a minute, we have one of those! Yes, it’s the corporate culinary monolith that is the BBC Good Food Show, racing beyond parody at such pace that you’ll just hurt yourself trying to slow it down. So go on, enjoy the Great British Bake-Off Village, an area of the otherwise barren and disgusting SECC devoted to the lovely act of baking. It’s got
FOOD AND DRINK
those people off that baking programme, the pair who aren’t Mel and Sue. When you tire of that you can head on over to the ‘Supertheatre’ for such ‘super’ events as a chef’s demonstration by one of the Hairy Bikers. Yep. 18-20 Oct, Glasgow SECC, tickets from £18 Finally, in this month of big important events, it’s The Skinny Food and Drink Survey. Go to tinyurl.com/foodsurveyscotland and cast your votes for your favourite places to eat, drink and be merry. Where should we be getting our coffee? Which is the best craft beer? We need to know, and we need you to tell us. Get voting, as this is a big deal. Bigger than a cooking guide from one half of an incredibly annoying television double act? We’d say so. tinyurl.com/foodsurveyscotland
THE SKINNY
Want something to get your teeth into? Vote in The Skinny Food and Drink Survey 2014 Closes 24 Nov 2013 tinyurl.com/ foodsurveyscotland @theskinnymag /TheSkinnyMag
I N D E P E N D E N T
C U LT U R A L
J O U R N A L I S M
Illustration: Caroline Dowsett
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
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www.therosehipedinburgh.com WANNABURGER, 7/8 QUEENSFERRY STREET, EDINBURGH EH2 4PA
October 2013
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Gig Highlights
Words: Illya Kuryakin
Warpaint
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s October begins and Halloween beckons, you’ve got two choices – stay at home for the whole month carving pumpkins and readying your costume sewn from the skins of your vanquished foes, or get out there into the land of the living and see some incredible bands. And what an awesome selection we have to share with you this month, kicking off with Daniel Lopatin, aka Oneohtrix Point Never, who plays Glasgow’s CCA on 1 Oct. We interviewed Lopatin last month, and he explained how his new album R Plus 7 offers an alternative to all this overly-maudlin electronica currently so in vogue – in any case, it’s by far his most accessible (and even danceable) work to date. Seek him out. Hot on Lopatin’s heels is the diminutive but gravel-voiced King Krule, touring his debut album 6 Feet Beneath The Moon. His contributions were one of the many highlights of the recent Mount Kimbie album, but for a true taste of the blues-riffing, complex electro-soul of his solo work, you need to check him out at Broadcast, Glasgow, on 4 Oct. Also playing that night over at the CCA are local lads Casual Sex – with their unusual mix of indie, punk, pop and electronics, these guys are veteran party-starters, so it’ll be a tough call choosing which gig to go for. Over in Edinburgh on 5 Oct at the Citrus Club, there’s a very special one-off event – Cry
of the Cave People sees bands Isaac Brutal and the Trailer Trash Express, Norman Lamont and Fiona J Thom, Artisan, and Hookers for Jesus exploring the back catalogue of Nick Cave and reinterpreting it in various weird and wonderful ways, alongside some spoken word takes on his ouevre from hosts Andrew C. Ferguson and Andrew J. Wilson of Writers’ Bloc, and Ali Maloney, aka Harlequinade, one of the brains behind the popular Anatomy events at Summerhall. Cave’s back catalogue is monolithic in size and incredibly storied – it will be interesting to see how this motley crew of local heroes reimagines it. Cave himself plays the Usher Hall on 1 Nov, but it’s sold out, so if you missed the chance to get in on that action, this is a great alternative. On 8 Oct, No Age come to town, playing Glasgow’s Stereo. The LA-based, Sub Pop-signed duo have been on the go since 2005, trading in shredded punk riffs and textured noise backed with lithe, angular drumming. It’s a strippeddown sound that has evolved to near perfection on latest album An Object – catch the full force of this two-man hurricane or regret a missed opportunity. 12 Oct sees psychedelic indie-electro veterans MGMT playing the O2 ABC in Glasgow, and although their latest self-titled album has had some lukewarm reviews, they are always
an entertaining proposition in the live arena. Alternatively, trust The Skinny to sort you out for the evening as we host our own night as part of the Pleasance Sessions, with Rick Redbeard, Young Fathers affiliate LAW, the mellifluous Honeyblood and Siobhan Wilson all joining us for a shindig at The Pleasance in Edinburgh. You can win tickets for this very special gig, see our competitions page (p.62) for details. On 14 Oct, those who prefer their hip-hop with a dose of wryly-observed comedy would do well to check out Dan Le Sac and Scroobius Pip at Edinburgh’s Sneaky Pete’s. Although widely known as something of a novelty rapper, Scroobius is a lyricist of fearsome talent, as evidenced by his dalliance with Sage Francis’ Strange Famous label. RUNGS are an intriguing proposition – formed by members of Take A Worm For A Walk Week, Project Venhell and Lapsus Linguae – we described their charmingly-named debut EP I Don’t Wanna Hug, I Just Wanna Cum! as “a quartet of perverted mini-nightmares, complete with barbed guitar riffs and manic, nonsensical patter.” Probably the strangest thing you’ll see this month, and all the better for it – catch them at the 13th Note in Glasgow on 16 Oct. Travis Stewart aka Machinedrum brings his latest, Ninja Tune-released album Vapor City, the
Photo: Sol Nicol
October’s gig highlights in Scotland, with the return of The Vaselines at Eastern Promise, Oneohtrix Point Never, King Krule, Rick Redbeard, Russian Circles, Warpaint, No Age, plus a very special (and strange) tribute to Nick Cave
follow-up to 2011’s visceral Room(s) on Planet Mu, to Sneaky Pete’s on 17 Oct – with a long pedigree as a live electronic performer, the man behind Sepalcure trades in a staggeringly diverse spectrum that takes in techno, bass music and noise. So basically, expect the unexpected. In Glasgow on the same night, These New Puritans take to the Òran Mór – we spoke to the band this month about latest album Field Of Reeds (p.12), which saw them exploring quieter, more nuanced realms, attracting praise from none other than Sir Elton for their sublime songwriting. Russian Circles are Chicago’s finest instrumental metal band, trading in muscular, mercurial post-rock on new album Memorial, with some help from guest singer Chelsea Wolfe. They are sure to fill the cavernous warehouse space of SWG3 with their expansive, star-travelling riffage on 26 Oct, so make sure you get your ticket in advance. On 28 Oct, witness the majesty of Warpaint – this psychedelic all-female fourpiece warrant comparisons with everyone to Siouxsie and the Banshees to the Cocteau Twins, bringing in influences from post-punk, dance and psych-rock with jaw-dropping vocal harmonies and challenging, complex lyrics. They play the O2 ABC – expect fireworks.
Do Not Miss Eastern Promise
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ulti-discipline arts centre Platform is one of Glasgow’s most exciting venues. Situated in the magnificent Bridge building, it plays host to gallery shows, installations, dance workshops and even touring productions from Scottish Opera. Once a year, they go all-out with not one but two special gigs showcasing some of the best music Scotland has to offer, and this year’s Eastern Promise looks like no exception to that rule of quality. Heading up the bill on Friday is early Fence lynchpin and influential musical traveller James Yorkston, with support from folk rockers Trembling Bells with Mike Heron of the Incredible String Band, Alasdair Roberts, James Blackshaw and Jozef Van Wissem.
October 2013
The following night, the headliners are Kurt Cobain’s favourite Scottish band, The Vaselines, rightfully looked up to by all and sundry as one of the templates for Scotland’s thriving indie rock community. In support, Phantom Band frontman Rick Redbeard does his solo thing, live-looping troubadour and firm Skinny favourite Adam Stafford showcases songs from Imaginary Walls Collapse, and experimental synth-pop troupe Grumbling Fur add some electronic texture, alongside experimental pop chanteuse and rising star of the Glasgow scene Ela Orleans. It’s a hell of a bill, and for £15, you can experience both nights. See Listings for times and prices
The Vaselines
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Preview
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Photo: Sarah Roberts
Platform, 4&5 Oct
Music Language Festival, 7 Sep
St Vincent
David Byrne & St. Vincent
Glasgow Royal Concert Hall, 29 Aug
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The suit’s closer fitting and his hair’s long silvered over, but otherwise the David Byrne standing on the Concert Hall’s stage tonight is recognisably the same odd-edged entertainer captured in Stop Making Sense. To his left, Annie Clark aka St. Vincent rocks her own lightened barnet and the two artists – along with their 8-piece brass section – shimmy through their set locked together in a loose choreography. After almost a full year touring their collaborative LP Love This Giant, it’s clear that the duo is very much in sync. At times, the band’s co-ordinated movements resemble penny-in-the-slot mechanicals, a toy-box aura accentuated by Clark’s sugar plum fairy tiptoeing. At other times, the mood is looser and carnivalesque, as the brass parade with theatrical (but nevertheless genuine) joy. The latter is most keenly felt during a jubilant Wild Wild Life – one of four Talking Heads songs peppering the set. A more extensive revisit to Byrne’s former band would, of course, have been welcomed with open arms, but imposing a limit makes sense, ensuring the thrill of hearing the likes of This Must
Tim Hecker / Pete Swanson The Old Fruitmarket, 20 Sep
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The Old Fruitmarket is a wonderful venue, and it is relatively rare to get to watch avant garde or experimental electronic music in such a cavernous and beautiful setting in Scotland, which makes tonight’s concert all the more special. As Pete Swanson takes the stage, the lights are lowered, and the Yellow Swans alumnus proceeds to fill the dark and echoing space with thundering industrial techno drums, punishing escarpments of evolving, mutating white noise and static, and the occasional, merciful digression into more melodic, acid-drenched four-four bass. That the thundering acid basslines are a respite is telling – too much of Swanson’s music corners itself in susurrant, atonal treble and static, and although the results are undeniably powerful, they are also painful. Not to everyone’s taste, then, but Swanson’s uncompromising performance is undeniably effective.
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Review
Be the Place doesn’t overshadow the other riches on offer – ranging from later Byrne cuts (including a stunning Strange Overtones) to the solo work of his esteemed colleague. It takes rare talent and personality to stand beside someone of Byrne’s stature and command equal share of the spotlight, but the uneclipsable Clark proves fully capable. Her comparatively young back catalogue is visited just as often as Byrne’s and produces its share of highlights – Cheerleader, for instance, has never sounded grander, while Marrow bristles with tension. But it’s Love This Giant that naturally sits central to tonight’s performance – not only because it supplies a large chunk of the setlist, but because all the other diversely-sourced songs have been retrofitted to its horn-led aesthetic, making thirty years of art-pop ventures sit together neatly. From the opening Who (showcasing Clark’s vocal talents) to the daft delights of I Am An Ape (in which we get a welcome taste of Byrne’s nifty footwork), the material sounds more vibrant than on record and begs for a sequel – not only to see where their twinned muses venture next, but so that we have another opportunity to take in their superlative live show. [Chris Buckle]
Photo: Daniel Harris
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Reminders of Glasgow’s fading industrial heritage are not hard to find. Disused warehouses are plentiful in this city, which is handy if – like the people at Winning Sperm Party – you are in the business of promoting free shows as part of the Music Language Festival. One decrepit structure in particular has proved popular as a makeshift venue. Lying somewhere between Dumbarton Road in Partick and the Clydeside Expressway, it offers excellent acoustics. When American drone-core masters Francis Harold and Holograms played here in 2011 the voulme was so loud it could be heard on the other side of the river. Charitably billed by event organisers as the ‘Old Partick Warehouse’, it’s hard to imagine a venue that could more horrify members of the health and safety executive. The roof leaks, the supporting walls have seen better days and those expecting such luxuries as a toilet are advised to look elsewhere. But the 50 or so punters that have congregated here on a Saturday afternoon don’t seem arsed about such trifling issues. There’s not many venues in which you can cycle straight in, dismount and immediately crack open a sizable carryout. Opening the show are Orzelda, the creative vehicle of former Twilight Sad bass man Craig Orzel. He’s recruited a band which includes members of various other Glasgow outfits, and
the resulting sound is a lot denser than the lo-fi pop found on his 2008 LP Wee Shop Is Filled With Delights. Nonetheless his short set is well-received and the band’s energy suggests that we can expect more shows soon. Pollokshields flatmates The Yawns have stepped up their gigging in recently in advance of the release of their second album, and are about to embark on an extensive, self-organised European tour that proves that a lack of budget is no barrier to a band with ambition. Frontman Sean Armstrong remains motionless throughout their set, resolutely staring at the ground, with his hands firmly clasped in his pockets, when not singing. When he does step up to the mic his vocals are what lifts The Yawns’ sound. Their songs tread the line between murky and melodic, and are laced with some strong melancholy. Summer’s Wasted sounds particular poignant today, given that it’s a chilly September afternoon and we’ve reached the fag-end of what has been a memorably warm season. As the wind rattles through the warehouse, reminding us that we’re standing in a building far past the point of being condemned, up steps noise rock duo Spinning Coin to conclude proceedings. Guitarist Rob Alexander powers through a raw set of steel-shredding riffs that sounds that bit more intense thanks to the cavernous surroundings. Some of the music’s nuances are lost due to the limited PA system, but it’s a price worth paying to perform in what must count as one of Glasgow’s most unique venues. [Chris McCall] winningspermparty.com
lovethisgiant.com Fuck Buttons
By contrast, Tim Hecker’s slowly coalescing, gently undulating washes of piano, synth and carefully-glitched electronic patterns feel like slipping into a warm bath. At times seeming to nod to more traditionally compositional, even classical forms of music, and at times resting comfortably on a bed of ambient electronic depth and texture, it is somewhat meandering, although dips and gaps between movements do allow for a more nuanced appreciation of each track’s intention. Unlike Swanson’s performance, Hecker’s set is easy to glide through, almost imperceptible because it is so welcoming and lush. In starker surroundings, or at home, it could be background music. But in the echoing hall, it takes on an ethereal beauty, one of much deeper, more complex tonal shifts than Swanson’s stark, brutal assault. As the candles on stage wink out, walking out of the venue is like waking from a dream. [Bram E. Gieben] www.sunblind.net
Fuck Buttons / The Haxan Cloak SWG3, 10 Sep
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SWG3 is packed to the gunnels. Having played here with Liars, The Haxan Cloak is tuned in to the system and the space. His live set, performed on analogue gear, has been honed over months on the road. Where before, he focused on the crepuscular, largely beatless atmospherics of his stately, slowly coalescing compositions, tonight he brings brooding slabs of electro, dubstep and techno drum patterns into the mix. The precision he achieves on tracks like Consumed and The Mirroring is astonishing – individual bass frequencies can be felt in the bones, seeming to emanate from the walls and the floor, leavened with echoing, sampled strings. There is a rich, organic feel to his music, underpinned with brutal industrial noise as blue laser lights sweep the crowd like scanner beams. His performance is jaw-dropping in its intensity, majestic in its scale, building to two successive
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peaks of focused, transcendental white noise. Fuck Buttons, in contrast, lose a little of their dynamic range live, eschewing depth and texture for punishing, ear-damaging walls of static noise and thundering industrial drums. Their performance is in many ways incendiary – facing each other across a table of analogue gear, they push and push, screaming into pedal-effectdrenched mics, pounding on MPC pads and building towering edifices of brutalist techno. However, even when the more meditative passages of Slow Focus are brought out to play, the shuddering intensity of layered sound obscures all beauty and complexity in their music. They sacrifice detail in favour of all-out sonic assault, and suffer by comparison to The Haxan Cloak’s considered, precision-tooled electronic explorations. The crowd leaves satisfied, but it is The Haxan Cloak’s performance which creates an indelible impression. [Bram E. Gieben] fuckbuttons.com
THE SKINNY
Photo: Daniel Harris
Spinning Coin / The Yawns / Orzelda
Under the Influence: Steve Mason From Fab Five Freddy to Morricone, Steve Mason digs out the inspirational film scores that soundtrack his breakfast time 1. Various Wild Style Original Soundtrack (1983) Until 1998 you just could not get this. It didn’t exist, certainly in the UK. The film came out in 1983 and was required viewing for all us aspiring b-boys and hip-hop lovers in Scotland. The film and soundtrack gives you a snapshot into a time in NYC and The Bronx when hip-hop was in full flow and still a beautiful, pure way of life for the people involved. It’s a cross between a documentary and a fictional story, crammed full of the main protagonists and originators of the day: Fab 5 Freddy, Lee Quiñones, Busy Bee, Cold Crush Brothers, Dondi, Rammellzee and Grand Wizzard Theodore to name a handful. The album has many film clips in it – which have since been sampled all over the place from Nas to the Beastie Boys – and at least six live MC battles from 1982/83 which are well recorded and just amazing to hear. The incidental music is by Fab 5 Freddy and a collection of musos such as Blondie’s Chris Stein. This is more than an album, it’s a living document of a time when the youth of the projects in New York rejected violence and embraced art. It's an amazing thing. 2. Alan Price O Lucky Man! (1973) Composed by Alan Price (from The Animals and Alan Price Set), this is the soundtrack to a very surreal film starring Malcolm McDowell. This would stand up as a solo album in its own right, it’s full of really good simple songs played in a gentle way with just a few instruments. The track Sell, Sell, Sell is actually pretty funky and Alan Price has such a great voice, possibly my favourite of the 10 tracks. I highly recommend this as an album in itself, even if the film confuses you. Which it will. 3. Michel Legrand Le Mans (1971) Michel Legrand composed this soundtrack to one of my favourite films, I love the sound editing and pace of it. I don’t think anyone says a word for the first 30 minutes. This maybe is not an album you would just bung on like O Lucky Man!, it’s more of an experience you should give some time to. Plenty of dialogue clips from the film; I love it when they put those on the soundtrack, which helps paint the picture of the build up to the race and everything that unfolds during it. 4. John Williams Jaws: Original Soundtrack (1975) Might seem an obvious choice but forget about the ‘duh duh duh duh’ signature riff and concentrate on the incidental music. John Williams is a master film composer and possibly my favourite. Yes, he has done loads and loads of massive films, he certainly can’t be considered left-field but the builds, melodies and repeating themes in all his scores are so beautifully put together. One Barrel Chase is a great piece from this album. It’s from the part when they attach a barrel to the shark and it’s full of hope, excitement and a kind of innocence before the tide turns against them. The glaring omission from this soundtrack is no film clips. Can you believe that?! One of the best Hollywood scripts ever and it doesn’t make the soundtrack. I would love to re-release a deluxe double Jaws soundtrack
October 2013
Photography: Eoin Carey
album with all the best dialogue clips. ‘Here’s to swimming with bow legged women.' 5. Louis and Bebe Barron Forbidden Planet (1954) I don’t know if this got a release as a soundtrack at the time, but I hope so. It’s absolutely mental, widely regarded as the first ever electronic film soundtrack. Electronic instruments did not really exist as we know them now in 1954 and these two voyagers had to build their own circuits which were bespoke for the Forbidden Planet soundtrack. So the film has a totally unique sound, quite literally, because the cybernetic circuits were built for this purpose only. It’s not an easy listen, however – no soaring melodies and impassioned refrains, just quite disturbing blankets of electronic terror! There are gentle pieces, one of my favorites is Giant Footprints in the Sand, which, if you have seen the film, is pretty scary and descriptive. Overall, a strange record but one you should hear at least once. 6. Bob Dylan Pat Garrett & Billy The Kid (1973) Composed by Dylan, this soundtrack has an impressive roll call of talent, including Booker T, Jim Keltner and Roger McGuinn. It works really well as an album even if you haven’t seen the film, which Dylan himself is in. The main title has a great dusty horse kind of feel but my favourite track is Billy 1, with a great sad and passionate vocal from Dylan. Turkey Chase is so evocative as well, has that Wild West feel down just right. Knockin’ on Heaven’s Door is the centrepiece but I always think that song has been ruined by Guns N Roses, right up until you hear Dylan’s vocal come in. Amazing track from a very good album and soundtrack. 7. John Carpenter Assault on Precinct 13 (1976) Another of my favourite film composers who does the music for his own films, John Carpenter. Written and performed entirely by Carpenter himself, this is bleak stuff. The recurring main theme is an epic riff played on some kind of modular synth and it’s just relentless. This was my album of choice for breakfast for about a year and I never got sick of it despite the fact its just like one long track. Needs to be experienced! 8. Jack Nitzsche One Flew Over the Cuckoo’s Nest (1975) Side two of this beautiful and spooky soundtrack is the best side two of any LP ever made and a classic breakfast album. Composed by Jack Nitzsche who really needs no introduction, and if he does, Google the mutha. I love the inclusion of the musical saw in this soundtrack, such an amazing sound, so strange sad and beautiful, especially on the track Act of Love and the Opening Theme. Really wonderful piece of work. 9. John Carpenter and Alan Howarth Escape from New York (1981) More from the bleak vision of Carpenter. This is a much easier listen than Precinct 13 and has a much broader spectrum of sounds and melodies. I would say it does work as an album in
its own right, but only just! My memories of this film are renting VHS tapes from the Video Glen in St.Andrews and watching it round at friends’ houses. It seemed really dangerous and subversive at the time and I can still remember the smell of that shop and the tapes themselves. The soundtrack for me is interwoven with all these emotions and memories. 10. Ennio Morricone Once Upon A Time in the West (1968) Ennio Morricone is a man with many fine moments under his belt but this, for me, is his finest work. A more evocative, sad, lonely,
RECORDS
angry epic and beautiful soundtrack has never been made. Indeed, it has sold 10 million copies worldwide. Many people instantly recognise the Man With A Harmonica and the searing guitar in A Dimly Lit Room but the wide expanse of the main theme is incredible. The female vocal grasping at so many emotions, hope and loss at the same time. Not easy to do. Morricone was one of the greatest film composers, along with John Barry, John Williams and Jack Nitzsche, and this is his finest work. Steve Mason plays Edinburgh Liquid Room on 26 Oct and Glasgow O2 ABC on 27 Oct stevemasontheartist.com
Feature
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Album of the Month
Future of the Left
How to Stop Your Brain in an Accident [Prescriptions, 21 Oct]
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“The music industry is lying to you” preaches Andy Falkous on serrated satire Singing of the Bonesaws, chiding listeners for “[confusing] excitement with the fear of missing out” before venturing down some dark recesses involving Kim Kardashian, a masked bear and self-inflicted ocular mutilation. It’s one of several tracks on Future of the Left’s fourth album to provoke nervy laughs, with Falkous again proving a peerless lyricist: incisive, articulate and pulling no punches as he eviscerates targets from Christmas to record labels. On the latter note, the PledgeMusic-financed How to Stop Your Brain in an Accident is
a paragon example of crowd-funding done well: rawer, heavier and angrier than ever, it distils the band’s abrasive appeal, and as such should leave no pledger disappointed. Tracks like French Lessons advance the quartet’s less-frequently celebrated (but also rewarding) capacity for restraint, with Falkous’s barbed sneer replaced with a precarious melodic croon (though with the opening line “they say the price of love is a black hole,” its curbed aggression shouldn’t be mistaken for softness). From the growling bass of Bread, Cheese, Bow and Arrow to the unhinged howls of Why Aren’t I Going to Hell?, it’s possibly their best work yet – so whatever Falkous says, don’t go missing out. [Chris Buckle] Playing Glasgow Broadcast on 2 Nov futureoftheleft.net
Quasi
The Grand Gestures
Islands
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Mole City [Domino, 30 Sep] In an era where bands struggle to get two records out before falling foul of industry fashions, cash flows or personality defects, the twenty years or so Sam Coomes and Janet Weiss have been jamming out alternative-minded, wig-out grunge must count as some kind of triumph. Back to the founding duo after the departure of bassist Joanna Bolme, Mole City ’s 24 tracks of fuzzy bass, hammered keys, and slacker vocals catch the twosome in no mood for slowing down. See You On Mars and The Dying Man put the keys front and centre, resulting in a neat kind of cabaret scuzz – like a noisier Ben Folds Five. The number of tracks, Coomes’ workaday voice, and a sound so slack it’s barely in time, make the album a difficult proposition at first and some of the jams – Dust of the Sun and Head Shrinker to name two – will be a bridge too far. But Mole City is nothing if not interesting, and at the end of the day you just gotta dig it. [PJ Meiklem] www.theequasi.com
Second [Chute Records, 7 Oct] For his second collection as The Grand Gestures, Spare Snare’s Jan Burnett invites faces old and new to supply vocals for diverse compositions. Returning figures include Jill O’Sullivan – responsible for the last album’s standout Deer in a Cross Hair, and again opening proceedings with a deliciously moody offering – and Sanjeev Kohli, who injects a waggish irreverence in the form of grotesque spoken-word piece The Spree of Brian May (as in killing, not shopping). Elsewhere, first-time Gesturers include RM Hubbert (soulsearching over industrial electro-pop on Regret Is a Dish Best Served Cold) and Pauline Alexander (a serene presence on A Whisper of Sayonara), both helping distinguish Second from its predecessor. But while it’s the guests who are name-checked on the sleeve, it’s Burnett who warrants the most acknowledgement and praise, for taking a motely grab bag of sounds and contributors and crafting something genuinely fresh and – somewhat against the odds – cohesive. [Chris Buckle]
Ski Mask [Manqué, 28 Oct] Canadian indie outfit Islands have impressive heritage. Frontman Nick Thorburn was lead singer with the Unicorns, a blistering jewel in the famed early 2000s Montreal scene that released three stunning albums in two years. Thorburn’s work since then has been consistently pleasant, without ever managing to generate the same levels of excitement as what went before. The trend continues on album number five Ski Mask. A few of the tracks on here (the Spoon-like opener Wave Forms, lyrically intelligent Becoming the Gunship and harmonic, sunny Here, Here in particular) have choruses that will lodge themselves in your psyche for hours, but they’re sadly in the minority. Too much of the record is MOR fodder – the decidedly dull Of Corpse and the awful, Arctic Monkeys-aping Nil spring to mind – laden with forgettable melodies and banal arrangements. It all makes for an album that flatters to deceive on occasion, but which on the whole is par for the course. [Finbarr Bermingham] islandsareforever.com
www.thegrandgestures.com
Black Hearted Brother
Stars Are Our Home [Sonic Cathedral, 21 Oct]
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While Black Hearted Brother can’t quite be called a supergroup, the trio’s personnel nonetheless possess an impressive pedigree between them: Slowdive’s Neil Halstead, Seefeel’s Mark Van Hoen, and Coley Park’s Nick Holton comprise a trio with a wealth of experience in shoegaze, post-rock and ambient electronica between them. It’s Halstead’s influence that initially feels most pronounced, as the opening title track unwinds through an epic space-rock jam, anchored by an irresistibly dramatic chord progression. Following that compelling beginning Stars does begin to fragment somewhat, as each member is given licence to explore their own avenues: Time in the Machine’s woozy violins and wobbly bass, for example, recall Holton’s other work; while the tentative, stripped-back electronica of I’m Back echoes Van Hoen’s solo projects. When the LP’s elements gel, however – as on the driving electro-shoegaze of My Baby Just Sailed Away – Black Hearted Brother transcend the sum of their parts. [Sam Wiseman]
DJ Rashad
Bailterspace
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Double Cup [Hyperdub, 21 Oct]
Trap, footwork and juke all have the potential to be seen as disposable, relying on chopped-up samples, and beats that go as dumb as they go hard. In the hands of Chicago footwork legend DJ Rashad however, this sampledelic approach becomes a masterful and energised dancefloor assault, where every complex series of kicks and snares, each time-stretched soulful wail, every synth and horn stab is placed with meticulous precision and decisive effect. Featuring collaborations with other scene stars such as Spinn, Taso and bass maestro Addison Groove, Rashad’s fulllength debut is perhaps one of the best starting points for novices in the world of this high-tempo, rapidly evolving subgenre of US dance music. Highlights include the loping, ultra-polished, lurching future R ‘n’ B of Show U, the chopped soul of Only One, the post-modern G-funk of the title track, and the minimal, bleeping gangsterisms of I Don’t Give A Fuck. Another convincing entry in Hyperdub’s celebrated and challenging bass music canon. [Bram E. Gieben]
Trinine [Fire Records, 7 Oct] In their original incarnation, Bailterspace’s tendency towards crushing, voluminous noise saw them frequently compared to Sonic Youth. If the New Zealanders’ recent return from a fourteen-year hiatus has demonstrated anything, however, it’s that their dogged pursuit of lustrous cacophony was worlds away from the intricately refracted light of the NYC luminaries. The seductive mystery of Together sees Alan Parker using subtle guitar lines to pry open spaces between the opaque, coiled-spring drum hits; filled in by his own soft murmurs amidst the creeping fog of John Halvorsen’s woozy bass. Meanwhile, motorik psych daydreams like Films Of You offset the addictively murky riffology that characterises Trinine to make for a record that becomes more intriguing with every listen. Granted, they still feel in thrall to the same thunderous squalls that characterized their 90s work, but whoever looked to reunited bands for personal growth? More of the same, and better for that. [Will Fitzpatrick] www.firerecords.com
www.facebook.com/blackheartedbrother
Monoganon
Your Loyal Subjects
Laurel Halo
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F A M I L Y [Lost Map, 28 Oct] The second album from the Glasgow-based four piece shows as little regard for compartmentalisation as their 2011 debut, Songs To Swim To. A disorientating mesh of angular guitar, off-kilter beats and mood piece confessionals, Family was inspired by a deep personal loss in the life of singer and songwriter John B. McKenna. Its candour may be too much for some, as might its unpredictability: you’ll strain to catch a hold of the drifting Quick Crescent Moon before Best Pals ups both volume and intensity. Stick with it – repeated plays start to sketch in colour and shape. Its more frenetic moments snarl like the best of 90 US college rock but it’s the darker, quieter tracks that slip under the skin and stay there. The chiming Easterhouse has a touch of those similarly adventurous noiseniks from the previous generation, AC Acoustics. Difficult but ultimately rewarding, F A M I L Y is balm for shattered souls. [Gary Kaill] Monoganon's F A M I L Y Gathering takes place at Glasgow CCA on 9 Nov monoganon.com
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Review
Austerity Measures [Self-released, 7 Oct] Led by guitarist and vocalist Doug MacDonald, one-time duo Your Loyal Subjects return 50% larger, using an additional six-string to open out their sound. Their interest in dynamic riffage remains (as does their eye for a striking sleeve design) but otherwise second fulllength Austerity Measures evidences a diffusion in MacDonald’s musical interests, offering considerable variety across its 10 tracks. Arguably, the band’s principal selling points are technical, with MacDonald and cohort Benn Smith equally comfortable whether tackling crisp afro-beat grooves or crunchy metal-tipped fretwork. Behind the kit, meanwhile, Kirsty MacConnell proves similarly versatile, her restless rhythms enlivening standouts like Hypersleep. Less distinguished are MacDonald’s vocals (more than passable in a live context but blighted by limited range on record), while errant quality control means it’s not only genre that varies from one track to the next. Consequently, while Austerity Measures is frequently exhilarating, it falls short of the heights it hints at. [Chris Buckle]
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Chance of Rain [Hyperdub, 28 Oct] It ends as it starts, book-ended by the brief electric piano meanderings of the opening Dr. Echt, and the closing Out. Mini-overture and coda, they house the body of this beguiling second album from the Michigan producer. A blitzkrieg of twitchy, pulsing beats, its lack of clutter gives it space to breathe. With little in the way of melody, bar the near-euphoria of Ainnome, Chance of Rain is dominated by a battery of skittering rhythms. Difficult to buttonhole, it’s mix of frenetic snare, warped atmospherics and spartan soundboard sit somewhere between early Aphex Twin and the spare, astringent stylings of Factory Floor. Crafted with considerably more care than its minimal arrangements might immediately suggest, it’s possessed, crucially, of a cool musicality. Thrillingly, its very minimalism highlights sections of Laurel Halo’s canvas left blank – intentionally, you suspect – and crying out to be filled by the listener. Accept that invitation: Chance of Rain has vision and scope to spare. [Gary Kaill] www.laurelhalo.com
THE SKINNY
Daedelus
of Montreal
The Field
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Drown Out [Anticon, 14 Oct] Inspired by the turbulent emotions that followed the death of his friend and Brainfeeder collaborator Austin Peralta, and the passing of his grandmother, Drown Out is a deeply emotional, complex record, even by Daedelus standards, and he refuses to anchor those emotions lyrically. Voices are used to great effect, whether on the album’s centrepiece, the formal and classically-arranged choral track Tiptoes, featuring his wife Laura, or on the hip-hop flavoured Keep Still, which features a familiar rap hook. There are nods to his back catalogue in the cosmic soul of Perpetually, which recalls the sublime clockwork electronica of Denies The Days Demise. Elsewhere, Daedelus continues to define ‘mercurial’ with his intensely complex take on rhythm, melody and dynamic range. By turns reflective, uplifting and gloriously melancholic, it’s another fantastic album from a genuinely unique producer. [Bram E. Gieben]
Lousy with Sylvianbriar [Polyvinyl, 7 Oct] Prolific glam-funk outfit of Montreal are giving us their twelfth studio album in Lousy With Sylvianbriar, an expectedly whimsical and seductive offering. Like much of the band’s back catalogue, the record mixes a pallette of styles, ranging from an indie quirkiness à la Spinto Band or early OK Go, to the honest vocal harmonies of The Beatles or Elliot Smith circa Figure 8, to a rockier, bass-led sound elsewhere. Triumph of Disintegration boasts a sparky and upbeat backing redolent of Spoon, and the salty cowboy twang of Amphibian Days and Hegira Émigré proves this psychedelic parade is a changeable one, albeit less theatrical than before. Some tracks do suffer for their simplicity, alas; occasionally the album idles where it should jive. But, while very much a far cry from the skits and glitter of earlier work, Lousy... is an analogue, uncluttered experience with a welcome lack of frills. [George Sully]
