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Issue 89 February 2013

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THE SKINNY

February 2013

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FRONT

Opinion: Featuring a Hero Worship from Glasgow Short Film Festival's Matt Lloyd; our Film Ed looks forward to the Cine Skinny; Shot of the Month; Stop the Presses; and Skinny on Tour heads to South America (again) – but which part?

Heads Up: Bridging the year's shortest month with a day by day guide to recommended events, taking you all the way from late January to early March.

FEATURES

Glasgow Film Festival 2013 – a closer look at the films being presented by that surprisingly rare creature, the female director. We have some words with Haifaa Al-Mansour, director of Wadjda, and Caroline Sascha Cogez introduces her short film retrospective.

Noted guru of gaming Robert Florence (also a familiar face in Burnistoun) talks us through the GFF games strand, and looks forward to the new Aliens: Space Marines game.

Artist Henry Coombes introduces Entre Chien Et Loup, a one-night-only spectacular, bringing together local video artists to present short films, followed by a fabulous ball.

As Jeff Mills gets ready to premiere his cine-mix for Fritz Lang's Woman In The Moon at GFF, the techno pioneer talks to us about space exploration, and his new A/V label, Alpha Centauri.

Ahead of the release of their eagerly awaited LP Pedestrian Verse, we quiz Frightened Rabbit, in a hearse. Frontman Scott Hutchison also offers a personal track-by-track tour.

Ex-M83 founder Nicolas Fromageau's electro-rock-shoegazers Team Ghost discuss their debut album, Rituals.

Guest Selector – Glasgow trio Golden Grrrls excavate a few of their favourite fragments from the last 35 years of Kiwi pop culture. Spoiler: Has fuck all to do with Middle Earth.

The third Edinburgh Iranian Festival presents the art, history and culture of a much-misunderstood country. We speak to the organisers.

The Tramway's Tim Nunn introduces their spring theatrical programme and reveals why this venue is one of the most exciting in the UK. The Joy Formidable are the noisiest pop-rock band in the UK. They tell us about Wolf's Law, getting lost in the Highlands, and why they'll never buy a UFO (like Muse did).

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Lifestyle

Travel: A top ten guide to the best cemeteries to visit on holiday, from Père Lachaise to Graceland. If you're into that.

Fashion: A glimpse of your stylish future with a rundown of trends from the Menswear Autumn/Winter 2013 shows, plus a few fashion highlights to look forward to at the Glasgow Film Festival.

CINEMA CLUB +

EDINBURGH CORN EXCHANGE THURSDAY 25TH APRIL 2013 New album Beacon out now includes the new single Sun www.twodoorcinemaclub.com

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Showcase: Jonathan Owen shows off two new works erasing stars from Hollywood's past.

Food & Drink: In honour of Glasgow Film Festival, a food-matching guide to gourmet cinema; Around the World in 20 Drinks takes a look at the dog beer brewing industry; Food News. Plus Phagomania goes creepy on the aphrodisiacs in this issue's lonesome nod to St Valentine.

Deviance: One writer comes to terms with being an 'alternative' heterosexual with a mortgage, and we take a closer look at approaches to sex education.

+ SINGLE MOTHERS + AXIS

+ NIGHT ENGINE + HEAVY BALL

GLASGOW BARROWLAND Tuesday 12th February

DUNFERMLINE ALHAMBRA THEATRE Thursday 14th February

‘Souvenir: The Singles 2004-2012’ Out Now

Clubs: This month's Clubbing Highlights, plus an exclusive DJ Chart from Edinburgh's Ingen (Coalition / Digital Distortions).

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Film: A look at some of the film events happening in cities that aren't Glasgow this month, plus reviews of releases from Cloud Atlas to Wreck-It Ralph.

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DVD: Casting a beady, critical eye over the forthcoming home releases of Chained, Sinister, American Mary and Skyfall.

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Art: Reviews of From Death to Death at Edinburgh's Modern Art Gallery and Sogol Mabadi in Glasgow's Studio 41.

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+

GLASGOW GARAGE SUNDAY 17TH FEBRUARY

The debut album ‘Megalithic Symphony’ out now facebook.com/AWOLNATION awolnationmusic.com

RICHARD HAWLEY

Review

Music: Nick Cave conquers all in a particularly strong month for album releases; a few recommendations for your gigging calendar, and post-hardcore mob United Fruit are our guests for the Dirty Dozen.

GLASGOW GARAGE SAT 16TH FEB

Plus guests

The Crookes

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album ‘Standing At The Sky's Edge’ out NOW richardhawley.co.uk

FEATURING SONGS FROM HIS TWO NUMBER ONE ALBUMS

“THE DEFAMATION OF STRICKLAND BANKS” “ILL MANORS”

+ LABRINTH + RUDIMENTAL

O2 ACADEMY GLASGOW T Sunday 24th & Monday 25th MArch SOLD OU THEGASLIGHTANTHEM.COM

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Theatre: A look at a new show inspired by the controversial Klaus Nomi, plus the return of revered Scottish play Black Watch.

Comedy: Bruce Morton of the Greater Shawlands Republic bemoans a surfeit of comics and a lack of talent, and sorts the heroes from the zeroes in the Scottish scene.

Competitions: WIN THINGS! This month, specifically, tickets to Edinburgh Festival Theatre and a bunch of goodies from Fopp.

Listings: This is what is happening in Glasgow, Edinburgh and Dundee this month, including Music, Clubs, Theatre, Comedy and Art.

BACK TO LIFE UK TOUR

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Crystal Baws provides your monthly taste of doom. + JOE BANFI + LITTLE FIRE

GLASGOW NICE‘N’SLEAZY SUNDAY 10TH FEBRUARY

Edinburgh Liquid Room Monday 11th February

The new album Collections released 28th January

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Follow gigsinscotland on twitter @gigscot February 2013

THE SKINNY

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CHAT

Editorial

This is not the romantic February issue you may be looking for. In fact, the only substantial reference to the mighty feast of St Valentine lies in Phagomania, which gives you a very creepy rundown of all the weird and (not at all) wonderful aphrodisiacs you can squeeze out of a preserved deer penis, maggot infested cheese, or the sperm of a sperm whale. You’re welcome.

Leading the features this month is the Glasgow Film Festival, back with a bang and a diverse programme that opens up the world of cinema to reveal its links with a wide range of artforms from comedy to visual art to fashion. Highlights include a strand focussing on gaming, an invasion of Brazilian cinema, and a grand ball inspired by The Shining. Our Film editor has chosen to focus on the still-underrepresented minority of female directors (underrepresented in the film industry in general, you understand) with interviews featuring Saudi filmmaker Haifaa Al-Mansour, who presents Wadjda in Glasgow this month, and Caroline Sascha Cogez, subject of a retrospective during the Glasgow Short Film Festival.

We’ve also spoken to Henry Coombes, the man behind Entre Chien et Loup (translation: Twilight), a night of locally grown video art presenting works from nine artists including Erica Eyres, Torsten Lauschmann and Skinny favourite Rachel Maclean.

Accompanied by a live score, the screenings will be followed by the aforementioned spectacular ball, hosted by London art impresario Randolph Kemp Potter, who’s visiting the city to find a way of dragging the Glasgow Miracle back down to his chic Mayfair gallery.

Techno pioneer Jeff Mills introduces his set at GFF’s audiovisual event Sonic Cineplex, as well as offering his thoughts on the future of space travel and his new label, Alpha Centauri. Mills is due to perform a ‘cine-mix’ (soundtrack) of Fritz Lang’s Woman in the Moon, taking place at The Arches.

For the fifth year, The Skinny will be bringing you a daily guide to the festival, the aptly-titled CineSkinny, available in cinema queues and venues across the GFF. Keep an eye out.

Outside the GFF, Frightened Rabbit return with their first release on a major label, Pedestrian Verse. We celebrate through interrogation and forcing them to ride around Edinburgh listening to Metallica in a hearse – thank you to Andy from Eastside Bikes for providing the morbid vehicle.

Continuing our funereal theme, the Travel section provides a top ten list of unmissable cemeteries around the world. Romantic.

Elsewhere in Music we speak to dream-gazers Team Ghost in their native France about eagerlyawaited debut LP Rituals. We also spent some time with The Joy Formidable (who got lost in the Highlands) and sat down with rising Canadian producer Doldrums for a word about his eccentric debut. Tramway’s spring theatre programme looks set to be a blinder – the man behind the bookings, Tim Nunn, talks us through what inspires them to rip it up and start again.

As usual, we continue the issue with highlights from across the cultural spectrum, a smattering of Deviance, some sinister horoscopes and exhaustive listings of what’s happening across the country in the coming month. Just not a lot of romance, I’m afraid. [Rosamund West]

This month's cover was created by illustrator Eva Dolgyra. She 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. She says, "While illustration is my strongest attribute and the element I feel most at home with, I am passionate about all facets of art and design. My influences cover a wide spectrum, with a particular fondness for weird facts and imaginary scenarios. Something strongly reflected in my work is my soft spot for traditional printmaking; however, I believe there is a correct tool for each job and enjoy using my laptop just as much as a chisel."

SHOT OF THE MONTH the neighbourhood, king tut’s, 21 jan By vito andreoni

Hero Worship: Lynda Myles Matt Lloyd, director of Glasgow Short Film Festival, tells us why he’s in awe of Lynda Myles, the artistic director of Edinburgh International Film Festival during its 70s purple patch

I don’t really do hero worship. Working on film festivals firms up your belief in collaboration and team work; it reminds you that no one person is ever responsible for a project’s success. That said, I’ll always be in awe of Lynda Myles, the director of Edinburgh International Film Festival between 1973 and 1980, later a film producer and now Head of Fiction at the National Film and Television School.