Cupid’s Head [Kompakt, 30 Sep] Axel Willner’s fourth solo album since 2007’s much-lauded debut From Here We Go Sublime is, typical to form, the same but different, maintaining the artist’s trademark of making small changes to create an altogether different mood. Deeper and darker, Cupid’s Head came out of an intense period of “producer’s block”, and the influence of his less melodic, more repetitious side projects Loops Of Your Heart and Black Fog is evident. Darker doesn’t mean inaccessible, though; the sentimental contemplation of FHWGS, gleaned from its subtle instrumentation, is eschewed for an equally compelling state of suspended hypnotism, pointing at something larger and more futuristic. In fact, it’s when the tiny, tight R'n'B-tinged loops and propelling 4/4 beat which characterise the album release into a claustrophobic acid-techno pulse on the album’s climax, Black Sea, that you truly get the sense of its dystopian core. [Rosie Davies]
DARKSIDE
Misty Conditions
The Pure Conjecture
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Psychic [Other People, 7 Oct] The first full-length outing for Nicolas Jaar and Dave Harrington’s DARKSIDE project opens with Golden Arrow, 11 minutes of arrestingly beautiful ambient electronica, deftly embellished with Harrington’s muted guitar. Jaar’s astonishing ability to seamlessly meld techno, house and jazz within an uncanny, weightless soundworld remains in evidence; but Psychic manages to incorporate elements of prog- and post-rock, reflecting Harrington’s own influences, while still maintaining that characteristic sense of fluidity and cohesion. The spell threatens to break when the guitar takes centre stage, as on the bluesy Paper Trails; Jaar and Harrington instead combine most effectively on languid, cosmic explorations like the closer Metatron, anchored by a dramatic, organ-led chord progression. Throughout, Jaar’s trademarks are in evidence: disorienting fluctuations in BPM, and a deceptively complex sonic tapestry, despite the ever-present sense of space. DARKSIDE’s success in opening up these soundscapes to rock’s outer realms demonstrates the duo’s remarkably intuitive creative bond. [Sam Wiseman]
D’Zzzz [Planet Mu, 7 Oct] Fans of extreme electronic music will be pleased to hear of Henry Collins aka DJ Shitmat’s return, a sonic terrorist who explored the realms of jungle, drum and bass and hardcore with his transgressive productions. Now one half of Misty Conditions with LA producer Richard Wilson, he has entered the realms of trap, bass music and hip-hop, with the thick, sticky film of sonic grime that is Collins’ stock in trade. The beats on D’Zzzz are often simple, with relatively little complexity or variation, but the loops here are killer, and when they hit home, as on the infectiously banging trap of Dusco, on D’mmmm’s hyperactive juke assault, in the loopy boom-bap of Death, or the pitch-dark Dank, they are devastatingly effective. More challenging cuts, like the beatless synth-wash of Drowning, or the scuzzy, static-laden dub techno of Dilute, have less broad appeal, but are just as intriguing. An essential record for Shitmat aficionados and beyond; Collins’ most accessible to date. [Bram E. Gieben]
Islet
Released By The Movement [Shape Records, 7 Oct]
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Musical misfits Islet would like to take you on a journey. The places you pass along the way may well feel familiar – woozy psych, groove-led post-punk, even slight shades of post-rock – but the destination is distinctly fresh, as genres are gleefully scrambled and reconstituted with a keen spirit of adventure. Often sonically murky but never short on ideas, Released by the Movement shares with acts like Deerhoof or Animal Collective a careful equilibrium between experimentation and approachability. Opener Triangulation Station supplies a representative 101 of the Welsh quartet’s outside-the-box interests, starting out as some kind of tropical-tinted, falsetto-sung spiritual and getting only more idiosyncratic as it progresses. At the other end of the scale, Carlos is Islet at their most conventional – though with a sound that touches upon The Cramps, The Rapture and the midnight incantations of a haunted monastery, the epithet is very much relative. [Chris Buckle]
Tim Hecker
The Spook School
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Tim Hecker’s choice of nomenclature for his songs can be incredibly misleading. On Virgins, his undeniably enigmatic but strikingly warm follow-up to the award-winning Ravedeath, 1972, titles like Stigmata I and Amps, Drugs, Harmonium nestle up to Stab Variation. Yet there is nary a Ministry cover nor violent aural assault in sight. Virgins is concise, cogent and considerably less clouded in hypnotic fuzz than Hecker’s previous efforts, as if the Canadian has finally made friends with the edit function. Black Refraction and Radiance positively hover in shimmering equipoise between the beguiling and the beatific, the latter almost conventional with its gentle piano figures and only sporadic ghostly interruptions and disconnects. But the beauty of this album and, by proxy, Hecker’s muse, lies in its sheer incomprehensibility. Whatever theory or reasoning you apply to this is irrelevant; Virgins is a masterful album which appears to exist in a vacuum, merely guided by an invisible, indiscernible hand. [Colm McAuliffe] www.sunblind.net
Russian Circles
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Memorial [Sargent House, 28 Oct]
Born in Northern Ireland but embraced by their adopted home of Glasgow to the tune of a place on the Electric Honey roster, Young Aviators offer strong introductions on debut Self Help. Stow College’s student-run label has a decent ear for commercial prospects, and though stylistic similarities are slight, you wouldn’t discount Young Aviators following past signees (and fellow Irish émigrés) Snow Patrol into the big leagues, with their catchy choruses built to fit larger venues than those they currently inhabit. While their default position is upbeat and bouncy, a couple of more sedate numbers (namely apocalyptic ballad Deathrays in Disneyland and AOR finale Sunset on the Motorway) introduce pleasant contrasts; there’s enough lyrical finesse, meanwhile, to add depth to the evident surface pleasures. Running to just nine tracks (including a semi-reprise) it remains to be seen whether Young Aviators have the legs for the long-haul, but for now they’re flying. [Chris Buckle]
Varied textures and technical proficiency are just about as common as a big chap grunting into a microphone in the modern metal world, but Chicagoans Russian Circles continue to break new ground. Over four previous albums they’ve stretched the boundaries of the genre and moulded it as their own with some breathtaking arrangements and instrumental skill. Memorial adds further weight to their reputation. You’ll again be wondering how the hell the bludgeoning sounds of Deficit could be created by a mere three piece while 1777’s juddering drums and contorted guitar turns the track into a genuine thrill ride. Soft cooing guest vocals from dark ambient chanteuse Chelsea Wolfe shouldn’t belong here at all, but not only do they work, the music adapts around them, and as the title track slinks to a close you could be forgiven for thinking a Mazzy Star number has been popped on by mistake. But that certain je ne sais quoi remains Russian Circles’ overall strength. [Stu Lewis]
Young Aviators support Travis at Edinburgh Picture House on 17 Nov
Playing Glasgow SWG3 on 26 Oct
October 2013
With its electric pink colour scheme and handwritten font, one would be forgiven for approaching Gendres with thoughts of Kavinsky and satin scorpion jackets in mind. If so, you’d be advised to quash such wayward associations, for The Pure Conjecture offer retro pleasures of a very different fashion. This is sophisticated, soulful night music in which lush production and bandleader Matt Eaton’s measured croon evoke everyone from The Zombies to Curtis Mayfield to Teenage Fanclub. As on debut Courgettes, Eaton’s backed by a raft of musicians including fellow Armellodie artist Johnny Lamb (Thirty Pounds of Bone), plus members of British Sea Power, Electric Soft Parade and The Hazey Janes. Together, this super-ish-group provide a rich array of instrumentation, with soft strings, warm brass and some gorgeous glockenspiel lines all bubbling up at different junctures. Thankfully, any potential for a broth-spoiling surfeit of cooks is nimbly avoided, with subtlety reigning throughout and all elements balanced beautifully. [Chris Buckle]
Virgins [Kranky, 14 Oct]
Young Aviators
Self Help [Electric Honey, 7 Oct]
Gendres [Armellodie, 7 Oct]
RECORDS
Dress Up [Fortuna POP!, 7 Oct] If quotes from the band weren’t on hand to guide you toward it, it’d be easy to miss indie-pop quartet The Spook School’s pronounced interest in issues of sexuality and self. Since they occupy a genre long associated with fluid gender identities (see, for instance, twee’s challenge to conventional notions of masculinity), great swathes of debut Dress Up’s lyrical content seem like standard reiterations of well-established themes: fears of fitting in, the messy bits of relationships etc. But songs like Are You Who You Think You Are? or History (“I was a boy or so it’s told”) offer more considered takes on the subjects at hand, supplying grist for a record that could otherwise have struggled to distinguish itself from others of its ilk. Not that The Spook School are as serious as all that sounds: joyously noisy, sometimes silly, and always fun, they’re a must-listen for the Indietracks world and worth a swatch for everyone else. [Chris Buckle] Album launch at Henry’s Cellar Bar, Edinburgh on 11 October. The band also support The Flatmates at Edinburgh’s Wee Red Bar on 18 Oct and Glasgow Glad Cafe on 19 Oct
The Top Five 1 2 3 4 5
Future of the Left
How to Stop Your Brain in an Accident
Laurel Halo
Chance of Rain
Russian Circles
Memorial
Monoganon
FAMILY
DARKSIDE
Psychic
Review
51
Diner by day. Drinks by night
$5
Shake pre club every friday
Saturday Djs
9pm - 1am
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THE SKINNY
In Hindsight: The Lost Lemonhead As The Lemonheads dust down their earliest recordings for a new lease of life, formerly estranged co-founder Ben Deily revisits the Boston band’s punk origins
Interview: Will Fitzpatrick
“I
had never sought out, nor had I ever planned to make music the primary activity of my life.” Ben Deily pauses briefly, reflecting on the choices that took him away from his former life as co-frontman of the Lemonheads. “I had always wanted to finish my degree in English literature, and I had a sort-of plan – I thought I’d really like to go into advertising, or become an English teacher in some Ivy institution, wearing a tweed blazer with elbow patches.” This is the story of the punk rocker who opted out. To the casual fan of 90s indie rock, it’s fairly clear that Evan Dando was the Lemonheads. His long-haired, stoner kid charm and boyish good looks made him the perma-wasted darling of the grunge era, plastered across the pages of ‘serious’ rock press and teen magazines alike. His natural affinity for a beautifully sad chord progression helped as well, of course. But that wasn’t always the case. Our story begins in 1982 at Boston, Massachusetts’ Commonwealth school, an independent establishment that the 46-year-old Deily now cheerfully describes as a “ludicrously competitive academic boot camp”. One day he stumbled across fellow freshman Dando, and the pair instantly bonded. “We were in the lobby in our high school, and one of us started quoting this crazy 70s comedy troupe – this improvisational psychedelic… thing called The Firesign Theatre, and the other picked up on the quotation and kept going with it. So we were both locked into the same weird thing.” As their friendship blossomed, Dando and Deily discovered punk rock together, and began hijacking the school jazz band’s drum kit whenever the opportunity presented itself. After persuading fellow hardcore nerd Jesse Peretz to play bass, the nascent trio decided to make a record. “We went to a lot of local hardcore shows. I really loved a lot of bands in Boston at the time, like The F.U.s and Gang Green, and we’d go see all the other luminaries when they came through – y’know, Black Flag, Husker Du, Negative Approach… I think literally two or three days after we graduated we went and recorded the first EP, Laughing All The Way To The Cleaners.” Naming themselves ‘Lemonheads’ at the suggestion of schoolfriend Ivan Kreilkamp, they played shows around their home town as often as possible, and once their debut EP found its way into the hands of Taang! Records founder Curtis Casella, they began working on a fulllength LP. Drawing on the bratty, brawling rush of their heroes The Replacements, 1987’s Hate Your Friends had a clear high point in the lofty powerpop hooks of Second Chance, one of four Deily compositions. Meanwhile, Dando flooded the record with goofily snotty thrashes that were audibly proud to play dumb, and all the more fun for it. With the ‘year zero’ mentality of punk inspiring a tidal wave of creativity, Boston’s college rock scene was positively exploding, and the band were more than happy to fling themselves into the midst. “It was definitely a very exciting time to be involved with music, and especially for us – one of the most exciting things was playing with bands we had kind of a worshipful regard for, like The Pagans, one of the great American punk bands, and the Angry Samoans, who were always one of our favourite bands because they were so goddam funny. “Oh, and of course we opened for the Ramones! We didn’t really meet them so much as we saw them shuffle past on the way to their dressing room – they had this sort of dead-eye, zombie-like aspect. Can you imagine what they
October 2013
were like ten years after that…?” In the meantime, the band began work on second album Creator, and while their fast-developing knack for energised heartbreakers gave their new material a more accessible feel, it was noticeably darker. The album was also notable for Deily’s heartfelt acoustic ballad Postcard – a stylistic staple of the Dando-led era to come, and yet the band’s mid-80s incarnation bickered over such a new and untested development: “Back then I was the sappy one – in fact there was a serious debate about whether Postcard could or should be included on the record. It just shows you how much a couple of years can change how a band perceives itself. I was like, ‘Hey, The Replacements can do Here Comes A Regular and not have to turn in their testicles. Why can’t we do Postcard?’” Shortly thereafter, the band’s various attention spans began to wander adrift. “We sort of petered out for a while. I think we weren’t doing enough to occupy Evan’s energy and talent, and I was in and out of school. Then Curtis was keen for us to make another record, and once a certain number of months had passed we said we should get back to this Lemonheads thing.” This led to the band’s third album Lick; a curiously wonderful odds’n’sods collection that merged sterling new material with covers, B-sides and unreleased tracks. Inevitably, cracks swiftly reappeared, although Deily dismisses the long-prevailing rumours that his and Dando’s friendship took the brunt of the strain. “It’s not true,” he says, without hesitation. “If there were tensions in the band, they were not between Evan and myself, let’s put it that way. I think everyone’s so keen on constructing a Lennon and McCartney narrative that no-one actually listens to me.” “Around that time I opted out of the band. There was a European tour planned, and I told
everyone that I wasn’t going because I had this academic symposium in Ireland that I had gone through a great deal of machinations to attend. So the band that went off to Europe was firing on all cylinders, and consisted entirely of people that very much wanted to be in a rock’n’roll band.”
“I think everyone is so keen on constructing a Lennon and McCartney narrative that no-one actually listens to me” Ben Deily
He also talks of an “outside influence who shall not be named” as an additional reason for his departure, but resolutely sticks to his claim that he left to pursue a relatively normal lifestyle in the working world. While the band shot to stardom with the major label albums It’s A Shame About Ray and Come On Feel The Lemonheads, Deily divided his time between that long-awaited career in advertising and his first marriage. Aside from his work with short-lived indie-punks Pods, there were to be no more Ben Deily contributions to music for over a decade. He remains philosophical about the experience. “Of course, I missed playing music with Evan;
MUSIC
I didn’t really miss any other aspect of the whole thing. But the person who exerted the most pressure for me to leave the band was pretty much the centre of everything in my life at the time, and she did not care for Evan one bit, so it was a non-issue as long as she was around. It was a proxy source of tension – you know, ‘it’s him or me’. Not between me and Evan, but other parties, as is so often the case. I guess that takes us back to John Lennon and Paul McCartney, doesn’t it?” After his marriage ended, Ben went to see Evan play a show in Silver Lake, California, and the two swiftly reconnected. He also began writing songs again, assembling the first lineup of his current band Varsity Drag in the late 90s, before forming a new version with Lisa, now his wife of seven years. Thus far they’ve released two excellent albums via UK punk stable Boss Tuneage, and there are loose plans afoot for a new “old Lemonheads” LP in the near future. “We’ve definitely talked about how much fun it would be to make a new record, whatever that might sound like. We probably benefit from not having had to work together over decades on the road! Whatever opportunity exists now is simply a chance to play music with one of my oldest and most beloved friends. The one thing that is almost certain not to happen is me joining up with a real, working, touring band, because I have no more taste for that now than I did twenty-odd years ago.” And what of those dreams of tweed? Again, Ben laughs. “You can chalk this up to youthful callowness, or the deep conservatism of your average 19 year old male, but I had always thought, ‘What kind of grown man does rock’n’roll for a living? That’s just crazy!’” Hate Your Friends, Creator and Lick are reissued by Fire Records on 7 Oct bendeily.com / www.thelemonheads.net
Feature
53
Clubbing Highlights This month’s roundup includes Modeselektor, Dominik Eulberg, Ron Trent and Bok Bok
W
inter is once again upon us. OK, autumn technically, but this is Scotland and here winter reigns (and rains) for most of the year. Good job then that there will be plenty of comforting heat, and aural stimulation, to be found amid the sweating throngs on the nation’s dancefloors in the coming months. October sees birthday celebrations in both Glasgow and Edinburgh, more ghetto goodness for those who had the pleasure of catching DJ Funk last month and the return of a particularly prescient house night first conceived 20 years ago. We begin in Edinburgh with the first of two tasty looking resident nights planned for this month which celebrate particular sounds and their lasting influence. Few electronic styles can be said to be more enduring than acid. A key sonic element in one of the most pivotal scenes in early electronic music culture, acid has continued to captivate, taking on different forms and capturing the imagination of emerging generations of ravers the world over. Unseen this month devotes itself to an exploration of that exhilarating, twisted bass goodness synonymous with the iconic Roland TB-303 machine. With their Acid Timelines event, residents Nomad and Neil Templar promise to journey through the form’s illustrious history, with appropriate nods in the direction of those modern producers redefining the sound today (Studio 24, Fri 4 Oct, free before 11pm, £5 after). As regular readers will have noticed, Substance is a club night much revered in these pages and their upcoming 7th birthday bash has been one we have been looking forward to for quite some time. Originally planned as a live show by Moderat, the acclaimed collaboration between Modeselektor and Sascha Ring AKA Apparat, the night has had to be re-jigged in light of Ring’s recent motorcycle crash in Berlin. Thankfully, the frontman of the genre-melding supergroup is in recovery and the night has been rescheduled for February. Equally pleasing is the news that Substance’s birthday will go ahead, now with Modeselektor at the helm, hosting a night which will see an evening gig from Anstam as well as a live performance from the German duo themselves. The gig will be followed by an afterparty, with Substance in collaboration with 50 Weapons, delivering sets from PHON.O, Benjamin Damage and resident Gavin Richardson (The Picture House, Thu 10 Oct, £17.50 + BF). Fri 11 Oct sees another birthday in the city with Kapital celebrating six years in the game with a set from Dominik Eulberg. The German producer’s work has been released on leading tech house labels such as Cocoon and Kompakt, while Kapital’s residents Barry O’Connell and Brad Charters consider his last Edinburgh set to be among the finest they have ever witnessed – hence the invite back for their anniversary night (The Caves, Fri 11 Oct, £10). The following weekend, 511 plays host to Truth. Residents Gareth Sommerville and Colin Cook, who later established long-running Edinburgh night Ultragroove, first unveiled Truth in 1993 and the party was the first in the city to dedicate itself to airing the seminal house records that emerged from Chicago, New York, New Jersey, Detroit and Miami during that era. Having held what was originally planned as a one-off anniversary event in March, the duo have heeded the positive response of those in attendance and decided to take to the turntables again. You’re likely to hear them drop classics from genredefining labels such as Strictly Rhythm, Cajual and Nervous Records. With the recent explosion
54
Preview
Words: Ronan Martin Illustration: Lucas Jubb
of piano house revivalism, this night will take you back through the roots of a sound that continues to set trends decades after its initial creation (Sat 19 Oct, £5). Moving on to Glasgow, it’s set to be a busy month for La Cheetah, with several promising nights lined up, beginning with the visit of Detroit booty bass hero DJ Assault. Firing out ghetto funk records since the mid nineties, Craig De Sean Adams has released on celebrated labels such as Mo' Wax, Databass and Electrofunk Records, which he established in partnership with Mr De. In his DJ sets, Assault is fond of mixing up his own tracks, and those of other ghetto producers, with more straight up techno and electro from his home town of Detroit. So expect to hear classics played at ludicrous tempos and, of course, a healthy dose of sleazy lyrics and turntable trickery (Fri 4 Oct, £7). The next night sees the club mark its 4th birthday with a visit from legendary Chicago-based producer and DJ, Ron Trent. With the release on Warehouse Records of the immensely popular Altered States in 1990, Trent set in motion a career that would see him develop a deep and soulful blend of house and techno, releasing records on some the most esteemed labels around. A well-known audiophile, Trent rarely performs nowadays, so this 5 hour set, for which the club’s sound system will be tweaked for optimum impact, seems a fitting celebration of La Cheetah’s fourth year at the centre of Glasgow’s clubbing scene (Fri 11 Oct, £10 adv). Sticking with the sounds of the windy city for the moment, Sub Club this month welcomes long time friend and party pro Derrick Carter to the Jamaica Street basement as part of the 20th anniversary of the Glasgay! Festival. With over two decades worth of music to his name, and with a DJing reputation almost unsurpassed in house music, Carter is a master of getting rooms moving. Able to shift effortlessly between styles, the veteran blends raw, jacking house, elements of techno and more melodic, jazz-informed tracks, into sets that more often than not see dancefloors overcome with a carnival atmosphere. Even the most committed of chin-strokers will find it hard to resist breaking into fits of frenzied dancing when Carter is on top form. With four hours to do his thing, this should be quite the party (Sun 13 Oct, £9 adv). The following weekend, Strange Paradise sees two dons of the Glasgow disco scene team up for a one off special event. David Barbarossa and Billy Woods each have a reputation as being among the finest selectors in the city so we reckon this night is bargain of the month (Nice N Sleazy, Sat 19 Oct, £4). We wrap things up by pointing you in the direction of Saint Judes. On Sat 26 Oct, Flash Mob teams up with London-based label Night Slugs to bring founder, Bok Bok, to the city. Alex Sushon’s work combines elements of house, techno and hip hop with the urgency and dark vibes characteristic of UK styles such as grime and dubstep. He is joined by fellow Londoner Philip Gamble AKA Girl Unit. Gamble made his presence known with the release of Wut on Night Slugs in 2010, crafting a sound dominated by high-pitched synth runs and peppered with rapid snare rolls and reverb-heavy hand claps. With a string of strong releases on the label, Girl Unit is an ideal accompaniment to Sushon to showcase the Night Slugs sound in its purest form (Sat 26 Oct, £10). That’s your lot for this month. Rest assured, should you choose to hit each and every one of the events listed above, we fully expect you to have that red-eyed, vacant zombie look down pretty well in time for Halloween on the 31st.
CLUBS
THE SKINNY
DJ Chart: Fielding Hope (Cry Parrot) A six-track mix from Fielding Hope, the man behind successful Glasgow-based promoters Cry Parrot, featuring an eclectic blend of post-punk, afro-disco and outsider house Words: Bram E. Gieben
F
ielding Hope, better known by his DJ alias Cry Parrot (also the banner under which he promotes live events and gigs in Glasgow and beyond) is one of the lynchpins of the underground music scene in Scotland. Having collaborated with Glasgow Film Festival in 2012, bringing techno godhead Jeff Mills to town to live soundtrack Fritz Lang’s The Woman In The Moon, and curated the Music Language Festival across several Glasgow venues last month, he knows a thing or two about eclectic, ground-breaking music. Forthcoming Glasgow shows from Cry Parrot feature recent Warp signing Daniel Lopatin, aka Oneohtrix Point Never, with support from Luke Fowler and Richard Youngs (CCA, 1 Oct), and next month, Bill Orcutt of the band Harry Pussy (The Glad Cafe, 1 Nov). Fielding Hope will be DJing at the birthday party for Glasgow’s Stereo on 9 Nov. Here, he presents a selection of tracks that never leave his record bag while he’s manning the decks at Nice ‘n’ Sleazy’s, Distill and other Glasgow haunts. Heatsick – Snakes and Ladders [Soul Jazz / Sound Of The Universe] “While everyone has been trying to save up for a 303, 808 or 909, Heatsick has been making some of the most original outsider house using just a beat-up Casio keyboard, a loop pedal and a few fx. This is a great body music cut recently released on Sounds of the Universe.” C.U.B.S. – We Don’t Need No Carpet Beggars [Music + Noise] “Groovy German post-punk from 1983 with Contortions-esque guitar stabs and vocals that
October 2013
grow more feral as the track goes on. Ideal for getting the freaks on the dancefloor.” Tumblack – Caraiba [Island] “Found this beauty while crate-digging in Montreal. Wild, super funky afro-disco from the West Indies. Enough polyrhythmic percussion, bombastic instrumentals and chanting to get people tranced out and spilling their drinks...” Tropic of Capricorn – Helen Gilchrist [Clan Destine] “Face-melting acid courtesy of two members of Glasgow’s Golden Teacher, released on the ace Clan Destine Trax. Played this at a 50-capacity rave in Sheffield and I’ve been struggling to find a similarly intense occasion to play it out again.” Tullio de Piscopo – Stop Bajon (Primavera) [ZYX] “Soulful sun-tinged percussive Italian disco from 1984 – great for getting a party started. One of my favourite jazz artists Don Cherry guests on this and you can feel the warmth of his playing throughout the track.” Whilst – Umgebung [unreleased] “A few of my friends have started an ace new kraut-flavoured analogue disco/house/jazz band after a few jams in the Green Door Studio. They’ve got a release coming out later this year on Optimo and I’m sure lots of folks are going to get excited about it...” www.facebook.com/cryparrot
CLUBS
Preview
55
October Film Events Words: Becky Bartlett
A Crash Reel
Crash Reel
Director: Lucy Walker Starring: Kevin Pearce, Shaun White Released: 4 Oct Certificate: 12A
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Crash Reel, Lucy Walker’s compelling new documentary, has it all: sports rivalry, You’ve Been Framed-style carnage, family drama, and, in Kevin Pearce, an inspiration. In 2010, Pearce was one of the finest snowboarders on the planet. And then, with the Winter Olympics just a few weeks away, it all ended with a brutal wipe out that put him in a coma for six days. Walker’s movie is a diptych. Part one, composed of archive footage, shows Pearce’s charmed life up until his accident, the good times with his friends on the snowboarding circuit and the thrill of the sport captured through fish-eye lenses. Part two follows Pearce’s recovery and shows his determination to get back on the slopes – and, poignantly, the terror of the people closest to him that he might not be so lucky in his next spill. If this were a Hollywood movie, Pearce would have overcome his adversities and won gold. Real life, as it proves in Walker’s film, is far messier, far more humbling and far more heroic. [Jamie Dunn]
We Are What We Are
Director: Jim Mickle Starring: Bill Sage, Ambyr Childers, Julia Garner, Michael Parks, Ethan Suplee, Nick Damici Released: 25 Oct Certificate: 15
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thecrashreel.com
Jim Mickle updates Jorge Michel Grau’s 2010 cannibal family drama in solid style, building on the promise of his low-key vampire saga Stake Land from the same year. Moving the action from a bustling Mexico City to rural USA, Mickle and co-writer Nick Damici have lost some of the original’s sharp political subtext – the impoverished being easy pickings in huge metropolises – but a shift to American Gothic and oppressive religious faith brings its own rewards. When their mother dies unexpectedly, teens Iris (Childers) and Rose (Garner) must take a more active role in the macabre household chores dictated by their zealot father Frank (Sage) – namely, preparing captured young women to be the main dish in their traditional family feast. Here character and emotional conflict provide the real dread as a doleful mood is maintained; this existential disquiet and melancholy prove welcome antidotes to the tiresome ‘Look! Surprise!’ brand of horror that’s currently in vogue. [Chris Fyvie]
Prince Avalanche
The Broken Circle Breakdown
Released 4 Oct, screening on Sky Atlantic in November
Director: David Gordon Green Starring: Paul Rudd, Emile Hirsch, Lance LeGault, Joyce Payne Released: 18 Oct Certificate: 15
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Director: Felix Van Groeningen Starring: Veerle Baetens, Johan Heldenbergh, Nell Cattrysse, Geert Van Rampelberg, Nils De Caster Released: 18 Oct Certificate: 15
David Gordon Green rejects his recent form for crude stoner clowning to provide more oblique, contemplative comedy with 80s-set Prince Avalanche. Paul Rudd and Emile Hirsch are excellent as Alvin and Lance, two very different but equally moronic road crew crackpots discovering themselves and a semblance of perspective while maintaining the trail in a burnt-out Texan forest. Alvin, having taken on his partner’s brother Lance as a favour, is distraught at having his solitude disrupted by the younger man. An uptight mass of pretension and disdain, Alvin prefers to spend his time in the bush with self-improving introspection and taped German lessons, while loudmouth Lance longs for a trip to town to get laid. Rudd and Hersch have great chemistry, and Green gives them room to develop their characters with a languid pace and unobtrusive style. This is a nuanced work with some ambiguous spiritual elements complementing all the male anxiety. A couple of older characters of mysterious origin intermittently dip in to add philosophical depth to an already smart two-hander. [Chris Fyvie]
Breaking up a film’s narrative chronology is always a risky endeavour. If not used judiciously and purposefully, such a tactic can appear to be nothing more than a gimmick, or a means to sweep storytelling deficiencies under the carpet. The Broken Circle Breakdown succeeds because director Felix Van Groeningen uses this approach to bring a sense of balance to the heart-wrenching story, and because his two leads, Veerle Baetens and Johan Heldenbergh, provide a tangible emotional honesty that helps to guide us through their shattered lives. As a musician couple who’ve lose their young daughter to cancer, Baetens and Heldenburgh never strike a false note, even when the latter is asked to tackle some odd political rants that feel awkwardly shoehorned into the otherwise tight script. The bold editing and imaginative cinematography impresses throughout, but it’s the soundtrack that proves to be The Broken Circle Breakdown’s biggest asset, with the bluegrass songs performed by the cast beautifully underscoring the characters’ fluctuating fortunes and augmenting the picture’s thematic weight. [Philip Concannon]
For Those in Peril
V/H/S/2
Director: Paul Wright Starring: George MacKay, Michael Smiley, Kate Dickie Released: 4 Oct (UK); 8 Nov (Scotland) Certificate: 18
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“Respect the sea, because the sea’s the master,” reflects a voice over ominous images of crashing waves. It’s surely the boss of Aaron, whose brother and crew were swallowed by it on his virgin fishing voyage. Survivor guilt manifests as he sponges up the community’s shared grief. Superstition fills the gaps in their comprehension of death; they turn to myth, a type of sacrifice to the sea – their god and monster. Director Paul Wright shows enough verve to cut through the kitchen sink morbidity miring so much UK film. Documentary-style footage punctures the bubble of cinema, allowing us to imagine the true tragedy of lost young lives – only one example of Wright’s inventive techniques. When the director tips the scales a little too far stylistically, however, serious flaws emerge; poetic inner monologues scream Terrence Malick mimicry, while metaphors are muddy. The film eventually unravels with Aaron’s fragile mind. Still, this is bold and interesting filmmaking, with a reliable and familiar cast supporting the strong performance of talented newcomer George MacKay. [Alan Bett]
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Director: Adam Wingard, Eduardo Sánchez, Simon Barrett, Gregg Hale, Gareth Huw Evans, Timo Tjahjanto, Jason Eisener Starring: Lawrence Michael Levine, Kelsy Abbott, Adam Wingard, Hannah Hughes Released: 14 Oct Certificate: 18
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V/H/S/2 sprints on to the screen at the same manic pace as its splatterific predecessor, inviting a handful of filmmakers to do their worst with a selection of horror shorts. Director Adam Wingard kicks things off by starring as a bloke who can see dead people through his newly installed robotic eye. Next up, The Blair Witch Project co-creator Eduardo Sanchez straps a Go Pro camera to the hungry head of a freshly turned zombie, allowing us a grizzly glimpse at how the other half eat. Messy stuff. The Raid’s Gareth Evans and newcomer Timo Tjahjanto tackle the feature’s main event, Safe Haven, in which a documentary team witnesses the demonic second-coming of a crazed cult. And finally, Jason Eisner’s Slumber Party Alien Abduction finishes things off with a fright when some unexpected guests crash a teen sleepover. The final product is a lo-fi, handheld hellraiser with a varying success rate but with more ballsy gusto than most mainstream horrors. [Simon Bland] Also released on DVD 14 Oct
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ll Night Horror Madness returns to Scotland this month with its usual selection of gore, guts and mayhem running from 11pm until the early hours of the morning. Five films are showing at the Grosvenor in Glasgow (12 Oct) and the Cameo in Edinburgh (19 Oct), as well as some vintage trailers and a free raffle. It’s a chance to see Sissy Spacek as the original incarnation of Carrie, Tobe Hooper’s classic The Texas Chainsaw Massacre, and the evocatively titled Frankenhooker, amongst others. Pyjamas are unnecessary – you won’t be sleeping. Now in its fourth year, Scotland Loves Anime returns with a new line-up, including a mystery movie and several European and UK premieres, from 11-13 Oct in Glasgow and 14-20 Oct in Edinburgh. Director Masayuki Miyaji is attending for a special Q&A following a screening of his latest film FUSE – Memoirs of the Hunter Girl at the GFT, while Makoto Shinkai will be at Filmhouse on 17 Oct for a discussion after his film Garden of Words is shown. For further details go to www.lovesanimation.com.
Black Power Mixtape
Two films are showing at The Glad Cafe in Glasgow as part of Black History Month, which aims to encourage debate and discussion about important current social situations. On 10 Oct Ben Curran, curator of Norwich’s Museum of Drugs Paraphernalia and Related Antiquities, will be attending to introduce The House I Live In. The documentary, which won the Grand Jury Prize at last year’s Sundance, examines the realities of America’s ‘war on drugs.’ Also showing is The Black Power Mixtape 1967-1975 (16 Oct), which will be introduced by poet and novelist Dr Kei Miller.
Sweet Smell of Sucess
Filmhouse is hosting a series of films exploring witchcraft and gothic horror, beginning with Häxan (1 Nov). The Swedish film, which dramatises important moments in the history of witchcraft, has courted controversy and protest since its initial release in 1922. This screening is accompanied by a specially commissioned live score by Verity Susman of Electrelane, and those wishing to learn more about the movie can attend a free lecture hosted by the Scottish National Gallery (29 Oct). Throughout October the DCA in Dundee is hosting Focus on Film, which concentrates on classic noir cinema. Each film, including Sweet Smell of Success (13 Oct) and The Asphalt Jungle (20 Oct), will be introduced by lecturers from the University of Dundee, and an optional discussion follows afterwards. Check out the DCA website for more information.
THE SKINNY
Bachelorette
Director: Leslye Headland Starring: Kirsten Dunst, Isla Fisher, Lizzy Caplan, James Marsden Released: 7 Oct Certificate: 15
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This simple recipe will produce exactly one dimly generic comedy wedding film. You will need: three hateful female stereotypes, some cocaine, a plush hotel, one wedding dress and an overweight woman. (If you haven’t any Melissa McCarthy, Rebel Wilson will do.) Take a preppy control freak (Kirsten Dunst) and combine with the news that her overweight friend dared wed until she’s thoroughly soured. Slosh in a slut (Isla Fisher) and a chain-smoking nihilist (Lizzy Caplan), and dispense these into a Manhattan hotel suite. Oil up a male stripper, sift in the cocaine and agitate until the bride (Wilson) is wretched. Combine the control freak and slut in a large wedding dress until destroyed. Put the remains of the dress in a strip club and spatter with bodily fluids. Pour this into a Bridesmaids-shaped mould and leave to fester until no traces of humour remain. Serve in a DVD case. [Kirsty Leckie-Palmer]
The Last American Virgin Director: Boaz Davidson Starring: Lawrence Monoson, Diane Franklin, Steve Antin Released: Out now Certificate: 18
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A near shot-for-shot remake of his cult Israeli coming-of-ager, Boaz Davidson’s The Last American Virgin is less a movie, more a succession of skits set to a great New Wave soundtrack. Its thin plot revolves around three horny high school archetypes (the handsome ladies’ man, the fat goofball and the good guy) as they chase tail and get laid. Despite its sleazy premise, the film’s vibe is closer to the warm bonhomie of, say, Meatballs than the hateful vulgarity of Porky’s. But just when you settle into the predictable saucy shenanigans, things take a left-field turn towards the melancholic. Perhaps a downbeat ending wasn’t too unusual back in 1982 – American cinema was still coming off the back of a decade’s worth of coal-black denouements. But today, post John Hughes and Cameron Crowe, who between them set the complacent formula for teen-movie fairytales, it’s a refreshing punch to the gut. [Jamie Dunn]
A Time to Love and a Time to Die
Director: Douglas Sirk Starring: John Gavin, Liselotte Pulver Released: Out now Certificate: PG
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Douglas Sirk’s penultimate film is something of an anomaly in his body of work, but it’s also perhaps the most personal and interesting film he ever made. A Time to Love and a Time to Die is an adaptation of Erich Maria Remarque’s novel (which was burned by the Nazis), and in the opening moments the overwhelming sense of destruction and despair instantly establishes it as something far removed from the lush tales we expect from Sirk. There is a love story here, between John Gavin, playing a German soldier, and the spunky Liselotte Pulver, but it’s set against the ruined backdrop of a bombed-out Germany. Gavin and Pulver lack the chemistry and magnetism of the director’s erstwhile stars, but Sirk’s direction is as elegant as ever, and A Time to Love and a Time to Die is a strange, beautiful and touching late production from this often undervalued filmmaker. [Philip Concannon]
The Fury
Director: Brian De Palma Starring: Kirk Douglas, John Cassavetes Released: 21 Oct Certificate: 18
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A sort of blown-up companion to 1976’s Carrie, The Fury follows Peter Sandza (Douglas) as he searches for his psychic son, Robin (Stevens), who’s been kidnapped by one of those under-explained, villainous agencies that Hollywood just can’t get enough of. It begins with a marvellous set-piece: Sandza, Robin and an agent named Childress (Cassavetes) are relaxing at the beach. Suddenly, a group of terrorists arrives, firing at everything in sight. But wait: amid the carnage, there’s Childress, sending Robin to safety and then talking to one of the ‘terrorists’. It turns out the whole thing’s a macabre hoax, designed to eliminate Sandza and fool Robin, whom Childress wants to experiment on. In a way, the opening is a synecdoche for the film itself; but instead of Robin, it’s we who are being fooled. The Fury is about as ludicrous as De Palma gets, but aesthetically there’s so much to admire that you just might fall for it. [Kristian Doyle]
Pieta
La Notte
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Director: Kim Ki-duk Starring: Jo Min-soo, Lee Jeong-jin, Woo Ki-hong Released: 14 Oct Certificate: 18
A divisive winner at last year’s Venice Film Festival, Pieta features an unpleasant protagonist who has unpleasantness revisited upon him, with onscreen emotions twisted and scarred with all the delicacy of a flame held to an open nerve. Be warned: with mutilation and humiliation throughout, the film’s pervasive cruelty makes for a challenging watch, as debt collector Gang-do (Jeong-jin) ensures defaulters square their balance sheets even if it literally costs them an arm and a leg. When a woman (Min-soo) arrives at his door claiming to be the mother who abandoned him at birth, it triggers a bleak (but also rather silly) Oedipal revenge drama. Violence and redemption (or just as often, the latter’s impossibility) are familiar territories for writer/director Kim Ki-duk, but rarely are they proffered so confrontationally, with semi-vérité camerawork purposefully underscoring the ugliness. [Chris Buckle]
October 2013
Director: Michelangelo Antonioni Starring: Marcello Mastroianni Released: Out now Certificate: 12 Has any director ever been as adept at exploring the spaces that exist between people as Michelangelo Antonioni? His 1961 film, La Notte, is the story of a married couple slowly drifting apart in Milan, when their visit to a hospitalised friend proves to be the catalyst that opens up long-hidden fissures in their relationship. The couple are played by Marcello Mastroianni and Jeanne Moreau, and both actors are quietly mesmerising as they embark upon a 24-hour odyssey through the city – a city that ultimately becomes a key character in itself, as Antonioni and his extraordinary cinematographer Gianni Di Venanzo brilliantly frame the characters against their environment. Of course, this very distinctive director is an acquired taste, and many may feel suffocated or even bored by the deliberate pacing and creeping sense of ennui, but La Notte is a visually ravishing and deeply moving masterpiece. [Philip Concannon]
FILM
Review
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Mount Mabu, Stills 2013
ANDREA BÜTTNER: LITTLE SISTERS: LUNAPARK OSTIA (2012)
Andrea Büttner
Tramway, until 13 Oct
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Increasingly viewed as a hotbed for extremists, crazies, perverts and toxic small-mindedness, organised religion has some serious PR problems. Cleaning up its image is presumably not Andrea Büttner’s intention, but the more positive portrayal in the films she is showing here makes a refreshing change. Both films are unexpectedly funny. Little Sisters: Luna Park Ostia (2012) features an order of nuns living outside Rome who run an arcade at an amusement park. Finding beauty in the park’s colours and liveliness, the nuns’ good humour and joyousness are palpable. Plain speaking and dressed in t-shirts, they give the impression of doing a job just like any other. One feels they would be good ambassadors for a life choice widely viewed as suspect. The nuns featured in Little Works (2007) are altogether a more rarefied community, closer to
the stereotype of leading a weird and celibate life devoted to prayer. The closed order of Carmelite nuns in West London wear a full habit and are cut off from much of the modern age. Restricted from filming inside the convent, Büttner handed her camera over to one of them to record the making of their ‘little works’ – small handcrafted offerings. It is probably the sisters’ seclusion from the modern world that supplies the wonderful comic moments, though Büttner ensures they are never the butt of the joke but instead come across as quite ordinary. While Büttner has sometimes adopted the outmoded techniques of craft used by the communities she observes, the medium of video here seems to allow a more even-handed view – simply opening a window on their lives. Consequently, the films reflect back our perceptions of those communities and force us to examine them. [Jac Mantle] www.tramway.org
Angela Ferreira
from the aforementioned stripped wood and Perspex. Screened on the orange Perspex that rrrrr angles above the sunlounger is a film about a Angela Ferreira’s show Political Cameras is dominat- more recent British expedition, Kew Gardens’ ed by a number of fashionable structures; skeletal 2008 excursion to the ‘lost forest’ of Mount Mabu forms constructed from stripped wood adorned in northern Mozambique, from which this new with trimmings of Perspex, rubber and tastefullywork takes its title. The quirky viewing setup both finished metal. The first of three sections centred tints the video orange and makes viewing the film around Mozambique (the artist’s country of birth) a relative challenge. The seemingly idiosyncratic takes as its starting point the work of cinéma vérité choice of The Ronettes, providing a soundtrack founder and anthropologist, Jean Rouch. The work for those sections where the artist chooses to carried out by Rouch is fascinating in itself. It is dif- again literally spell out the context of the film, is ficult, however, to appreciate exactly what the func- one of the more entertaining aspects of the show. tion of the trendily asymmetric plinths that support Downstairs in the film lounge a selection of the videos is supposed to be. Ferreira’s earlier work is being played. The enjoyThe second section, presenting new work ably out of focus untitled film from 1998 shows commissioned by Stills gallery, takes the less Ferreira performing an aerobics routine in front of esoteric starting point of David Livingstone (of Mozambique’s national stadium. It is difficult not to both ‘Dr. Livingstone. I presume?’ and, perhaps see this as an apt metaphor for this well-meaning more pertinently, Scotland). It centres around a but ultimately hollow show. [J.D.A. Winslow] version of Livingstone’s portable bed, rendered www.stills.org here as a chic, top-heavy sunlounger composed Stills, until 27 Oct
ADVERTISING FEATURE
One Stop Shop for Art Operating from a busy street in Hyndland, iota is the corner shop of art galleries. Co-founder Monica McCarey gives us an introduction
‘i
ota’ stands for ‘i of the arts’. What does this mean and what is iota about? The ‘i’ for iota is small, because ‘iota’ is a jot or a tiny piece. ‘The arts,’ conversely, encompass a lot, so ‘iota’ is a tiny piece of a very big picture (pardon the pun). Our aims are two-fold: to bring art and artists into view, and to encourage people to engage with the arts. Everyone benefits. There are numerous opportunities for recent graduates and established artists, but few for those in-between, so we offer work from right across the field. Many people could benefit from access to the arts, but feel remote from it. We bring an array of interesting work to the public as conveniently as any corner shop brings you milk. Rather unusually for an art gallery, you’re actually graduates of the Mackintosh School of Architecture. What made you set up iota? When we studied at Glasgow School of Art there was a healthy exchange between the departments, with the language of aspiration common to all the arts. That was a very productive and stimulating environment which we took into practice, working across the arts throughout our
Interview: Jac Mantle
careers: with George Wyllie on his Crystal Ship project; on furniture, stage production and curating exhibitions in Milan; on modern and historic buildings; furniture and minutely detailed interiors in the UK and abroad. We began Unlimited Studios to develop cross-sector interaction, and iota is the natural extension of that, presenting the resulting work to the public. I’m looking to buy some new work, perhaps paintings or prints, to go on my walls. Is that something I could find at iota? Definitely! Come and chat about it – we will show you a range of work by ‘iota artists’ – original paintings, sculptures, prints or limited editions, products and sometimes music and literature too. We can see what you like and advise according to your budget. We can source pieces or commission work, for private or commercial needs. You show everything from wall-based exhibitions to more experimental performances. How do you choose what to exhibit? Collaboration at Unlimited Studios brings a wealth of national and international connections.
Brain Chambers, Diversion1; Laura A. Hunter, Now Showing Cinema in Havana; Carmel O'Brien, untitled2 Courtesy iota
Word also spreads quickly about a new arts venue. It is important to us to show a range of different artists and media, work by professionals as well as work by people who have not had formal training. Sometimes that means taking risks, but it also provokes interesting discussion. For instance, at the Mitchell Library in January we are curating WITNESS by Robert McNeil MBE, which addresses the repercussions of war. What have been your personal favourite works or exhibitions to date, and what are you planning for the future? Choosing a favourite would be truly impossible, although everyone loved the larger-than-life crocheted sculptures by Rita McGurn in her Off the Hook exhibition. Our September show has great drawings by Norman O’Leary; October has
the stunning Landscapes and Diversions by Brian Chambers. In November we have an intriguing installation MADamE B. and other works by Carmel O’Brien. Then there’s the December Casinista show... Christmas covered! You’re currently in discussion with Creative Scotland to become part of their Own Art scheme. What will this mean? iota already makes small and medium-range work accessible, but with Own Art people can make an interest-free arrangement over a reasonable period of time, allowing them to enjoy a bigger investment in art than might otherwise be possible. The Own Art scheme offers an interest free loan to spread the cost of buying original work over ten months www.ownart.org.uk www.unlimitedstudios.co.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
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ART
THE SKINNY
Book of the Month
The Son
Brand New Ancients
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Fashion Beast
By Phillip Meyer
By Alan Moore, Malcolm McLaren, Antony Johnston, Facundo Percio
By Kate Tempest
Out now, published by Picador, RRP £9.99
Rumours of Phillip Meyer’s method approach to research have swirled around his second novel, The Son. At August’s Edinburgh International Book Festival he spoke of learning to track and hunt to better understand the lives of the American Plains Indians. Following in a Southern Gothic tradition, there are traces of Faulkner everywhere, but it is Cormac McCarthy’s brutal rewriting of the Old West in Blood Meridian this feels closest to. The extent of Meyer’s research is evident, not just in the firsthand experiences he feeds directly into the narrative, but more tellingly in the vast history of Texas he draws from. The Son is the story of three generations of McCulloughs. In alternating chapters we follow Eli (known as the Colonel in later life) – kidnapped by and ingratiated into a Comanche tribe – his disapointment of a son Pete, and his great-granddaughter and oil magnate Jeannie. Meyer’s book is a retelling of the American creation myth, an unflinching look at how fragile the bonds of love and family are, but most strikingly a testament to the inescapable cruelty of men, which has shaped history throughout the centuries. Never quite finding the beauty or elegiac notes of McCarthy, this is still a first-rate historical novel and a modern American classic. [Ryan Rushton] Out now, published by Simon & Schuster UK, RRP £14.99
October 2013
By Margaret Atwood
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The transition from rapper and performance poet to page poet is not an easy one, but Kate Tempest has managed it with graceful ease. Brand New Ancients is the culmination of her success so far, for which she has earned the Ted Hughes Award for Innovation in Poetry. Tempest has toured the UK with this epic poem set to a musical score, most recently appearing to sell out crowds at the Fringe. The poem focuses on two inner-city families whose lives are irrevocably woven together. Drawing heavily on Ancient Greek mythology, the poem tells of characters whose lives may at first seem mundane, but which hang heavily with acts of bravery, brutality and love no less worthy than those found in the gods of old: “The Gods are still here,/ Because the gods are in us.” Performance poetry often loses something vital when it appears on the page, but this is certainly not the case here. The poem is shocking and all consuming, leaving the reader hungry for more of the gritty beauty of Tempest’s words. Despite the bleak urban backdrop, the poem is ultimately redemptive: “You born for greatness; / believe it. Know it./ Take it from the tears of poets.” [Rosie Hopegood]
MaddAddam
During his career Alan Moore has displayed many writerly talents, not least luck in being paired with equally talented collaborators. Though Moore’s authorial ambition certainly raised the bar for US comics during the 1980s, it’s repeatedly overlooked just how often ‘his’ biggest hits were actually dependent upon the creative input of artists like Dave Gibbons (Watchmen) and David Lloyd (V for Vendetta). Moore originally wrote Fashion Beast as a film script for the mercurial Malcolm McLaren; so we have the former Sex Pistols manager to thank for Moore having the solid narrative of Beauty and the Beast to work with (and against), in this fashion-industry retelling of the classic fairytale – thus successfully avoiding Moore’s repeated weakness when it came to shaping satisfying conclusions. Fashion Beast the film was lost in production hell, but the script survived and, decades later, writer Antony Johnston and artist Facundo Percio have sensitively brought it to fruition, albeit in comic-book form. The result’s an engrossing narrative that highlights Moore’s talent for shaping worlds and characters quickly and economically, perfectly visualised in a style that combines the realistic and grotesque in equal measure. In other words, Moore’s been lucky again. As, on this occasion, have we. [Paul F. Cockburn]
MaddAddam is the last instalment in Margaret Atwood’s dystopian trilogy that began with Oryx and Crake and continued with The Year of the Flood. The novel follows a group of post-pandemic survivors – the Gardeners, a one-time eco-spiritual group, and the Crakers, a new species bioengineered to replace humans. The Crakers are one of the book’s most interesting elements and are designed to lack human flaws: they are vegan, require no homes or clothing, mate in groups, and experience no sexual jealousy. The novel shifts between Gardner Toby’s present-day life and defence of the compound, and the telling of her lover Zeb’s past and that of his brother, Adam. In her signature style, Atwood deftly balances original and timely philosophies with sharp satire. She brings to life genetically modified organisms that include human-goat splices called the Mo’Hairs and human-pig splices called Pigoons. Atwood’s inventions are eerily conceivable and her ideas are, as always, foresighted if not borderline prescient. The book’s appeal, as is the case with the trilogy as a whole, arguably lies predominantly in those ideas while fiction elements like characterisation, setting and story are less generously crafted. Ultimately, it is MaddAddam’s complexity, sardonic humour and acute insights that make the novel an engrossing read. [Dima Alzayat]
Out now, published by Avatar Press/Titan Books, RRP £18.99
Out now, published by Bloomsbury, RRP £18.99
BOOKS
Review
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Forced Entertainment
THAT festival
Among Britain’s pioneers in the art of devised theatre, Forced Entertainment – directed by Tim Etchells – bring two shows to Tramway this October. Based in Sheffield, the six performers that make up Forced Entertainment have been collaborating since 1984, doing what they call “seriously playful work.” All six partake in the production The Coming Storm, which seems to be a collage of various stories and themes, all cut, pasted, and spliced into one exhilarating performance. It contemplates narration of fragments, of pieces of tales that are completely disconnected, a performance that is virtually alive through its own shift in focus, story, theme, and medium. And for the first time, Forced Entertainment come with live music, performed on stage. Meanwhile, the second show goes for a more intimate atmosphere. Tomorrow’s Parties considers the idea of multiple universes, and humans’ infatuation with the future and hope. Many of us consider the future – sometimes with fear and foreboding, other times with hope and excitement. With so many possibilities, what will tomorrow bring? These are two exciting shows – each for one night only – by one of the most experimental theatre companies in the UK that must not be missed. [Eric Karoulla]
THAT festival returns to the Macrobert, and brings three days of theatre, dance, art, and spoken word performances for young people to a venue appropriately housed in the University of Stirling campus. The programme features a great deal of work – including The Price of Everything by Daniel Bye. Performed at Behaviour and Latitude festivals earlier on this year, The Price of Everything examines the difference between price and value of something. In this performance-lecture, Bye considers the current economic climate, brought about by problematic decisions and generated by the current institutions, and tries to provide an alternative system based on community spirit. Meanwhile, the double bill of 925/Heartbeats features two adrenaline-packed dance pieces. Described as “dance-theatre experiments,” both pieces promise to bring vitality and exhilaration to the stage. Mixing parkour, acrobatics, and hiphop with contemporary dance, 925 provides the excitement and high energy to break the monotony of a humdrum nine-to-five life. On the other hand, fluid movement in Heartbeats is accompanied by live beatboxing from Bigg Taj, finalist in the 2009 UK Beatbox Championships. Finally, ponydance’s Anybody Waitin’? tackles dance and audience participation in a comical way. Based on their other works, like the latest gender-bender ponybois, or the Christmas ponypanto, Anybody Waitin’ looks to be an exciting and hilarious performance worth looking into. [Eric Karoulla]
Tramway, 10-11 Oct
The Coming Storm (with free post-show discussion), 10 Oct, 7.30pm, various prices Tomorrow’s Parties, 11 Oct, 7.30pm., various prices www.forcedentertainment.com
If these spasms could speak Pleasance
rrrrr Robert Softley’s play If these spasms could speak tells the story of day-to-day life for people with disabilities through their eyes. It explores the difficulties – including the frustration, and awkwardness – but also the occasional hilarity. Softley narrates each person’s story from their point of view, and shifts from annoyance to flirtation, from anger to joy within minutes. Dripping with humour, wit, and a touch of gravity, this is an intelligent show created by a sharp-witted and intense performer. While it is a one-man show, Softley gives his characters – based on real people – a voice, filling the room with their thoughts and experiences. His funny and unique storytelling discourages pity and encourages compassion for fellow
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Preview
Macrobert, 9-12 Oct
THAT Festival, Macrobert, Stirling, various times, various prices
The Coming Storm
Concession tickets available to all students and under 26s
If these spasms could speak
Paul Bright
human beings. Softley’s show serves as a valuable reminder that people with disabilities are still people, people who might suffer pains and spasms, might move around in a wheelchair, and of course also love, hate, feel embarrassment, flirt, and have sex. Ableist assumptions can drive us to think that people with disabilities are somehow hindered or prevented from these aspects of life, but Softley makes his point clearly: having a disability doesn’t take away their ability to do any of that. [Eric Karoulla] Platform, Glasgow, 1 Oct, 7.30pm, tickets: 0141 276 9696 (www.platform-online.co.uk) Dundee Rep, 9 Oct, 7.30pm, tickets: 01382 223530 (www.tickets.dundeerep.co.uk/public) Traverse Theatre, Edinburgh, 11 & 12 Oct, 8pm, tickets: 0131 228 1404 (www.traverse.co.uk/whats-on/event-detail/255/ if-these-spasms-could-speak.aspx) www.facebook.com/events/501085833310958
Paul Bright’s Confessions of a Justified Sinner Summerhall, 17-26 Oct
An intelligent, interdisciplinary performance that brings together video, live performance, and a degree of object fetishism, Paul Bright’s Confessions of a Justified Sinner looks at the radical genre of performance that appeared on the Glaswegian theatre scene about ten years before the turn of the millenium. Directed by Stewart Laing, written by Pamela Carter, and performed by George Anton, it is a play that reconstructs an adaptation of the homonymous James Hogg novel. While the novel is a simple excuse to examine the memories of a vivacious, raw, experimental, era, The Private Memoirs and Confessions of a Justified Sinner was neglected during the time of its writing (1824) – after all, it was published anonymously – but it
THEATRE
did not fall into obscurity due to its rediscovery in the next century by André Gide. Of course, the play is not just about the plot in the book. Being a reconstruction of an adaptation means it is the theatre version of a ‘Making of...’ featurette that could be found on a DVD. It gives an insider’s view to the events around Paul Bright’s six-part magnum opus, and it pays attention to how the adaptation was put together, both in terms of logistics and style. It is built as an insider’s tribute to the era it reflects, and hence is incredibly nostalgic, but also outlines how difficult life becomes when art and life are one and the same. [Eric Karoulla] Summerhall, 7.30pm (not 21 Oct, 2.30pm matinee on 19 Oct), £12/8
THE SKINNY
The Art of Happiness ‘Circuitous and surreal’ (so says his Wiki page) comedian Trevor Lock leads our new Comedy editor on a meandering journey to happiness via Google chat
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tand up comedian. Playwright. Actor. Livingroom surfer. Beleaguered treat-eater. Russell Brand’s kitten-faced whipping boy. I’ve been a fan of Trevor Lock ever since he was force-fed fudge live on 6 Music. This August, I somehow managed to miss his ‘best ever’ Fringe show, but luckily for me (and you), he’s not had enough of us yet, making a beeline for Auld Reekie for a one-off special this month. Synchronous to this little treat, he’s speaking at a gathering of those unsettling, perpetually-smiley types: a ‘Happiness Conference’ – in Scotland, which I’m trying not to view as another overt sign of impending apocalypse. Naturally curious about the show, and ever lamenting my own eternal woe, I leapt at the chance to blether – and maybe even cadge a freebie on the ‘how to be happy’ schtick. Batman pyjamas on, and hugging a quart of molten Earl Grey, I bedded down for what transpired to be three hours of circuitous Google chat mayhem. What I learned about the show is questionable, and I’m still a miserable sod, but I did get a little peek at what stokes the fire in his delightfully silly mind. A while back, by some cosmic coincidence, I scored a ticket to a recording of Comedy Central’s Alternative Comedy Experience, with Trevor on the bill. What struck me was that he didn’t trundle on stage to spew out an obviously honed monologue. None of that, sir. Eschewing all that practise malarkey, his ‘in’ was lamenting his shortcomings – at length – to a front-rower making their escape. His unrelenting tommy-gun delivery made the usual offerings seem pretty vanilla. I wasn’t expecting that. Only gnomic wizard John Hegley harshed Lock’s phrenic vibe, by convincing a mild Edinburgh crowd to become guillemots (the seabird, not the band). These two are clearly cut from the same Harris tweed.
“All of my best shows were snowflakes and I still make the mistake of trying to repeat them” Trevor Lock
Interview: Vonny Moyes
is why I’ve only done a few of the easiest poems so far.” The Skinny: “Did they go down well?” TL: “Yes. A couple of shows I did a lot more. When the audience and I seemed to be in the right mood for it. “My default delivery is kind of poetical in the sense that it’s not normal speech. I’m playing with speaking and how we say things; I just don’t normally say ‘this is a poem.’” On stage, Lock is ruthlessly funny. He’s not an in-your-face lad, jonesing to purchase your loyalty with bar banter and knob gags. What he can do, however, is bring down the house with something as innocuous as a cough or a humble wasabi peanut. There’s no factitious persona. No careful mimesis – just Trevor, on stage, dining on the atmosphere. Seeing him do his thing is akin to a watching a comedic Rube Goldberg machine. One little idea sparks this mesmerising chain reaction; looping, twisting, morphing into a living thing before arriving at a salient point. It’s exciting. You get that flutter in your stomach – that notion that you’re witnessing the aggregate of something magical and irreplicable. “Like a snowflake?” I suggest. TL: “I like to feel that it was a show that can’t be done again, which always has a touch of sadness to it. All of my best shows were snowflakes – and I still make the mistake of trying to repeat them.” It’s at this point things take a turn for the existential; put two unabashed small-talk haters together and the discussion will veer towards the absurdity of human existence. Especially if the comedian in question is a philosophy graduate. This was a huge relief for me – the weather has been unrelentingly crap and I’m too skint for holidays. We chew over life, the universe and everything; the ludicrousness of being people going through the motions. Though, if you make people laugh for a living and have been plucked from the masses to speak about happiness, you must have a vague idea of what it’s all about? TS: “Happy right now is about as far ahead as I can see these days.” TL: “Well that’s good because it’s the only place you’ll ever be happy. The years I wasted trying to get happy in the future. I’m still recovering from that mentality.”
This was exciting news. Not only had I seen a really great gig, I’d been present at the genesis of an idea. We’d been simultaneously dazzled by Hegley’s effortless play with the room, but for one of us, it imported a thought that would ultimately change the nature of a show. It’s pretty daunting to have your worldview stretched at the best of times, and at least doubly as wobbleinducing when you then opt to proclaim it to hundreds of people, who might not ‘get it.’
It all starts to click. For him, this isn’t a sport. Scoring the biggest laughs isn’t the goal. This is, well – art. Each laugh is different, there’s music to it. Each has credence – validity – from the tiniest snuffle to a cacophonous eruption. There are no skits churned out to cater for prosaic tastes of the widest demographic. These musings are his, and the fact that they tickle the rest of us is a glorious coincidence. When you spend so much time in your own head, your material is destined to be imbued with a certain intellect. Instead of remixing the the flagrantly obvious, the jokes become less of a contrivance, and more projection of those surreal little moments of clarity, speaking to that same, ubiquitous part that makes us human; our ability to look at life, and laugh.
TL: “There so many things I’ve written and not done on stage. I’m quite happy going on and opening my mouth and doing a whole set extemporaneously, but if I’ve written it first and it’s a new thing I’m very nervous about doing it, which
TL: “The essence of humour is that there is always more than one way of looking at things. This might be because in reality there are no things until you label them.” One man’s caterpillar is another man’s fun
Trevor Lock: “I’d never seen John Hegley before. He was a revelation for me. I started writing poetry the next day, and half my Edinburgh show was poems.”
October 2013
moustache for parties. So the idea is then that if you’re a comedian, in theory you’ll never be sad or bored for long Nothing about Trevor strikes me as boring. After discussing squirrel suicide pacts, animal ganglands, astronaut sick and the problems with homogenised milk, my cheeks are burning from an anchored grin. He’s pretty on fire one-on-one, but even better when we’re all in it together. He’ll be doing a one-off extended edition of his hugely popular Fringe show Nude Echo at The Citrus Club Edinburgh, on 12 October. At a bargainous £8 a pop, it’s a rare chance to experience one of
COMEDY
these ‘snowflakes,’ without having to twiddle your thumbs for another year. TS: “I have oatmilk now. Who knew you could milk an oat?!” TL: “You can’t. There is no milk of an oat” TS: “Someone, somewhere is milking tiny oat-tits” TL: “It’s probably me. In a parallel universe.” Sometimes I think metaphorically I’ve been milking tiny oat-tits all my life. Nude Echo, The Citrus Club, 12 Oct, £8
Preview
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Win tickets to see Pet Shop Boys
With over 50 million records sales worldwide, 22 Top 10 singles including four No.1 hits, Pet Shop Boys are listed as the most successful duo in UK music history. This exclusive UK show celebrates a landmark 21st anniversary for Edinburgh’s Hogmanay and promises a night packed with greatest hits, fireworks and very special guests to be announced. Tickets are on sale now at www.edinburghshogmanay.com or 0844 5738455 Register at www.edinburghshogmanay.com for regular artist updates and programme announcements. To be in with a chance of winning a pair of tickets, just log on to theskinny.co.uk/about/competitions and tell us:
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What was the Pet Shop Boys' first UK No.1 single? a) West End Girls b) Left to my own Devices c) It’s a Sin Please include your location on your entry Competition closes midnight Sun 2 Nov. Winners will be notified via email within two working days of closing and will be required to respond within 48 hours or the prize will be offered to another entrant. Full terms and conditions can be found at www.theskinny.co.uk/about/terms. Competition open to over 16s only Edinburgh’s Hogmanay 2013/14 Concert in the Gardens Tue 31 Dec 2013 – into the New Year! Pet Shop Boys plus very special guests to be announced
Photo: David P Scott
Edinburgh’s Hogmanay and The Skinny are giving you the chance to welcome 2014 in style with tickets to see Pet Shop Boys at this year’s Concert in the Gardens, the music and fireworks spectacular on Tuesday 31 December.
Win Rick Redbeard Tickets!
The Pleasance Sessions brings a fortnight of music, film, comedy and spoken word to the capital this month, uniting the cream of independent labels, promoters and performers from Scotland (and beyond!) from 10-26 October. See our listings for the full details. We’re joining forces with the good people at Edinburgh Uni to present a showcase on Saturday, 12 October, wherein Phantom Band frontman Rick Redbeard, Glaswegian garage rock duo Honeyblood, visceral Young Fathers affiliate LAW and rising chanteuse Siobhan Wilson take to this special venue for the night. Fancy a pair of tickets? To enter the draw, simply log on to theskinny.co.uk/about/competitions and answer this question:
COMPETITIONS
Q. Who is your daddy, and what does he do? Competition closes midnight Sun 6 Oct. Winners will be notified via email within two working days of closing and will be required to respond within 48 hours or the prize will be offered to another entrant. Full terms and conditions can be found at theskinny.co.uk/about/terms. www.eusa.ed.ac.uk/eusalive
THE SKINNY
Glasgow Music Tue 01 Oct
More Than Conquerors (Mechanical Smile) King Tut’s, 20:00–23:00, £7
The Smalltown America Records’ signees do their bright and oft magical post-hardcore thing. Keston Cobblers Club
Nice ‘n’ Sleazy, 19:30–22:00, £5
Kent-hailing, toe-tapping, indiefolk five-piece – favourites on BBC 6 Music and winners of the Rebel Playlist. Finntroll (TYR + Skalmõld)
Classic Grand, 19:00–22:00, £16
Finnish metalheads combining elements of black metal and folk metal. Oneohtrix Point Never
CCA, 20:00–22:30, £12
Daniel Lopatin (aka Oneohtrix Point Never) delivers a set of tracks from his finely-wrought new LP of boldly experimental electronica, finding him refreshed with an almost tropical feel to the synths.
Wed 02 Oct
Israel Nash Gripka (The First Charge Of The Light Brigade)
O2 ABC, 19:30–22:00, £12
NYC-based singer/songwriter known for his barnstorming gigs, strewn with rootsy rock and folk influences. Part of Glasgow Americana.
Xibalba + Hierophant (Frontline)
Classic Grand, 18:30–22:00, £8
California’s hardcore troublemakers Xibalba play a double headline European tour with blackened hardcore Italians, Hierophant. Johnny Borrell and Zazou (Pat Dam Smyth + Z Berg)
King Tut’s, 20:30–23:00, £10
The Razorlight frontman goes it solo, playing a full band set with his Zazou players – featuring piano, sax and Razorlight’s Fred Stitz on drums. Judy Collins
Oran Mor, 19:00–22:00, £21
American singer/songwriter known for eclectic style and social activism.
Thu 03 Oct
Spear of Destiny (Catcher)
King Tut’s, 20:30–23:00, £13.50
Dark rock outfit founded in 1983 by singer and songwriter Kirk Brandon and bassist Stan Stammers, on the road celebrating 30 years and counting. The Little Illusions (Baby Strange + Semper-Fi)
Stereo, 19:30–22:00, £6
Glasgow-based rock’n’rollers built on a quiet/loud cacophony of catchy licks and sweet harmonies. Mike Nisbet (Joe Black + Erin Todd + TG Elias)
The Art School Union, 20:00–23:00, £5
Oban-born singer/songwriter who’s spent a year or so living between Glasgow and London, hence the dominant song theme of being on’t road. Gramme (Nevada Base + Crash Club)
Broadcast, 20:00–23:00, £6
After more than a decade of silence – no gigs, no music, no nothing – the lo-fi disco Londoners continue with their series of 2013 outings, armed with their all-new LP. eagleowl (Jonnie Common + Prehistoric Friends)
Mono, 19:30–22:00, £6
Following their flit from Fence to Lost Map Records, self-described ‘lethargic pop’ lot eagleowl play a special set.
Monuments (Dead Letter Circus + From Sorrow To Serenity) Classic Grand, 19:00–22:00, £8
London-based progressive metal ensemble headed up by Chris Barretto. Foxes
O2 ABC, 19:00–22:00, £7
One-woman band rising along on Louisa Rose Allen’s resplendent synths, industrial percussion and by-turns-searing-and-soaring vocal. Fleetwood Mac
The Hydro, 20:00–22:00, From £45
The legendary British-American ensemble play a set of hits.
October 2013
Louise Cairns
Armin van Buuren
The Glad Cafe, 19:30–22:00, £7
O2 Academy, 19:00–22:00, £tbc
The Glasgow singer/songwriter launches her new EP, Home, joined by some of the musicians featured on the EP – including members of the Treacherous Orchestra and Paolo Nutini’s live band.
Fri 04 Oct
Funeral For A Friend
The Garage, 19:00–22:00, £14
The Welsh emo stalwarts take to the road armed with their new album, Conduit, which finds ‘em on particularly fine form. King Krule
Broadcast, 19:00–23:00, £tbc
The teenage London newcomer (also known under his Archy Marshall and Zoo Kid alter egos), plays under his live four-piece guise, King Krule. Luka Bloom
Oran Mor, 19:00–22:00, £18
Irish folk-rock troubadour, who also boasts the accolade of personal musician to the Dalai Lama. Part of Liverpool Irish Festival.
Black International (Aggi Doom + Tuff Love) The Flying Duck, 19:30–23:00, £5
Brutal alternative pop duo from Edinburgh, formed in late 2006 by ECA graduates Stewart Allan and Craig Peeble. Casual Sex
CCA, 19:30–22:00, £6
The Glasgow indie quartet – the sleaze-heavy brainchild of vocalist and guitarist Sam Smith – bring their wares to a live setting; expect a pop-heavy synthesised joy of a sound as they perform tracks from their new EP. Drenge (Radkey + Blindfolds)
King Tut’s, 20:00–23:00, £8
Sheffield-based brothers Eoin and Rory provide the guitars and drums-built soundscapes. Bonobo (Dauwd)
O2 ABC, 19:00–22:00, £15
Brighton’s Bonobo (aka Simon Green) tours his fifth LP, The North Borders, an atmospheric and patiently-honed gem of a thing drawing on elements of jazz, garage and shimmering dubstep.
Eastern Promise (James Yorkston + Trembling Bells and Mike Heron + Alasdair Roberts + James Blackshaw + Jozef Van Wissem) Platform, 19:00–23:00, £15 (£10) weekend
Platform’s annual mini-fest returns for a fourth surveying of some of the finest alternative music-makers around – with Friday evening headed up by Fifedwelling folkie James Yorkston. Buses run from Mono, 6.30pm. The John Langan Band
Stereo, 23:00–03:00, £5
Glaswegian three piece chucking every imaginably musical influence into the mix – think Gypsy folk, dance, and swing – resulting in high energy, danceable tunes. Superfood (The Wytches + Maxixe)
Nice ‘n’ Sleazy, 19:30–22:00, Free
Energetic Birmingham troupe riding along on youthful vocals and surging guitars.
Sat 05 Oct
Sleeping With Sirens
Barrowland, 19:00–23:00, £16
The Florida post-hardcore fiends bring their latest LP, Slow, to a live setting. Kids In Glass Houses (Cartel + Propellers)
The Garage, 19:00–22:00, £13.50
The Cardiff hailing rock styled five-piece, touring with their latest album, Peace. Spacehog (We Were Kings)
King Tut’s, 20:30–23:00, £8
The English rock lot take to the road for their first UK tour in fifteen years, Charles Bradley and his Extraordinaires
O2 ABC, 19:00–22:00, £18.50
The American funk/soul/r’n’b singer airs his new LP, Victim of Love, accompanied by his live band of players.
The Dutch trance producer and DJ does his progressive and uplifting take on the genre.
Eastern Promise (The Vaselines + Rick Redbeard + Adam Stafford +G rumbling Fur + Ela Orleans) Platform, 19:00–23:00, £15 (£10) weekend
Platform’s annual mini-fest returns for a fourth surveying of some of the finest alternative music-makers around – with Saturday evening headed up by Scottish indie rock progenitors The Vaselines. Buses run from Mono, 6.30pm. Ceti (Thrashist Regime)
Nice ‘n’ Sleazy, 19:30–22:00, £8
Polish rocker Grzegorz Kupczyks and his live metal ensemble, Ceti, play tracks offa their new LP.
Sun 06 Oct Devon Sproule
The Glad Cafe, 15:30–18:00, £11
The Charlottesville singer/songwriter -and wife of musician Paul Curreri – plays a special afternoon set as part of Glasgow Americana Festival. Everything Everything
O2 ABC, 19:00–22:00, £15
Manchester residing indie-rock quartet still riding high of the release of their early 2013 LP, Arc, and cropping up everywhere everywhere. Scholars (Picnic Basket Nosedive) King Tut’s, 20:30–23:00, £6
The Hemel Hempstead rock quintet give their debut LP, Always Lead, Never Follow, the grand live tour. Meltit Festival
The Art School Union / Nice ‘n’ Sleazy / Broadcast 18:00–23:00, £7
Inagural mini festival taking in 15 of Scotland’s finest unsigned and emerging hardcore/metal bands – along with myriad sub-genres in between – across a quartet of Glasgow venues. Johnny Flynn and The Sussex Wit
Oran Mor, 19:00–22:00, £15
After a two-year hiatus from the live circuit, folk-rock singer/songwriter Johnny Flynn dusts off his guitar for a mini tour in celebration of the release of his third LP with his The Sussex Wit cohorts. Tenniscoats
Mono, 19:30–22:00, £8
The Japanese avant-gardists play a special set bolstered by a DJ set from their sometime Glasgow co-conspirators The Pastels.