Lynda first worked for Edinburgh Film Festival in 1968, after co-penning a letter to The Scotsman decrying the festival for its ‘tepid mediocrity.’

Lynda and her then boyfriend David Will had already taken over Edinburgh University film society, screening nine films a week to educate themselves in cinema history. Their holidays were spent in Paris, chumming up to Henri Langlois, the head of the Cinémathèque Française. He’d create personal screening schedules for them during the day, and at night they’d hang out with Lotte Eisner, Marie Epstein or Philippe Garrel at Langlois’ apartment.

Remarkably the EIFF director, Murray Grigor responded to their impertinent letter in a typically generous manner by inviting Lynda and David, and their friend Jim Hickey, to co-direct the 1968 festival (like I said, it’s rarely down to individuals).

The following twelve years were among EIFF’s finest, an extended cultural intervention that provided a vital forum for the discussion of ideas that were to inform the work of a generation of film critics, curators and policy-makers. Lynda staged the first

Reader Maria Antonia sent us this shot of the December issue in which South American city?

Enter your guess at www.theskinny.co.uk/competitions and you might win a bottle of wine courtesy of our expert friends at VINO WINES.

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Going somewhere nice? Why not take a copy of The Skinny and perhaps you can be in next month’s Skinny on Tour. Submit your entries to competitions@theskinny.co.uk

THE SKINNY

February 2013

Glasgow Short Film Festival runs 7-10 February at CCA This year’s event includes a focus on Women and Film www.glasgowfilm.org/gsff

SKINNY ON TOUR

Closing date: Fri 1 Mar

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ever event devoted to women and filmmaking in 1972, a series of debates and screenings which led directly to Laura Mulvey’s seminal work Visual Pleasure and Narrative Cinema.

If this all sounds a bit dry, the really heroic part is that Lynda smuggled all this in while simultaneously attracting a wider audience and higher critical praise than the festival had enjoyed since its earliest years. She and her collaborators steered the festival away from a dreary agenda of European Art cinema and earnest documentary to a serious reevaluation of Hollywood B movies. Scorsese, De Palma and Cronenberg were all fêted at Edinburgh at a time when the National Film Theatre was still banging on about Bergman. And all this was done with an obscenely small budget and in the face of heavy resistance from the older members of the festival’s board. Film theorist Paul Willemen described Lynda as a ‘cinephiliac schizophrenic’, deftly handling such pressures while introducing the sort of groundbreaking programming that would only increase these pressures. Lynda’s example taught me that if you’re not making life hard for yourself, you’re not doing something worth doing. It’s a perversely comforting lesson, always worth remembering as I prepare for a new festival.

CHAT This year, a bust of Harvey is being sculpted, also to be set in The People’s Palace, and an 8ft portrait painting by Glasgow artist Catherine Heffernan has been commissioned, paid for by his fans, and organised by lifelong fan Stuart Donaghy. The new bust will be unveiled on 9 Feb, and fans will gather at The People’s Palace to remember Harvey and his work. To round off 'Alex Harvey Day' 2013 The Sensational Alex Harvey Tribute Band (five seasoned Glasgow musicians) will take the fans back to the 70s with a night of live SAHB nostalgia at The Garage 2 on Sauchiehall Street. Tickets are £8.

On 4th February 1982, legendary Glasgow musician Alex Harvey died of a heart attack the day before his 47th Birthday. 4 Feb 2012 was the 30-year anniversary of that date. On 5 Feb (which would have been his 77th birthday), 2000 fans of the Sensational Alex Harvey Band descended on the People’s Palace in Glasgow, to witness the commemoration of a bench and a birch tree to the memory of the great man.

Identities: Exploring Gender Diversity.

As part of LGBT History Month, this event aims to explain ‘gender’ by looking at the theoretical underpinning of contemporary ideas of the term.

Includes a photography workshop where participants will learn how they can discuss their thoughts about gender identity and diversity visually. For 16 -25 year olds, 9 Feb, LGBT Youth Scotland, Commercial Street, Edinburgh. FREE (Booking Required.

E-mail: asier.carrasco@lgbtyouth.org.uk) Queer writers in conversation: Join writers Hal Duncan, Kirsty Logan and Zoe Strachan for an informal discussion around issues of identity,

sexuality, and the roles and responsibilities of LGBT writers. Part of LGBT History Month, 13 Feb, Word Power Books, West Nicolson St, Edinburgh, FREE. www.lgbthistory.org.uk/ Books Editor: the Skinny is looking for a new Books editor for our Scottish edition. Do you like reading, being opinionated and sharing your views on the literary scene with others? Can you, crucially, write? If so head along to www.theskinny.co.uk/ about/get_involved to find out more.

An apology: we wrongly named Rick’s album on our cover last month. We are both very sorry and very embarrassed. It is called No Selfish Heart.

Accept no substitutes.

Expensive Space: Is that a dig at venue hire prices? Final year students from Edinburgh College of Art’s Intermedia course have hired out Whitespace to present a showcase of the works in process which will emerge, butterfly-like, in June to form their degree shows. On display will be an exciting array of works ranging from photography, film, performance, sound and drawing. Whitespace, Edinburgh, 1-7 Feb, free. Opening event from 6pm on the 1st.

The first The Burning Sand club night will take place at The Poetry Club, 100 Eastvale Place, Glasgow, on Friday 15 Feb, 9pm to 2am (£5 entry).

There will be a live performance by Domino band Correcto (Danny Saunders, Richard Wright, Robert McCaffrey and Paul Thomson) and DJ sets by Sarah Lowndes and Torsten Lauschmann, amongst others.

The Burning Sand will then run on the third Friday of every month to provide an opportunity for live performance, bands and dancing in the intimate, atmospheric setting of The Poetry Club, in addition to raising funds for the magazine of the same title, to be launched in April. We hear it’s going to be beautifully designed.

Theatrical maverick David Leddy (Fringe hits include White Tea and the roaming audio play Susurrus) is bringing Long Live the Little Life to Govan Film City (7 -9 February). A cheeky look at the economics and aesthetics of art forgery, Leddy’s usual blend of intelligence, intriguing design and emotive writing takes a comic angle when two market traders – none of your rubbish here, mate, proper imitation Gucci – decide the best way to raise a big wad is to become forgers. They can’t paint, and their world of small time deceit palls against the cruelty of the legitimate art dealerships.

CineSkinny Reloaded

Like Arnie, or a particularly aggressive fungal infection, The CineSkinny is back to enliven your experience and embolden your cinematic choices words: Jamie Dunn

So it’s official. The 2013 edition of Glasgow Film Festival will be the biggest yet, with 368 screenings and events taking place in 27 venues spread across – and in one case below – the city. The sheer volume of movies on offer makes deciding what to see on any given day a bit like the dilemma faced by Brangelina trying to choose the next adorable orphan to adopt. If only there was some sort of daily guide to help you navigate the festival’s cornucopia of film strands and events...

Step forward The CineSkinny, back for its fifth GFF, to offer some guidance. Published each day of the festival by The Skinny’s crack team of cinephiles, it’s your one-stop-shop for festival information.

You probably don’t need us to tell you that Park Chan-wook’s Stoker is going to be epic, that Ryan Gosling looks dreamy in The Place Beyond the Pines or that enough blood is going to be spilled at FrightFest to make La Tomatina look like a toppled Bloody Mary — although we’ll do that too. The CineSkinny’s raison d’etre is to unearth the deeper cuts; to lead you through the kind of unchartered cinematic territory that you might not want to venture into on a whim. As you read this, The Skinny’s film team are working their way through dozens of exotic titles to let you know exactly where to spend your hard-earned dosh come 14 February.

For example, we’ll be telling you that Flemish oddity The Fifth Season (20-21 Feb) should be filed alongside Melancholia as one of the great end of the world movies of the 2010s; that Olivier Assayas’ Something in the Air (17-18 Feb) is the most effortlessly hip and deeply humane comingof-age film since Dazed and Confused; that the James McAvoy-starring Welcome to the Punch (24 Feb) looks like the cinematic love child of Michael Mann’s Heat and John Woo’s Hard Boiled; and that the pick of the New Brazilian Cinema strand, Neighbouring Sounds (19-20 Feb), announces Kleber Mendonça Filho as one of the most exciting new voices on the world film scene.

But, like The Skinny, The CineSkinny is more

Neighbouring Sounds

than just a consumer guide. We’ve been ferreting in the GFF programme to find the most interesting stories and features to entertain and delight during your downtime between screenings. As you grab a beer in GFT’s gorgeous Art Deco bar you can read the lowdown on Park Circus, the Glasgow-based distribution company that this year resurrects forgotten gem Living Apart Together (24 Feb), a celluloid wormhole to early eighties Glasgow (all white shoes, brown pubs and cheesy nighclubs choked in a fog of Embassy Regal) that manages to be retro-cool despite the fact its star, B.A. Robertson, is sporting a hairdo so awful he

makes No Country For Old Men’s Anton Chigurh look like a member of One Direction. We’ll be singing the praises of that baby-faced gangster Jimmy Cagney, who’s celebrated in an eight-film retrospective this year. And one of our musicheads will help explain why Big Star, the subject of Drew DeNicola’s doc Big Star: Nothing Can Hurt Me (21 & 24 feb), are a particularly big deal to the Glasgow music scene.

All this, plus we’ll be tracking down some of the directing, writing and acting talent behind the most interesting titles in the programme and asking them to spill their guts on the films they’re bringing

to Glasgow.

You’ll find our daily editions for free throughout the festival at the GFT and other participating venues. You can also read The CineSkinny online at www.theskinny.co.uk. And if you find yourself in a screening sat next to a bleary-eyed film journo frantically taking notes on the film at hand in between sips of energy replenishing refreshments, that’ll be us. Please say hello.

Glasgow Film Festival 2013 takes place 14–24 Feb. Find The CineSkinny each day of the festival in arts venues, bars and cafes across Glasgow glasgowfilm.org/festival

February 2013

THE SKINNY

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HEADS UP

Ah, February – that shortest of months that we've somehow made span 35 days... And so, this extra-long 'month' rightfully takes in an extra-large amount of treats, spanning manipulate 2013, Wee Dub Festival, Glasgow Film Festival, a trio of gigs from the mighty F'Rabbit, and a duo of album launches from those chirpy young pups, Kid Canaveral. And that's just for starters.

WED 30 JAN

THU 31 JAN

The undisputed kings of slacker rock, DINOSAUR JR, continue to ride the wave of their reunion years, dare we say it stronger and more energised than ever – with J. Mascis' growling vocals still imbued with the ability to knock a grown man floorwards. This'll be a rare opportunity to see them throw down at close quarters (aka get tae). The Arches, Glasgow, 7.30pm, £18.50

Born and bred in the bonnie highland town of Elgin, CUDDLY SHARK are as adorable as they are frenzied and ruthless – flitting between urgent power-pop, anthemic indie-rock, and heart-on-sleeve balladry as they go. Their debut album drops a few days before this live set, so expect a playlist comprised mostly of gems offa that. Broadcast, Glasgow, 8pm, £5

PHOTO: BRANTLEY GUITIERREZ

HEADS UP

TUE 29 JAN As part of an early outing for Glasgow Music and Film Festival 2013 (15-17 Feb), The Arches play host the one-off UK premiere of JANE BIRKIN's candid personal documentation of her relationship with the late Serge Gainsbourg, Souvenirs of Serge, for which Birkin herself will be in attendance – playing a rare and intimate live set post-screen. The Arches, Glasgow, 7.30pm, £28.50

COMPILED BY: ANNA DOCHERTY

WED 6 FEB

THU 7 FEB

Resident young guns Beta & Kappa host their only i AM guest slot of the month, and it's set to be a good 'un – inviting London-based producer and DJ DEADBOY to their Sub Club lair for the evening, who'll be dropping in a set full of his digital heartbreak house, having not played Glasgow in an age (i.e. three whole blaady years). Sub Club, Glasgow, 11pm, £5 (£6 after midnight)

Glasgow-based artist Michelle Hannah curates a one-off evening of live video and performance work, entitled NITE FLIGHTS, with a selection of local and national artists taking the fractured disco of Scott Walker's album of the same name as their inspiration – amongst 'em Erica Eyres, Claudia Nova, and Rachel MacLean – each creating something entirely unique. The Old Hairdressers, Glasgow, 8pm, Free

Site-specific wizard David Leddy showcases his brand new piece, LONG LIVE THE LITTLE KNIFE, a dynamic and somewhat absurd work about forgery, in which our lead characters set out to be the greatest art forgers in the world (note: they can't paint), while the audience sit inside a mess of paint-splattered dustsheets in a former town hall location. Film City (Tramway off-site), Glasgow, 7-9 Feb, £10 (£8)

PHOTO: TOMMY GA-KEN WAN

TUE 5 FEB

TUE 12 FEB

WED 13 FEB

THU 14 FEB

Welsh-born funnywoman JO CAULFIELD hosts the February edition of her new spoken word show, The Speakeasy, featuring a feastful of writers, comedians, and musicians telling (mostly) true stories, with this edition featuring inventive hip-hop sextet Stanley Odd, up-and-coming Edinburgh poet JA Sutherland, and stand-up comic and writer Janey Godley, amongst others. Scottish Storytelling Centre, Edinburgh, 8pm, £5

The musical clubber's delight that is MILK host an antiValentine’s special, shunning all the lovey-doveyness in favour of live sets from Make Sparks, and The OK Social Club, jollied along by cherry Lambrini, made-to-order pink Russians, live visuals, and all the romance that an in-club game of Shag Tag can bring. Bloc, Glasgow, 9pm, £4 (£3)

The GLASGOW FILM FESTIVAL kicks off official on Valentine's Day, with their biggest programme ever (368 events in total, FYI) launching with an Opening Gala premiere of Régis Roinsard's first feature film, Populaire, a smarter-than-most rom-com set in 1958. Tickets also get you entry to the official Opening Gala party. GFT, Glasgow, 7.30pm & 8.15pm, £10. Glasgow Film Festival runs from 14-24 Feb

PHOTO: ASHLEY GOOD

MON 11 FEB Arising from playwright Danny Beacon's residency with Birds of Paradise theatre company, IN AN ALIEN LANDSCAPE, tells the absorbing tale of an otherwise ordinary man who emerges from a coma and can't stop painting, driven by the sound of a continuous rushing white noise in his head. The Arches, 11-13 Feb, £11 (£7). Also showing at Paisley Arts Centre, 26 Feb. See listings for details

TUE 19 FEB

WED 20 FEB

THU 21 FEB

In honour of us expanding into the north-west (The Skinny will launch a Manchester and Liverpool edition in April 2013, ohyeswewill!), it seems only right that we swot up on our Manc bands – with Manchester-based indie quartet EVERYTHING EVERYTHING amongst this month's ones to catch live. Oran Mor, Glasgow, 7pm, £14

Fence Records' label boss THE PICTISH TRAIL (aka Johnny Lynch) rounds off his UK tour with a special set at The Caves, supported by fellow Fencers eagleowl (who'll also double as backing band) playing tracks from his new album, Secret Soundz Vol. 2, before it turns into an all-out party of a thing with special guests and drunken dancing. The Caves, Edinburgh, 8pm, £11.50

WED 27 FEB On the anniversary of their previous exploit into disco wonderland (where Sub Club became Studio 54 for the night), the venue transforms itself into famous New York discotheque, PARADISE GARAGE, for the night – with the help of Glasgow School of Art's interior design department – where disco king Billy Woods will man the decks, supported by the Sub Rosa residents.

Sub Club, Glasgow, 11pm, £tbc

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FEBRUARY 2013

FRI 22 FEB Firmly established as a development programme for emerging artists – giving Scottish-based graduates their first significant project or commission – NEW WORK SCOTLAND continues its 2013 exhibition schedule with a double-header show from Conor Kelly and Calvin Laing, with both artists displaying an entirely new batch of work in the gallery space. Collective, until 24 Mar, Free

PHOTO: TAKESHI SUGA

PHOTO: DEREK M CHAPMAN

The Glad Cafe get in on the Glasgow Film Festival action, hosting a special screening of the documentary about legendary American finger-plucking guitarist JOHN FAHEY, In Search of Blind Joe Death, tailed by a solo guitar set by inimitable folk musician and songwriter Alasdair Roberts.

The Glad Cafe, Glasgow, 8pm, £8.50

CONOR KELLY

THU 28 FEB

FRI 1 MAR

Vision Mechanics theatre company present their intentionally spooky outdoors performance, DARK MATTER, where over the course of three dark nights they'll use tricks of the light (and darkness) to tell a story of the shadows that lurk in our subconscious. Attendees meet at Otterstone Bar (Victoria Park Hotel) 10 minutes prior to the performance start time. 28 Feb-2 Mar, 7.30pm & 8.30pm, £10

Affable indie-pop chaps and chapesses KID CANAVERAL bring the singalong joy to The Glad Cafe, playing two consecutive nights in order to launch their new LP, Now That You Are A Dancer, good'n'proper. They'll be previewing tracks from said album (which is out official a few days later, on 4 March), and generally party-ing it up. Hurrah. The Glad Cafe, 1 & 2 Mar, 8pm, £8

sun 3 feb

mon 4 feb

Italian-born artist Massimo Bartolini, known for his immersive and experiential work, takes to the Fruitmarket gallery space to present a special work which was made outside of his studio in La strada di sotto – consisting of a field of coloured lights of the kind used during street celebrations in Sicily. Quite magical it is too. Fruitmarket, Edinburgh, until 14 April, Free

After the excitement of Slow Fest in December (The Twilight Sad, Admiral Fallow, and Scott F'Rabbit et al over one weekend), Glasgow Slow Club chill it back for their regular Monday showcase outing, where the emphasis is on a relaxed night soundtracked by a selection of live guests from the local scene, completed by mood lighting, candles, and cake. Bloc, Glasgow, 9pm, Free

photo: matthew beech

sat 2 feb Puppet Animation Scotland return with their manipulate 2013 programme (2-16 Feb), a celebration of Scottish theatre artists and animators of myriad types'n'stripes, a highlight of which looks set to be Tip Connection's To The End of Love, a new work inspired by that most gory of fairytales – the myth of Bluebeard's castle. See listings for full details

Admiral Fallow

sat 9 feb

sun 10 feb

Annual student-run comedy benefit, The Secret Policeman's Ball, returns for its 2013 outing, with Susie McCabe, Dog Shit Johnston, Steffen Peddie, Scott Gibson, The Wee Man, and Gary Little all pitching in to help raise funds for Amnesty International, under the watchful eye of host Billy Kirkwood. QMU, Glasgow, 7.30pm, £7.50. After-party hosted by charity club night Philanthrobeats