Mon 07 Oct The High Kings
Oran Mor, 19:00–22:00, £15
Irish folk quintet, selling out shows left right and centre as they dazzle audiences with their multi-instrumental skills racking up a total of 13 instruments between ‘em. Nadine Shah
King Tut’s, 20:30–23:00, £7
The British born, by way of Norwegian and Pakistani parentage, vocalist and pianist does her alternative-styled solo thing – built on her trademark gently tremulous textures and unique smoky intensity.
Paul Weller (Trembling Bells)
Barrowland, 19:00–23:00, £sold out
The Jam mainman plays a mini series of one nighter shows, taking to a handful of his favourite venues over two weeks in October.
Tue 08 Oct
The Devil Wears Prada
King Tut’s, 20:00–23:00, £12
American Christian melodic metalcore ensemble hailing from Dayton, Ohio. Jojo Mayer Drum Clinic
O2 ABC, 19:00–22:00, £10
Zurich-born drummer extraordinaire, son of bass player Vali Mayer, who got acquainted with his first set of drums at the tender age of two.
No Age Stereo, 19:30–22:00, £12 (£10)
The Los Angeles based duo tour their fourth LP, An Object, which finds them on rather more jagged territory, guitarist Randy Randall’s washed out noise-scapes scaled back to angular rhythms and taut riffs.
Wed 09 Oct Lawson
O2 Academy, 19:00–22:00, £19
London-based foursome completed by the later addition of singer/songwriter Andy Brown, who apparently bonded with the rest of the band over pear cider, as you do. Rollor (Young Philadelphia + Mistake Peagant)
A Sudden Burst Of Colour (Animus + Burning The Dream + Colonies Of God) 13th Note, 20:00–23:00, £tbc
Instrumental rock quartet hailing from the fiery musical furnace of Motherwell, likely playing tracks offa their new EP. Seth Lakeman
Oran Mor, 19:00–22:00, £19.50
The Devon folk singer/songwriter and virtuoso fiddler does his damned impressive live thing, shredding strings as he goes.
Harry and the Hendersons (Alex Hynes) Stereo, 19:00–22:00, £tbc
The Glasgow-based acoustic soul lovelies launch their new single. Glass Museums
Nice ‘n’ Sleazy, 19:30–22:00, £5
More leftfield hardcore and indie from Matt Harris et al.
Anthemic Glasgow pop-rock outfit showcasing tracks off their debut EP.
O2 ABC, 19:00–22:00, £14
Sat 12 Oct
Nice ‘n’ Sleazy, 20:00–22:00, Free
Rudimental
The Hackney-based quartet hit the road armed with their newest LP, blending drum and bass with souldrenched lyrics along the way. Temples
King Tut’s, 20:00–23:00, £9
Neo psych bunch hailing from the midlands/the early 80s, built on frontman James Bagshaw’s impressively polished vocals. Danny Elfman: Music from the films of Tim Burton
The Hydro, 19:30–22:00, From £25
Brand new orchestra event featuring Danny Elfman’s famous Tim Burton film scores brought to life on stage by the BBC Concert Orchestra. The Holydrug Couple
Broadcast, 20:00–23:00, £5
Dreamlike duo made up of Ives Sepúlveda and Manuel Parra, part of the burgeoning psychedelic rock scene currently rising out of Chile. Kacey Musgraves
Oran Mor, 19:00–22:00, £16
Young American country music songstress, recently nominated for myriad Country Music Association awards.
Thu 10 Oct
Catfish and the Bottlemen
Broadcast, 20:00–23:00, £6
Rock’n’roll quintet full of guitars and songs about love an’ that. Kathryn Williams
Oran Mor, 19:00–22:00, £18
The Mercury Prize-nominated singer/songwriter tours on the run up to the release of her 10th studio album, Crown Electric. Madina Lake (Fearless Vampire Killers + The Super Happy Fun Club)
King Tut’s, 20:00–23:00, £15
The Chicagoan alternative rockers take to the road for one last blast, playing what will be their final UK tour. CHVRCHES
O2 ABC, 19:00–22:00, £13
The buzz band trio take to Glasgow’s O2 ABC for a two night stint to air their mighty debut LP – of which singles Lies, The Mother We Share, and Gun et al proved to be but the tip of their mighty electro-pop iceberg. The Mountain Goats (Alessi’s Ark)
The Arches, 19:00–22:00, £17.50
John Darnielle, the face behind the Goats, brings his unique nasal quality and lyrical dexterity to bear – moving from acoustic-rock to barbershop folk.
Fri 11 Oct Spector
King Tut’s, 20:30–23:00, £10
The happy-go-lucky London ensemble churn out the pop tunes, still riding high on the release of their debut LP. Nick Harper (Crawford Smith + Tragic O’Hara) The Glad Cafe, 19:30–22:00, £10
Letlive (Night Verses + The American Scene)
King Tut’s, 20:00–23:00, £10
More hook-loaded metallic riffs from the post-hardcore Californians.
Acid Mothers Temple (Skullwizard)
Emily Barker and The Red Clay Halo Oran Mor, 19:00–22:00, £12
Australian songwriter and guitarist Emily Barker takes to the road with her multi-instrumental trio, The Red Clay Halo.
Mon 14 Oct Passenger
O2 Academy, 19:00–22:00, £sold out
Brighton born singer/songwriter Mike Rosenberg’s pared back new guise (i.e. five piece band becomes one). Fossil Collective (Have Mercy Las Vegas + Giant Squidz) King Tut’s, 20:30–23:00, £8
Bright young multi-instrumentalist duo from Leeds, made up of David Fendick and Jonny Hooker. The Story So Far
The Garage, 19:00–22:00, £10
California-based punk rock outfit, touring with their latest album, What You Don’t See. BAD FUN! (Eef Barzelay + Neil Pennycook + Chris Otepka)
The Dead Agenda
Blogger Song, By Toad returns with his occasional showcase night, joined by a trio of singer/ songwriters – each better known for their respective band work: Eef Barzelay of Clem Snide, Neil Pennycook of Meursault and Chris Otepka of the Heligoats.
13th Note, 20:00–23:00, £tbc
Alternative punk-rock quartet hailing from the fiery musical furnace of, erm, Motherwell. The Proclaimers
The Hydro, 19:00–22:00, From £30
The Scottish institution that is the Reid brothers play a series of dates in celebration of the release of the Sunshine On Leith film, featuring a soundtrack of Proclaimers tunes. Ancient Ascendant (Exile the Traitor + Man Made Origin + Common Gods) Audio, 19:00–22:00, £8
The London-based progressive death metallers return to headline the Weege in support of their latest EP, Into the Dark. MGMT
O2 ABC, 19:00–22:00, £20
The US-of-A psychedelic rockers – founded by Benjamin Goldwasser and Andrew VanWyngarden – hit the road armed with their justdropped new LP, Your Life Is A Lie. Pins (Post War Glamour Girls + Sharptooth)
Broadcast, 20:00–23:00, £6
All-girl Mancunian quartet currently living out their love of the C86 sound. Rhiannon Giddens + Leyla McCalla
Oran Mor, 19:00–22:00, £15
Collaborating pair from the Carolina Chocolate Drops, who’s music brings together their African American and Haitian heritage. David Scott
Partick Bowling Club, 19:00–22:00, £5
Tue 15 Oct Damien Dempsey
Oran Mor, 19:00–22:00, £15
Favourited Irish singer/songwriter bringing his mighty voice to bear on topics both local and global. Bowling For Soup (Patent Pending)
O2 ABC, 19:00–22:00, £20
The Texan rockers return to UK soil to play what will be their final shows after almost 20 years together.
Ben Montague (Kristyna Myles + Anna Shields)
King Tut’s, 20:00–23:00, £8
Tousle-haired acoustic singer/ songwriter blessed with an acute sense of melody.
Islet (Ubre Blanca + Leafwrist)
Nice ‘n’ Sleazy, 20:00–22:00, £5
Experimental Cardiff rockers touring their debut album, Illuminated People. AlunaGeorge
The Arches, 19:00–22:00, £13
London-based hip-hop coupling of Aluna Francis and George Reid, hence AlunaGeorge. Geddit? Good. Queensryche
The Garage, 19:00–22:00, £22.50
Progressive heavy metal band hailing from Bellevue, Washington. San Cisco
Classic Grand, 19:00–22:00, £9
The Glad Cafe, 19:30–22:00, £8
Aussie quartet of the indie-pop persuasion, formerly playing under the name King George.
Sun 13 Oct
The young popstress hits the road for her first solo UK tour, fresh from supporting the likes of Olly Murs, Little Mix and JLS.
Solo performance from David Scott, the leading light behind The Pearlfishers and a member of the legendary BMX Bandits. Trapped In Kansas (Vasa)
Mono, 19:00–22:00, £tbc
Tich
O2 ABC, 19:00–22:00, £6
The Emerald Armada
Ayr indie-rockers born out of inter-band conversations on space, time travel, the Hadron Collider and other assorted quandaries of physics – playing what will be their last ever show. Blub.
Unsigned alternative folk ensemble, all soaring harmonies and cheeky-chappy banter.
SECC, 18:30–22:00, £35
Oran Mor, 19:00–22:00, £10
Deep Purple
The British rock mainstays hit the road with their new LP, NOW What?!, giving it a global airing in some suitably huge venues. Ahab (Stephanie Manns + Kat Healy)
Nice ‘n’ Sleazy, 19:30–22:00, £7
Country, folk and grunge-straddling London ensemble.
O2 ABC, 19:00–22:00, £13
The Berkeley Suite, 17:30–21:00, £6
The buzz band trio take to Glasgow’s O2 ABC for a two night stint to air their mighty debut LP – of which singles Lies, The Mother We Share, and Gun et al proved to be but the tip of their mighty electro-pop iceberg.
Charming English folk band rich with electronic influences and a love of strange instruments (caveat: they’ve been known to play the seashells).
Nice ‘n’ Sleazy, 19:30–22:00, £10
Kawabata Makoto and his band of sonic outlaws, mixing traditional melody with hyper-aggressive playing techniques and plenty improvisation.
The English singer/songwriter and guitarist does his acoustic folk-rock thing, complete with trademark acerbic lyrics. CHVRCHES
Tunng (Pinkunoizu) Broadcast, 20:00–23:00, £12
Classic Album Sundays: The Jimi Hendrix Experience
A hit down’t London way, Classic Album Sundays dip the lights and play a classic album in its entirety – in this case The Jimi Hendrix Experiences’ Electric Ladyland. Album plays at 7.30pm.
Broadcast, 20:00–23:00, £tbc
Wed 16 Oct Charlene Soraia
London-based singer/songwriter, known mostly for her cover of The Calling’s Wherever You Will Go, which may or may not be a good thing. Japanther (Pinact)
Broadcast, 20:00–23:00, £6
The Jim Jones Revue (The Amazing Snakeheads) King Tut’s, 20:30–23:00, £12.50
More supercharged rock’n’roll from the Jim Jones-led London quintet. Tom Odell
O2 Academy, 19:00–22:00, £12
Chichester-born singer/songwriter who studied at the Brighton Institute of Modern Music. Rungs (Cutty’s Gym)
13th Note, 20:00–23:00, £tbc
Alternative collective made up of ex-members of Take A Worm For A Walk Week, Lapsus Linguae and Project Venhell. Royal Blood
Nice ‘n’ Sleazy, 19:30–22:00, £6
Brighton-based alternative rock duo made up of Michael Kerr (bass and vocals) and Ben Thatcher (drums).
Thu 17 Oct Withered Hand
Mono, 19:30–22:00, £8.50
Edinburgh DIY folk-rock troubadour Dan Willson brings new look Withered Hand band to the stage, fresh from recording his longawaited second album. Cherri Fosphate (Letters To Fiesta + The Beautiful Lies + Dalzel)
Broadcast, 19:00–23:00, £5
Indie-rock foursome hailing from Glasgow and East Ayrshire. Jagwar Ma
King Tut’s, 20:30–23:00, £10
Often two-piece, occasional three-piece, hailing from Sydney and making alternative indie music you can dance to. Volbeat (Iced Earth)
O2 ABC, 19:00–22:00, £15
The Danish metal heavyweights tour in support of their new LP, Outlaw Gentlemen and Shady Ladies. Goo Goo Dolls
O2 Academy, 19:00–22:00, £24
The long-standing American rockers return to the live circuit to air their new LP, Magnetic. These New Puritans
Oran Mor, 19:00–22:00, £17
The London-based ensemble take to the road to air their newest LP, Field of Reeds. Aiden O’Rourke
The Glad Cafe, 19:30–22:00, £12
The shiny-headed Lau man unveils his latest suite of new music – entitled ‘Hotline’ – written, rehearsed and recorded on the Argyllshire coast. Willow Drive
13th Note, 20:00–23:00, £tbc
Alternative Glasgow rock quartet formed by former bandmates and chums in arms, Andrew Wright and Bryan Miller.
The Ramblers + The Jack Knives (Clark) Nice ‘n’ Sleazy, 19:45–22:00, £4
Glasgow gets nostalgic with The Ramblers and The Jack Knives returning for one night only, partying like it’s about 2005.
Sat 19 Oct
The Nimmo Brothers
Oran Mor, 19:00–22:00, £18
The Glasgow bluesmen brothers – aka Stevie and Alan Nimmo – cruise up the M8 for a set in the ‘burgh. John Grant (Josefin Winther)
O2 ABC, 19:00–22:00, £16.50
The American singer/songwriter and onetime frontman of 90s act The Czars does his solo thing. Blindfolds (Deathcats + Twin Mirrors)
Nice ‘n’ Sleazy, 20:00–22:00, £4
The Glasgow blues-rockers play a hometown set to launch their new single. Coasts
Broadcast, 20:00–23:00, £6
Bristol-based five-piece known for making shimmery pop sounds that go well with cold cider and a sunny day. Or, y’know, beer and dark clouds. Jamie Cullum
SECC, 18:30–22:00, From £25
The tiny jazz pianist does his tiny jazz pianist-y thing. Small Fakers + Who’s Who
Classic Grand, 18:30–22:30, £17
Double dose of tribute acts, taking on Small Faces and The Who, respectively. VV Brown (DarkSoul)
King Tut’s, 20:30–23:00, £7.50
The Northampton-born songstress (aka Vanessa Brown) bring the sixties-aping indie-pop and charm on tour. Blue
O2 Academy, 19:00–22:00, £18.50
Following their stint on ITV’s The Big Reunion, Lee Ryan et al get back on the road. Thank God. John Knox Sex Club + Over The Wall
Stereo, 19:30–22:00, £5
DIY micro label Gerry Loves Records welcome the return of folk rock mavericks John Knox Sex Club (after their enforced tax break hiatus), launching their new split single with euphoric pop lot Over The Wall.
Sun 20 Oct Daughter
Old Fruitmarket, 20:00–22:30, £15
SWG3, 19:30–22:00, £13.50
Saint Max and the Fanatics (Galoshins + Honey and the Herbs + Rapid Pig)
Jamaican reggae harmony trio, who for 40+ years have been entertaining and educating the world with their sweet harmonies and conscious lyrics.
Kate Nash
Ms Nash keeps it reliably chirpy with her vocally-loose melodic ramblings, touring in support of her latest album, Girl Talk.
The Old Hairdressers, 20:00–23:00, Free
The offbeat, brass-infused pop lot launch their debut LP, Saint Max and the Fanatics are Dead, after a first year of flurries – including a set at T in the Park. Touchstone + Von Hertzen Brothers
King Tut’s, 20:30–23:00, £12.50
Progressive hard rockin’ fivesome Touchstone take to the road for a double headline set with similarly progressive rock lot, the Von Hertzen Brothers. Public Image Ltd (The Selecter)
O2 ABC, 18:30–22:00, £15
Post punk outfit led by Sex Pistols frontman John Lydon, re-formed in 2012 and now with a new album under their belts. Fiona Hunter
The Glad Cafe, 19:30–22:00, £tbc
Intimate set from the talented traditional singer, busily garnering a reputation as a highly gifted song interpreter.
O2 ABC, 19:00–22:00, £10
Brooklyn-hailing progressive folk ensemble, known to throb and expand to include other musicians and orchestral accompaniments.
Half-Swedish, half-Scottish singer/songwriter in possession of a fine technical agility and emotive style.
Manchester based eccentrics with a taste for the difficult to define, but essentially coming off like deranged offbeat pop.
Moody and electronic folk-esque melodies from the London-based trio, formerly just the solo work of Elena Tonra.
Fri 18 Oct
Seriously cool art-punk outfit from Brooklyn (where else?) playing scuzzy, lo-fi punk with enough of a hint of pop to get those fists pumping in the air. Nina Nesbitt
Rapid Pig 13th Note, 20:00–23:00, £tbc
Hem
Stereo, 19:30–22:00, £13.50
The Mighty Diamonds (Talisman)
O2 ABC, 19:00–22:00, £15
Veronica Falls + Bleached
Broadcast, 20:00–23:00, £10
More perfectly-wrought gothtinged pop songs from ramshackle London four-piece Veronica Falls, playing a double headline set with LA-based rock’n’rollers, Bleached. Glasgow Glam Bangers
13th Note, 20:00–23:00, £tbc
Glam-styled Glasgow trio made up of Paxton Andrews, Piano Reeves and Reginald Shite – all their actual birth names. Probably. Oxjam Takeover: Forest Fires, Galleries, Alavano, Selective Service
Nice 'N' Sleazy, Art School and Broadcast
The Glasgow leg of the UK-wide fundraiser gets underway with a cast of local musos. Broadcast offers a family-friendly afternoon to kick off from 2-6pm.
Mon 21 Oct Alter Bridge
The Hydro, 19:00–22:00, £26
Formed from the ashes of Creed, three of the original members continue to rock (with the added vocal skills of Myles Kennedy).
Listings
63
LLOYD COLE
LISSIE
ORAN MOR, 19:00–22:00, £22.50
O2 ABC, 19:00–22:00, £13
The Lloyd Cole and The Commotions mainman plays as part of his solo acoustic tour. THE MONOCHROME SET (POST + AGGI DOOM)
MONO, 19:30–22:00, £9
Longstanding indie-pop outfit, marked by songwriter Bid’s laconic vocals and intelligent wit. LOCAL NATIVES
THE ARCHES, 19:00–22:00, £14.50
Silver Lakes indie-rockers whose core trio met at high school, to be joined later by a bassist and a drummer. POLTERGEIST
KING TUT’S, 20:30–23:00, £12
Echo and The Bunnymen members Will Sargeant and Les Pattinson team up for their all-new postrock outing.
Tue 22 Oct GHOSTPOET
CCA, 19:30–22:00, £12.50
More inspired experimental hip-hip from the Mercury-nominated lisped Londoner. THE ANSWER
THE GARAGE, 19:00–22:00, £14
Geordie/Northern Ireland foursome sounding pretty much like what you get when you cross classic, hard and blues rock together. THE FEELING
ORAN MOR, 19:00–22:00, £18.50
Harmless indie-popsters led by Dan Gillespie Sells’ wishy-washy vocals. CLEAN BANDIT
KING TUT’S, 20:00–23:00, £9.50
Eccentric young pups from London, building their sound on the instrumental core of bass, drums and strings, bolstered by a variety of budding vocalists. WILLARD GRANT CONSPIRACY
BROADCAST, 20:00–23:00, £12.50
Alternative country ensemble based near Palmdale, California – originally formed by Robert Fisher and Paul Austin back in’t 1995 and now operating as a collective. RUEN BROTHERS
NICE ‘N’ SLEAZY, 20:00–22:00, £6.50
Brother-led duo who take their musical cue from the sounds of sixties pop.
Wed 23 Oct LLOYD COLE
ORAN MOR, 19:00–22:00, £22.50
The Lloyd Cole and The Commotions mainman plays as part of his solo acoustic tour. HIM
BARROWLAND, 19:00–23:00, £20
Finnish rock ensemble formed at the beginning of the 90s by vocalist Ville Valo, guitarist Mikko Lindström and bassist Mikko Paananen.
GRAHAM PARKER AND THE RUMOUR (THE SILVER SEAS) O2 ABC, 19:00–22:00, £25
The British rock legends reunite for the first time in 30 years, performing a back catalogue of tracks spanning nearly four decades. MIKE HERON + TREMBLING BELLS
THE GLAD CAFE, 19:30–22:00, £14
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. SAM AMIDON (TINY RUINS + SIOBHAN WILSON)
MONO, 19:30–22:00, £7.50
A folk singer cast from an old-fashioned mould, Sam Amidon continues to rearrange and repurpose songs from the ages to joyous effect.
Thu 24 Oct AGNES OBEL
CCA, 19:00–22:00, £12
The folk-inspired Danish singer/ songwriter takes to the road to play tracks offa her new LP, Play It Again Sam. NORTH MISSISSIPPI ALLSTARS
ORAN MOR, 19:00–22:00, £15
Southern rock-meets-blues jam duo, inspired by the Mississippi Hill Country Blues tradition. MY VITRIOL (HALO TORA)
KING TUT’S, 20:30–23:00, £15
London-based alternative rock lot, out touring in advance of their new LP dropping.
64
Listings
The Rock Island folk-rock songstress (aka Elisabeth Corrin Maurus) plays tracks from her just-dropped second LP, Back To Forever. PETER GABRIEL
THE HYDRO, 19:00–22:00, FROM £30
Celebrating the 25th anniversary of his multi-platinum album, So, Mr Gabriel plays a special set accompanied by the original live band who toured the album with him all those moons ago. WAXAHATCHEE (SWEARIN’)
STEREO, 19:30–22:00, £12.50
Solo project of songwriter Katie Crutchfield, DIY and confessional in her songwriting approach.
Fri 25 Oct
THE WEDDING PRESENT
O2 ABC, 18:30–22:00, £16
Some 25-odd years after forming, David Gedge brings his cult 80s concern north of the border for a rare Scottish date, performing the A-sides of the twelve singles that formed their record-breaking Hit Parade series of 1992. BATTLEFIELD BAND
ORAN MOR, 19:00–22:00, £18
Celtic-inspired musical ensemble, pioneers of the integration of bagpipes with fiddle, keyboards, guitar and voice.
THE ELECTRIC SOFT PARADE (DANCING YEARS + QUIET AS A MOUSE + POOR THINGS)
DEAFHAVEN STEREO, 19:00–22:00, £10
KING TUT’S, 20:30–23:00, £10
Brighton psych-pop band unit comprised of brothers Alex and Thomas White, joined by a number of other musicians with whom they record and play live. RESONATORS
O2 ABC, 19:00–22:00, £8
Nine-piece dub reggae troupe inspired by the meditative quality and universal appeal of Jamaican roots music.
THE JAMES CONNOLLY SONGBOOK (MAT CALLAGHAN + JIM KELMAN) THE GLAD CAFE, 20:00–22:00, £8.00
Celebration of the life and work of James Connolly, with American musician and writer Mat Callaghan performing his own arrangements of some of his songs, joined by influential Scottish writer Jim Kelman.
THE APPLESEED CAST (JUNE MILLER + VERSE METRICS) STEREO, 19:30–22:00, £12
Post rock quartet hailing from the US of A, touring with their 2013 album, Illumination Ritual, and showcasing their newly evolved sound built up on a bedrock of hardcore emo.
CANDY SAYS (PLUM)
NICE ‘N’ SLEAZY, 19:30–22:00, £9
Lo-fi chic pop DIY outfit from Oxford, most oft to be found recording homemade pop in their bungalow garage.
Sat 26 Oct THE CAT EMPIRE
O2 ABC, 18:30–22:00, £20
The genre-busting Australian ensemble embark on their biggest world tour to date, blurring the line between hip-hop, jazz and reggae as only they know how. THE CULT
BARROWLAND, 19:00–23:00, £29.50
The Ian Astbury led rockers continue their Electric 13 tour, playing their Rick Rubin-produced third album, Electric, in its entirely. GIRLS NAMES
NICE ‘N’ SLEAZY, 20:00–22:00, £9
Skate-skuzz indie outfit from big ol’ London town. RYAN KEEN (GAVIN JAMES)
THE GARAGE, 19:00–22:00, £8.50
Totnes-based singer/songwriter doing his acoustic, folksy blues thing with highly rhythmicpercussive guitar playing and heartfelt lyrics.
THE OUTER CHURCH (BLACK MOUNTAIN TRANSMITTER + EMBLA QUICKBEAM + BROKEN 3)
KINNING PARK COMPLEX, 19:30–22:00, £5
The Outer Church celebrate the release of their compilation album with a line-up of experimental electronic producers doing whacked out things with ex-rental videos and the likes.
American heavy metal band formed in New Jersey back in 1986. THE WEEKS (SOLDIER ON)
KING TUT’S, 20:30–23:00, £8
Alternative sludge pop five-piece hailing from Nashville, currently embarking on a mammoth UK and US tour.
CAFE,
The all-girl pop kids on the block (formed from the ashes of Futuristic Retro Champions) play a special set to launch their first single on Neu! Reekie! Records, playing a free show in the intimate surrounds of The Rio Cafe. FANNY PELMET AND THE BASTARD SUITS
RUSSIAN CIRCLES + CHELSEA WOLFE
SWG3, 19:30–22:00, £12.50
Talented noise-masters Russian Circles allow their sound to evolve outwith the quiet/loud template, taking it to some contemplative new places. They play a special double headliner set by richly layer California songstress Chelsea Wolfe.
Sun 27 Oct STEVE MASON
O2 ABC, 19:00–22:00, £17
The Beta Band frontman plays a solo set, still riding high on his early 2013 LP, Monkey Minds in the Devil’s Time – a catalytic call-toarms with a mantric message sure to get the blood a-pumping. THE RATELLS
CLASSIC GRAND, 19:00–22:00, £5
Sheffield-based alternative indie scamps led by Ashley Holland on lead vocals and bass guitar. ROBBIE BOYD (CALEB MAJOR + ADAM SAMPSON)
KING TUT’S, 20:30–23:00, £8
London-based acoustic folk-pop unit who drench their sound in rays of feelgood sunny nostalgia. SUEDE
BARROWLAND, 19:00–23:00, £SOLD OUT
The Brett Anderson-led alternative rockers continue to ride the wave of their reunion. LONDON GRAMMAR
ORAN MOR, 19:00–22:00, £10
The indie-pop Mercury Prize favourites take their debut album on tour.
HAPPY CHICHESTER (NEW KILLER SHOES)
THE VOODOO ROOMS, 19:30–22:00, £8
Ohio-hailing singer/songwriter and multi-instrumentalist who has recorded with and founded Royal Crescent Mob, Howlin’ Maggie and the Twilight Singers, as well as performing with myriad others. COALFAX (THE FALLING RAIN)
BANNERMANS, 20:00–23:00, £8
British Indian musician known for using the sacred Bhakti and Sufi traditions of India and Pakistan to energetic live effect.
OLD FRUITMARKET, 20:00–22:30, £18.50
The American singer/songwriter, guitarist and now author performs an all-acoustic set rich with his usual countrified folk sounds and heartening lyricism. WATT NICOLL
ORAN MOR, 19:00–22:00, £14
The Scottish folkie legend plays a live set, likely as bearded and bowtied as ever.
Edinburgh Music Tue 01 Oct THE TWANG (JAWS)
ELECTRIC CIRCUS, 20:00–23:00, £14
Indie-rockers that take their inspiration from Madchester and Britpop times.
LIVE_TRANSMISSION: JOY DIVISION REWORKED
USHER HALL, 20:00–22:00, FROM £18
Electronic music producer Scanner teams up with the highly innovative Heritage Orchestra, and visual artist Matt Watkins, to deliver an electro-orchestral reworking of some of Joy Divisions greatest hits. Set to be all kinds of bloody lovely. WHITE WIZZARD + MONUMENT + TOLEDO STEEL
THE BANSHEE LABYRINTH, 19:00–22:00, £9 ADV. (£10 DOOR)
Metal-styled showcase night headed up by the old school metal soundscapes of White Wizzard, out touring in support of their third LP.
Wed 02 Oct
GRAMME (DIGITAL JONES)
ELECTRIC CIRCUS, 19:00–22:00, £7
After more than a decade of silence – no gigs, no music, no nothing – the lo-fi disco Londoners continue with their series of 2013 outings, armed with their all-new LP.
The Swedish metal outfit return for another bite of Bannermans.
SLEEPING WITH SIRENS (THE SUMMER SET + HANDS LIKE HOUSE + THE GETAWAY PLAN)
PICTURE HOUSE, 19:00–22:00, £16.00
The Florida post-hardcore fiends bring their latest LP, Slow, to a live setting.
Mon 07 Oct
Fri 04 Oct
The Mercury and MOBO Awardwinning saxophonist plays a new suite of tunes, inspired by the rousing spirit and instantly recognisable rhythms of Martin Luther King’s momentous I Have A Dream speech.
SUSHEELA RAMAN
THE ARCHES, 19:00–22:00, £12.50
SISTER SIN (HONEYCOMB LOVE + DIRTY ROTTEN SCOUNDRELS) BANNERMANS, 19:30–23:00, £8
The Canadian rockers take to Bannermans sweaty lair to showcase their latest album.
More upbeat and catchy indie-pop from the Scottish four-piece, who launch their new album on the night.
The young singer/songwriter and producer does his thing, responsible for a slew of UK dance hits in recent years.
13TH NOTE, 20:00–23:00, £TBC
Glasgow garage rock’n’rollers featuring former members of The Grease Monkeys.
Thu 03 Oct
THE LITTLE KICKS (KING ELDER + THE BOOK GROUP)
JOHN NEWMAN
JOSH RITTER
TEENCANTEEN THE RIO 19:30–22:00, FREE
Edinburgh Music
THE ARCHES, 19:00–22:00, £10
After their meteoric rise, the all-female Californian quartet return to show just what they can do with the indie-rock template, via shades of goth and dance dripping in ethereal harmonies and grooves.
One of the EDM scene’s brightest new stars, Zedd (aka Anton Zaslavski), mans the decks for the evening.
Best known as the drummer for the legendary Ramones – oh, and his clothing line and pasta sauce empire – Marky takes his solo punk rock project, Blitzkreig, on the road, bolstered by Andrew W.K. Vocals.
THE GARAGE, 19:00–22:00, £18.50
WARPAINT
THE ARCHES, 22:00–03:00, £16 EARLYBIRD (£20 THEREAFTER)
THE GARAGE, 19:00–22:00, £17.50
SKID ROW (UGLY KID JOE)
O2 ABC, 19:00–22:00, £15
ZEDD
BLITZKRIEG
Mon 28 Oct
British vocal group formed from the boy band, Connected – finalists in the fourth series of Britain’s Got Talent in 2010.
The lo-fi Glasgow noisemakers (aka Anneke Kampman and James Scott) perform using loops and samples, continuing with their template of building the songs from their roots as the intricate melodies unfold.
The psych-styled English space rockers bring the dreamy pop soundscapes. Rescheduled date.
Tokyo-based Japanese underground guitarist and vocalist.
CLASSIC GRAND, 19:00–22:00, £12.50
THE GLAD CAFE, 19:30–22:00, £7
KING TUT’S, 20:30–23:00, £10
SUZUKI JUNZO
13TH NOTE, 20:00–23:00, £TBC
RECONNECTED
CONQUERING ANIMAL SOUND
THE TELESCOPES (THE CHERRY WAVE + DEAD TEMPLE)
San Francisco-based ambient metal outfit that began life in 2010 as a two-piece with George Clarke and Kerry McCoy.
WEE RED BAR, 19:00–22:00, £6 (£5)
AW BLACKS
THE QUEEN’S HALL, 20:00–22:00, £10
Kirsty Baird’s modern Edinburghbased choir play a selection of covers and original material. TREVINO + WASTED DAYS
BANNERMANS, 20:00–23:00, £5
Mixed bag of indie and rock for your Friday evening pleasure.
Sat 05 Oct
MORE THAN CONQUERORS (A FIGHT YOU CAN’T WIN)
SNEAKY PETE’S, 19:00–22:00, £5
The Smalltown America Records’ signees do their bright and oft magical post-hardcore thing. EVERYTHING EVERYTHING
THE LIQUID ROOM, 19:00–22:00, £15
Manchester residing indie-rock quartet still riding high of the release of their early 2013 LP, Arc, and cropping up everywhere everywhere. SPEAR OF DESTINY
ELECTRIC CIRCUS, 19:00–22:00, £13.50
Dark rock outfit founded in 1983 by singer and songwriter Kirk Brandon and bassist Stan Stammers, on the road celebrating 30 years and counting. THIRTEEN-SEVEN
BANNERMANS, 20:00–23:00, £5
DENYS BAPTISTE
USHER HALL, 19:30–22:00, FROM £16.50
SCHOLARS (COPPER LUNGS)
ELECTRIC CIRCUS, 19:00–22:00, £6
The Hemel Hempstead rock quintet give their debut LP, Always Lead, Never Follow, the grand live tour. BLUE EMBRACE (NEON TETRAS)
BANNERMANS, 20:00–23:00, £5
The US-of-A hard rockers take to Scottish shores for their first UK tour, imbuing their sound with hints of alternative blues.
Tue 08 Oct ELLIE GOULDING
USHER HALL, 19:00–22:00, FROM £19.50
Hereford-born young singer/ songwriter of the moment, fusing electro-pop and indie-folk into her mix. JOHNNY MARR
PICTURE HOUSE, 19:00–22:00, £19.50
The celebrated Smiths guitarist plays a selection of tracks from his debut solo album, The Messenger.
Wed 09 Oct EDINBURGH QUARTET
THE QUEEN’S HALL, 19:30–22:00, £15 (£12/£5 STUDENT)
The Scottish string quartet return in Czech-themed form – revealing folk influences in Haydn and Prokofiev, plus their take on Dvorak. SPLASHH
ELECTRIC CIRCUS, 19:00–22:00, £9
The Edinburgh-based modern rock trio play a hometown show, showcasing their debut EP alongside some brand new material.
Australia, New Zealand and UKstraddling alternative dreamers.
WEE RED BAR, 19:00–22:00, £5
Edinburgh indie rock’n’rollers pitching themselves somewhere between BRMC and Cage the Elephant.
COLLAR UP
Dream-pop Edinburgh trio signed to local Permwhale label, rich with sweeping pianos and dreamy vocals.
CRY OF THE CAVE PEOPLE (ARTISAN + NORMAN LAMONT+ HOOKERS FOR JESUS + ISAAC BRUTAL AND THE TRAILER TRASH EXPRESS + ANDREW WILSON + ALI MALONEY + ANDREW FERGUSON) CITRUS CLUB, 19:00–22:00, £5 ADV. (£7 DOOR)
Night of Nick Cave-related material as various bands – including Isaac Brutal and the Trailer Trash Express – and spoken word performers reinterpret the music and lyrics of Brighton’s most unlikely resident. ALISON MOYET
USHER HALL, 19:30–22:00, FROM £22.50
The English singer/songwriter marks a return to her electronic roots, playing tracks from her new LP, The Minutes.
LUGS TAE ARTHUR’S SEAT (WOUNDED KNEE + ANDREW SCLATER)
ARTHUR’S SEAT, 10:00–12:00, £7 (£6)
The Scottish Poetry Library attempt to host the highest and smallest festival the ‘burgh has seen, with music from Wounded Knee, plus poetry and breakfast, all served ‘pon the 251-metre high of Arthur’s Seat. Meet at Scottish Poetry Library, 10am.
Sun 06 Oct
THE UKULELE ORCHESTRA OF GREAT BRITAIN
THE QUEEN’S HALL, 19:30–22:00, £20
The all-plucking orchestra take in Edinburgh as part of their current world tour.