Gathering together the prize-winning films of the Glasgow Short Film Festival programme (7-10 Feb), the CCA host a special end of festival screening in the presence of the winning filmmakers, before de-camping to the Berkeley Suite for a bit of post-party action – at which Miaoux Miaoux will be manning the decks, and we'll likely be bagging ourselves a beast of a Monday hangover. CCA, Glasgow, 9.30pm, £tbc

The Wee Man

Illustration: Kate copeland

fri 8 feb For their favourited Soma Records monthly outing, Return To Mono, producer/ DJ duo Slam (aka Stuart McMillan and Orde Meikle) invite Parisian techno music producer, DJ and long-time collaborator Laurent Garnier to their lair for a special live set, marking what will also be his Sub Club debut, no less. Sub Club, Glasgow, 11pm, £18

Miaoux Miaoux

sat 16 feb

sun 17 feb

mon 18 feb

For a one-off film and live music spectacular as part of Glasgow Film Festival, DIY hellraisers Cry Parrot team up with The Arches for Sonic Cineplex – featuring the UK premiere of Detroit techno master Jeff Mills' score of Fritz Lang's Woman in the Moon, alongside myriad other classic films and oddities with live scores from the likes of Raime, Adam Stafford, and Remember Remember. The Arches, Glasgow, 3pm, £19.50

As part of their new Vintage Sundays programme (where they'll handpick a selection of vintage classics for a fresh airing), the Cameo round off their six-week homage to all things Alfred Hitchcock with a showing of the great man's classic horror flick, Psycho, made all the more chilling by Bernard Herrman's famed all-strings score. So, yeah... happy shitting it. Cameo, Edinburgh, 1pm, £7.50 (£6)

Glasgow Film Festival goes a wee bit tech-y this year, as Scottish comic Robert Florence invites a live panel of gaming experts – including Eurogamer editor Tom Bramwell – to offer their two pennies' worth on the new Aliens video game, Aliens: Colonial Marines, followed by a screening of Aliens in glorious 70mm print. Superfans unite. Glasgow Film Theatre, Glasgow, 8.45pm, £8.50 (£6.50)

sat 23 feb

sun 24 feb

mon 25 feb

tue 26 feb

photo: euan robertson

fri 15 feb Having tapped another rich musical vein with seventh album Koi No Yokan, Deftones make one of their all too rare Scottish soujourns to give said album a live airing, offering the chance for punters to bask in their unique and ferocious majesty (i.e. you may well have to beg, borrow or steal your way in). Barrowland, Glasgow, 7pm, £26.50

photo: Eoin Carey

fri 1 feb The weekend-long, multi-venue celebration of all things dub, reggae, and roots, aka Wee Dub Festival, returns for 2013, kicking off with a duo of sessions across The Liquid Room and Teviot House – which'll take in sets from East Park Reggae Collective, Mezzanine Allstars, Jinx In Dub, J Bostron, Breezak Bass, Jammin J, and more. See listings for full weekend schedule

photo: Euan Robertson

H EA D S U P

Our favourite pop-up parlour, Queen of Tarts, returns for 2013 with a weekend of gluttonous indulgence (23 & 24 Feb), with a multi-course selection of treats being served up in a secret parlour location down't Leith. And for this one we hear she's been doing a new bit of menu experimentation...

Secret location, Edinburgh, 2pm, £20. Booking info and menu at Facebook/QueenofTartsEdinburgh

The mighty Frightened Rabbit gear up for their 25-date tour of the US-of-A with a series of UK dates, which tail off with a trio of Scottish shows in Edinburgh (26th), Aberdeen (27th), and Glasgow (28th) to give newest album, Pedestrian Verse, an airing in the homeland. We also put 'em in a hearse for this very issue, just cos (see page 18). See listings for full details

photo: eoin carey

Beerjacket

Much-touted Danish punk-rock foursome of noise, Iceage, bringing back the visceral thrill of 1976, touring in support of their new album, You're Nothing, the follow up to 2011's gem of an LP, New Brigade. If the first track offa said new album, Coalition, is anything to go by, this'll be a squall of urgent, hardcore guitar and sneering vocals. Amen to that. Broadcast, Glasgow, 8pm, £8

photo: Beth Chalmers

Local bloggers Scottish Fiction, Aye Tunes, and Peenko return for their collaborative monthly showcase night, featuring a selection of singer/songwriter talent in the form of Beerjacket (aka the one-man alternative folk band that is Peter Kelly), acoustic Glasgow folk-meets-punk chap Shambles Miller, and Kyle Wood doing his indie-pop thing as Lovers Turn To Monsters. The Roxy 171, 8pm, £6

sat 2 mar

sun 3 mar

mon 4 mar

Icelandic ambient postrockers par excellence Sigur Rós tour their latest album, Valtari, taking in the not-so-intimate surrounds of Glasgow's SECC as part of their 2013 world tour, backed by an 11-piece live band. If you can't beg, borrow, or steal your way into this one, they play Eden Project in June, and End of the Road festival in August. SECC, Glasgow, 7pm, £returns only

Previous New Work Scotland exhibitor Rachel Adams takes over the Tramway 5 space with an installation of new sculptural works, extending her exploration of the relationship between science fiction, classical sculptural motifs, and decorative craft techniques. Warning: may contain craft techniques such as tie dye, macramé and crochet. Tramway, Glasgow, until 24 Mar, Free

Chippenham’s cult comedic storyteller, Wil Hodgson, takes to The Stand with his confessional new show, Kidnapped By Catwoman, in which he'll touch on the crushes, fantasies, and desires of a geeky boy growing up in the 80s/90s... Obviously Catwoman was up there.

The Stand, Glasgow, 8.30pm, £8 (£6). Also playing Edinburgh's The Stand the evening prior

February 2013

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9

GLASGOW FILM FESTIVAL

Minority Report: Women & Film

film

An array of events debate and celebre female filmmakers at this year’s Glasgow Short Film Festival, aiming to correct the imbalance in today’s industry Introduction: Helen Wright

This year’s Glasgow Film Festival (GFF) features productions with 170 male directors against 29 female ones. The ratio for work competing in the International and Scottish competitions in the affiliated Glasgow Short Film Festival (GSFF) is 54 to 18. (Note: figures were compiled using a slightly presumptive association of names and pictures and there is at least one genderqueer person in the count.) These are not unusual statistics, which gives an idea of the gender imbalance in today’s film industry.

Wheels are happily being put into motion to address this state of affairs in a series of events on Women & Film as part of GSFF. First up, a symposium led by scholar Sue Thornham will tackle the concept of female authorship (Female Authorship Symposium, 8 Feb). An oft-controversial topic, the idea that a person’s gender affects their artistic output will be dissected. A separate panel of experts, including writer and critic Hannah McGill and indie director Tom Kalin, will look at structural barriers, the machinations of the industry, and ask what difficulties females face in getting projects made (Why Can’t Women Make Feature Films?, 9 Feb).

Investigating female filmmaking is vital in convincing audiences swamped in male-centric mainstream fare that they are missing out on a richness of differing perspectives. Women & Film’s Her Take (8 Feb) helps this process along

by showcasing the work of Scottish filmmakers past. From Jenny Gilbertson’s 1932 Scenes From a Shetland Croft Life to Margaret Tait’s end of the millennium Garden Pieces, a tantalising record of some of the nation’s best directors is on offer.

Overtly feminist creativity, also requisite in expressing why difference and its representation matter, is provided by Emilia Muller-Ginorio and Julia Scott’s Body/Labour/Movement(s) (10 Feb), a screening, performance, and discussion in one.

In the spirit of GSFF’s welcome feminist intervention, we can admit that critics are also responsible for sexism in cinema. Even within the hallowed pages of The Skinny we could be doing more to rectify the gender gap. Press attention often gravitates towards male artists, who can be louder and better at self-promotion. Fewer in number, and usually working with smaller budgets and less awards-baiting subject matter, female filmmakers are sometimes neglected in the PR scrum. In acknowledgement of this, we present our take on GFF 2013: a preview of some of the top filmmaking talents whose work is coming to Glasgow and who happen to be female.

Female Authorship Symposium, 8 Feb, 11am Her Take: Scottish Women Filmmakers, 8 Feb, 5pm Why Can’t Women Make Feature Films?, 9 Feb, 3.30pm Body/Labour/Movement(s), 10 Feb, 3pm

Quiet Revolution Wadjda

Haifaa al-Mansour’s is remarkable on several levels. Not only is it a sparkling feature debut, it’s also the first film to be entirely shot within Saudi Arabia. We speak to the director ahead of Wadjda’s screenings at Glasgow Film Festival Interview: Philip Concannon

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February 2013

Her Take: Margaret Tait

Glasgow Women’s Pop-Up Library, 8-10 Feb, 10am–9pm

It’s already quite an achievement for a filmmaker to make a great debut film in a country that closed down all cinemas in the 1970s, but when you consider that the director is a woman, and the country she hails from is Saudi Arabia, it’s hard to believe that the film even exists. Haifaa al-Mansour’s Wadjda is a tale of female independence that explores the oppression of women in Saudi society through the eyes of a headstrong ten-year-old girl whose only desire is to buy a bike so she can go riding with her male friend.

In a country where women’s rights are severely restricted, the emergence of this touching and illuminating film feels like a radical moment for cinema in the Middle East.

Haifaa al-Mansour certainly doesn’t look like a revolutionary figure, and the petite, cheerful director chuckles when I suggest Wadjda is a feminist breakthrough. “I don’t try to be a feminist, but if I am a feminist then that’s good,” she says.

“I don’t try to make a film for a message, I make a film for a story. But for sure, women’s rights and women’s issues in Saudi Arabia is a big thing, and as a woman living there I want to tell stories about myself and my sisters, and I want the situation to change. I have a daughter and I want her to have a better life, I want people to respect her, I want her to feel she has ownership of things, and I feel Saudi Arabia still has a long way to go for that to happen. Women still need to fight more, to stick together, to voice their demands, and making films is one of the ways to do that. But I just want to make films that I feel and relate to – stories from my world – rather than making a film that is feminist.”

Al-Mansour has been telling such female-led stories through her television shows and a series of short films, and she is a polarising figure in her homeland, celebrated by progressive Saudis and viewed with suspicion in more conservative quarters. The strange tension that exists between the country’s old and new viewpoints can be seen in the fact that al-Mansour received backing from King Abdullah to make the film but still had to hide in the back of a van when shooting on location.

“The people who live in this conservative culture think that TV is corrupt and women should not

appear on TV, they should stay at home. So if they don’t accept that, then for sure they won’t accept a woman coming into their neighbourhood to make a film,” she says. “While I wanted to make the film I also wanted to respect the culture, because the ultimate goal is just to make a film, not to create conflict with people.” In fact, what alMansour really wants to create is a conversation.

“I am also trying to engage them in a dialogue, I don’t try to push them aside,” she explains. “I respect them and I want them to respect me so we can talk and we can influence each other. I’m sure a lot of people think women like me threaten their society or their values, but that’s not the case.”

Right now, the director just wants people to see her film. She plans to show Wadjda on television in her native country and is trying to arrange cultural screenings in museums and other public centres, so they can see the human face she is putting on Saudi society. Beyond that, al-Mansour hopes that she can be the first of many, and that the success of Wadjda will encourage other young artists to make their voices heard. “It takes a lot of courage to make a film, to put yourself out there, especially in a place like Saudi Arabia which has such peer pressure and is so tribal and collective. It is very hard for someone to think as an individual. If this film is a success I hope it encourages more production and funding in more local talent.”

Whether Saudi cinema has a bright future or not remains to be seen, but al-Mansour is an optimist and she firmly believes that the country is moving in the right direction, as its younger generations push for a modernised Saudi Arabia. “There is a gap between religion and culture, and people are changing a lot,” she explains. “Five years ago, people were so strongly against any kind of culture or entertainment, and now the percentage of people shifting towards wanting films and theatre is increasing day by day. A lot of it is down to young people. I think Saudi Arabia is 65% or 70% young, so those people are responsible for making a change.”

Wadjda screens 17 & 18 Feb at Cineword, Renfrew St, Glasgow as part of Glasgow Film Festival 2013 Wadjda is released nationwide 19 April by Soda pictures glasgowfilm.org/festival/whats_on/4712_wadjda

GLASGOW FILM FESTIVAL

The Eclectic

Caroline Sascha Cogez brings her eclectic short films to a retrospective at Glasgow Short Film Festival. The Skinny spoke to this graduate of Super 16, Denmark’s punky film school, about her colourful career ahead of her trip to Scotland Interview: Jamie Dunn

She Sings, production still

Caroline Sascha Cogez is not your typical filmmaker, and those who venture to Glasgow Short Film Festival’s retrospective of her work on 8 and 10 February will realise this fairly quickly – probably during the first film of the programme, Cogez’s charming debut Bus. Its hero is Karina, a mousey young woman who begins the film by going about her daily commute. We all know someone like Karina. When a curb-jumping cyclist mows her down on the pavement it’s she who does the apologising. And after staying up half the night preparing a Power Point presentation for work she feebly hands it over to her arrogant colleague, who plans to take all the credit for himself.

In other words, she’s a walking doormat.

The standard operating procedure for such a protagonist in a Hollywood production would be for her to crack under the pressure and lash back at her wrongdoers; histrionics are required to achieve catharsis. What Cogez gives us instead is a modest protest. When the bus she’s on reaches her workplace she remains parked in her seat, and spends the rest of the day and night on the bus awkwardly chatting with a widowed former dancer who’s gone AWOL from her old folks’ home and joins Karina’s unofficial sit-in.

This is the kind of cliché-free filmmaking that refuses a label. It certainly resists categorisation alongside the kitchen sink traditions of her home nation or the boundary pushing Dogme 95. When Cogez speaks to me from her home town of Copenhagen before her trip to Glasgow, she’s quick to agree that her filmmaking sensibility is difficult to pin down. “I’ve always been considered ‘very exotic’ by the Danish industry. It has never known what to make of me.” Perhaps this explains why she’s drawn to characters who like to disturb the status quo.

“I’m interested in eccentrics, for sure,” she explains. “Or the underdog, the artist, the queer – the outsider through whom the norm becomes visible.” And in her films these two extremes, the extrovert and the introvert, the rockstar and the square, are often thrown together, creating friction.

“I like that space, the space between the absurd and the real. That’s part of the challenge: how far can I go with putting the staged with the non-staged, or the outsider with the ordinary.”

Corgez gained her first filmmaking stripes as

assistant to Lars von Trier, whose infamous oddball press conferences and bizarre soundbites would make him an ideal protagonist for one of her films.

She worked by his shoulder during the most fruitful period of his career, on the exhilarating triptych of The Idiots, Dancer in the Dark and his masterpiece, Dogville. “It educated me as a human being, on many levels,” she says when I ask about her experience under the wing of European cinema’s ultimate enfant terrible, “and has undoubtedly coloured the path I’ve been on ever since.” There is a downside to starting at the top, though, as she explains: “Of course it’s a revelation to be in the midsts of film history, with the Dogme movement and Dancer in the Dark winning Cannes, but it’s also a burden to some extent. You know, all superstars have fucked up kids,” she says while laughing at the other end of our Skype connection,”because you set yourself up for failure if you only allow yourself to do the sublime.”

While the collection of small, warm, deeply humane, and yes, often sublime, films being shown in GSFF’s retrospective bear little aesthetic or thematic similarities with the films she worked on with von Trier, the pair seem to be kindred spirits in their quixotic approach to choosing projects. “I love to experiment and I love to challenge myself with a new project,” she confesses. A glance at the titles in the retrospective, which takes in a poetic documentary about a sex worker (Between Rooms), a woozy existential drama set onboard a ferry (Emmalou), and a wry music video for Peaches’ Show Stopper, supports this statement.

It’s a refreshing antidote to the dominant, risk averse work practised by most industry filmmakers. For Corgez, the continued possibility of failure, of flying too close to the sun, is part of the appeal.

“I’m a curious person and making film is more a lifestyle than a sensible, reasonable, economically feasible thing to do. I set out to do something that I haven’t done before, for better or worse. I could never be self sufficient enough to repeat, to have one question that I want to ask my whole life. That, to me, would be more limiting than reacting to the colourful world that I like to be a part of and from which I want to learn.”

Caroline Sascha Cogez 1, 8 Feb, 9.15pm @ CCA Caroline Sascha Cogez 2, 10 Feb , 2pm @ CCA

No Penis Required

We preview the films from female directors at this year's Glasgow Film Festival words: jamie dunn There are many qualities that can help make a great filmmaker. Some are practical: a meticulous attention to detail, the stamina of an ox, being good at persuading people to give you ridiculous amounts of money. Others are less tangible: a great eye, a flair for storytelling, a deft sensitivity to mood and human emotion. Having a Y chromosome, however, is not a make or break requirement, although you’d never know by looking at the names of the directors on posters of films playing at your local multiplex or art-house cinema. The male/ female director ratio at Glasgow Film Festival is far better than average, but it’s still a sausage fest. In a bid to redress the balance, we’ve scoured this year’s brochure to recommend five great films at GFF from directors who sit down to pee.

Where better to start than Breaking the Frame (24 Feb), an intimate portrait of legendary filmmaker and feminist Carolee Schneemann, whose body of work is still a vital roadmap to our collective understanding of sexuality and gender. Canadian director Marielle Nitoslawska gives Schneemann space to tell her own story while nimbly incorporating fragments from the artist’s iconic oeuvre, creating a fractured essay of her extraordinary career. As anyone who’s seen any of Schneemann’s firebrand films will know, the 73-year-old is a riot.

There are some wry laughs to be had too in Susanne Bier’s sweet romantic comedy Love is All You Need (19-20 Feb). Like the Danish director’s best work, the film centres on an eventful family gathering, in this case the wedding between a young Danish couple in Italy. The Mediterranean

setting will warm your cockles on a cold February day in Glasgow, as will the film’s charismatic lead Pierce Brosnan, who miraculously looks even more dapper today than when he was driving a tank through Saint Petersburg in GoldenEye. Like Nitoslawska’s picture, Love, Marilyn (15-16 Feb) is a love letter to an icon. Based on recently discovered diaries and letters, Liz Garbus’s film chips away at Monroe’s blonde bombshell persona to find a sensitive young woman who craved fame and knew the power of her own sexual allure.

Bringing Monroe’s words to life are a range of contemporary actors, including Uma Thurman, Evan Rachel Wood and Lili Taylor, who bravely attempt to get under the complex star’s skin.

Few films are coming to GFF with as much festival acclaim as Cate Shortland’s Lore (15-16 Feb). Like Somersault, the Australian director’s dreamy debut, Lore is a coming-of-age story of sorts. Set in the aftermath of WWII, it follows the 15-year-old title character, the daughter of an SS officer who’s gone missing in the chaos that followed the fall of the Führer, as she shepherds her younger siblings across war-ravaged Germany to her grandmother’s home.