TUFF (SHAMELESS + STALA & SO) BANNERMANS, 19:30–23:00, £14
80s American glam metal band built mostly on noise and hairspray. BAT-BIKE
HENRY’S CELLAR BAR, 19:00–22:00, £5 (£4)
Fledgling Edinburgh alternative rockers with a snarling bat for a Facebook profile picture, obvs.
Fri 11 Oct
HADDOWFEST: THE RIFLES, THE HOLY GHOSTS, THE NATURE BOYS, HAGANA, DEATH APE DISCO, THE RAHS, PENNY BLACK
PICTURE HOUSE, MAGGIE'S CHAMBER, SNEAKY PETE'S, CABARET VOLTAIRE, WHISTLEBINKIES 6:30PM-11PM (£17)
Still very much in its infancy, the annual hoedown returns for a double decker weekender. See www.haddowfest.co.uk for the full venue split nearer the date. KATHRYN WILLIAMS (ALEX CORNISH)
THE CAVES, 19:00–22:00, £15
The Mercury Prize-nominated singer/songwriter tours on the run up to the release of her 10th studio album, Crown Electric. THE SPOOK SCHOOL
HENRY’S CELLAR BAR, 19:00–22:00, £TBC
The indie-pop styled Edinburgh quartet play a hometown show, fresh-ish from a jaunt to London recording new material.
GERRY LOVES RECORDS @ THE PLEASANCE SESSIONS (JOHN KNOX SEX CLUB + OVER THE WALL)
THE PLEASANCE, 19:30–22:30, £6 (£4)
Gerry Loves Records welcome folk-rock mavericks John Knox Sex Club for their longawaited return, launching their new split single with
SAMBA SENE AND DIWAN THE BONGO CLUB, 19:00–22:00, £7 ADV. (£8 DOOR)
Exuberant fusion of funky mbalax and Afrobeat grooves, with undercurrents of ska, rock and Senegalese soul, led by charismatic Senegalese singer Samba Sene. AHAB (MATT NORRIS AND THE MOON + THE BLIND DOG)
ELECTRIC CIRCUS, 19:00–22:00, £7
Country, folk and grunge-straddling London ensemble. BROWN BROGUES
HENRY’S CELLAR BAR, 19:00–22:00, £5
Mark Vernon and Ben Mather, better known as Brown Brogues, do that noisy DIY garage rock thing they do so well. LIMBO (LIPSYNC FOR A LULLABY + YOUR LOYAL SUBJECTS + NUMBERS ARE FUTILE)
THE VOODOO ROOMS, 20:00–01:00, £4 EARLYBIRD
Beloved gig-in-a-club night, this time manned by sublime Edinburgh string quartet Lipsync For A Lullaby, playing a double headline set with riotous local trio Your Loyal Subjects – who mark their live return to the Limbo stage, five years on. THE SKINNY @ THE PLEASANCE SESSIONS (RICK REDBEARD + HONEYBLOOD + LAW + SIOBHAN WILSON)
THE PLEASANCE, 19:30–22:30, £7 (£5)
The Skinny (yeah, us) host a songwriting showcase headed up by The Phantom Band’s frontman Rick Redbeard, joined by Honeyblood, LAW and Siobhan Wilson. Part of The Pleasance Sessions – Edinburgh Uni’s series of nights hand-curated by in-the-know locals. AL STEWART
THE QUEEN’S HALL, 19:00–22:00, £18.50
All-acoustic evening with the longstanding folk singer/songwriter, whose career spans some four decades. THE CANYON + THE SCABBY QUEEN
BANNERMANS, 20:00–23:00, £5
Mixed bag of indie and rock for your Saturday evening pleasure.
Sun 13 Oct
LANTERNS ON THE LAKE ELECTRIC CIRCUS, 19:00–22:00, £8
Fragile and cinematic folk soundscapes from the Newcastlebased sextet.
HEADSHRINKER (FISHING FOR SEAGULLS)
BANNERMANS, 20:00–23:00, £5
CULTURE SHOCK (ROOTS SYSTEM + BIG FAT PANDA)
Thu 10 Oct TWO WINGS
WEE RED BAR, 19:00–22:00, £6 (£5)
Experimental ensemble born of a songwriting collaboration between singer/multiinstrumentalist/visual artist Hanna Tuulikki and guitarist/ singer Ben Reynolds.
CITRUS CLUB, 19:00– 22:00, £10
THE JIM JONES REVUE
Anarchopunk outfit formed in Warminster way back when (aka 1986) by Dirk Lucas, formerly of the Subhumans.
THE CAVES, 19:00–23:00, £14
More supercharged rock’n’roll from the Jim Jones-led London quintet. TEMPLES
ELECTRIC CIRCUS, 19:00–22:00, £9
Neo psych bunch hailing from the midlands/the early 80s, built on frontman James Bagshaw’s impressively polished vocals. THE LIST @ THE PLEASANCE SESSIONS (MIAOUX MIAOUX + JONNIE COMMON + CAIRN STRING QUARTET)
THE PLEASANCE, 19:30–22:30, £9 (£6)
Multi-tasking chap Julian Corrie (aka Miaoux Miaoux) heads up The List magazine’s night, as part of The Pleasance Sessions – Edinburgh Uni’s series of nights handcurated by in-the-know locals.
SUBSTANCE: 7TH BIRTHDAY (MODERAT)
PICTURE HOUSE, 19:00–22:00, £19.50
The underground Edinburgh crew mark their 7th birthday with a set from Berlin electronic supergroup Moderat (made up of members of Modeselektor, Apparat and Pfadfinderei) – marking the outfit’s only Scottish date in support of their LP world tour.
Over The Wall. Part of The Pleasance Sessions – Edinburgh Uni’s series of nights hand-curated by in-theknow locals. CETI (TRASHIST REGIME + RISEN PROPHESY)
BANNERMANS, 20:00–23:00, £8
Polish rocker Grzegorz Kupczyks and his live metal ensemble, Ceti, play tracks offa their new LP.
Sat 12 Oct
HADDOWFEST: WE WERE PROMISED JETPACKS, CASUAL SEX, HECTOR BIZERK AND MANY MORE
PICTURE HOUSE, MAGGIE'S CHAMBER, SNEAKY PETE'S, CABARET VOLTAIRE, WHISTLEBINKIES 1PM-11PM (£17)
An all day epic of rock'n'roll from all corners of the UK. See www. haddowfest.co.uk for the full bill and venue split nearer the date.
HOODED PRIEST + ARKHAM WITCH + IRON VOID + ATRAGON BANNERMANS, 19:00–22:00, £6
Metal-styled showcase night headed up by screaming hard rock lot, Hooded Priest.
Mon 14 Oct BEN MONTAGUE
ELECTRIC CIRCUS, 19:00–22:00, £8
Tousle-haired acoustic singer/ songwriter blessed with an acute sense of melody. THE 3RD MAN (ESTRELLA)
BANNERMANS, 20:00–23:00, £5
The fledgling Holland ensemble try their luck with an Edinburgh crowd. DAN LE SAC VS SCROOBIUS PIP
SNEAKY PETE’S, 19:00–22:00, £SOLD OUT
Returning after a two-year absence, the hip-hop duo continue in their quest to mash up electronic beats with sung, spoken and rapped lyrics.
THE SKINNY
Tue 15 Oct
MARY COUGHLAN TRIO (MARK HUFF)
THE CAVES, 19:15–23:00, £17.50
Irish music royalty, with personal influences running like blood through her songwriting. BAD FUN! (EEF BARZELAY + NEIL PENNYCOOK + CHRIS OTEPKA)
THE VOODOO ROOMS, 19:00–22:00, £5
Blogger Song, By Toad returns with his occasional showcase night, joined by a trio of singer/ songwriters – each better known for their respective band work:
VIRGIL AND THE ACCELERATORS
NICK HARPER
THE VOODOO ROOMS, 19:30–22:00, £8.50
SNEAKY PETE’S, 19:00–22:00, £10
High-energy young blues scamps, still riding high on the release of their debut LP, The Radium. MACHINEDRUM
SNEAKY PETE’S, 21:00–00:00, £10
Travis Stewart’s most visceral live incarnation yet, playing with live drummer, hardware and guitars.
Fri 18 Oct ANDREW ROACHFORD
THE VOODOO ROOMS, 19:00–22:00, £15
The soulful London-based singer/songwriter – and
The English singer/songwriter and guitarist does his acoustic folk-rock thing, complete with trademark acerbic lyrics. THE HOLLIES
USHER HALL, 19:30–22:00, FROM £24.50
The Manchester-formed rockers celebrate some 50 years on the circuit, tight pop harmonies as present as ever.
THE MONOCHROME SET (RAPID PIG)
THE VOODOO ROOMS, 19:30–22:00, £12
Longstanding indie-pop outfit, marked by songwriter Bid’s laconic vocals and intelligent wit. THIRTEEN-SEVEN
WEE RED BAR, 19:00–22:00, £5
THE PLEASANCE, 19:30–22:30, £7 (£5)
Sun 20 Oct THE NIMMO BROTHERS
THE VOODOO ROOMS, 19:15–22:00, £12
The Glasgow bluesmen brothers – aka Stevie and Alan Nimmo – cruise up the M8 for a set in the ‘burgh.
HEBRIDES ENSEMBLE
THE QUEEN’S HALL, 19:30–22:00, £14 (£10/£5 STUDENT)
The contemporary chamber orchestra display their diverse craftmanship, welcoming back Jane Irwin to sing Berio’s Folk Songs. SIMON MCBRIDE
BANNERMANS, 20:00–23:00, £12
Virtuoso Irish guitar player of the blues-rock variety, rich with hooks and melodies. EDINBURGH FOLK CLUB @ THE PLEASANCE SESSIONS (GEORGE PAPAVGERIS)
THE PLEASANCE, 19:30–22:30, £10 (£8)
Edinburgh Folk Club host the first of two predictably folk-y outings as part of The Pleasance Sessions – Edinburgh Uni’s series of nights hand-curated by in-the-know locals.
URVANOVIC (THE JELLYMAN’S DAUGHTER + KITE AND THE CRANE)
WEE RED BAR, 19:00–22:00, £5
Edinburgh-based seven-piece mixing strings, synths, vocals, percussion and other noises under the banner of what they call ‘noisy stringy synthy singy pop’. Can’t say fairer.
Thu 17 Oct CODEJAK
BANNERMANS, 20:00–23:00, £5
All-rockin’ quartet driving along on a punk-fuelled and angular manifesto.
SAINT MAX AND THE FANATICS (COLONEL MUSTARD AND THE DIJON FIVE + THE BLUE SHIP + POST) HENRY’S CELLAR BAR, 20:00–23:00, FREE
The offbeat, brass-infused pop lot launch their debut LP, Saint Max and the Fanatics are Dead, after a first year of flurries – including a set at T in the Park.
INSTINCTIVE RACOON @ THE PLEASANCE SESSIONS (THE PICTISH TRAIL)
THE PLEASANCE, 19:30–22:30, £9 (£7)
Weegie label Instinctive Racoon host The Pictish Trail (aka Johnny Lynch) for one of his first live forays since leaving Fence (and setting up Lost Map). Part of The Pleasance Sessions – Edinburgh Uni’s series of nights hand-curated by in-the-know locals. JAMIE CULLUM
USHER HALL, 19:00–22:00, FROM £32.50
The tiny jazz pianist does his tiny jazz pianist-y thing.
October 2013
THE PLEASANCE, 19:30–22:30, £11 (£8)
Insider pitch up in the decidedly un-mountainous surrounds of The Pleasance, joined by Lau’s Aidan O’Rourke and Edinburgh-based composer Poppy Ackroyd. Part of The Pleasance Sessions – Edinburgh Uni’s series of nights hand-curated by in-the-know locals. ANDY IRVINE
THE QUEEN’S HALL, 19:00–22:00, £15 (£12)
The traditional Irish folk singer/ songwriter and multi-instrumentalist plays a set plucked from his hefty repertoire. THE FLATMATES
WEE RED BAR, 19:00–22:00, £5
The Unpop club lot invite indie-pop mainstays, The Flatmates, to play a live set – with the club itself following suit from 11pm. RALLY & BROAD: THE GRAND RELAUNCH
COUNTING HOUSE, 20:00–23:00, £5
FOCUS
Thu 24 Oct
Local blogger and label owner Song, By Toad pitches up for the second of two showcase outings as part of The Pleasance Sessions – Edinburgh Uni’s series of nights hand-curated by in-the-know locals.
Wed 16 Oct
THE PLEASANCE, 19:30–22:30, £10 (£8)
Edinburgh Folk Club host the first of two predictably folk-y outings as part of The Pleasance Sessions – Edinburgh Uni’s series of nights hand-curated by in-the-know locals.
CABARET VOLTAIRE, 19:00–22:00, £5
SONG, BY TOAD @ THE PLEASANCE SESSIONS (ROB ST JOHN + ADAM STAFFORD + IAN HUMBERSTONE)
INSIDER FESTIVAL @ THE PLEASANCE SESSIONS (AIDAN O’ROURKE QUINTET + POPPY ACKROYD)
EDINBURGH FOLK CLUB @ THE PLEASANCE SESSIONS (EDDIE WALKER AND FRASER SPEIRS)
Weegie label Instinctive Racoon welcome alternative countryesque Glasgow chaps Three Blind Wolves for a live set. Part of The Pleasance Sessions – Edinburgh Uni’s series of nights hand-curated by in-theknow locals.
Known for blending fuzzy surf with sexy psychedelia and throwing in some hypnotic melodies and tripped out lyrics – they’re calling it beach goth.
Dutch pop-rock exports fronted by founding member Thijs Van Leer.
Denver-based acoustic world fusion quartet making their noise on violin, guitar, bass and drums.
Eef Barzelay of Clem Snide, Neil Pennycook of Meursault and Chris Otepka of the Heligoats.
ELECTRIC CIRCUS, 19:00–22:00, £7.50
INSTINCTIVE RACOON @ THE PLEASANCE SESSIONS (THREE BLIND WOLVES)
The Edinburgh-based modern rock trio play a hometown show, showcasing their debut EP alongside some brand new material. PERPETUAL MOTION
main force behind Roachford – plays a solo set.
THE GROWLERS (TOMORROW’S TULIPS)
DEAF HAVANA (CHARLIE SIMPSON + BIG SIXES) PICTURE HOUSE, 19:00–22:00, £14
Four East Coast Village lads making a rammy of rock sounds, taking to the road in support of their new LP, Old Souls.
PROSTITUTE DISFIGUREMENT + ANAL SMEGMA + BASEMENT TORTURE KILLINGS + PARTY CANNON BANNERMANS, 19:00–23:00, £10
A night of brutal death metal and some, erm, choice band names. Prostitute Disfigurement? Really?
Mon 21 Oct GRANT HART
THE CAVES, 19:15–23:00, £16
MARK EITZEL (THE WYNNTOWN MARSHALS)
THE VOODOO ROOMS, 19:30–22:00, £15
Live set from the respected American underground musician, best known as the lead singer of American Music Club. THE DEEP RED SKY (AMIDSHIPS + OWLS IN ANTARCTICA)
ELECTRIC CIRCUS, 19:00–22:00, £4
The energetic Scottish alternative rockers play a trademark set chock with guitars, glock, keys and three-part harmonies. GARDEN GANG
CITRUS CLUB, 19:00–22:00, £TBC
The Bavarian ensemble bring the high energy glam punk-rock fest, as per.
The celebration of spoken word, music, and other such lyrical loveliness returns for 2013, taking in poetry from Tim Turnbull and Degna Stone, plus music from Hailey Beavis and Homesick Aldo, bolstered by a bit of live dance from Ruth Mills.
Sat 26 Oct
TO KILL A KING (KESTON COBBLERS CLUB)
ELECTRIC CIRCUS, 19:00–22:00, £10
Leeds/London quartet fronted by the brooding vocals and densleycrafted songwriting of Ralph Pelleymounter. BIG BOY BLOATER
ZEDD
THE LIQUID ROOM, 22:30–03:00, £15
One of the EDM scene’s brightest new stars, Zedd (aka Anton Zaslavski), mans the decks for the evening. THE CAVES, 20:00–01:00, FREE
BANNERMANS, 20:00–23:00, £5
STEVE MASON
The Beta Band frontman plays a solo set, still riding high on his early 2013 LP, Monkey Minds in the Devil’s Time – a catalytic call-toarms with a mantric message sure to get the blood a-pumping. SONG, BY TOAD @ THE PLEASANCE SESSIONS (THE LEG + NAKED + PLASTIC ANIMALS + LE THUG)
THE PLEASANCE, 19:30–22:30, £TBC
Local blogger and label owner Song, By Toad pitches up for the second of two showcase outings as part of The Pleasance Sessions – Edinburgh Uni’s series of nights hand-curated by in-the-know locals. THE MICHAEL NYMAN BAND
THE QUEEN’S HALL, 19:30–22:00, £29.50
Man of many talented guises – amongst them filmmaker, pianist, author and composer – Michael Nyman plays a live set, composed of music from his Peter Greenway soundtracks.
CITRUS CLUB, 19:00–22:00, £6 ADV. (£10 DOOR)
Norwegian alternative indie rockers, built on strong female vocals and really bloody noisy guitars.
HENRY’S CELLAR BAR, 19:00–22:00, £5
Sun 27 Oct CATFISH KEITH
THE VOODOO ROOMS, 19:30–22:00, £12
The blues singer/ songwriter and master of the slide guitar plays a live set.
TYLA (MATTY JAMES + ALAN CLAYTON)
SCOTTISH CHAMBER
BANNERMANS, 19:30–23:00, £12
The Dogs D’amour frontman strips back the tunes for an acoustic guitar set, playing band tracks and solo stuff. LOVE OF LESBIAN
THE LIQUID ROOM, 19:00–22:00, £24
Spanish indie-popsters hailing from Catalonia, who self describe their thing as ‘indie lesbiano’. Obviously.
OXJAM TAKEOVER: BLACK DIAMOND EXPRESS, HOLY GHOSTS, DED RABBIT
CABARET VOLTAIRE, SNEAKY PETE'S 7PM-11PM
The Edinburgh leg of the UK-wide fundraiser gets underway with a cast of local musos.
Sat 19 Oct
THE PIGEON DETECTIVES
ELECTRIC CIRCUS, 19:00–22:00, £14
By the numbers indie-rock, chockfull of staccato and jangly guitar riffs intermixed with unassuming bass lines and hip-swaying beats.
CATHOUSE, 23:00–03:00, £4 (£2)
SUB CLUB, 23:00–03:00, £TBC
BANNERMANS, 20:00–23:00, £8
Somewhat of a punk-rock supergroup, made up of Gary Lammin (ex-Cock Sparrer) and Martin Stacey (ex-Chelsea).
Glasgow Clubs Tue 01 Oct 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
THE GARAGE, 22:30–03:00, £7 (£5)
SUB CLUB, 23:00–03:00, £5 (FREE VIA IAMCLUB.CO.UK)
MY MISSPENT YOUTH (MAYONNAISE)
The Australian punk-meetsbluegrass scamps make a welcome return to the
THE BERMONDSEY JOYRIDERS
GIN GOBLINS
Fri 25 Oct THE LURKERS
WEE RED BAR, 19:00–22:00, £5
Young Newcastle-based folk-indie outfit, drawing their influences from such luminaries as Woody Guthrie and Joni Mitchell.
Weekly Tuesday party playing a selection of dancefloor-friendly anthems.
The Jools Holland-prasied bluesmeets-roots guitarist and singer/ songwriter does his live thing.
I AM (TELFORD + JUNIOR)
Resident young guns Beta & Kappa play the usual fine mix of house, techno and electronica – joined by regular Subbie frequenters Telford and Junior.
ELECTRIC CIRCUS, 20:00–23:00, £10
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.
Wed 23 Oct LET’S BUY HAPPINESS
SNEAKY PETE’S, 19:00–22:00, £6
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)
Disco-styled party night with Alfredo Crolla spinning a selection of favourites, bolstered by karaoke and popcorn stalls, just cos. BEAST WEDNESDAYS
CATHOUSE, 23:00–03:00, £4 (£2)
Midweek rammy of pop punk, hardcore and deadly slushy drinks. YEBO (EDWIN ORGAN)
THE BERKELEY SUITE, 23:00–03:00, FREE (£3 AFTER 12)
The mighty Wednesday blend of the best alternative hip-hop, trap and footwork goes weekly – this edition with 19-year-old yoof of a producer, Edwin Organ, in tow.
Tyneside quintet with a penchant for wistfully-styled indie-pop, riding along on Sarah Hall’s angelic vocals. SWIM DEEP (PRIDES + PURPLE EMPERORS)
PICTURE HOUSE, 19:00–22:00, £8
Bright indie hopefuls making sun-kissed dross-pop in their hometown of Birmingham, playing a special headline set as part of JD Roots Picks of 2013 (aye, as in Jack Daniel’s picks of the new music scene).
GOLD TOOF
THE FLYING DUCK, 23:00–03:00, £4
CATHOUSE SATURDAYS
CATHOUSE, 22:30–03:00, £6 (£5)
Punk, rock and metallic beats with DJs Billy and Muppet. THE ROCK SHOP
MAGGIE MAY’S, 22:00–03:00, FREE (£5/£3 STUDENT AFTER 12)
Rock, indie and golden indie classics with resident DJ Heather McCartney. LOVE MUSIC
O2 ABC, 23:00–03:00, FREE (£5 AFTER 11.30)
All-new hip-hop night for The Flying Duck.
Saturday night disco with Gerry Lyons and guests.
SUB CLUB, 23:00–03:00, £TBC
THE GARAGE, 23:00–03:00, £5 (£3)
VICIOUS CREATURES (RUSS CHIMES)
Fledgling party night intent on breaking free from the chains of normality, this time featuring Russ Chimes (aka he of the everso-trancey, synth-crazy electro house).
I HEART GARAGE SATURDAYS
Student superclub playing everything from hip-hop to dance and funk to chart. LOCK UP YOUR DAUGHTERS
THE FLYING DUCK, 23:00–03:00, £5 (£4)
Fri 04 Oct
The straight-friendly lesbian party returns for its regular themed shenanigans.
BUFF CLUB, 23:00–03:00, £7 (£6)
BLACKFRIARS BASEMENT, 23:00–03:00, £3
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 rock, metal and industrial tunes picked out by DJ Barry and DJ Tailz. PROPAGANDA
O2 ABC, 23:00–03:00, £5
CATHOUSE FRIDAYS
Residents night of rock, metal, punk and emo over two levels. 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, £4
TOO DARN HOT
Lou Hickey and Tony Poprock play a speakeasy mix of rock’n’roll, R’n’B, big band and swing. BINGO PLAYERS
THE ARCHES, 23:00–05:00, £19.50 EARLYBIRD (£24.50 THEREAFTER)
The Dutch electro duo (aka Paul Baümer and Maarten Hoogstraten) make their Arches debut, their number 1 dance hit, Rattle, presumably very much along for the ride. MELTING POT (COSMO)
THE ADMIRAL, 23:00–03:00, £8 ADV. (£10 DOOR)
The Melting Pot crew’s October outing finds ‘em stepping out with Colleen ‘Cosmo’ Murphy – the genre-spanning London-based lass known for playing anything and everything guid. NIGHTRAVE (CANBLASTER)
LA CHEETAH CLUB, 23:00–03:00, £5 (£7 AFTER 12)
Hip-hop and gangsta rap brought to you by the Notorious B.A.G and pals.
More top shelf bass music spanning ghettotech to grime, bolstered by a guest slot from Parisian DJ Canblaster.
SUB CLUB, 23:00–03:00, £TBC
Sun 06 Oct
OPTIMO
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. YES!
THE FLYING DUCK, 23:00–03:00, £5 (£3)
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. THE MESS AROUND
BLACKFRIARS BASEMENT, 23:00–03:00, FREE
SUNDAY ROASTER
THE GARAGE, 23:00–03:00, £4
Residents Garry and Andrew incite more mayhem than should really be allowed on the Sabbath, taking in chart anthems, mash-ups and requests. RENEGADE
CATHOUSE, 23:00–03:00, £2 (£1)
Rock, metal and punk playlists all night long, selected by yer man DJ Mythic. VIOLENT SWEAT
Thu 03 Oct CATHOUSE, 23:00–03:00, £4 (£2)
THE FLYING DUCK, 22:00–03:00, £5 (£3)
Mon 07 Oct
MISBEHAVIN’
Monthly mish-mash of electro, dance and dirty pop with DJ Drucifer.
CRYOTEC
Monthly dose of industrial, EBM and electronic. We hear it’s very danceable. JELLYBABY
O2 ABC, 23:00–03:00, £3 ADV. (£5 DOOR)
The Scottish Chamber Orchestra, conducted by Joseph Swensen, take in Brahms’ melancholy Sextet, amongst others.
Chart, disco and party tunes. Can’t say fairer.
STUDIO 24, 19:00–22:00, £8 ADV. (£10 DOOR)
Themed night with a live Twitter feed and a bouncy castle for added LOLs.
Nine-piece dub reggae troupe inspired by the meditative quality and universal appeal of Jamaican roots music.
The forward-thinking new Saint Judes weekly this time plays host to a set from Hypercolour’s Eliphino, making his return visit to the basement.
Long-running house night with residents Harri & Domenic manning the decks, oft joined by a special guest or two.
Sunday party night designed to make y’all sweat – violently – to a mix of disco, nu-disco and house.
CLASSIC GRAND, 23:00–03:00, £3
RESONATORS
DIFFERENT DRUM (ELIPHINO)
SAINT JUDES, 23:00–03:00, £7 (£5)
SUBCULTURE
All-new Friday party, with resident Duncan Harvey playing the best in vintage r’n’b, rock’n’roll, soul, funk, rockabilly and swing. That do you?
WEE RED BAR, 18:00–22:30, £5
THE QUEEN’S HALL, 15:00–18:00, £12
Early weekend party starter, with Euan Neilson playing the best in classic R’n’B and hip-hop.
CATHOUSE, 22:30–03:00, £6 (£5)
TAKE IT SLEAZY
The Danse Macabre regulars unite those two happiest of bedfellows, goth rock and, er, classic disco, in their regular home of Classic Grand.
ORCHESTRA: CHAMBER CONCERT
HIP HOP THURSDAYS
BUFF CLUB, 23:00–03:00, £3
NICE ‘N’ SLEAZY, 23:30–03:00, FREE
THE OUTER CHURCH (BLACK MOUNTAIN TRANSMITTER + EMBLA QUICKBEAM + BROKEN 3)
The Outer Church celebrate the release of their compilation album with a line-up of experimental electronic producers doing whacked out things with ex-rental videos and the likes.
Rock, metal and emo mix up, plus guest DJs mixing it up in the Jager Bar.
Wed 02 Oct
CLASSIC GRAND, 23:00–03:00, £4
live circuit.
R.U.IN THURSDAYS
Student-orientated night playing the best in new and classic indie music.
DANSE MACABRE
MIKE HERON + TREMBLING BELLS
ABSOLUTION CLASSIC GRAND, 22:30–03:00, £6
Alternative weekend blowout, taking in metal, industrial, pop-punk, rock, emo and ska soundscapes over two floors.
THE VOODOO ROOMS, 19:15–22:00, £12
THE LIQUID ROOM, 19:00–22:00, £17
Tue 22 Oct The Lip Service actress does that other thing wot she does: setting soaring vocals to jazz-soaked piano and pop guitar riffs, touring on the back of her debut album, Fairytales.
SNEAKY PETE’S, 19:00–22:00, £5
All-new indie folk outfit, fronted by Ryan McGlone from People Places Maps.
THE PLEASANCE, 19:30–22:30, £7 (£5)
Gig promoters Limbo host a Pleasance outing headed up by lo-fi Glasgow noisemakers Conquering Animal Sound – currently touring their new LP. Part of The Pleasance Sessions – Edinburgh Uni’s series of nights hand-curated by in-theknow locals.
Returning for another free gig outing at The Caves, Dewar (as in the whisky lot) host a handpicked line-up headlined by US-of-A indie-pop lot Saint Motel, with Scottish support from Meursault and Star Wheel Press.
HEATHER PEACE
THE YOUNG AND YOUNG
PISTOLS AT DAWN LA CHEETAH CLUB, 23:00–03:00, £3
House-orientated night with a distinct Balearic lean, this month hosting their very own unofficial Fleetwood Mac after-bash.
SUMMERHALL, 19:00–22:00, £8
Scottish Mental Health Art & Film Festival special, furnished by musical outings from Edinburgh DIY folk-rock troubadour Withered Hand, and all-girl pop kids TeenCanteen, plus film/words/ music from Georgio Valentino and David McClymon.
Psychotic punk fae outer space, as the local veterans play a now obligatory Halloween set.
SNEAKY PETE’S, 19:00–22:00, £8
THE VOODOO ROOMS, 19:30–22:00, £21
NEU! REEKIE! (WITHERED HAND + TEENCANTEEN + GEORGIO VALENTINO + DAVID MCCLYMON)
LIMBO @ THE PLEASANCE SESSIONS (CONQUERING ANIMAL SOUND + LITTLE BUDDHA + PLUM + ENGINE7)
SAINT MOTEL + MEURSAULT + STAR WHEEL PRESS
Drummer and co-songwriter for the influential alternative rock and hardcore punk band Husker Du.
THE PLEASANCE, 19:30–22:30, £8 (£6)
HOLY MOLY AND THE CRACKERS (FIREDOG EMPIRE)
NEVERLAND
THE GARAGE, 23:00–03:00, £5 (£3)
SHORE
NICE ‘N’ SLEAZY, 23:30–03:00, FREE
Eclectic party night playing everything from the electronic aquatic funk of Drexciya to the outer-space jazz of Sun Ra.
ODDISCO
One-off night manned by Monty Funk and Michael Urquhart, rather predictably playing mostly odd disco, allied with snatches of house and bass. VOID (DJ ASSAULT)
LA CHEETAH CLUB, 23:00–03:00, £TBC
The Void lot present a set of deep house at its finest, with respected Detroit ghettotech hero DJ Assault their guest for the evening. HOT DUB TIME MACHINE
THE GARAGE, 23:00–03:00, £TBC
Music through the decades, as Tom Loud takes you back to 1954 to party you’re way back through time.
Sat 05 Oct 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, £4
Indie, electro and anything inbetween with Pauly (My Latest Novel), and Simin and Steev (Errors).
NICE ‘N’ SLEAZY, 23:30–03:00, FREE
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 08 Oct 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.
Listings
65
Glasgow Clubs i AM
Booty Call
Sub Club, 23:00–03:00, £5 (free via iamclub.co.uk)
Resident young guns Beta & Kappa play the usual fine mix of house, techno and electronica. TV Tuesday
The Garage, 22:30–03:00, £7 (£5)
Weekly Tuesday party playing a selection of dancefloor-friendly anthems.
Wed 09 Oct Sub Rosa
The Garage, 23:00–03:00, £5 (£3)
The legendary Teamy and Dirty Larry spin some fresh electronics for your aural pleasure.
Maggie May’s, 22:00–03:00, Free (£5/£3 student after 12)
Blackfriars Basement, 23:00–03:00, £4
Jamming Fridays
Indie rock’n’roll from the 60s to the 00s, with resident tune-picker DJ Jopez. The Mess Around
Blackfriars Basement, 23:00–03:00, Free
Subbie’s regular student night with residents Ray Vose and Desoto at the helm. Buff Club, 23:00–03:00, £3
The Berkeley Suite, 23:30–03:00, £5
Musique Boutique
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 cos. Yebo
The Berkeley Suite, 23:00–03:00, Free (£3 after 12)
The mighty Wednesday blend of the best alternative hip-hop, trap and footwork goes weekly. Death By Unga Bunga
Nice ‘n’ Sleazy, 23:30–03:00, Free
Summer-styled party night playing the best in garage, soul, rockabilly, punk, surf and anything else you can sway along to. BEAST Wednesdays
Cathouse, 23:00–03:00, £4 (£2)
Midweek rammy of pop punk, hardcore and deadly slushy drinks.
Thu 10 Oct 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
Nice ‘n’ Sleazy, 23:30–03:00, £4
Mixed bag of indie and chart classics across four rooms, plus karaoke shenanigans.
All-new Friday party, with resident Duncan Harvey playing the best in vintage r’n’b, rock’n’roll, soul, funk, rockabilly and swing. That do you?
Sub Club, 23:00–03:00, £5 (£4)
Wrong Island
Maxi Dance Pool #4
More disco soundscapes from DJs MWX and Hush, joined by special guest and vinyl fanaticist Kappa, plus live visuals from and a free mix cassette for the first 30 folk down. Return To Mono (Matthias Tanzmann)
Sub Club, 23:00–03:00, £11
Monthly night from Soma Records taking in popular techno offerings of all hues, this month welcoming Circoloco resident Matthias Tanzmann – who started his DJ career in the mid nineties in Leipzig, playing regularly at the renowned Distillery. Kino Fist (ITAL)
Nice ‘n’ Sleazy, 23:30–03:00, £4
Genre-spanning mix of 60s psych, leftfield pop and Krautrock with resident Charlotte (of Muscles of Joy) – joined by a rare guest slot from ITAL (aka Daniel MartinMcCormick), he of the unorthodox recording techniques.
La Cheetah Club: 4th Birthday Party, Part 1 (Ron Trent + Jamie Thomson)
La Cheetah Club, 22:00–04:00, £10 adv. (£12 door)
La Cheetah Club celebrate four years of being, joined on the night by house music master Ron Trent, performing a five hour set. Support comes from from Jamie Thomson.
All The Rage
Indie-pop party playing the best in alternative pop and underground indie. Duke Dumont (FCL + Underground Paris + The Shimmy)
The Arches, 22:00–03:00, £15 earlybird (£20 thereafter)
The London producer – hailed for his barking mad electro output – takes centre stage, with able support from FCL, Underground Paris and local collective The Shimmy.
Musique Boutique
The Mess Around
Buff Club, 23:00–03:00, £3
Blackfriars Basement, 23:00–03:00, Free
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 cos. BEAST Wednesdays
Cathouse, 23:00–03:00, £4 (£2)
Midweek rammy of pop punk, hardcore and deadly slushy drinks. Yebo (G Hastings)
The Berkeley Suite, 23:00–03:00, Free (£3 after 12)
The mighty Wednesday blend of the best alternative hip-hop, trap and footwork goes weekly, with this edition boasting a live DJ set from Young Fathers’ main producer, G Hastings.
Streetrave: 24th Birthday, Part II (Iain ‘Boney’ Clark + Jon Mancini + Hooligan X)
Thu 17 Oct
The Arches, 23:00–03:00, £15
Chart, disco and party tunes. Can’t say fairer.
Streetrave host the second of two birthday sessions, with this one celebrating 24-years of the best in classic house – from 1989 to today – with sets from Iain ‘Boney’ Clark, Jon Mancini and Hooligan X. Let’s Go Back… Way Back (Mish Mash)
La Cheetah Club, 23:00–03:00, £10
The Let’s Go Back... crew welcome Mish Mash!’s Oscar Fullone and Kasper Winding for a live set, with vocals provided by Copenhagen native Louise Norby.
Sun 13 Oct Sunday Roaster
The Garage, 23:00–03:00, £4
Residents Garry and Andrew incite more mayhem than should really be allowed on the Sabbath, taking in chart anthems, mash-ups and requests. Renegade
Cathouse, 23:00–03:00, £2 (£1)
Rock, metal and punk playlists all night long, selected by yer man DJ Mythic. Violent Sweat
Nice ‘n’ Sleazy, 23:30–03:00, Free
Sunday party night designed to make y’all sweat – violently – to a mix of disco, nu-disco and house.