Finally there’s documentary Village at the End of the World (19-20 Feb), from Brick Lane director Sarah Gavron, about the people of Niaqornat, a small Greenland community on the icy fringes of the Arctic circle.

Gavron deftly weaves several residents’ stories into a charming, unsentimental snapshot of a hard-scrabble way of life in terminal decline. www.glasgowfilm.org/festival/information/ festivals_within_the_festivals/gyff

Love, Marilyn

February 2013

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GLASGOW FILM FESTIVAL

Robert’s Next Cutscene tech

Gaming guru Robert Florence talks about life, games, and what it is to press multi-coloured buttons for a living Interview: Alex Cole

Indie Game: The Movie

“I don’t really like my own company very much,” says Robert Florence, star of sadly defunct Burniston and the much-missed games review show videoGaiden, when we meet to discuss the new gaming strand he’s programmed at this year’s Glasgow Film Festival. Don’t worry, though, it’s clear from his Twitter history he’s found an outlet to distract himself in his quieter moments. Unsure which venue I mean for us to meet at, he throws it out to his 32K+ followers, and within the space of a minute has the answer, crowdsourced straight to his phone. Having a perusal down his timeline I notice that each tweet seems to be separated by only a few minutes, making me wonder if our meetup is keeping him from something more important.

“I feel like Twitter is something that I needed when I was younger, I wish I’d had it,” he says.

“I’m kind of glad I didn’t, because it would’ve been a lot worse, I’d be tweeting more shameful stuff… but I find it really helpful. I don’t really sleep well, so it’s nice to know at 3am you can put a thought out and get something back.”

Do you think the dialogue on Twitter is different from that going on with the voice chat on services like Xbox Live?

“I love games, but I have a completely hateful experience of Xbox Live, and I say that as a white male. I’ve got a 5-year-old daughter, and I would never let her play online. I think gamers like things to feel a bit like the Wild West, but if you like things like the Wild West, you’re going to get a lot of guys in black hats.

“I think it feels like we’re on the brink of some kind of big conflict. Whenever there’s a piece on misogyny, 70% of the comments are disappointed and angry men, who are angry at their stuff getting picked at. I think things are going to turn a bit ugly.

But I think [the online gaming community] are starting to self-police. We’re starting to feel shamed, rightfully shamed, about that kind of content.”

How did you get involved with Glasgow Film Festival?

“I got asked at a party. GFF is different from a

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February 2013

lot of film festivals in that it recognises that film doesn’t exist in a vacuum.

“I think whenever games get included in something like this, we should get behind it and support it, because one of the major issues I have is that video games tend to get ghettoised. When you have a festival being welcoming towards games, you need to embrace that. It used to be that video games were heavily informed by film. I think film is very informed by video games these days. A lot of the directors grew up playing video games. “[Aliens: Colonial Marines] is trying to recreate sets and locations… from the film, trying to capture that atmosphere, and I think films have tried to capture that atmosphere and failed, so it’ll be interesting to see if a game manages to do it.”

What separates good video games from films?

“Dark fantasy is a thing that gets ignored in cinema. For me, dark fantasy – I love Lovecraft stuff – is all about feeling alone in an unfriendly universe.

It works against how video games normally work, you never really feel alone. In movies, there haven’t been that many that had that dark and depressing feel. Usually things that feel like that fail.

“There’s always a lot of conversation about storytelling in video games. I think, as a writer myself, that the fascinating thing about video games is that you can tell stories in a different way. If you don’t do that, you’re missing something.

“It’s why it’s always a bit disappointing to me, whenever you go to play the next Grand Theft Auto game, you know it’s going to feel like a lot of movies you’ve seen in the last 10 years.

“I like a movie to be a movie and a game to be a game. The interactivity can’t just be triggering a cutscene. It has to feel like you’re creating your own story.

“The perfect model is something like Dark Souls, where the player is able to tell stories. The stories are really generated through your experiences.

World creation is the most important thing in video games.”

You wrote recently that you think we’re in a

‘Golden Age of Gaming.’ Do you still believe that’s true?

“I completely believe it. The amount of choice these days is unbelievable. There seem to be great games constantly appearing. We used to romanticise about ‘bedroom coders,’ where kids could just create games. But we’re back there.”

Roger Ebert infamously said that games are not art. Do you think that’s a generational divide?

“I’m constantly involved in the conversation about games being art, and games being accepted. It feels like there’s a generation gap between the people having that conversation and the people just playing games. This younger generation, I don’t think they even consider it an issue. It feels like it’s baggage we carry around, where the generation coming up behind has grown up using iPads. I think games will be just part of the fabric of the whole thing. I don’t think the issue will be resolved, I think organically the debate will die.

“Sometimes you can get caught in a debate and then a few years pass, and it starts to feel like the ground’s started getting shaky. I’m 35 now, approaching 40, and it feels like your cultural relevance starts to fade. I want to feel as if I always know what people are into. But I can feel it; I can feel things I care about are starting to feel a bit old fashioned. I wonder if young people look at something [like the Oculus Rift, an upcoming virtual reality headset designed for gaming] and see something else. I constantly distrust my own feelings about stuff.

“I remember being 16, and I remember viewing people who were 35 as completely out of touch.

That worries me. That worries me a lot. So, you talk about this debate, with games being accepted, and I think the bigger issue for me is me being accepted in this new world that’s to come.”

What game would you recommend for people new to gaming?

“Super Hexagon – you should play it, it doesnae

take long to play, you’ll only last about seven seconds. I’m terrible at it, but I’m fascinated by it.”

And an underknown title that didn’t get enough attention?

“That’s a tough one… I know what it is – it’s Silent Hill: Shattered Memories on the Wii. Which is kinda the best Silent Hill game. Silent Hill 2 was a masterpiece. Even its flaws became part of how great it was. But Shattered Memories… I struggle to find much that comes close to it. Answering a ghostly phone call on the Wiimote, colouring the pictures in the psychotherapist’s office and then the house is coloured that way as well.”

After Burnistoun, the BBC shows, all the writing, is ‘gamer’ still the title you most identify with?

“I’ve been writing comedy since I was 18, by profession I’m sort of a comedy TV writer. But I always come back to games. I kind of look forward to retiring at 45 and playing games for the next 40 years. I would happily just play games. And not just video games, but board games as well.

“There was a lot of drama last year about writing about games, and I remember thinking, ‘I cannae wait until I can just sit and play games, and enjoy them.’ When I did the BBC show about video games [videoGaiden], and I would go and film all day, and then go home and play games to review, I could feel the hatred for games seep in. It became work. I was feeling negative about games not because of the content, but the approach. I remember thinking I need to stop doing this. When it’s something you love, when that becomes your work, certainly if that’s being a critic, you can become quite an ugly person.

“I don’t want to lose this. If I’m going to relax in an evening I’m going to play a game, so I don’t want to lose the ability to do that. Selfishly.”

Robert will be heading Game Cats Go Miaow!, the new gaming strand at the Glasgow Film Festival, which will include a discussion about dark fantasy and the game Dark Souls, and a panel, hosted by Robert, about the film Aliens and the upcoming game Aliens: Colonial Marines. 18-22 Feb glasgowfilm.org/festival/whats_on/ strand:game_cats_go_miaow

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FEBRUARY 2013

THE SKINNY 13

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David Shrigley Bob and Roberta Smith Tatham & O'Sullivan Suzanne Treister

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14 THE SKINNY

FEBRUARY 2013

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GLASGOW FILM FESTIVAL

The Twilight Zone

He insists he’s not a curator, but the spectacular night of artists’ film and live performance he’s put together begs to differ. We chat to Henry Coombes ahead of his genre-bending GFF event Interview: Jac Mantle

With a record 368 events programmed, GFF can expect to get more bums on seats this year than ever before. But in a city with a long history of art-music-film crossovers, there are more than a few filmmakers whose work isn’t best experienced in a traditional cinema format.

In response to this, Henry Coombes has organised Entre Chien et Loup, a night of artists’ films shown with a live sound performance and a party in the swanky surroundings of the Grand Central Hotel ballroom. ‘Between dog and wolf’ is the French expression for twilight, when it’s difficult to see and all may not be as it seems.

“The idea of it being ‘between the dog and the wolf’ is that it’s in between the mediums of art and film, a crossover,” Coombes explains. “Obviously a lot of the artists involved do more major projects throughout the year, so I thought this was a good chance for them to show work that is maybe more experimental, more sketchy. It’s been left totally up to them. The only restrictions were that it has to be a ten minute silent film and have a live sound performance.”

The evening will feature a stellar cast of Torsten Lauschmann, Erica Eyres, Rachel Maclean, Craig Mulholland, James Houston and Raydale Dower.

Houston is working with Julian Corrie, aka Miaoux Miaoux, while Dower is collaborating with Tut Vu Vu bandmate Jamie Bolland and performance artist Romany Dear.

Erica Eyres will present a new film inspired by Herman Melville’s Bartleby, the Scrivener, about a Wall Street copyist’s alienation and degeneration in the eyes of other people. Compiling found footage of streakers, Eyres’ film brings together a series of short, subtitled narratives that are based on lethargy and relationships towards television.

“He’s

getting girls and boys to serve drinks in hot pants, beads and waistcoats, so they’ll look like Richard Hammond from Top Gear in hot pants” Henry Coombes Working with Steev from Errors, this will be the first time Rachel Maclean has shown her film LolCats with a live performance. In Maclean’s grotesque and overloaded kitschy style, the film follows a female character through an erratic landscape, half lost civilization and half touristic theme park, to chart a potted history of cat worship.

Coombes won’t be showing a film himself, but has grand plans for how the evening will unfold. “I was originally going to have one of my own films in it, but it felt like it was getting curated by me and I hate the idea of putting your own work in a show and curating it,” he says.

The event has been promoted as a spectacularly lavish affair sponsored by Randolph Kemp Potter, a Mayfair gallerist with plans to patronise the arts in Glasgow and capitalise on the much-hyped Glasgow Miracle. Coombes is excited about bowling over the usually conservative art scene with something ridiculously decadent. He had conceived the party’s theme as the Gold Ballroom scenes from Kubrick’s The Shining, but it has since ‘grown legs.’

“I just think the Glasgow art scene is so dreary and sexless, the energy of it is like a grey sponge

erica eyres

full of dirty water – I mean, that’s my experience of it. So the event is kind of looking at that. Randolph Kemp Potter’s sponsoring it and he’s getting girls and boys to serve drinks in hot pants, beads and waistcoats, so they’ll look like Richard Hammond from Top Gear in hot pants. The Gold Ballroom’s slowly becoming – I don’t know how this will fit in – quite camp. It might lose its definition and its way somewhat.”

Wherever the night takes you, one thing you can count on is the quality of the films. So confident of this is Coombes that he won’t even be seeing them prior to the night – unlike most of the other events in the festival’s Crossing The Line strand, which have been swabbed and vetted beforehand.

Actively making provisions for these more experimental films within GFF is something Coombes sees as vital for the future of film and video art. “There are a lot of artist filmmakers in Glasgow whose work doesn’t have an appropriate distribution context.

Some of it doesn’t get to festivals; it’s shown at galleries in Glasgow but some of it’s actually better at an event – otherwise, you don’t engage with it for the whole duration. It hit home to me when LUX came up and they were thinking of setting up another branch in Scotland. I realised there was a lack of contexts for work like this to be shown.”

He gives the example of Rachel Maclean, who can’t show her work at festivals because it would breach copyright, and – though hugely talented and prolific – has never yet had a solo show in Glasgow. “I couldn’t believe it when I found that out. And if this type of work doesn’t get shown in galleries, then where does it get shown?”

With such a sparkling night planned, perhaps it will be the first of many crossover events at GFF. “Hopefully it’s the last thing you’d expect at a Glasgow opening, to be served drinks by a 19 year-old boy in hot pants. It just makes me giggle in a really juvenile way.” www.glasgowfilm.org/festival/whats_ on/4694_entre_chien_et_loup

rachel maclean, lolcats

18 Feb, 8pm, £10

February 2013

THE SKINNY 15

16 THE SKINNY

February 2013

clubs

GLASGOW FILM FESTIVAL

Space Is The Place Woman In The Moon

As Jeff Mills’ new ‘cine-mix’ for Fritz Lang’s premieres at Glasgow Film Festival, we caught up with the world’s most inventive DJ to talk about space travel, the origins of his unique sound, and his new audiovisual label, Alpha Centauri Interview: Bram E. Gieben

Relaxed and composed, wearing his trademark black jeans and polo-neck, legendary Detroit techno pioneer Jeff Mills is in town to talk about the soundtrack (or “cine-mix”) for Fritz Lang’s 1929 silent science fiction film, Woman In The Moon. The film, along with Mills’ soundtrack, premieres at Glasgow’s Arches on 16 Feb at an event dubbed the Sonic Cineplex. Part of the 2013 Glasgow Film Festival, it will feature cine-mixes and audiovisual performances from a whole host of Glasgow electronic producers, performers and DJs, including Raime, Dieter Moebius and the Glasgow Improvisers Orchestra.

It’s not the first time that Mills has re-scored a Fritz Lang film – his re-working of the seminal director’s most revered movie, Metropolis, was released via the Tresor label in 2000, and although his sparse, minimal, resolutely futurist take has never been granted a license for a DVD release, it gets regular screenings at institutions, galleries and educational organisations around the world, from Tokyo to Chicago. The commission for Woman In The Moon came from the Cinémathèque Française in Paris, with whom Mills has previously worked on a number of moving image projects, creating cine-mixes for Sergei Eisenstein’s October, Cecil B DeMille’s The Cheat, and Buster Keaton’s Three Ages, to name a few.

“I was slightly aware of the film,” says Mills.

“Fritz Lang’s other work, like Metropolis and M, I was more knowledgeable about. They thought that perhaps Woman In The Moon would be more interesting, because I am quite fond of space, space travel, science fiction and things like that.”

How did he approach the task of scoring the film?

“It’s quite different, even from the other cine-mixes that I’ve done,” he explains. He began by creating a “theme” for each character, and other parts which “reinforced the interaction between the characters.” As with his work on Metropolis, this involved deep research into and observation of the characters, in order to “understand where each of these characters are from, and how they arrived at being that type of person.”

He also researched the life of Fritz Lang, and went into great detail about the socio-political context of the 1920s, when the film was made, finding out “what was happening in the world when the script was written, what might have been

influential in terms of the way they approached certain things.” The research is vital: “Once I do that, I have an understanding of why a certain subject was touched on, why certain things about feminism or human rights are included. The political aspect of going to the moon, the financial aspects – you have to convince the investors... there are a lot of aspects to explore.”

As the people at the Cinémathèque Française correctly guessed, this was home territory for Mills, who has long had a fascination with space exploration. When asked whether he believes that we are on the verge of a new era of spaceflight, he replies: “I think yes, and soon.” The reason for this? The commercialisation of the NASA space programme, and other similar programmes throughout the world. “When you think of the temperament and the mentality of the very rich, billionaire entrepreneur, and how aggressive they can be, if they take an interest in something that is found out there, whether on the moon or an asteroid or whatever, if they can find some financial reward in going out there, they’re going to do it, and they’re going to do it quickly,” he says. “They’re not going to waste any time.”

For Mills, this is a good thing: “I don’t think it’s going to be like NASA in the 60s and 70s, I think it’s going to be like Silicon Valley. We’re going to experience space exploration in a way that we never have before. We’re on the edge of that.

People are smelling it – they’re looking at the news, and seeing how frequently stories are coming about regarding new discoveries, exoplanets, all types of things. In fifty years I think it should be one of the main topics. Like, you wake up and you want to know what the weather is – that bulletin will also include what’s happening in space.”

2012 was the twentieth anniversary of the founding of Mills’ record label and production house, Axis. To celebrate, they released a book, Sequence: A Retrospective of Axis Records. “I had been wanting to restructure and recreate things for quite some time, but whenever I would think about these things I would think, well, maybe after twenty years I’ll have more of an excuse,” he says. “Then when we released this book, which was quite comprehensive about the things that we had done, I realised I would have no choice but to move forward.”

In early January of 2013, Axis unveiled the ‘fourth triangle’ of the label, which is an umbrella for the labels Axis, Purpose Maker and Tomorrow. The new company, Alpha Centauri, will be focused on sound for moving image. The first featured contributor is Dutch video artist Heleen Blanken, whose beautiful, liquid, space-themed film, accompanied by a Mills composition, is showing now on the Axis website. Plans for a compilation

“Techno

wasn’t designed to be dance music, it was designed to be a futurist statement” jeff mills of commissioned work by video artists, set to music from Axis producers, are in place for later in the year, plus twice-annual film events in different cities around the world. Mills hopes to visit the Edinburgh and Glasgow film festivals with his Alpha Centauri events in the future.

This is all part of the visionary DJ’s continued evolution as an artist, promoter and businessman: “From this point on I’ll really be working much more with moving images, making not just dance music, but really using it strategically with other artforms, from dance to film and motion pictures to art,” he says, looking visibly enthused by the wealth of projects on his plate. “It’s time to really expand now.”

Asked for his opinion on the colonisation of mainstream pop by electronic music, Mills gets reflective: “Thinking back to the early days of Chicago acid house, up until Detroit techno, and then thinking about where we are today, the thinking is so different that I’m not quite sure it’s the same. Of course, the same machines are being used, but the intention of it then, our thinking, was based on futurism. Everything else followed behind that. A lot of it wasn’t even considered ‘dance music.’ It was danceable, because that was a good application for it. But it wasn’t designed to be dance music, it

was designed to be a futurist statement.”

Anyone who has seen Mills DJ will know that his approach to mixing is radically different to other techno DJs and performers. Starting out as a drummer, and after that a turntablist hip-hop DJ, he developed a completely unique approach: “I guess it’s DJing on a higher level, where it kind of gets back to being a musician again,” he says.

“It’s really based on how I hear music; how I understand the rhythms. I’m not really listening to any of it – I’m listening to the motion.” Getting a mix beat-matched perfectly is unimportant: “I’m just trying to capture, or somehow get control of the motion of it, to mix it into the motion of another one, and combine those two together to get a third and fourth perspective.”

His aim is to make his listeners forget themselves, and the context in which they’re hearing the music: “You lose time. You lose the calendar, you lose the territory, you lose who made it – all that just kind of fades away. You don’t know where you are, you don’t know what you’re listening to, and it doesn’t matter. That’s the objective.” Has he ever encountered another DJ who mixes this way? “No,” he says with a smile. “I can probably imagine why there aren’t so many guys doing it that way, because it’s a lot of work. I just have to hope that what I’m working towards is worth the chaos.”