Themed night with a live Twitter feed and a bouncy castle for added LOLs. Shore
Nice ‘n’ Sleazy, 23:30–03:00, Free
Eclectic 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, 22:00–03:00, Free
Subcity’s Tigerbeat launches a new night of the finest lost sounds from deserts and jungles. Different Drum (Shox)
Saint Judes, 23:00–03:00, £3 (£5)
Buff Club, 23:00–03:00, £7 (£6)
Cathouse, 23:00–03:00, £4 (£2)
Absolution
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. Different Drum (Lockah)
Saint Judes, 23:00–03:00, £3 (£5)
The forward-thinking new Saint Judes weekly this time plays host to a set from Tuff Wax boss Lockah – rich on the silky smooth synth and snares sounds. Karenn
Sub Club, 23:00–03:00, £tbc
Subculture
Sub Club, 23:00–03:00, £tbc
Long-running house night with residents Harri & Domenic manning the decks, oft joined by a special guest or two. Cathouse Saturdays
Cathouse, 22:30–03:00, £6 (£5)
Punk, rock and metallic beats with DJs Billy and Muppet. The Rock Shop
Maggie May’s, 22:00–03:00, Free (£5/£3 student after 12)
Collaborative outing from two of the most consistent and fresh new producers to recently emerge from London: Pariah and Blawan, playing under their Karenn guise.
Rock, indie and golden indie classics with resident DJ Heather McCartney.
Fri 11 Oct
O2 ABC, 23:00–03:00, Free (£5 after 11.30)
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
Two floors of the best in rock, metal and industrial tunes picked out by DJ Barry and DJ Tailz. 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. Common People
The Flying Duck, 21:00–03:00, £5 (£3)
Celebration of all things 90s, with hits a-plenty and a pre-club bingo session.
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Love Music
Saturday night disco with Gerry Lyons and guests. Back Tae Mine
The Flying Duck, 23:00–03:00, £8
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.
The Highlander Ibiza Reunion (DJ Matt Finlay + House South Brothers + Michael Paterson + Jason Cortez) O2 Academy, 21:00–03:00, £16
The Highlander Ibiza return to Glasgow for their fifth annual reunion party, bringing the Island’s atmosphere to the Weege once more.
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 15 Oct 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
The Garage, 22:30–03:00, £7 (£5)
Weekly Tuesday party playing a selection of dancefloor-friendly anthems. i AM (Midland + JD Twitch)
Sub Club, 23:00–03:00, £5 (free via iamclub.co.uk)
Resident young guns Beta & Kappa play the usual fine mix of house, techno and electronica – this edition joined by UK bass talent Midland and one half of the Optimo tag team, JD Twitch.
Wed 16 Oct Not Moving
Nice ‘n’ Sleazy, 23:30–03:00, Free
South African house, grime, jungle, R’n’B and hauntology. A tropical mix, ayes. Sub Rosa
Sub Club, 23:00–03:00, £5 (£4)
Subbie’s regular student night with residents Ray Vose and Desoto at the helm.
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 rock, metal and industrial tunes picked out by DJ Barry and DJ Tailz. 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. Gasoline Dance Machine
Saint Judes, 23:00–03:00, £5
More classic Italo and straight-up boogie allied with contemporary house and disco, as Edinburgh’s GDM crew do their thing. Bottle Rocket
The Flying Duck, 23:00–03:00, £5 (£3)
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.
Cathouse, 22:30–03:00, £6 (£5)
The Rock Shop
Rock, indie and golden indie classics with resident DJ Heather McCartney. Love Music
O2 ABC, 23:00–03:00, Free (£5 after 11.30)
Saturday night disco with Gerry Lyons and guests. Shout Bamalama
Blackfriars Basement, 23:00–03:00, £3 (£5 after 12)
Vintage 50s and 60s dancefloor sounds handpicked from genres of r’n’b, rock’n’roll and soul. 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. Adventures In Paradise
The Admiral, 23:00–03:00, £5
Huxley
MK-indebted house and garage enthusiast Michael Dodman, aka Huxley, serves up his usual fine mix of beats. Strange Paradise (David Barbarossa + Billy Woods) 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 going head-to-head with Billy Woods for a one-off Strange Paradise special. Handpicked (Sivey)
La Cheetah Club, 22:00–03:00, £5
Handpicked have their first venture into club territory, joined by Manchester’s Sivey – he of the rather fine soul and r’n’b-influenced beats and electronic tunes.
Sun 20 Oct Sunday Roaster
The Garage, 23:00–03:00, £4
i AM
Sub Club, 23:00–03:00, £5 (free via iamclub.co.uk)
TV Tuesday
The Garage, 22:30–03:00, £7 (£5)
Wed 23 Oct 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
One-off 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)
Disco-styled party night with Alfredo Crolla spinning a selection of favourites, bolstered by karaoke and popcorn stalls, just cos. Yebo
The Berkeley Suite, 23:00–03:00, Free (£3 after 12)
The mighty Wednesday blend of the best alternative hip-hop, trap and footwork goes weekly. BEAST Wednesdays
Cathouse, 23:00–03:00, £4 (£2)
Midweek rammy of pop punk, hardcore and deadly slushy drinks.
Thu 24 Oct 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 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. Different Drum (Dixon Avenue Basement James)
Saint Judes, 23:00–03:00, £3 (£5)
The forward-thinking new Saint Judes weekly this time playing host to ultra hip Glasgow imprint Dixon Avenue Basement Jams – who bring their dirty grooves to the booth.
Cathouse, 23:00–03:00, £2 (£1)
Fri 25 Oct
Renegade
Violent Sweat
Indie rock’n’roll from the 60s to the 00s, with resident tune-picker DJ Jopez.
Sunday party night designed to make y’all sweat – violently – to a mix of disco, nu-disco and house.
Sub Club, 23:00–03:00, £tbc
Mon 21 Oct
The Offbeat crew take to their now regular home of La Cheetah, with guests being kept under wraps for now.
Duncan Harvey plays a mix of vintage rock ‘n’ roll, sleazy R’n’B, swing, soul, surf and pop from a bygone age.
Residents Garry and Andrew incite more mayhem than should really be allowed on the Sabbath, taking in chart anthems, mash-ups and requests.
Nice ‘n’ Sleazy, 23:30–03:00, Free
Offbeat
Nice ‘n’ Sleazy, 23:30–03:00, Free
Cathouse Saturdays
Alternative weekend blowout, taking in metal, industrial, pop-punk, rock, emo and ska soundscapes over two floors.
Maggie May’s, 22:00–03:00, Free (£5/£3 student after 12)
La Cheetah Club, 23:00–03:00, £tbc
Voodoo Voodoo
Weekly Tuesday party playing a selection of dancefloor-friendly anthems.
Absolution
Jamming Fridays
The Vitamins party starters do their usual (i.e transforming the decor of venue space and playing the latest underground dance).
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.
Classic Grand, 22:30–03:00, £6
Rock, metal and punk playlists all night long, selected by yer man DJ Mythic.
Vitamins
Killer Kitsch
Resident young guns Beta & Kappa play the usual fine mix of house, techno and electronica.
Sub Club, 23:00–03:00, £tbc
Burn
Classic Grand, 22:30–03:00, £6
Buff Club, 23:00–03:00, £7 (£6)
Nick Peacock spins a selection of vintage disco, soul and funk.
The forward-thinking new Saint Judes weekly this time plays host to a set from Rinse FM garage don, Shox.
Buff Club, 23:00–03:00, £5 (£3/Free with wage slip)
Alternative weekend blowout, taking in metal, industrial, pop-punk, rock, emo and ska soundscapes over two floors.
Nu Skool
Wayne Dickson, Malcolm McKenzie and Roddie Gibb host their monthly party, fuelled on uptown funk and soulful disco tuneage.
Buff Club, 23:00–03:00, £7 (£6)
Rock, metal and emo mix up, plus guest DJs mixing it up in the Jager Bar.
Sat 19 Oct
Neverland
The Garage, 23:00–03:00, £5 (£3)
Fri 18 Oct
Long-running trade night with Normski, Zeus and Mash spinning disco beats.
Italo, disco, synthpop and funk with the residents joined by a guest slot by Italo disco poineer DJ Benetti.
Maggie May’s, 22:00–03:00, Free (£5/£3 student after 12)
Sat 12 Oct Nick Peacock spins a selection of vintage disco, soul and funk.
Nice ‘n’ Sleazy, 23:30–03:00, £4
O2 ABC, 23:00–03:00, £3 adv. (£5 door)
Mon 14 Oct
R.U.IN Thursdays
Osmium (DJ Benetti)
Punk, rock and metallic beats with DJs Billy and Muppet.
Jellybaby
Eclectic party night playing everything from the electronic aquatic funk of Drexciya to the outer-space jazz of Sun Ra.
Nu Skool
All-new Friday party, with resident Duncan Harvey playing the best in vintage r’n’b, rock’n’roll, soul, funk, rockabilly and swing. That do you?
Tue 22 Oct
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.
Old Skool
Buff Club, 23:00–03:00, £7 (£6)
Connoisseur’s mix of old-school jazz, funk and soul. The Hot Club
Nice ‘n’ Sleazy, 23:30–03:00, £4
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 rock, metal and industrial tunes picked out by DJ Barry and DJ Tailz. Propaganda
O2 ABC, 23:00–03:00, £4
Student-orientated night playing the best in new and classic indie music.
Cathouse Fridays
DIVINE!
Cathouse, 22:30–03:00, £6 (£5)
The Admiral, 23:00–03:00, £5 (£7/£5 student after 12)
Residents night of rock, metal, punk and emo over two levels. 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 Mess Around
Blackfriars Basement, 23:00–03:00, Free
All-new Friday party, with resident Duncan Harvey playing the best in vintage r’n’b, rock’n’roll, soul, funk, rockabilly and swing. That do you? bippp
The Flying Duck, 23:00–03:00, £5
New night dedicated to the joy of synthesisers, playing everything from Gary Numan to CHVRCHES. Zedd
The Arches, 22:00–03:00, £16 earlybird (£20 thereafter)
One of the EDM scene’s brightest new stars, Zedd (aka Anton Zaslavski), mans the decks for the evening. Sensu: 9th Birthday
Sub Club, 23:00–03:00, £tbc
Barry Price and Junior provide the cutting edge electonic from across the globe, celebrating their 9th birthday with an as yet undisclosed guest or two. Teases.
I Hate Fun Vs Digital Dust (Slackk + Inkke + Jongerre)
La Cheetah Club, 23:00–03:00, £5 adv. (£7 door)
Stellar mix of classic and rare 60s and 70s psych, soul, freakbeat, ska and funk dug deep from Andrew Divine’s vinyl archives. Club Noir: Halloween Horrorama
O2 Academy, 21:00–03:00, £15.50
Glasgow’s burlesque star teasers host a special Halloween edition of their raunchy cabaret club, chock with more than 14 acts and myriad bars, as you’d expect. Blackfriars Basement
Blackfriars Basement, 23:00–03:00, £5 (£4)
The techno-meets-house-meetsacid night celebrates its 1st birthday, with special guest Helder Queiros (aka Da Silva) will joining residents Thierry Jauson and Craig Murphy. Houndin’ The Streets (DJ Format)
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 – this edition bolstered by a coup of a guest set from the hip-hop powerhouse that is DJ Format. Not So Silent (Moomin)
La Cheetah Club, 23:00–03:00, £7
The Not So Silent lot welcome Berlin-based DJ Moomin for a three-hour deck takeover.
Sun 27 Oct Slide It In
Cathouse, 23:00–03:00, £4 (£2)
Nicola Walker plays cult rock hits from the 70s, 80s and 90s. Trash and Burn
Classic Grand, 23:00–03:00, £4
Versus party night, with Slackks cutting between house, techno and the best in grime, with support from Inkke and local hero Jongerre.
Monthly glam trash and sleaze tease party, with guest burlesque performers, magicians and a bit o’ belly dancing.
Sat 26 Oct
The Garage, 23:00–03:00, £4
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
Sunday Roaster
Residents Garry and Andrew incite more mayhem than should really be allowed on the Sabbath, taking in chart anthems, mash-ups and requests. Renegade
Alternative weekend blowout, taking in metal, industrial, pop-punk, rock, emo and ska soundscapes over two floors.
Rock, metal and punk playlists all night long, selected by yer man DJ Mythic.
Sub Club, 23:00–03:00, £tbc
Nice ‘n’ Sleazy, 23:30–03:00, Free
Subculture
Long-running house night with residents Harri & Domenic manning the decks, oft joined by a special guest or two. Cathouse Saturdays
Cathouse, 22:30–03:00, £6 (£5)
Punk, rock and metallic beats with DJs Billy and Muppet. The Rock Shop
Maggie May’s, 22:00–03:00, Free (£5/£3 student after 12)
Rock, indie and golden indie classics with resident DJ Heather McCartney. Paul van Dyk
The Arches, 22:00–03:00, £19.50 adv. (£24.50 door)
The DJ/audio architect (yes, it’s a thing) plays a trademark tranceheavy set, as part of his Politics of Dancing tour. Love Music
O2 ABC, 23:00–03:00, Free (£5 after 11.30)
Saturday night disco with Gerry Lyons and guests. Balkanarama
The Glue Factory, 22:30–03:00, £8
All singing, all dancing Balkanstyled clubber’s orgy, with live guests, belly dancing, bespoke visuals and free plum brandy for all. As in, we’re sold. 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. Thunder Disco Club
Nice ‘n’ Sleazy, 23:30–03:00, £4
Regular TDC outing of danceable disco-infused house. Paul van Dyk
The Arches, 22:00–03:00, £19.50 adv. (£24.50 door)
The DJ/audio architect (yes, it’s a thing) plays a trademark tranceheavy set, as part of his Politics of Dancing tour.
Cathouse, 23:00–03:00, £2 (£1)
Violent Sweat
Sunday party night designed to make y’all sweat – violently – to a mix of disco, nu-disco and house. Miss Honey Dijon
Sub Club, 23:00–03:00, £tbc
Genre-spanning house DJ blending all manner of styles in her usual forward-thinking way.
Mon 28 Oct 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.
Edinburgh Clubs Tue 01 Oct 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. I Love Hip-Hop
The Bongo Club, 23:00–03:00, £3
Selection of hip-hop classics and brand-new classics to be. Hector’s House
Cabaret Voltaire, 23:00–03:00, £6 (£5)
The HH crew serve up their usual fine mix of electronic basslines allied with home-cooked house beats. CCTV
The Liquid Room, 22:30–03:00, Free (£4 after 12)
Fun night of chart, cheese and other student favourited party tunes.
THE SKINNY
Edinburgh Clubs Wed 02 Oct Bangers & Mash
The Hive, 22:00–03:00, £1 (£3 after 11)
Midweek student rundown of chart and cheese classics. Witness
Sneaky Pete’s, 23:00–03:00, Free
Sneaky’s resident bass spectacular of house, garage and bass adventures. Champion Sound
The Bongo Club, 23:00–03:00, Free (£3 after 12)
Midweek celebration of all things dub, jungle, reggae and dancehall. Stay Gold
Cabaret Voltaire, 23:00–03:00, £7 (£5)
All-new club night brought to you by the We Own and Fly lot, playing hip-hop classics and soul soul in one room, and house in’t other. Tribe
The Liquid Room, 22:30–03:00, £5 (£4)
Brand new night manned by residents Khalid Count Clockwork and Craig Wilson. Tiki Tiki Wah Wah
Picture House, 23:00–03:00, Free (£2/£1 student after 12)
Unseen: Acid Timelines Studio 24, 22:30–03:00, Free (£5 after 11)
More stripped-down techno with a back-to-basics warehouse style, as residents Neil Templar and Nomad present an exploration of acid techno in all its forms – from its original inception to its current reinvention.
Sat 05 Oct Tease Age
Citrus Club, 22:30–03:00, Free (£5 after 11)
Long-running indie, rock and soul night. The Egg
Wee Red Bar, 23:00–03:00, £2 (£5 after 12)
Art School institution with DJs Chris and Jake playing the finest in indie, garage, soul and punk. The Go-Go
Studio 24, 22:30–03:00, £2 (£5/£4 student after 11)
Long-running retro night with veteran DJs Tall Paul and Big Gus. Bubblegum
The Hive, 21:00–03:00, Free (£4 after 10)
Exotic-styled new midweeker (and, no – not that kind of exotic) awash with tiki beats and all the cocktails you can tank.
Handpicked weekend mix of chart and dance, with retro 80s classics as standard.
Thu 03 Oct
Picture House, 23:00–03:00, £4
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 house, techno and electronica. Frisky
The Hive, 22:00–03:00, Free
Chart, dance and electro fare, plus punter requests all night long. Tease
The Liquid Room, 22:30–03:00, Free (£3/£2 students after 11.30)
Party night of R’n’B, hip-hop and dancehall anthems. Juice
Sneaky Pete’s, 23:00–03:00, Free
Pumped Thursday nighter playing a mighty mix of everything from Hud Mo to Fly Mo.
Fri 04 Oct Misfits
The Hive, 21:00–03:00, Free (£4 after 10)
Chart, electro, indie-pop and alternative anthems over two rooms. Planet Earth
Citrus Club, 22:30–03:00, Free (£6 after 11)
Distinctly retro selection from 1960 to 1999, moving from Abba to ZZ Top. This Is Music
Sneaky Pete’s, 23:00–03:00, £3 (members free)
Regular indie and electro outing from the Sick Note DJs. Propaganda
The Liquid Room, 22:30–03:00, £5 (£4)
Student-orientated night playing the best in new and classic indie music. Stacks
Wee Red Bar, 23:00–03:00, £5 (£4)
Rip-roaring soul, funk, and 50s r’n’b, bolstered by free mix CDs on the door. Pop Tarts
Electric Circus, 17:00–03:00, Free (£5 after 12)
Pop and rock gems spun by a DJs from Electric Circus’ Saturday club nights, including Magic Nostalgic, Beep Beep, Yeah! and Pop Rocks. FLY
Cabaret Voltaire, 23:00–03:00, £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). Substance
Propaganda
Student-orientated night playing the best in new and classic indie music. VEGAS!
The Voodoo Rooms, 20:30–01:00, £6
50s-themed party fun night, with Frankie Sumatra, Bugsy Seagull, Dino Martini, Sam Jose and Nikki Nevada. Plus Vegas showgirls ago-go, natch. Speaker Bite Me
Electric Circus, 22:30–03:00, £5 (£6 after 12)
The Evol DJs worship at the alter of all kinds of indie-pop, as long as it’s got bite. Rewind
The Liquid Room, 22:30–03:00, £5 (£3)
Journey back through the ages, with the residents digging out anthemic gems from the last 40 years. Thunder Disco Club
Cabaret Voltaire, 23:00–03:00, £7 (£5)
Regular TDC outing of danceable disco-infused house. Bordello
Studio 24, 22:30–03:00, Free (£5/£4 student after 11)
Classic sleazy rock action, all the night long. Messenger Sound System
The Bongo Club, 23:00–03:00, £6 (£7 after 12)
Conscious roots and dub reggae rockin’ from the usual beefty soundsystem. We Are Your Friends
Picture House, 23:00–03:00, £3 (£2)
All-new Saturday party night playing house, electro, retro and pop selections. Also wins extra points for having a roaring lion on its poster. Illusion (Alexis Raphael)
The Annexe, 22:30–03:00, £tbc
The Illusion Edinburgh lot welcome underground house music chap Alexis Raphael to their lair, traversing the line between classicist and deep house. We Own (Finnebassen)
Sneaky Pete’s, 23:00–03:00, £5 (members free)
The We Own clothing crew bring a concentrated version of their famed party blowouts to town, joined by Norwegian dirty melodic house producer Finnebassen. Wee Dub Club (Dreadsquad)
Teviot Underground, 22:00–03:00, £6 adv. (£8 door)
The Substance crew mix up cutting edge and classic electronic music from across the spectrum, with resident Gavin Richardson likely joined by a guest or two
Wee Dub Club returns for the new season with a proper soundsystem session deep in the bowels of historic Teviot House, joined by Polish reggae/dancehall producer Dreadsquad.
Henry’s Cellar Bar, 23:00–03:00, £tbc
Sun 06 Oct
The Bongo Club, 23:00–03:00, £tbc
4x4
Two-fold night of hip-hop and breaks (11pm-2am) followed by doof-doof techno (2am-5am).
October 2013
The Sunday Club
The Hive, 22:00–03:00, Free
Two rooms of all the chart, cheese and indie-pop you can think of.
DM Lovers Cabaret Voltaire, 23:00–03:00, £4 (£3)
Alternative monthly night taking its inspiration from the skinhead and punk movements, with discounted entry in Dr. Martens. Obviously.
Mon 07 Oct Mixed Up
The Hive, 22:00–03:00, Free
Request-driven night of pop-punk, chart, indie and good ol’ 90s classics. Nu Fire
Sneaky Pete’s, 23:00–03:00, Free
DJ Fusion and Beef move from hip-hop to dubstep with a plethora of live MCs. Moonshine
Cabaret Voltaire, 23:00–03:00, £4 (£3)
Student Monday nighter of mashups, hip-hop, trap and house, spreading its eclectic musical wares over three rooms.
Tue 08 Oct 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. I Love Hip-Hop
The Bongo Club, 23:00–03:00, £3
Selection of hip-hop classics and brand-new classics to be. Hector’s House
Cabaret Voltaire, 23:00–03:00, £6 (£5)
The HH crew serve up their usual fine mix of electronic basslines allied with home-cooked house beats. CCTV
The Liquid Room, 22:30–03:00, Free (£4 after 12)
The Soul Revue
We Are Your Friends
Henry’s Cellar Bar, 23:00–03:00, Free (£3 after 12)
Picture House, 23:00–03:00, £3 (£2)
All-new evening of motown, 50s rock’n’oll, northern soul and swing.
Fri 11 Oct Misfits
The Hive, 21:00–03:00, Free (£4 after 10)
Chart, electro, indie-pop and alternative anthems over two rooms. Planet Earth
Citrus Club, 22:30–03:00, Free (£6 after 11)
Distinctly retro selection from 1960 to 1999, moving from Abba to ZZ Top. Propaganda
The Liquid Room, 22:30–03:00, £5 (£4)
Student-orientated night playing the best in new and classic indie music. Xplicit
The Bongo Club, 23:00–03:00, £tbc
Heavy jungle and bass-styled beats from the inimitable Xplicit crew and guests. Pop Tarts
Electric Circus, 17:00–03:00, Free (£5 after 12)
Pop and rock gems spun by a DJs from Electric Circus’ Saturday club nights, including Magic Nostalgic, Beep Beep, Yeah! and Pop Rocks. 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. FLY
Cabaret Voltaire, 23:00–03:00, £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). Kapital: 6th Birthday (Dominik Eulberg)
The Caves, 23:00–03:00, £10
German electronic artist Dominik Eulberg takes to the decks to help Kapital blow out the 5th birthday candles. Disorder
Fun night of chart, cheese and other student favourited party tunes.
Henry’s Cellar Bar, 23:00–03:00, £3 (£5 after 12)
Wed 09 Oct
Teesh
Bangers & Mash
The Hive, 22:00–03:00, £1 (£3 after 11)
Midweek student rundown of chart and cheese classics. Champion Sound
The Bongo Club, 23:00–03:00, Free (£3 after 12)
Midweek celebration of all things dub, jungle, reggae and dancehall. Stay Gold
Cabaret Voltaire, 23:00–03:00, £7 (£5)
All-new club night brought to you by the We Own and Fly lot, playing hip-hop classics and soul soul in one room, and house in’t other. Tribe
The Liquid Room, 22:30–03:00, £5 (£4)
Brand new night manned by residents Khalid Count Clockwork and Craig Wilson. Tiki Tiki Wah Wah
Picture House, 23:00–03:00, Free (£2/£1 student after 12)
Exotic-styled new midweeker (and, no – not that kind of exotic) awash with tiki beats and all the cocktails you can tank. Tessela
Sneaky Pete’s, 23:00–03:00, £3 (members free)
Of-the-moment DJ chap, Tessela, stops by Sneaky’s diminutive basement to drop some rattling bass over shaking house, as is his merry way.
Thu 10 Oct 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 house, techno and electronica. Frisky
The Hive, 22:00–03:00, Free
Chart, dance and electro fare, plus punter requests all night long. Tease
The Liquid Room, 22:30–03:00, Free (£3/£2 students after 11.30)
Party night of R’n’B, hip-hop and dancehall anthems. Juice
Sneaky Pete’s, 23:00–03:00, Free
Pumped Thursday nighter playing a mighty mix of everything from Hud Mo to Fly Mo.
Pumped night of acid, techno and electro. Sneaky Pete’s, 23:00–03:00, £3 (members free)
DJ Cheers – frequent flyer at many a Sneaky’s night – finally gets his own show on the road, launching a clothing line on the night to boot.
Sat 12 Oct Tease Age
Citrus Club, 22:30–03:00, Free (£5 after 11)
Long-running indie, rock and soul night. The Egg
Wee Red Bar, 23:00–03:00, £2 (£5 after 12)
Art School institution with DJs Chris and Jake playing the finest in indie, garage, soul and punk. Bass Syndicate
Sneaky Pete’s, 23:00–03:00, £3 (members free)
The regular Edinburgh breaks and bassline Manga crew takeover. Mumbo Jumbo
The Bongo Club, 23:00–03:00, £7 (£5)
Conscious roots and dub reggae rockin’ from the usual beefed-up soundsystem. Bubblegum
The Hive, 21:00–03:00, Free (£4 after 10)
Handpicked weekend mix of chart and dance, with retro 80s classics as standard. Propaganda
Picture House, 23:00–03:00, £4
Student-orientated night playing the best in new and classic indie music. Studio 24 Rawks
Studio 24, 22:30–03:00, Free (£5/£4 student after 11)
All-new Saturday party night playing house, electro, retro and pop selections. Also wins extra points for having a roaring lion on its poster.
Sun 13 Oct The Sunday Club
The Hive, 22:00–03:00, Free
Two rooms of all the chart, cheese and indie-pop you can think of.
Mon 14 Oct Mixed Up
The Hive, 22:00–03:00, Free
Request-driven night of pop-punk, chart, indie and good ol’ 90s classics. Nu Fire
Sneaky Pete’s, 23:00–03:00, Free
DJ Fusion and Beef move from hip-hop to dubstep with a plethora of live MCs. Moonshine
Cabaret Voltaire, 23:00–03:00, £4 (£3)
Student Monday nighter of mashups, hip-hop, trap and house, spreading its eclectic musical wares over three rooms.
Tue 15 Oct 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. I Love Hip-Hop
The Bongo Club, 23:00–03:00, £3
Selection of hip-hop classics and brand-new classics to be. Hector’s House
Cabaret Voltaire, 23:00–03:00, £6 (£5)
The HH crew serve up their usual fine mix of electronic basslines allied with home-cooked house beats. CCTV
The Liquid Room, 22:30–03:00, Free (£4 after 12)
Fun night of chart, cheese and other student favourited party tunes.
Wed 16 Oct Bangers & Mash
The Hive, 22:00–03:00, £1 (£3 after 11)
Midweek student rundown of chart and cheese classics. Witness
Sneaky Pete’s, 23:00–03:00, Free
Sneaky’s resident bass spectacular of house, garage and bass adventures. Champion Sound
The Bongo Club, 23:00–03:00, Free (£3 after 12)
Midweek celebration of all things dub, jungle, reggae and dancehall. Stay Gold
Cabaret Voltaire, 23:00–03:00, £7 (£5)
All-new club night brought to you by the We Own and Fly lot, playing hip-hop classics and soul soul in one room, and house in’t other. Tribe
The Liquid Room, 22:30–03:00, £5 (£4)
Brand new night manned by residents Khalid Count Clockwork and Craig Wilson. Tiki Tiki Wah Wah
Picture House, 23:00–03:00, Free (£2/£1 student after 12)
Exotic-styled new midweeker (and, no – not that kind of exotic) awash with tiki beats and all the cocktails you can tank.
Thu 17 Oct 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 house, techno and electronica. Frisky
The usual rock, metal and alternative playlists on the second Saturday of the month.
Chart, dance and electro fare, plus punter requests all night long.
Henry’s Cellar Bar, 23:00–03:00, £4 (£5 after 12)
The Liquid Room, 22:30–03:00, Free (£3/£2 students after 11.30)
Dr No’s
Danceable mix of the best in 60s ska, rocksteady, bluebeat and reggae. Beep Beep, Yeah!
Electric Circus, 22:30–03:00, £5 (£6 after 12)
Retro pop stylings from the 50s to the 70s, via a disco tune or ten.
The Hive, 22:00–03:00, Free
Tease
Party night of R’n’B, hip-hop and dancehall anthems. Juice
Sneaky Pete’s, 23:00–03:00, Free
Pumped Thursday nighter playing a mighty mix of everything from Hud Mo to Fly Mo.
Fri 18 Oct
Karnival (Ryan Crosson + Matt Tolfrey)
The Hive, 21:00–03:00, Free (£4 after 10)
The Karnival gang welcome Leftroom label boss Matt Tolfrey and Visionquest member Ryan Crosson for a back-to-back set, celebrating the release of the second Don’t Be Leftout compilation.
Misfits
Chart, electro, indie-pop and alternative anthems over two rooms. Four Corners
The Bongo Club, 23:00–03:00, £3 (£5 after 12)
Soulful dancing fodder, from deep funk to reggae beats with your regular DJ hosts. Planet Earth
Citrus Club, 22:30–03:00, Free (£6 after 11)
Distinctly retro selection from 1960 to 1999, moving from Abba to ZZ Top. Propaganda
The Liquid Room, 22:30–03:00, £5 (£4)
Student-orientated night playing the best in new and classic indie music. Animal Hospital
Studio 24, 23:00–03:00, Free (£5 after 11.30)
The Animal Hospital troops continue to medicate Edinburgh with their unique blend of techno, house and minimal.
The Liquid Room, 22:30–03:00, £10 (£8)
The Hive, 22:00–03:00, Free
Fri 25 Oct
The Sunday Club
Two rooms of all the chart, cheese and indie-pop you can think of.
Mon 21 Oct Mixed Up
The Hive, 22:00–03:00, Free
Request-driven night of pop-punk, chart, indie and good ol’ 90s classics. Nu Fire
Sneaky Pete’s, 23:00–03:00, Free
DJ Fusion and Beef move from hip-hop to dubstep with a plethora of live MCs. Moonshine
Cabaret Voltaire, 23:00–03:00, £4 (£3)
Pop Tarts
Tue 22 Oct
Electric Circus, 17:00–03:00, Free (£5 after 12)
Pop and rock gems spun by a DJs from Electric Circus’ Saturday club nights, including Magic Nostalgic, Beep Beep, Yeah! and Pop Rocks. FLY
Cabaret Voltaire, 23:00–03:00, £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). Nightrave (Big Dope P)
Sneaky Pete’s, 23:00–03:00, £5
Nightrave welcome Parisian ghetto house don Big Dope P, plus support from Fine Art, Jackie Your Body and Nightwave herself.
Sat 19 Oct Tease Age
Citrus Club, 22:30–03:00, Free (£5 after 11)
The Soul Revue
Henry’s Cellar Bar, 23:00–03:00, Free (£3 after 12)
All-new evening of motown, 50s rock’n’oll, northern soul and swing.
Wee Red Bar, 23:00–03:00, £4
Indie-pop dance party for the twee of heart.
One of the EDM scene’s brightest new stars, Zedd (aka Anton Zaslavski), mans the decks for the evening.
Sun 20 Oct
Student Monday nighter of mashups, hip-hop, trap and house, spreading its eclectic musical wares over three rooms.
Unpop
Zedd The Liquid Room, 22:30–03:00, £15
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. I Love Hip-Hop
Misfits
The Hive, 21:00–03:00, Free (£4 after 10)
Chart, electro, indie-pop and alternative anthems over two rooms. Planet Earth
Citrus Club, 22:30–03:00, Free (£6 after 11)
Distinctly retro selection from 1960 to 1999, moving from Abba to ZZ Top. Propaganda
The Liquid Room, 22:30–03:00, £5 (£4)
Student-orientated night playing the best in new and classic indie music. Balkanarama
Studio 24, 21:30–03:00, £8 (£9 after 10.30)
All singing, all dancing Balkanstyled clubber’s orgy, with live guests, belly dancing, bespoke visuals and free plum brandy for all. As in, we’re sold. Pop Tarts
Electric Circus, 17:00–03:00, Free (£5 after 12)
Pop and rock gems spun by a DJs from Electric Circus’ Saturday club nights, including Magic Nostalgic, Beep Beep, Yeah! and Pop Rocks. Mad Caravan
Wee Red Bar, 23:00–03:00, £5
The Bongo Club, 23:00–03:00, £3
Gem of a club playing folk world fusion and electro swing.
Hector’s House
Cabaret Voltaire, 23:00–03:00, £7 (£5)
Selection of hip-hop classics and brand-new classics to be. Cabaret Voltaire, 23:00–03:00, £6 (£5)
The HH crew serve up their usual fine mix of electronic basslines allied with home-cooked house beats. CCTV
The Liquid Room, 22:30–03:00, Free (£4 after 12)
FLY
A powerhouse of local residents take over Cab Vol, joined by a selection of guest talent both local and further flung (aka London). Confusion Is Sex: Hammer Horror Halloween
The Bongo Club, 23:00–03:00, £7 (£5 in costume)
Long-running indie, rock and soul night.
Fun night of chart, cheese and other student favourited party tunes.
Wee Red Bar, 23:00–03:00, £2 (£5 after 12)
Wed 23 Oct
Glam techno and electro night, this time with a Hammer Horror Halloween theme (aka make like Frankenstein). Discount entry in fancy dress.
The Hive, 22:00–03:00, £1 (£3 after 11)
Henry’s Cellar Bar, 23:00–03:00, £tbc
The Egg
Art School institution with DJs Chris and Jake playing the finest in indie, garage, soul and punk. Bubblegum
The Hive, 21:00–03:00, Free (£4 after 10)
Handpicked weekend mix of chart and dance, with retro 80s classics as standard. The Green Door
Studio 24, 22:30–03:00, £2 (£5/£4 student after 11)
Bangers & Mash
Midweek student rundown of chart and cheese classics. Witness
Sneaky Pete’s, 23:00–03:00, Free
Sneaky’s resident bass spectacular of house, garage and bass adventures. Champion Sound
The Bongo Club, 23:00–03:00, Free (£3 after 12)
Surf, blues and rockabilly from the 50s and early 60s, plus free cake. Job done.
Midweek celebration of all things dub, jungle, reggae and dancehall.
Picture House, 23:00–03:00, £4
Student-orientated night playing the best in new and classic indie music.
All-new club night brought to you by the We Own and Fly lot, playing hip-hop classics and soul soul in one room, and house in’t other.
The Bongo Club, 23:00–03:00, £4 (£6 after 12)
The Liquid Room, 22:30–03:00, £5 (£4)
Propaganda
Big ‘N’ Bashy
Mighty mix of reggae, grime, dubstep and jungle, with residents Era and Deburgh. Decade
Studio 24, 22:30–03:00, Free (£5/£4 student after 11.30)
Fresh playlists spanning pop-punk, emo and hardcore soundscapes. Wasabi Disco
Sneaky Pete’s, 23:00–03:00, £3 (members free)
Heady bout of cosmic house, punk upside-down disco and, er, Fleetwood Mac with yer man Kris ‘Wasabi’ Walker. Pop Rocks!
Electric Circus, 22:30–03:00, £5 (£6 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). We Are Your Friends
Picture House, 23:00–03:00, £3 (£2)
All-new Saturday party night playing house, electro, retro and pop selections. Also wins extra points for having a roaring lion on its poster.
Stay Gold
Cabaret Voltaire, 23:00–03:00, £7 (£5)
Tribe
Brand new night manned by residents Khalid Count Clockwork and Craig Wilson. Tiki Tiki Wah Wah
Picture House, 23:00–03:00, Free (£2/£1 student after 12)
Exotic-styled new midweeker (and, no – not that kind of exotic) awash with tiki beats and all the cocktails you can tank.
Thu 24 Oct 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 house, techno and electronica. Frisky
The Hive, 22:00–03:00, Free
Big Toes Hi-Fi
Collective of bass roots and culture fanatics who’ve been doing their own thing since 2006.
Vitamins Vs LuckyMe (Yolo Bear)
Sneaky Pete’s, 23:00–03:00, £tbc
The Vitamins party starters lock horns with he globetrotting music, art and all-round party crew LuckyMe – welcoming mysterious Jersey club music guest Yolo Bear, playing as part of a trio of live outings across three cities, on the same night.
Sat 26 Oct Tease Age
Citrus Club, 22:30–03:00, Free (£5 after 11)
Long-running indie, rock and soul night. The Egg
Wee Red Bar, 23:00–03:00, £2 (£5 after 12)
Art School institution with DJs Chris and Jake playing the finest in indie, garage, soul and punk. Bubblegum
The Hive, 21:00–03:00, Free (£4 after 10)
Handpicked weekend mix of chart and dance, with retro 80s classics as standard. Ride
Sneaky Pete’s, 23:00–03:00, £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, 23:00–03:00, £4
Chart, dance and electro fare, plus punter requests all night long.
Student-orientated night playing the best in new and classic indie music.
The Liquid Room, 22:30–03:00, Free (£3/£2 students after 11.30)
The Bongo Club, 23:00–03:00, £5
Tease
Party night of R’n’B, hip-hop and dancehall anthems. Juice
Sneaky Pete’s, 23:00–03:00, Free
Pumped Thursday nighter playing a mighty mix of everything from Hud Mo to Fly Mo.
Soulsville
Swinging soul spanning a whole century, with DJs Tsatsu and Fryer. Madchester
The Liquid Room, 22:30–03:00, £6 (£5)
Monthly favourite of indie classics and baggy greats, from Primal Scream and the like.
Listings
67
BETAMAX
CANTERBURY
STUDIO 24, 23:00–03:00, £5
BEAT GENERATOR LIVE!, 19:30–22:00, £8.50
Monthly offering of new wave, disco, post-punk and a bit o’ synthtastic 80s with your hosts Chris and Big Gus.
Melodic rock quartet still riding high on the release of their new LP.
HENRY’S CELLAR BAR, 23:00–03:00, £4 (£5 BEFORE 12)
20 ROCKS, 20:00–23:00, £TBC
DR NO’S
Danceable mix of the best in 60s ska, rocksteady, bluebeat and reggae. DEFCON
Sun 06 Oct
MORE THAN CONQUERORS
The Smalltown America Records’ signees do their bright and oft magical post-hardcore thing.
Tue 08 Oct
PAUL WELLER (TREMBLING BELLS)
STUDIO 24, 23:00–03:00, £TBC
Jungle, jungle and, er, more jungle with a selection of the best modern jungle DJs. STUDIO 24 GOES METAL!
STUDIO 24, 23:00–03:00, £2 (£5/£4 STUDENT AFTER 11)
Studio 24 takes a foray into all things heavy and metal for their usual last Saturday of the month blow-out. WE ARE YOUR FRIENDS
PICTURE HOUSE, 23:00–03:00, £3 (£2)
All-new Saturday party night playing house, electro, retro and pop selections. Also wins extra points for having a roaring lion on its poster. BLACK ‘MAGIC NOSTALGIC’: HALLOWEEN PARTY
ELECTRIC CIRCUS, 22:30–03:00, £6 (£7 AFTER 12)
CAIRD HALL, 19:00–23:00, £37.50
The Jam mainman plays a mini series of one nighter shows, taking to a handful of his favourite venues over two weeks in October.
Mon 28 Oct MIXED UP
THE HIVE, 22:00–03:00, FREE
Request-driven night of pop-punk, chart, indie and good ol’ 90s classics. NU FIRE
SNEAKY PETE’S, 23:00–03:00, FREE
DJ Fusion and Beef move from hip-hop to dubstep with a plethora of live MCs. MOONSHINE
CABARET VOLTAIRE, 23:00–03:00, £4 (£3)
Student Monday nighter of mashups, hip-hop, trap and house, spreading its eclectic musical wares over three rooms.
Dundee Music
Fri 04 Oct
NON-ZERO’S, 19:30–23:00, £4 ADV. (£6 DOOR)
Scots-based progressive metal hellraisers led by Sandy Bain on bass and vocals.
ED MUIRHEAD (SUSAN MCCATHIE + DARREN CAMPBELL) DROUTHY’S, 19:30–22:00, £ ADV. (£4 DOOR)
Hometown album launch party for the Dundee piano champ’s new album, Simple Life, all ballads, blues, and songs about love and Britain’s first ring-road.
ELWAY (UNIFORMS + SINK ALASKA + SHATTERHAND)
KAGE, 19:30–22:00, £6
More classic mid-western punk rock bangers from the Colorado lot, marking a return visit to Dundee.
Sat 05 Oct
DRENGE (BLINDFOLDS)
NON-ZERO’S, 20:00–23:00, £8
Sheffield-based brothers Eoin and Rory provide the guitars and drums-built soundscapes.
seductive
ROOMS THURSDAYS
READING ROOMS, 22:30–02:30, £TBC
Dundee Clubs
the evening.
Wed 02 Oct
Sat 12 Oct
CO2
FAT SAM’S, 23:00–02:30, £3.50
Messy student midweeker of party tunes and five quid fish bowls.
READING ROOMS, 22:30–02:30, £TBC
The Ramones tribute act.
Sun 13 Oct THE ORB
20 ROCKS, 20:00–23:00, £15 ADV. (£18 DOOR)
The English electronic mainstays mark 25 years of ambient house, with sets from System 7 and Joe McKechnie.
THE PIGEON DETECTIVES
FAT SAM’S, 19:00–22:00, £14
By the numbers indie-rock, chockfull of staccato and jangly guitar riffs intermixed with unassuming bass lines and hip-swaying beats. DIRTY HARRY
Blondie tribute act.
Sat 19 Oct LOCARNO
READING ROOMS, 22:30–02:30, £TBC
Rockabilly, doo-wop, soul and all things golden age and danceable with the Locarno regulars. IT CRAWLED FROM THE SOUTH
BEAT GENERATOR LIVE!, 20:00–22:00, £6
REM tribute act.
Fri 25 Oct
RESONATORS (WRONGTOM)
READING ROOMS, 22:30–02:30, £7.00
Nine-piece dub reggae troupe inspired by the meditative quality and universal appeal of Jamaican roots music.
ROOMS THURSDAYS
Weekly Thursday nighter (as the name would suggest) play what they promise will be ‘good’ music. Sold.
Fri 04 Oct
MUNGO’S HI-FI (PARLY B + CHUNGO BUNGO + MISS DLOVE)
READING ROOMS, 22:30–03:30, £7
More heavyweight selections from Mungo’s Soundsystem, playing a full soundsystem set joined by Parly B, Chungo Bungo and Miss DLove. HOUSE PARTY
FAT SAM’S, 20:00–03:00, £8
Fun Friday nighter soundtracked by big party tunes and punter requests. WARPED
KAGE, 23:00–02:30, £4
Ska, screamo and pop-punk offerings, featuring additional live performances from a selection of choice noisemakers.
Sat 05 Oct
AUDODISCO (REVENGE)
READING ROOMS, 22:30–03:30, £8 (£10 AFTER 12)
Electro-funk, house and disco with your regular hosts Dave Autodisco and Dicky Trisco, who’re joined by The Revenge for what promises to be an extra special guest set. FAT SAM’S SATURDAYS
FAT SAM’S, 21:00–03:00, £6
KAGE, 19:30–22:00, £6
CONTOUR (PALEMAN)
READING ROOMS, 22:30–02:30, £TBC
The Contour crew welcome of-themoment chap Paleman (aka Calum Lee) for one of his trademark refined sets, traversing the line between classic and current. FAT SAM’S SATURDAYS
FAT SAM’S, 21:00–03:00, £6
Massive Saturday night party spreading its wares over three floors and no less than six rooms, with Ricky H spanning dance, house, r’n’b and hip-hop selections. RHUMBA: A FESTIVAL OF HOUSE (HOT CHIP + LEFTFIELD + DERRICK CARTER + DAVE SEAMAN + DJ YODA + MAURO PICOTTO + JON PLEASED WIMMIN + STEVE BICKNELL + KRAFTY KUTS) FAT SAM’S, 20:00–03:00, £22
Six whole bloody rooms of electronic goodness, featuring the likes of Derrick Carter, DJ Yoda, Dave Seaman and Mauro Picotto, plus special DJ sets from Hot Chip and Leftfield. Dundee probably literally never had it so good. ASYLUM
KAGE, 23:00–02:30, £4
Best of selection of rock, metal and alternative tunes.
Sun 13 Oct THE ORB
20 ROCKS, 20:00–23:00, £15 ADV. (£18 DOOR)
The English electronic mainstays mark 25 years of ambient house, with sets from System 7 and Joe McKechnie.
Wed 16 Oct CO2
FAT SAM’S, 23:00–02:30, £3.50
Weekly Thursday nighter (as the name would suggest) play what they promise will be ‘good’ music. Sold.
ASYLUM
Wed 09 Oct
High energy singalong pop-punk all the way from Milwaukee, US-of-A.
Fun Friday nighter soundtracked by big party tunes and punter requests.
KAGE, 23:00–02:30, £4
READING ROOMS, 22:30–02:30, £5
DIRECT HIT! (THE PRICEDUIFKES + THE KIMBERLY STEAKS + MAXWELL’S DEAD)
FAT SAM’S, 20:00–03:00, £8
Messy student midweeker of party tunes and five quid fish bowls.
Sat 26 Oct Selection of DJs on rotation all night, covering genres of electro, disco, techno and anything else they damn well fancy.
HOUSE PARTY
Massive Saturday night party spreading its wares over three floors and no less than six rooms, with Ricky H spanning dance, house, r’n’b and hip-hop selections. Best of selection of rock, metal and alternative tunes.
THE BOOK CLUB
CO2
FAT SAM’S, 23:00–02:30, £3.50
Thu 24 Oct
BEAT GENERATOR LIVE!, 19:30–22:00, £7
THE RAMONAS
Wed 23 Oct Messy student midweeker of party tunes and five quid fish bowls.
Thu 03 Oct
BEAT GENERATOR LIVE!, 20:00–22:00, £7.50
AKORD (MAN MADE ORIGIN + STORM OF EMBERS + GLACIER)
Best of selection of rock, metal and alternative tunes.
Sat 12 Oct
The longstanding British roots reggae collective of the 70s/80s return to a live setting.
Manc-based guitar ensemble, formed and inspired through a combined love of 60s pop structures and post-punk shoegaze guitar.
ASYLUM
KAGE, 23:00–02:30, £4
JOHNNY MARR
All-day mini festival featuring a selection of talent over the course of the day – amongst ‘em London based stealth rockers Dry The River and Scottish-based musician Panda Su doing her bittersweet acoustic folk-pop thing
LOCARNO
READING ROOMS, 22:30–02:30, £TBC
Rockabilly, doo-wop, soul and all things golden age and danceable with the Locarno regulars. FAT SAM’S, 21:00–03:00, £6
FAT SAM’S, 19:00–22:00, £21.50
BEAT GENERATOR LIVE!, 18:30–22:00, £14
Sat 19 Oct
Massive Saturday night party spreading its wares over three floors and no less than six rooms, with Ricky H spanning dance, house, r’n’b and hip-hop selections.
70 and 80s-infused rockers, built on riffs, anthemic choruses and proper big mullet hair.
JUTEOPOLIS FESTIVAL: PART 2 (DRY THE RIVER + PANDA SU + DANTE + THE TRADE)
GORILLA IN YOUR CAR
CO2
FAT SAM’S, 23:00–02:30, £3.50
Messy student midweeker of party tunes and five quid fish bowls.
Thu 17 Oct ROOMS THURSDAYS
READING ROOMS, 22:30–02:30, £TBC
Fri 18 Oct
MESSENGER SOUND SYSTEM
READING ROOMS, 23:30–02:30, £7.00
Conscious roots and dub reggae rockin’ from the usual beefty soundsystem.
Theatre
KAGE, 23:00–02:30, £4
FAT SAM’S SATURDAYS
20 ROCKS, 20:00–23:00, FREE
TALISMAN (DAN RATCHET)
THE DELAPLAINS
READING ROOMS, 22:30–02:30, £10
The man with the flair for selecting the sweetest of reggae beats, as in David Rodigan, takes over for
ESTRELLA
READING ROOMS, 19:30–22:00, £7.00
READING ROOMS, 19:00–22:00, £6
DAVID RODIGAN
Thu 10 Oct
Fri 18 Oct
Thu 03 Oct
Fri 11 Oct
Hardcore, emo, punk and scenester selections. Also perhaps the best-named club night in Dundee’s existence.
BEAT GENERATOR LIVE!, 19:30–22:00, £5
Fri 11 Oct
Two rooms of all the chart, cheese and indie-pop you can think of.
READING ROOMS, 22:30–02:30, £TBC
Weekly Thursday nighter (as the name would suggest) play what they promise will be ‘good’ music. Sold.
Hard rockin’ Londoners with a snappy and visceral approach to the genre.
Sun 27 Oct
HOUSE PARTY FAT SAM’S, 20:00–03:00, £8
Fun Friday nighter soundtracked by big party tunes and punter requests.
ROOMS THURSDAYS
THE ZICO CHAIN (MILLSYECK + LONELY THE BRAVE + FRANKLY MAXIMUM)
The celebrated Smiths guitarist plays a selection of tracks from his debut solo album, The Messenger.
THE HIVE, 22:00–03:00, FREE
BEAT GENERATOR LIVE!, 13:00–22:00, £10
The favourited Dundee mini festival returns for a third year, marrying punk and the month of October under the self-explanatory title ‘Punktoberfest’.
Thu 10 Oct
Wed 09 Oct
Halloween-themed edition of the pick’n’mix night, with a suitably spooky mix of tracks chosen by JP’s spinning wheel. THE SUNDAY CLUB
PUNKTOBERFEST 3 (THE LURKERS + LOADED 44 + THE NEGATIVES + OVERSPILL + THE EDDIES + DISTORTED TRUTH + THE JACK HAMMERS + 13 TOMBS + SPAT + SUBVISION + GARDEN GANG + JIM THREAT AND THE VULTURES + FAKE + ROTTEN APPLES + SALEMSTREET + THE TOLERATED + THE VACANTS )
Weekly Thursday nighter (as the name would suggest) play what they promise will be ‘good’ music. Sold.
Fri 25 Oct HOUSE PARTY
FAT SAM’S, 20:00–03:00, £8
Fun Friday nighter soundtracked by big party tunes and punter requests.
Sat 26 Oct THE BOOK CLUB
READING ROOMS, 22:30–02:30, £5
Selection of DJs on rotation all night, covering genres of electro, disco, techno and anything else they damn well fancy. FAT SAM’S SATURDAYS
FAT SAM’S, 21:00–03:00, £6
Massive Saturday night party spreading its wares over three floors and no less than six rooms, with Ricky H spanning dance, house, r’n’b and hip-hop selections.
BUNTY AND DORIS
SCOTTISH OPERA: DON GIOVANNI
22 OCT, 6:00PM – 6:45PM, £3.50
Choreographer Natasha Gilmore presents a surreal and comic look at life with the fictitional Bunty and Doris – journeying through childhood imaginary tea parties to the confrontation of old age and isolation. 925
24 OCT, 7:00PM – 8:00PM, £8 (£4.50)
Unique event fusing the expressive style of hip-hop dance with parkour moves and free running, bolstered by leading hip-hop dancer Xena Gusthart and live beatboxing from Bigg Taj. COULDN’T CARE LESS
17 OCT, 18 OCT, 19 OCT, 28 OCT, TIMES VARY, PRICES VARY
Live theatre piece inspired by the experiences of carers, taking a dark and moving – yet often funny – look at the story of two women whose lives are slowly disappearing.
The Arches
VARIOUS DATES BETWEEN 15 OCT AND 26 OCT, TIMES VARY, FROM £12
Scottish Opera present a production of Mozart’s tale about the notorious serial seducer, Don Giovanni, sung in Italian with English subtitles. THE BUTTERFLY LION
28 OCT – 2 NOV, 7:30PM – 10:00PM, FROM £10
Heart-warming tale of an enduring friendship, following the adventures of Bertie and the White Lion as they strive to find sanctuary amongst adversity.
Tramway FIGMENT
14 MAR, 15 MAR, 16 MAR, 19 OCT, 7:30PM – 9:30PM, £8 (£6)
Tramway’s young theatre group in residence, Junction 25, present their meditative piece exploring the things we see and the things we don’t. TOMORROW’S PARTIES
11 OCT, 30 OCT, 31 OCT, TIMES VARY, PRICES VARY
BULLET CATCH
VARIOUS DATES BETWEEN 3 AUG AND 13 OCT, TIMES VARY, £10 EARLYBIRD
Rob Drummond brings his staged shockaroo to Glasgow – a stuntbased performance taking in storytelling, mind-reading, leviation and the promise of seeing Drummond shot in the face as he performs the famed bullet catch stunt. CURED
22–26 OCT, 7:30PM – 9:00PM, FROM £8
Inspired by real accounts of conversion therapy, award-winning playwright Stef Smith uncovers the intertwining stories of four women across themes of love, identity, er, and The Golden Girls. Part of Glasgay! PRIVATE PARTY
24–27 OCT, TIMES VARY, £12 (£7)
Immersive and interactive new performance piece, from the award-winning Janice Parker, looking at our notions of what a party is.
Intriguing performance piece from Forced Entertainment, as two figures wreathed in light present a multitude of hypothetical situations, including utopian and dystopian scenarios and absurd fantasies. THE COMING STORM
10 OCT, 7:30PM – 9:30PM, £12 (£8)
International innovators Forced Entertainment cross-cut multiple stories to make an unstable performance in which six performers move between love, death, sex and, erm, laundry. TIGER
25–26 OCT, 7:30PM – 9:30PM, £8 (£6)
Story-hopping tale of a family who have ceased to function; a girl who longs for someone to play with, a mother who has forgotten what it’s like to go outside, and a father obsessed with success. Complete with musical accompaniment from Zoey Van Goey’s Kim Moore.
ASYLUM
Best of selection of rock, metal and alternative tunes.
stylish
SCARFED FOR LIFE
Hard hitting play based on the experiences of young people in Glasgow of discrimination and prejudice – set against the backdrop of the first Old Firm clash of the season.
9 OCT, 7:00PM – 8:00PM, £8 (£4.50)
Nostalgic, humourous and often harrowing personal journey through one man’s life in the town of Linwood and the car factory that is no more.
THE LION KING
VARIOUS DATES BETWEEN 11 OCT AND 18 JAN, 7:30PM – 10:00PM, FROM £30
Stage adaptation of the favourited Disney film, bolstered by suitably dazzling staging and elaborate costumes, masks and puppets. Matinee performances also available. SEVEN BRIDES FOR SEVEN BROTHERS
30 SEP – 5 OCT, TIMES VARY, FROM £10
Musical favourite set in Oregon in 1850, following young Adam – the eldest of seven brothers – and his quest to get a bride for them all.
Festival Theatre
RICHARD ALSTON DANCE COMPANY
1 NOV, 22 OCT, 7:30PM – 10:00PM, FROM £16.50
Richard Alston and co present their new piece, Buzzing Round the Hunnisuccle, inspired by Alston’s long held fascination with the music of Jo Kondo. THREE PHANTOMS
VARIOUS DATES BETWEEN 4 JUL AND 26 OCT, 7:45PM – 10:00PM, FROM £19
Three ‘phantoms’ (Earl Carpenter, Matthew Cammelle and Stephen John Davis) perform excerpts from various musicals, including Phantom of the Opera and Les Miserables. FIDDLER ON THE ROOF
1–5 OCT, TIMES VARY, FROM £15
New production of Jerry Bock’s favourited musical, directed and choreographed by Craig Revel Horwood (aka him offa Strictly Come Dancing).
11–12 OCT, 7:30PM – 10:00PM, FROM £12.50
The New York-based ballet company perform a trio of works showcasing their daring, athletic movement style. OUR HOUSE
Tron Theatre
EDUCATING RONNIE
LINWOOD NO MORE
Edinburgh Playhouse
15–19 OCT, TIMES VARY, FROM £15
Platform
VARIOUS DATES BETWEEN 20 SEP AND 10 OCT, 7:00PM – 9:00PM, £8 (£4.50)
Edinburgh
CEDAR LAKE CONTEMPORARY BALLET
11–12 OCT, 7:30PM – 9:30PM, £10 (£6)
Johnny McKnight’s heart-breaking, life-affirming comedy about life, love and, well, being a 15-year-old superhero who can turn himself see-thru at any time.
Matthew Zajac’s brings his play about his Polish father back to Glasgow for the first time in three years, coinciding with the publication of his book on the story.
German company resistdance, choreographed by Artistic Director Silke Z, present two dance theatre episodes from The Generation Project, exploring the process of ageing through 60+ eyes.
Citizens Theatre
THE INCREDIBLE ADVENTURES OF SEE THRU SAM
THE TAILOR OF INVERNESS
25–26 OCT, 7:45PM – 9:45PM, £16 (£12)
4–5 OCT, 7:30PM – 9:30PM, £11
Glasgow Theatre
Joe Douglas’ one-man show about his friendship with a Ugandan boy, Ronnie, and how what began as help turned into something much deeper and more complex.
Tron Young Company present their latest play in collaboration with Martin O’Connor, designed to present many sides to many stories.
JESS MEETS ANGUS / ANGUS MEETS...
KAGE, 23:00–02:30, £4
VARIOUS DATES BETWEEN 2 AUG AND 7 OCT, TIMES VARY, PRICES VARY
SUBJECT TO CHANGE 24 OCT, TIMES VARY, £7
The King’s Theatre GHOST
VARIOUS DATES BETWEEN 14 MAY AND 19 OCT, 7:30PM – 10:00PM, FROM £15
Theatrical production based on the 90s movie of the same name, where a certain Patrick Swayze got all excited with the pottery kiln. HA HA HOLMES
16 SEP, 13 OCT, 23 OCT, TIMES VARY, PRICES VARY
Humourous parody of Sherlock Holmes best loved mystery, The Hound of the Baskervilles, staring comic Joe Pasquale as Holmes.
MACBETH
VARIOUS DATES BETWEEN 10 AUG AND 19 OCT, TIMES VARY, FROM £7
Rachel O’Riordan’s dark new adaptation of Shakespeare’s shortest and most brutal tragedy of superstition and vaulting ambition. EDUCATING RONNIE
15–19 OCT, 8:00PM – 10:00PM, FROM £7.50
Joe Douglas’ one-man show about his friendship with a Ugandan boy, Ronnie, and how what began as help turned into something much deeper and more complex. ATROPA NIGHTS
17–18 OCT, 8:30PM – 9:30PM, £7
Acclaimed storyteller Amanda Edmiston brings three original tales to life in an intimate adult storytelling evening – taking in a woman who poisons her employer, a man who seduces the woman he longs for, and a girl who grows up to be a werewolf.
Musical comedy inspired by the music of Madness, telling a tender tale of life, love and heartbreak in mid-80s Camden Town.
King’s Theatre CABARET
VARIOUS DATES BETWEEN 24 AUG AND 26 OCT, TIMES VARY, FROM £22.50
Pop Idol Will Young takes to the stage in Rufus Norris’s all-singing, all-dancing production of Cabaret, covering literally all the musical theatre hits ever. Probably. DUNSINANE
VARIOUS DATES BETWEEN 10 SEP AND 5 OCT, TIMES VARY, FROM £14
David Greig’s sequel-of-sorts to Macbeth, providing an exhilarating vision of one man’s attempt to restore peace in a country ravaged by war.
Get £10 tix if you’re under 26. Any seat. Any performance. 68
Listings
THE SKINNY
KISS ME HONEY, HONEY 24 SEP, 16 OCT, 17 OCT, TIMES VARY, PRICES VARY
New piece by Philip Meeks – writer of last year’s Fringe offering Murder, Marple and Me – about two unlikely friends who set off on a search for the women of their dreams.
Royal Lyceum Theatre DARK ROAD
VARIOUS DATES BETWEEN 2 SEP AND 19 OCT, TIMES VARY, FROM £14
Newly-commissioned work marking crime writer Ian Rankin’s first foray into stage – with Dark Road telling the story of a retired detective who revisits a case, and a killer, that’s haunted her for the past 25 years. CRIME AND PUNISHMENT
VARIOUS DATES BETWEEN 22 OCT AND 9 NOV, 7:45PM – 10:00PM, FROM £14
Chris Hannan’s new stage adaptation of Dostoyevsky’s iconic novel, told with a raw energy and bold conviction intended to shine new light on its relevance to today’s world of corruption and crime. CRIME AND PUNISHEMENT
VARIOUS DATES BETWEEN 23 OCT AND 9 NOV, 2:30PM – 5:00PM, FROM £14
Chris Hannan’s new stage adaptation of Dostoyevsky’s iconic novel, told with a raw energy and bold conviction intended to shine new light on its relevance to today’s world of corruption and crime.
Traverse Theatre TRANSLUNAR PARADISE
VARIOUS DATES BETWEEN 1 AUG AND 25 OCT, TIMES VARY, PRICES VARY
Theatre Ad Infinitum present a tale of life, death and enduring love, following a chap called William as he escapes to a world of fantasy following his wife’s passing. EDUCATING RONNIE
VARIOUS DATES BETWEEN 2 AUG AND 7 OCT, TIMES VARY, PRICES VARY
Joe Douglas’ one-man show about his friendship with a Ugandan boy, Ronnie, and how what began as help turned into something much deeper and more complex. THE IDIOT AT THE WALL
VARIOUS DATES BETWEEN 3 AUG AND 3 OCT, 7:30PM – 9:30PM, £15.50 (£12.£8 UNEMPLOYED)
The critically-acclaimed Fringe 2012 production goes on tour, based on a Celtic myth and telling the tale of two Hebridean sisters and how their traditional way of life struggles against the encroachment of the modern world. IF THESE SPASMS COULD SPEAK
VARIOUS DATES BETWEEN 31 JUL AND 12 OCT, TIMES VARY, PRICES VARY
Solo performance by Robert Softley (co-creator of National Theatre of Scotland’s thought-provoking Girl X) based on a collection of funny, sad, touching and oftsurprising stories about disabled people and their bodies. COULDN’T CARE LESS
17 OCT, 18 OCT, 19 OCT, 28 OCT, TIMES VARY, PRICES VARY
Live theatre piece inspired by the experiences of carers, taking a dark and moving – yet often funny – look at the story of two women whose lives are slowly disappearing. OEDIPUSSY
9–12 OCT, 7:30PM – 9:30PM, £15.50 (£12.50/£8 UNEMPLOYED)
Outrageous subversion of the quintessential Greek tragedy – a tale of forbidden lust, accidental incest and the ultimate dysfunctional family.
Dundee Dundee Rep
THE VAGINA MONOLOGUES
VARIOUS DATES BETWEEN 9 NOV AND 13 OCT, TIMES VARY, PRICES VARY
Eve Ensler’s Broadway and West End hit returns with an all-new cast.
NEW JERSEY NIGHTS VARIOUS DATES BETWEEN 22 JAN AND 5 OCT, TIMES VARY, FROM £14 (£12)
Singalong musical journey celebrating the greatest hits of Frankie Valli and the Four Seasons. EDUCATING RONNIE
8 OCT, 7:30PM – 9:30PM, £12 (£10)
Joe Douglas’ one-man show about his friendship with a Ugandan boy, Ronnie, and how what began as help turned into something much deeper and more complex. IF THESE SPASMS COULD SPEAK
9 OCT, 7:30PM – 9:30PM, £12 (£10)
Solo performance by Robert Softley (co-creator of National Theatre of Scotland’s thought-provoking Girl X) based on a collection of funny, sad, touching and oftsurprising stories about disabled people and their bodies.
Wed 09 Oct
Mon 14 Oct
THE STAND, 20:30–22:30, £12 (£10)
THE STAND, 20:30–22:30, £12 (£10)
MARCEL LUCONT: GALLIC SYMBOL
VIKKI STONE: DEFINITELY
After a sell-out run in 2012, Vikki Stone returns with a new selection of songs, stand-up and – depending on whether or not her dog can learn to dance – dog dancing.
The Brit-baiting French chat show host brings his superior brand of intelligent and scatological, arrogant and winningly perverse humour to bear once more.
VESPBAR, 20:00–22:00, £3
Resident host Julia Sutherland introduces a variety of stand-up comedians from the Scottish circuit delivering, yes, all new material. BRIGHT CLUB: INDY REF SPECIAL
exotic
Tue 01 Oct RED RAW
All-female stand-up extravaganza, with a suitably varied mix of headliners and newcomers taking to the stage each month. NEW MATERIAL NIGHT
VESPBAR, 20:00–22:00, £3
Resident host Julia Sutherland introduces a variety of stand-up comedians from the Scottish circuit delivering, yes, all new material.
Thu 03 Oct
THE THURSDAY SHOW (RUDI LICKWOOD + CELIA PACQUOLA + CHARLIE ROSS + JAMIE DALGLEISH)
THE STAND, 20:30–22:30, £10 (£7/£5 MEMBERS)
Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.
Fri 04 Oct
THE FRIDAY SHOW (RUDI LICKWOOD + CELIA PACQUOLA + CHARLIE ROSS + JAMIE DALGLEISH) THE STAND, 20:30–22:30, £12 (£10/£6 MEMBERS)
Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts. HAHA COMEDY
MAGGIE MAY’S, 19:30–22:00, £TBC
Manc-born comic – and one time Architecture student – Alan Anderson comperes a live comedy showcase evening at Maggie Mays.
Sat 05 Oct
THE SATURDAY SHOW (RUDI LICKWOOD + CELIA PACQUOLA + CHARLIE ROSS + JAMIE DALGLEISH)
THE STAND, 21:00–23:00, £15
Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend.
Sun 06 Oct
GLASGOW KIDS COMEDY CLUB
THE STAND, 15:00–16:00, £4
Jokes suitable for little ears (i.e. no sweary words), for children aged 8-12 years-old.
Tue 08 Oct RED RAW
THE STAND, 20:30–22:30, £2
Open-mic style beginners showcase, plus some old hands dropping by to roadtest new material.
THE ADMIRAL, 19:00–22:00, £5
The Bright Club comedic academics host a Scottish Independencethemed special, in which academics from various Scottish universities will discuss the issues surrounding independence, through the medium of stand-up.
Thu 24 Oct
THE STAND, 20:30–22:30, £2
THE STAND, 20:30–22:30, £6 (£5/£3 MEMBERS)
RED RAW
NEW MATERIAL NIGHT
Glasgow
WICKED WENCHES (CELIA PACQUOLA + FERN BRADY + WENDY GRUBB + SARAH CASSIDY)
Tue 22 Oct
Wed 23 Oct
Reworking of the classic Greek tragedy, performed in a specially constructed auditorium space on stage at the Rep.
Wed 02 Oct
THE STAND, 20:30–22:30, £15 (£10)
All-new material from the renowned political comic, chronicling his task of committing 100 acts of minor dissent in the space of 12 months – cataloguing everything from the smallest and silliest gesture, to the grandest of confrontations.
THE STAND, 20:30–22:30, £2
HECUBA
Open-mic style beginners showcase, plus some old hands dropping by to roadtest new material.
MARK THOMAS: 100 ACTS OF MINOR DISSENT
Open-mic style beginners showcase, plus some old hands dropping by to roadtest new material.
17–26 OCT, NOT 20, 21, TIMES VARY, £17 (£12)
season 2013 | 14 October 2013
Comedy
Mon 21 Oct
NEW MATERIAL NIGHT VESPBAR, 20:00–22:00, £3
Resident host Julia Sutherland introduces a variety of stand-up comedians from the Scottish circuit delivering, yes, all new material.
Thu 10 Oct
MICKY FLANAGAN: BACK IN THE GAME
THE HYDRO, 19:00–22:00, £24.50
The toustle-haired English comic draws on his East End background to ruthlessly deconstruct the Cockney myth with his usual razor sharp observational wit.
Fri 11 Oct
RUSSELL BRAND: MESSIAH COMPLEX
SECC, 19:30–22:00, £27.50
The outspoken comic takes to the road for his first ever world stand up tour, taking the form of a dissection of various social and religious figures and the reality of their lives through comparisons of each other. THE FRIDAY SHOW (DAVE JOHNS + SUSAN MURRAY + BRUCE FUMMEY + DOGSHIT JOHNSON)
THE STAND, 20:30–22:30, £12 (£10/£6 MEMBERS)
Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts.
Sat 12 Oct
THE COMEDY EXPLORERS
THE FLYING DUCK, 20:00–22:00, £4
Monthly comedy club hosted by Sarah Cassidy and Andrew Learmonth, who bring with ‘em an off-beat selection of stories and jokes with a different theme each edition.
THE SATURDAY SHOW (DAVE JOHNS + SUSAN MURRAY + BRUCE FUMMEY + DOGSHIT JOHNSON) THE STAND, 21:00–23:00, £15
Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend.
Sun 13 Oct
PAT SHORTT: I AM THE BAND
THE STAND, 20:30–22:30, £12.50 (£10)
One of Ireland’s best-loved comedians presents a new one-man comedy show in which he plays solo lounge musician Dixie Walsh, reminiscing about his path into music with the help of some quirky characters.
Tue 15 Oct
THE THURSDAY SHOW (FOIL + ARMS & HOG + ANDREW LEARMONTH + JAY LAFFERTY)
THE STAND, 20:30–22:30, £2
THE STAND, 20:30–22:30, £10 (£7/£5 MEMBERS)
RED RAW
Open-mic style beginners showcase, plus some old hands dropping by to roadtest new material.
Wed 16 Oct
Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.
EPILEPSY SCOTLAND BENEFIT (JANEY GODLEY + SCOTT AGNEW + DAVEY CONNOR + JULIA SUTHERLAND)
Fri 25 Oct
THE STAND, 20:30–22:30, £8 (£7)
THE STAND, 20:30–22:30, £12 (£10/£6 MEMBERS)
Live comedy fundraiser in aid of Epilepsy Scotland, with Billy Kirkwood the lucky lad keeping a quartet of acts in check. NEW MATERIAL NIGHT
VESPBAR, 20:00–22:00, £3
Resident host Julia Sutherland introduces a variety of stand-up comedians from the Scottish circuit delivering, yes, all new material.
Thu 17 Oct
THE THURSDAY SHOW (ROB ROUSE + PETE CAIN + JULIA SUTHERLAND + MARTIN BEARNE )
THE STAND, 20:30–22:30, £10 (£7/£5 MEMBERS)
THE FRIDAY SHOW (FOIL + ARMS & HOG + ANDREW LEARMONTH + JAY LAFFERTY)
Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts. ACOUSTIC AND COMEDY NIGHT
THE ROXY 171, 20:00–23:00, £4 ADV. (£7 DOOR)
Chilled night fusing acoustic music sessions with live stand-up comedy.
Sat 26 Oct
THE SATURDAY SHOW (FOIL + ARMS & HOG + ANDREW LEARMONTH + JAY LAFFERTY) THE STAND, 21:00–23:00, £15
Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.
Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend.
Fri 18 Oct
Sun 27 Oct
THE FRIDAY SHOW (ROB ROUSE + PETE CAIN + JULIA SUTHERLAND + MARTIN BEARNE )
THE STAND, 20:30–22:30, £12 (£10/£6 MEMBERS)
Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts. DES MCLEAN
PLATFORM, 20:00–22:00, £12 (£8.50)
THE STAND, 20:30–22:30, £6 (£5/£3 MEMBERS)
All-female stand-up extravaganza, with a suitably varied mix of headliners and newcomers taking to the stage each month. GRASSROOTS
THE PLEASANCE, 19:30–23:00, £1
Showcase night featuring the best in fresh, local talent – bringing together first-time and upand-coming comics in a series of quickfire 10-minute slots.
Thu 03 Oct
THE THURSDAY SHOW (TREVOR COOK + PARROT + FERN BRADY)
THE STAND, 21:00–23:00, £10 (£7/£5 MEMBERS)
Fri 04 Oct
THE STAND, 20:30–22:30, £2
Open-mic style beginners showcase, plus some old hands dropping by to roadtest new material.
Tue 08 Oct
VIKKI STONE: DEFINITELY
THE STAND, 20:30–22:30, £12 (£10)
After a sell-out run in 2012, Vikki Stone returns with a new selection of songs, stand-up and – depending on whether or not her dog can learn to dance – dog dancing. THE PLEASANCE, 19:30–23:00, £1
Showcase night featuring the best in fresh, local talent – bringing together first-time and upand-coming comics in a series of quickfire 10-minute slots. SCOTTISH STORYTELLING CENTRE, 20:00–22:00, £6
Long-standing improv comedy troupe made up of an everchanging line-up of local students, whose rather fine show is built entirely on (oft daft) audience suggestions. THE FRIDAY SHOW (TREVOR COOK + PARROT + FERN BRADY)
THE STAND, 21:00–23:00, £12 (£10/£6 MEMBERS)
Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts.
PORTOBELLO COMEDY NIGHT (EDDIE CASSIDY + WAYNE MAZADZA + STEVEN DAVIDSON)
DALRIADA, 20:30–22:30, £10
The official Porty comedy crew return for another showcase night of laughs by the sea, featuring a headline set from Scottish Comedian of the Year 2012, Eddie Cassidy.
Sat 05 Oct
Monthly spoken-word show of the rather ace variety, featuring a feastful of writers, comedians and musicians telling (mostly) true stories, under the watchful eye of host Jo Caulfield.
Wed 09 Oct
STEWART LEE: MUCH A-STEW ABOUT NOTHING
FESTIVAL THEATRE, 19:30–21:30, £21.50
The writer and comedian takes to the stage to test out some new material in preparation for his 2014 TV show.
Thu 10 Oct
THE THURSDAY SHOW (DAVE FULTON + KEIR MCALLISTER + SUSIE MCCABE + WAYNE MAZADZA)
THE STAND, 21:00–23:00, £10 (£7/£5 MEMBERS)
Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.
THE STAND, 21:00–23:00, £15
Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend. THE BEEHIVE COMEDY CLUB
Regular weekend comedy showcase featuring a selection of up-and-coming acts from Scotland and beyond, topped with a guest
IMPROVERTS BEDLAM THEATRE, 22:30–23:30, £5.50 (£5 MEMBERS)
Long-standing improv comedy troupe made up of an everchanging line-up of local students, whose rather fine show is built entirely on (oft daft) audience suggestions.
Sat 12 Oct
RUSSELL BRAND: MESSIAH COMPLEX
USHER HALL, 19:30–22:00, £27.50
The outspoken comic takes to the road for his first ever world stand up tour, taking the form of a dissection of various social and religious figures and the reality of their lives through comparisons of each other.
THE SATURDAY SHOW (DAVE FULTON + KEIR MCALLISTER + SUSIE MCCABE + WAYNE MAZADZA)
THE STAND, 21:00–23:00, £15
Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend. THE BEEHIVE COMEDY CLUB
BEEHIVE INN, 20:30–22:30, £7
Regular weekend comedy showcase featuring a selection of up-and-coming acts from Scotland and beyond, topped with a guest headliner. Check their Facebook page on the day for line-ups.
Sun 13 Oct
WHOSE LUNCH IS IT ANYWAY?
THE STAND, 13:30–15:30, FREE
Improvised lunchtime comedy favourite with resident cheeky chappies Stu & Garry.
MARCEL LUCONT: GALLIC SYMBOL
THE STAND, 20:30–22:30, £12 (£10)
The Brit-baiting French chat show host brings his superior brand of intelligent and scatological, arrogant and winningly perverse humour to bear once more.
Mon 14 Oct RED RAW
THE STAND, 20:30–22:30, £2
Open-mic style beginners showcase, plus some old hands dropping by to roadtest new material.
Tue 15 Oct
NORDOFF ROBBINS BENEFIT
THE STAND, 20:30–22:30, £7 (£6)
THE FRIDAY SHOW (DAVE FULTON + KEIR MCALLISTER + SUSIE MCCABE + WAYNE MAZADZA)
Live comedy fundraiser in aid of Nordoff Robbins – the Scottish music therapy charity – with a line-up of fresh faces and Scottish comedy stalwarts.
THE STAND, 21:00–23:00, £12 (£10/£6 MEMBERS)
THE PLEASANCE, 19:30–23:00, £1
Fri 11 Oct
THE SATURDAY SHOW (TREVOR COOK + PARROT + FERN BRADY)
GRASSROOTS
Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts.
Showcase night featuring the best in fresh, local talent – bringing together first-time and upand-coming comics in a series of quickfire 10-minute slots.
BEEHIVE INN, 20:30–22:30, £7
Wed 16 Oct
THE BEEHIVE COMEDY CLUB
Regular weekend comedy
ABANDOMAN: MOONROCK BOOMBOX
THE PLEASANCE, 19:30–22:30, £9 (£6)
The Irish hip-hop improv team do their interactive, word bending, lyrical genius thing – using the history of hip-hop as their blueprint. Part of The Pleasance Sessions.
only
£10
THE GOOD, THE BAD AND THE UNEXPECTED
THE STAND, 20:30–22:30, £5
THE STAND, 20:30–22:30, £12
See thewithworld Scottish Opera
STEVE HUGHES: WHILE IT’S STILL LEGAL
THE STAND, 20:30–22:30, £15 (£13)
The Australian comic and ex-heavy metal drummer delivers his beautiful live rant of a thing, out on the road for his second solo tour.
Sun 20 Oct
headliner. Check their Facebook page on the day for line-ups.
THE STAND, 20:30–22:30, £6 (£5/£1 MEMBERS)
THE STAND, 13:30–15:30, FREE
Chilled Sunday comedy showcase with resident Irish funnyman Michael Redmond and guests.
RED RAW
TINA C: WHERE THE HELL WERE YOU?
Mon 28 Oct
MICHAEL REDMOND’S SUNDAY SERVICE
Mon 07 Oct
THE SPEAKEASY
THE IMPROVERTS
BEDLAM THEATRE, 22:30–23:30, £5.50 (£5 MEMBERS)
BEEHIVE INN, 20:30–22:30, £7
Live comedy fundraiser in aid of Black History Month, headed up by the triple whammy of Hari Sriskantha, Katai Kasengele and Wayne Mazadza. Hosted by Susan Morrison.
GRASSROOTS
Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.
Jokes suitable for little ears (i.e. no sweary words), for children aged 8-12 years-old – this edition with a Halloween theme.
Sat 19 Oct
THE STAND, 21:00–23:00, £15
WICKED WENCHES (CELIA PACQUOLA + FERN BRADY + WENDY GRUBB + SARAH CASSIDY)
THE STAND, 15:00–16:00, £4
The inspired alter ego of Christopher Green, Tina C struts her way – most likely in cowboy boots – through a series of comedy, satire and song. Part of Glasgay!
Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend.
THE STAND, 20:30–22:30, £5
Tue 01 Oct
GLASGOW KIDS COMEDY CLUB: HALLOWEEN SPECIAL
The Glasgow stand-up comic, actor and presenter plays a hometown show, with guest support from Patrick Rolink. THE SATURDAY SHOW (ROB ROUSE + PETE CAIN + JULIA SUTHERLAND + MARTIN BEARNE )
BLACK HISTORY MONTH BENEFIT (HARI SRISKANTHA + KATAI KASENGELE + WAYNE MAZADZA)
Edinburgh
Sun 06 Oct
WHOSE LUNCH IS IT ANYWAY?
Improvised lunchtime comedy favourite with resident cheeky chappies Stu & Garry.
Don Giovanni | Don Pasquale | Madama Butterfly
showcase featuring a selection of up-and-coming acts from Scotland and beyond, topped with a guest headliner. Check their Facebook page on the day for line-ups.
A bright collective of comedians experiment with the medium of stand-up, under the ever-watchful eye of regular host Jo Caulfield.
Thu 17 Oct
THE THURSDAY SHOW (BRENDON BURNS + TEDDY + LUKE BENSON + ELAINE MALCOLMSON)
THE STAND, 21:00–23:00, £10 (£7/£5 MEMBERS)
Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.
Fri 18 Oct
THE FRIDAY SHOW (BRENDON BURNS + TEDDY + LUKE BENSON + ELAINE MALCOLMSON)
THE STAND, 21:00–23:00, £12 (£10/£6 MEMBERS)
Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts.
scottishopera.org.uk 69
The Beehive Comedy Club
Improverts
Beehive Inn, 20:30–22:30, £7
Bedlam Theatre, 22:30–23:30, £5.50 (£5 members)
Regular weekend comedy showcase featuring a selection of upand-coming acts from Scotland and beyond, topped with a guest headliner. Check their Facebook page on the day for line-ups. Improverts
Long-standing improv comedy troupe made up of an ever-changing line-up of local students, whose rather fine show is built entirely on (oft daft) audience suggestions.
Bedlam Theatre, 22:30–23:30, £5.50 (£5 members)
Sat 26 Oct
Long-standing improv comedy troupe made up of an ever-changing line-up of local students, whose rather fine show is built entirely on (oft daft) audience suggestions.
Sat 19 Oct
The Saturday Show (Brendon Burns + Teddy + Luke Benson + Elaine Malcolmson)
The Stand, 21:00–23:00, £15
Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend. The Beehive Comedy Club
Beehive Inn, 20:30–22:30, £7
Regular weekend comedy showcase featuring a selection of upand-coming acts from Scotland and beyond, topped with a guest headliner. Check their Facebook page on the day for line-ups.
Sun 20 Oct
Whose Lunch Is It Anyway?
The Stand, 13:30–15:30, Free
Improvised lunchtime comedy favourite with resident cheeky chappies Stu & Garry. The Sunday Night Laugh-In
The Stand, 20:30–22:30, £6 (£5/£1 members)
Chilled comedy showcase to cure your Sunday evening back-towork blues.
Mon 21 Oct Red Raw
The Stand, 20:30–22:30, £2
Open-mic style beginners showcase, plus some old hands dropping by to roadtest new material.
Tue 22 Oct Electric Tales
The Stand, 20:30–22:30, £5 (£4)
More in the way of stand-up comedy crossed with live storytelling, with the tease of a promise of robot badges for all (as in, we’re there). Grassroots
The Pleasance, 19:30–23:00, £1
Showcase night featuring the best in fresh, local talent – bringing together first-time and upand-coming comics in a series of quickfire 10-minute slots.
Wed 23 Oct
Chris Ramsey: The Most Dangerous Man on Saturday Night Television
The Pleasance, 19:30–22:30, £12 (£8)
The star of Celebrity Juice and BBC Two’s Hebburn brings his new show to The Pleasance, taking its inspiration from his being booted off the Soccer AM sofa last year for misbehaving. Part of Pleasance Sessions.
Thu 24 Oct
The Thursday Show (Gavin Webster + Ian D Montfort + Darren Connell + Becky Price)
The Stand, 21:00–23:00, £10 (£7/£5 members)
Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.
Fri 25 Oct
The Friday Show (Ian Moore + Ian D Montfort + Darren Connell + Becky Price) The Stand, 21:00–23:00, £12 (£10/£6 members)
Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts. The Beehive Comedy Club
Beehive Inn, 20:30–22:30, £7
Regular weekend comedy showcase featuring a selection of upand-coming acts from Scotland and beyond, topped with a guest headliner. Check their Facebook page on the day for line-ups.
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Listings
Punchline Comedy Gala (Seann Walsh + Ian D Montfort + Ivan Brackenbury)
Picture House, 18:30–22:00, From £15
Punchline (aka the comedy night of the rather ace variety, so say we) returns for its fourth outing, featuring stints from Seann Walsh, Ian D Montfort and Ivan Brackenbury – with Des Clarke the host attempting to keep that trio of scamps in check.
The Saturday Show (Ian Moore + Ian D Montfort + Darren Connell + Becky Price) The Stand, 21:00–23:00, £15
Packed Saturday evening bill of standup headliners and resident comperes to jolly along your weekend. The Beehive Comedy Club
Beehive Inn, 20:30–22:30, £7
Regular weekend comedy showcase featuring a selection of upand-coming acts from Scotland and beyond, topped with a guest headliner. Check their Facebook page on the day for line-ups.
Sun 27 Oct
Rock ‘n’ Roll Ping Pong
The Bongo Club, 19:00–23:00, Free
The It’s Funtime jokers present a free, fun, table tennis evening, with dancing discs from DJ Ding Dong (ahem). The Sunday Night Laugh-In
The Stand, 20:30–22:30, £6 (£5/£1 members)
Chilled comedy showcase to cure your Sunday evening back-towork blues.
Art Glasgow CCA
Mounira al Solh + Sarah Forrest
various dates between 28 Sep and 9 Nov, 11:00am – 6:00pm, Free
Double-header solo show by Amsterdam artist Mounira al Solh and Glasgow artist Sarah Forrest, attempting to bring together, as well as separate, their two artistic practices.
David Dale Gallery and Studios
Steve Bishop + Richard Sides
various dates between 12 Oct and 2 Nov, 12:00pm – 5:00pm, Free
London-based artists Steve Bishop and Richard Sides create an all-new collaborative work for their first exhibition in Scotland, incorporating film and installation into its mix.
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. Ian Hamilton Finlay: Poet, Artist, Revolutionary
22 Jun – 1 Mar, times vary, Free
Exhibition of graphic prints and sculptural installations by the late Ian Hamilton Finlay (1925–2006), drawn from Glasgow Museums’ own gifted collection. 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 40/40
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. Duncan MacGillivray
4 Oct – 3 Nov, not 7 Oct, 14 Oct, 21 Oct, 28 Oct, times vary, Free
Mary Mary
Sara Barker: The Things That Are Solid, Absorbed and Still
various dates between 7 Sep and 26 Oct, 12:00pm – 6:00pm, Free
Solo exhibition of new sculptures from British artist Sara Barker, continuing with her series of delicate constructions in wire, metal and canvas.
Roger Billcliffe Gallery Fabulous Pearls
21 Sep – 19 Oct, not 22 Sep, 29 Sep, 6 Oct, 13 Oct, times vary, Free
The Glasgow-based artist showcases a series of steel plate intaglio prints born of his fascination with display cabinets – capturing the rare objects frozen in glass cubes of artificial light, photographed with trusty DSLR.
Showcase exhibition from a select group of contemporary designers currently working their own magic to produce modern pearl jewellery, including Birgitte Schultz’s awardwinning series of pearls strung on steel wire to appear as if ‘floating’.
various dates between 19 Oct and 30 Nov, times vary, Free
Street Level Photoworks
Stuart Duffin
A member of staff at the Glasgow Print Studio since 1984 – currently as Studio Master Etcher – Stuart Duffin displays a series of trademark work using 17th century engraving and etching and 21st century digital printmaking techniques.
Glasgow School of Art Follow the Headwaters
4–11 Oct, times vary, Free
Immersive new photographic installation from Samuel Dransfield, marking his debut solo exhibition – displaying new work from Japan which traces the path of power lines through an alien landscape.
Glasgow Sculpture Studios Haegue Yang
various dates between 5 Oct and 20 Dec, 11:00am – 5:00pm, Free
The internationally acclaimed Korean artist displays the fruits produced during his three-month residency at Glasgow Sculpture Studios, bringing together work exploring themes of economy of labour, movement, time, handicraft and abstraction.
Good Press The History Of
4 Sep – 6 Oct, 11:00am – 7:00pm, Free
An exploration into recorded histories through sound featuring cassette tapes of recorded music, sound and speech compiled and created by a selection of artists, musicians, record labels and other practitioners who have an invested interest in music.
Hunterian Art Gallery
Allan Ramsay: Portraits of the Enlightenment
various dates between 13 Sep and 5 Jan, times vary, £7.50 (£5)
Intriguing exhibition casting new light on the work of Allan Ramsay (1713-1784), to mark the 300th anniversary of his birth – taking in a selection of works from across his 30 years as a painter.
Intermedia Levi Hanes
28 Sep – 12 Oct, not 29 Sep, 30 Sep, 6 Oct, 7 Oct, 11:00am – 6:00pm, Free
The American-born, Glasgowgraduating artist presents a new series of works with underlying themes of aspiration, utility, domestication and the absurd – exploring the exhibition format and its impact on the act of viewing objects and art.
Kelvingrove Art Gallery and Museum Jack Vettriano: A Retrospective
21 Sep – 23 Feb, times vary, £5 (£3)
The most comprehensive exhibition ever devoted to Scottish artist, Jack Vettriano - bringing together his most definitive works gathered for the first time from private collections around the world.
Borderlands II
various dates between 10 Aug and 6 Oct, times vary, Free
Marking 20 years since their first major exhibition of Baltic photography in Britain, Street Level Photoworks host a special series focusing on photography from Lithuania, including significant work from the 80s and 90s. Poetic Documents
11 Oct – 10 Nov, not 14 Oct, 21 Oct, 28 Oct, 4 Nov, times vary, Free
Collective exhibition of the works of various generations of photographers and writers, which poetically convey a particular aesthetic experience of the past and present of Lithuania – and the relationship between photography and poetry.
The Common Guild Roman Ondák
various dates between 12 Oct and 14 Dec, times vary, Free
Solo exhibition by Slovakian artist Roman Ondák, known for his arresting installations – amongst them being his acclaimed 2009 piece, Loop, created for the Czech and Slovak Pavilion at the Venice Biennale.
The Lighthouse
Ice Lab: New Architecture and Science in Antarctica
The Modern Institute @ Airds Lane Sue Tompkins
various dates between 7 Sep and 2 Nov, 12:00pm – 5:00pm, Free
Selection of new paintings by Glasgow-based visual and artist Sue Tompkins – also known as the frontwoman of Life Without Buildings – each showing text within a field of varying colours, patterns and representations.
The Virginia Gallery I AM...
various dates between 4 Oct and 9 Nov, 11:00am – 5:30pm, Free
Collective exhibition featuring work by Michael James, Claire Stewart, Mitch Alexander and various I AM art project participants, for which over 20 young LGBT people have drawn on their own experiences to explore the theme of identity. Part of Glasgay!
Tramway Andrea Büttner
various dates between 31 Aug and 13 Oct, times vary, Free
Solo exhibition by German artist Andrea Büttner, drawing together two film works which explore and reflect on the daily lives of two communities of nuns: Little Sisters: Lunapark Ostia (2012) and Little Works (2007).
The Scottish Furniture Makers: The Furniture Maker’s Art
4–20 Oct, times vary, Free
Annual showcase of work from the progressive group of Scottish designer-makers, The Scottish Furniture Makers Association, aiming to reveal the wealth of furniture making talent that is literally on yer doorstep.
Anna Gibb: 365 drawings later
5 Oct – 23 Nov, times vary, Free
Anna Gibb presents her selfmotivated drawing challenge, beginning on 1 February 2012 and documenting the 364 days thereafter. Stuart White: Waiting for Google
25 Oct – 1 Dec, times vary, Free
Visual Communication graduate Stuart White presents an intriguing body of work looking at the time wasted procrastinating on the Internet, and the systems that purposefully distract and control our experiences on’t web.
The Modern Institute
Sea Salt and Cross Passes
various dates between 7 Sep and 19 Oct, times vary, Free
Collective exhibition curated by Norwegian gallery Standard (Oslo), featuring varied work by Matias Faldbakken, Chadwick Rantanen, Torbjørn Rødland, Oscar Tuazon and Fredrik Værslev.
David Peat: Photographer, An Eye on the World
27 Sep – 26 Oct, not 29 Sep, 6 Oct, 13 Oct, 20 Oct, 10:30am – 5:30pm, Free
Retrospective exhibition of the work of late Scottish filmmaker and photographer David Peat, who quietly built an impressive personal portfolio of classic street photography-styled images during a life working around the world. Jacki Parry
27 Sep – 26 Oct, not 29 Sep, 6 Oct, 13 Oct, 20 Oct, 10:30am – 5:30pm, Free
Solo exhibition from the former Head of Printmaking at Glasgow School of Art, Jacki Parry, featuring a diverse collection of paperworks in two and three dimensions made between 2000-2012, plus a small selection of earlier work.
Edinburgh Printmakers
International Print Center New York: New Prints 2013
various dates between 14 Sep and 5 Oct, 10:00am – 6:00pm, Free
Edinburgh Printmakers take stock of a selection of new work from IPCNY – a non-profit institution devoted to the fine art print – consisting of etchings, lithographs, installations, books, sculptures and other manifestations of the print processes.
House Style
Fruitmarket Gallery
various dates between 25 Oct and 19 Jan, times vary, Free
1 Aug – 18 Oct, times vary, Free
Series of new commissions in response to, and alongside, a specially selected film programme from the British Film Institute archive – combining new work and historic material, re-interpreting and expanding narratives of taste and cultural identity. Lucy Skaer: Exit, Voice and Loyalty
various dates between 25 Oct and 15 Dec, times vary, Free
The contemporary Glasgow artist exhibits her most ambitious series of work since her 2009 Turner Prize shortlist, showcasing a selection of sculptures exploring the tension between material and meaning through a series of handmade and mass produced forms.
Gabriel Orozco: Thinking in Circles (EAF)
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. Louise Bourgeois: I Give Everything Away
26 Oct – 23 Feb, times vary, Free
Major exhibition of renowned French-American artist and sculptor Louise Bourgeois, taking in a selection of works on paper centered on her Insomnia Drawings – a suite of 220 drawings and writings made between 1994 and June 1995 to combat her insomnia.
Ingleby Gallery Iran do Espírito Santo: Aside
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.
Dovecot
Edinburgh Bourne Fine Art Gerald Laing: Warhol
various dates between 20 Sep and 26 Oct, times vary, Free
To coincide with the Scottish Parliament’s show of Andy Warhol, Bourne Fine Art exhibit a sculpture of the artist by fellow pop artist Gerald Laing, accompanied by a series of screenprints. Jennifer McRae: As Is
various dates between 20 Sep and 26 Oct, times vary, Free
Showcase exhibition of recent work by the artist Jennifer McRae, RSA elect, in which portraits and still lifes in watercolours, oil, pencil and etching predominate.
City Art Centre Walter Geikie
19 Oct – 2 Mar, times vary, Free
Retrospective exhibition of 19th century artist Walter Geikie (1795-1837), concentrating on his figurative imagery – taking in the etchings for which he is best known, alongside a selection of drawings and paintings. Citizen Curator
26 Oct – 23 Feb, times vary, Free
Special exhibition exploring and celebrating Leith’s fascinating and varied heritage, taking in works by well known Leithers such as Eduardo Paolozzi, and depictions of the local area by artists including Alexander Nasmyth, Jock McFadyen and Kate Downie.
various dates between 12 Oct and 16 Nov, 10:00am – 6:00pm, Free
Prominent Brazilian artist Iran do Espírito Santo marks his second Ingleby outing, presenting four gigantic new glass sculptures, alongside a series of delicate drawings made directly onto the gallery walls.
Institut Francais d’Ecosse Geoffroy Mathieu: Geum Urbanum, #1 Edinburgh
28 Sep – 26 Oct, not 29 Sep, 6 Oct, 13 Oct, 20 Oct, times vary, Free
Images by French photographer Geoffroy Mathieu, presenting the fruits of his artist residency in Edinburgh in 2011 for his project ‘Geum Urbanum’ – a book of photos showing the collision between nature and urban space in Marseille, Tangier and Edinburgh.
Inverleith House Dan Colen: The Illusion of Life
various dates between 12 Oct and 24 Nov, 10:00am – 5:30pm, Free
A selection of work by New Yorkbased multimedia neo-Pop artist, Dan Colen, consisting of paintings made by smashing artificial flowers onto raw canvas.
Royal Scottish Academy (RSA) Kate Downie: Walk Through Resonant Landscape
29 Aug – 6 Oct, times vary, Free
Kate Downie showcases a selection of new artworks created in response to experiences of contemporary Chinese landscape and society, showing across Glasgow’s RGI Kelly Gallery and Edinburgh’s Royal Scottish Academy.
Resident 13 14 Sep – 27 Oct, times vary, Free
Expansive group exhibition of artists selected from the extensive RSA Residencies programme, aimed at highlighting the results of opportunities taken with residency centres and centres of excellence across Scotland. In Perspextive
12 Oct – 7 Nov, times vary, Free
Selection of works from 50 RSA academicians and STAR Tapestry artists, focusing on works in perspex boxes – giving a uniformity to the layout and allowing visitors to get up close and personal to the works on display.
Scottish National Gallery Peter Doig: No Foreign Lands
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. Allan Ramsay at 300
10 Oct – 9 Feb, times vary, Free
Showcase of the Scottish National Gallery’s unrivalled holdings of drawings by Allan Ramsay (1713-1784), to mark the 300th anniversary of his birth. Coinciding with the major exhibition at the Hunterian Art Gallery in Glasgow.
Scottish National Gallery of Modern Art Witches and Wicked Bodies
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.
Scottish National Portrait Gallery Minette: The Life and Letters of a Stuart Princess
19–5 Jan, times vary, Free
The youngest sister of Charles II comes under the spotlight, with a mini exhibition centred around a full-length portrait of Henriette Anne (aka Minette) by the French artist Jean Nocret. Vivian Sassen: In and Out of Fashion
19 Oct – 9 Feb, times vary, Free
First retrospective of Dutch-born contemproary fashion photographer Viviane Sassenand - taking to the Portrait Gallery from Huis Marseille Museum, Amsterdam – displaying her trademark flamboyant, formally inventive and occasionally surreal imagery. Work, Union, Civil War, Faith, Roots
5 Oct – 6 May, times vary, Free
Group exhibition created during five community outreach projects investigating the contemporary relevance of major transformations in Scottish history – inspired by portraits and personalities from the Scottish National Portrait Gallery collection. Making History
12 Oct – 28 Sep, times vary, Free
Solo exhibition of recent work by Sandy Stoddart (Sculptor In Ordinary to The Queen of Scotland), of which the main focus will be the creation of a new figurative statue of William Birnie Rhind commissioned by the Scottish National Portrait Gallery.
Stills
Ângela Ferreira: Political Cameras
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.
Talbot Rice Gallery
Transmitted Live: Nam June Paik Resounds
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.
The Old Ambulance Depot
Robby Ogilvie: Make Something or be Forgotten
17–20 Oct, times vary, Free
New sculptures and drawing works from Edinburgh-based artist and designer Robby Ogilvie, acting as an exploration of the creative act within the perceived perceptions ‘of this world’ – indulging the artist’s fascination with selfreflection.
The Scottish Parliament
Andy Warhol: Pop, Power and Politics
5 Oct – 3 Nov, times vary, Free
The Scottish Parliament host an exhibition of over forty works by Andy Warhol, brought to Scotland by the Carnegie UK Trust from the Warhol Museum in Pittsburgh – with the pieces detailing how Warhol depicted the politics of his time through his art. Andrew Carnegie: The Legacy That Changed The World
15 Oct – 25 Jan, times vary, Free
Showcase of work from the legacy of the Scots born philanthropist, including an Andy Warhol painting of Carnegie, a bagpipe-playing robot, six Sesame Tree puppets and a replica bone from a dinosaur named Diplodocus Carnegii.
Dundee Cooper Gallery Georgina Star: Before Le Cerveau Affamé
various dates between 10 Oct and 13 Dec, times vary, Free
One of the most original and distinctive British artists, celebrated internationally since the 1990s for her magically complex and multi-layered works, presents her glimpse into ‘Le Cerveau’ – a space for metaphysical transformation.
DCA
Hiraki Sawa
various dates between 5 Oct and 5 Jan, times vary, Free
Solo exhibition of animated and video works from the Japan-born, London-based artist – adept at captivating audiences with his captivating video animations, imbued with a haunting dream-like quality via surreal imagery and atmospheric sounds.
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.
Re:New: Contemporary Art from the Permanent Collection
23 Aug – 1 Mar, times vary, Free
Pieces selected from Dundee Art Galleries and Museums most recent art acquisitions go on display in a temporary exhibition that offers opportunities to engage with a selection of contemporary work from both Scottish and European artists.
THE SKINNY
The Last Word: John Lydon With his attention now fully on a rejuvenated Public Image Ltd, John Lydon explains why he’s happier than ever making music, and why he’s done with the Sex Pistols
“H
ello? Hello? HELLO? Oh for fuck’s sake…” A dodgy transatlantic phone line gets us off to a less than ideal start. Somewhere on the end of that line is John Lydon. The man who used to be Johnny Rotten. The man who sounds far from amused as the re-dial gods smirk down on his hapless interrogator. Lydon’s most recent public travails are small beer next to the excesses of his formative years but he keeps himself in the headlines with the odd bit of (alleged) fisticuffs, advertising and reality TV. But his real work, his real love, remains Public Image Ltd, the band he formed in 1978 after the break-up of the Sex Pistols. With 2012’s This Is PiL, the band’s first album in twenty years, receiving positive notices, his hunger for live performance is unabated. Still, he remains beautifully and dutifully irascible. “Hurry up, man!” he offers by way of encouragement. “Get on with it. Come on! Let’s hear what you’ve got to say!” Or, in Lydon parlance, let’s hear what John’s got to say. And for nearly an hour, he sets about interviewing himself. Pinning him down becomes the conversational equivalent of plaiting sawdust. Still, by his own admission, he just loves to talk. “All I want is a conversation,” he says. “Yes, of course it helps these rags if they can continue to paint me as this monster but that’s not who I am. Music is a conversation. And, let me be clear on this, I still have a lot to say.” Indeed. Ramble on. On Never Mind the Bollocks… “I’m not averse to bragging about my work occasionally. It’s a fine piece of work and it set me off onto an amazing, honest and beautiful career. Yeah, I’m well proud. Sadly, it didn’t make me rich by the time the lawyers, accountants and band in-fighting had ended.” On the re-packaging of punk… “I think that shows very good taste. Who needs a Ramones t-shirt when you can have a Sex Pistols one? Or a PiL one? As long as they’re not bootlegs, of course. If they’re official then it’s money well spent. Those people are investing in something that is true, as opposed to the rest of pop culture, which is very fabricated and very false. Hey! We’re the Pistols! We specialise in sizing for fat and socially awkward people, but we make room for the thin ones, too. No, it’s a statement to wear a Pistols t-shirt – not going along with the general shit-dom of popular culture.” On record labels… “Well the Pistols started me off on a long and rocky road with record labels and guess what – I’m still here and they’re not. Or at least not in the way they would hope to be. I’ve had quite a significant influence on the downfall of record labels. I don’t really take any joy from that. I quite liked the idea of a record label being a home from home but of course they didn’t see it quite that way. It’s all warm and cosy until you run into the accounts department and then things change.” On the current music scene… “I don’t even know if it is a scene. I watched the VMA awards and it’s the same acts now, year in, year out. The same bunch. Nothing ever changes. There’s no room for anything new unless it’s easily sucked up. It’s hollow, it’s a dead end, it’s a trap and none of the people involved seem particularly interested in helping artists have a future for themselves. It’s a very greedy, selfish structure. But then it always has been. I opened some doors but the lot that ran in closed those doors firmly behind them.” On Public Image Ltd…
October 2013
Interview: Gary Kaill
“Public Image suffered a great deal due to the backlash against the Pistols. All that buying into the Malcolm thing about it being a great rock ‘n’ roll swindle and I had to endure all of that shit. But look, I’m still here and people do now realise that I’m a figure of some respect because I mean what I say. PiL don’t put out rubbish. We’ve never kowtowed to the industry and with PiL I manage to make damn fine records that are actually about something and that relate not just to my life and my lifestyle but to the audience’s as well. We all get on very well with each other. I always thought that being in a band was about managing the animosity but it doesn’t have to be that way, as I’ve found. We tour together, we’re all on the same bus and that’s where ideas are formed and shared. It’s a really healthy friends zone. It’s the best musical situation I’ve ever been in. Ever. Ever.” On finding a new audience… “The crowds, they turn up and a good time is had by all. Our crowds are very varied these days so that’s a good indicator that we’re on the right track. We get young kids, kids who are bored with the way they’re being manipulated. We get college professors. We get the lot these days. We make room for everyone. Light shows, lasers and whoop-dee-do fireworks – it’s very underwhelming, that stuff, for me and, I think, for a great many people. We get onstage and we get on with it. I’m doing this these days with my audience.” On Glastonbury… “They only gave us 50 minutes! What a shame. We did well but we could have done ever so much better. I would have loved to have done two hours at Glastonbury. That would have been in the spirit of the piece. We opened a great many minds that day. The people who went along seeing us as that Sex Pistols sell-out commercial thing were hugely ignorant but as soon as they heard us play, they knew it was something else.”
“That bastard Cameron, I’ve got plenty to tell him” John Lydon
On I’m a Celebrity… “I provided £275,000 to charity from that show. Hell, I could have done with that money! It could have got PiL out of a hole. I didn’t like it. It was blood money, that’s why I gave it away. Most of the celebrities were pocketing it for themselves. I’m a Celebrity… is hand in glove with publications like News of the World. They’re looking for these scandal angles and missing the opportunity to make a potentially interesting programme. Everyone in there was so lazy. There was a presumption there would be showers and five course luncheons. I loved it! But all they wanted to do was sit around moaning: ‘Oh, I’m so hot, I’m so tired.’ That was all very indicative of what’s wrong with Britain. Nobody gets up and does anything. But, you know, it was most definitely, properly wild. It’s the jungle. Some of the beasties in them there woods were most definitely not to be fucked with.”
jealous because you’re enjoying your life or you’re doing something. There’s a terrible morose inclination in the English to just sit back and give up – it happens at about 40. People just give up. Living in California has been an amazing eye opener for me. Everybody is very active. Yes, of course there’s fat ones, and the newspapers are full of them, but let’s face it – when you’re that big, you’re gonna grab the headlines.” On travel… “Every nation I’ve ever been to, and there are a hell of a lot of them, I’ve learnt something from. Music has led me towards the unravelling of prejudice as I’ve travelled. The more you see of the world, the more you want to see, the more you love. I don’t want a Lamborghini. I want a conversation with mad monks in Tibet. I managed to get PiL into China and they’re very good at banning people over there or digging into the political persuasions of the people coming in. Yet they found me very wholesome indeed. I think that bodes very well for China in the future.”
On getting old… “Unlike Pete Townsend, I don’t hope I die before I get old – I wanna get old. I hope I live to a hundred and if it’s the arthritis that keeps me offstage, so be it. But it won’t. Whenever you hear On politics... the phrase ‘act your age’, you know it’s someone “No government will be my friend. Ever. But they
MUSIC
do realise I am one of the people and if you want the people to function properly in any political situation, you’d better be listening to me. That bastard Cameron, I’ve got plenty to tell him. I’d happily help him out and talk to him. I’d talk to the devil. I have done many a time, actually. You don’t view your fellow humans as your enemy. You can view their politics as your enemy. Open discussion is the key, the cure. If you want a scab to heal, don’t put a bandage over it.” On reforming the Pistols… “It would be pointless. The last conversation I had about this was with Paul Cook, our drummer, and we came to the same conclusion: that that band was making us enemies. So now we can get on with each other as human beings. Too many negatives always crept into it. I can’t go back and imitate that time period and I don’t want to anymore. I can’t write new material for the Pistols and I haven’t been able to for a long, long time. Nah. Enough. Done.” Playing Glasgow O2 Academy on 18 Oct www.pilofficial.com
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