This thoroughly anti-commercial, futurist, and artistic way of approaching his craft has meant that Mills now buys and listens to very few new records. “I’ve kind of purposefully moved away, as a DJ, from the industry,” he confesses. “Maybe my DJ career is headed towards its end, and I’ll get back to being more of a musician. I don’t know. Maybe it’s the future of DJing. Maybe others will understand it.” Having created his own unique style, Mills is still very much in the enviable position of enjoying his work: “It’s very organic, because I have no idea what I’m going to do. It actually makes it much more fun.”

Jeff Mills cine-mix for Woman In The Moon premieres at The Arches on 16 Feb as part of Sonic Cineplex For more on Mills’ history as a DJ and producer, and details of his new Time Tunnel project, read our extended interview online www.glasgowfilm.org/festival/ whats_on/4482_sonic_cineplex

February 2013

THE SKINNY 17

F EA T URE S

Death Becomes Them

music

No strangers to these pages, Frightened Rabbit look poised to take their emotional and anthemic sound to a wider audience with the release of Pedestrian Verse. We caught up with Scott, Grant and Gordon ahead of the impending tumult to talk life, death and the wisdom of Stereophonics words: Darren Carle photography: Eoin Carey

Look back on almost any Frightened Rabbit interview over the past few years and the likelihood of the words ‘upward’ and ‘trajectory’ appearing are an odds-on favourite. Now, with the release of fourth album Pedestrian Verse this month, the continuing use of such terms to describe Scotland’s worst-kept musical secret will be a dead cert.

Yet, for once, it’s more than just well-meaning hyperbole designed to inflate an average bunch of indie hucksters. Frightened Rabbit really have been on an ascent like few others. Their steady, precision-like rise since self-releasing debut album Sing The Greys in 2006 has been a textbook example of progression that is sadly something of a rarity in these make-or-break times.

With an almost clinical efficiency, the expanded quintet signed to Atlantic at the end of 2010 after two lauded albums with Fat Cat Records and now, on the cusp of their major label debut, the resultant buzz surrounding the Selkirk boys is rightly stretching beyond alternative music circles. They saw in the New Year with the BBC’s Hogmanay show, lead single The Woodpile is receiving steady mainstream radio play and Sara Cox has become something of an awestruck fan.

It feels like a moment to break out the cigars, yet frontman Scott Hutchison concedes that it took him some time to acknowledge their on-going, slow-burning, sustainable ascent. “We’ve envied quite a lot of bands who have shot to fame over the years,” he explains, mentioning no names.

“But I realise now that most of them don’t exist anymore. So I’m glad, despite it being through no choice of our own, that it’s happened this way.”

‘This way’ has led three-fifths of the band to a fashionable bar just off Edinburgh’s Leith Walk where The Skinny meets them amidst a press hoopla ahead of the new album. Joining Scott is brother and drummer Grant Hutchison along with guitar and keys man Gordon Skene. Remaining members Billy Kennedy and Andy Monaghan have taken the day off, we’re told, simply because these are the guys who do the talking.

“It’s bands like The National and Death Cab For Cutie that we admire,” continues Scott on their step up to the big leagues. “Bands who have done the same thing, who have made that step quite naturally and seamlessly and in a way that gains them new fans whilst not alienating the audience they’ve already built up.”

It’s a tricky path to tread of course, and even

18 THE SKINNY

February 2013

before they recorded a note for Atlantic there was consternation among some of their followers. “I remember a guy on Twitter saying ‘Oh well, that’s the last time I’ll listen to them then,’” says Grant of their signing. “That’s got nothing to do with how we sound though,” reasons Gordon before shrugging it off. “Ahh, if you’re going to be a prick about it then I don’t want you as a fan!”

Whilst the anonymous Tweeter may indeed be acting in a snobbish manner (to bring some diplomacy to the matter), the major label mis-step is a known occupational hazard with plenty of history.

However, in one sense, it’s something the Rabbits have already overcome with 2009’s The Winter of Mixed Drinks. Though released on independent label Fat Cat, the overall feel of the band’s third album was that of a potential mainstream breakthrough, something it achieved as well as such a clipped endeavour could ever hope to.

“There

have been some fairly morbid aspects to my life over the past couple of years, but I’ve dealt with them head on” Scott Hutchison “Yeah, we were aiming for a major label sound on an indie,” agrees Scott. “I mean, is that ever going to work? Not really. I realise that now.”

However, there are no regrets from anyone involved. “For a lot of people, it was their first Frightened Rabbit record,” acknowledges Grant.

“Maybe they went to Midnight Organ Fight on the back of that. We’re kinda hoping for the same again with Pedestrian Verse.”

Scott puts a more amusing spin on their discography: “A friend said that Winter of Mixed Drinks was our Be Here Now,” he laughs. “In a way, I can see that because I remember Noel Gallagher talking about putting ninety guitars on one track.

We fucking almost went that far and we weren’t even taking any cocaine! You could be forgiven

for thinking that we were though because it was a wee bit overblown in places.”

Well, perhaps, although we still count ourselves as fans of what some felt was a slightly disappointing follow up to 2008’s The Midnight Organ Fight (our album of that year, no less). Gordon puts things into perspective though. “As the great Kelly Jones once said, ‘you gotta go there to come back,’” he states magnanimously, before questioning himself. “Was that him?” Scott and Grant shrug with amusement. “I don’t know either,” he counters with mock embarrassment before protesting too much. “I know nothing about Kelly Jones.”

The Stereophonics frontman is on the money with this one however. Pedestrian Verse will, whatever else is made of it, be seen as the band taking a well-judged U-turn from the big production values that underpinned their previous record.

It’s still imbued with the band’s anthemic, stirring qualities, only this time they feel they’ve struck a much better balance between substance and grandeur.

“In the past, we thought the way to write a big record was to make it almost physically bigger,” says Grant on Pedestrian Verse’s lack of horns, orchestration and general chutzpah. “There are still big moments and choruses but it’s more about the subtleties and how to create that within the realm of a big five-piece band.” Scott takes up the baton. “It’s distilled Frightened Rabbit, to the point that there’s no excess,” he offers. “It’s very pure.

It’s very... boozy.”

With tales of futile drunken arguments (Late March, Death March) and subsequent relationship breakdowns (December’s Traditions), Pedestrian Verse certainly shares a common thread with previous albums. However, this time there’s a noticeable widening of subject matter, such as opening song Acts of Man, where our narrator takes a cursory and dim view of his fellow brethren.

Follow-up Backyard Skulls uses a similarly familiar theme of infidelity but turns its gaze towards the suburban ennui that can predate it.

With over-riding themes of religion and death threaded into broader tales of society, Pedestrian Verse is certainly a more thematically ambitious album than we’ve previously been presented with. “Death has certainly been in our material before, but maybe less explicitly than it is here,” says Scott. “There have been some fairly morbid

aspects to my life over the past couple of years, but I’ve dealt with them head on.”

As such, it’s still an intensely personal work, played out by the rattling ode to belligerence of Holy or the morbid stadia of Dead Now, a cousin of sorts to Floating in the Forth’s suicide fantasy.

Overall though, it’s something of a fresh lick of paint to the yellowing melodrama that could have engulfed the album’s narrative.

“It was just to challenge myself and see if I could actually do it,” is Scott’s straight answer on why he decided to give his writing style a nudge.

“I’d spent so long writing about myself that it had started to feel very indulgent and lazy. I also made a conscious effort not to edit myself this time. I’d felt very exposed by Midnight Organ Fight, so I purposefully diluted and veiled a lot of the material (on Winter of Mixed Drinks) so as not to offend people. But I think one of the things fans really like about us is our honesty and forthrightness. So I made a decision not to edit myself. If I thought it, it went in.”

The end result is a sometimes grand, sometimes intimate record that comes across as less selfconscious than previous work, a view that’s put to Scott. “I think you’re absolutely right,” he agrees.

“The other albums are a result of me, my ego and the variable sizes of said ego. Now that it’s the five of us, it’s more of a collective process. There’s still a hierarchy, but it’s a much more equal playing field. It’s completely levelled everything and made nothing precious or sacred. It was basically me admitting that I can’t do this on my own anymore.”

Thankfully he doesn’t have to, letting the capable hands of his four band mates take up any perceived slack. “It sums up what this record’s all about,” says Grant of the team approach. “We opened it up to the rest of the band and, for me, it sounds like everyone is really getting to do their thing. It was an important factor so that the first Frightened Rabbit record on Atlantic was as good as it could be.” Scott is understandably quick to agree. “Making the best record you can is the goal. It’s always got to be the goal.”

With that being the case, Pedestrian Verse is Frightened Rabbit scoring a blinder.

Pedestrian Verse is released via Atlantic Records on 4 Feb Playing The Picturehouse, Edinburgh on 26 Feb; The Music Hall, Aberdeen on 27 Feb and Barrowlands, Glasgow on 28 Feb www.frightenedrabbit.com

A D V ER T I S I N G F EA T URE

Are you ready to release the Kraken?

Tr ack-by-tr ack: Frightened R abbit’s Pedestrian Verse Returning to the fray this month with their ‘darkest record yet,’ frontman Scott Hutchison guides us through Frightened Rabbit’s eagerly anticipated fourth LP

Acts of Man I always saw Acts of Man and State Hospital as a pair. Having written State Hospital I felt like I needed a counterpoint which turned its gaze on the male of the species. Maybe the two songs even intertwine. Perhaps the plumber had bits of vomit on his shoe when he took her home, maybe he lied and said he loved her. In any case, I didn’t want to complete or conclude either of the songs in a traditional ‘story’ sense. They are each a surface peek into a million different stories, happening now, somewhere across the globe.

Backyard Skulls This song was inspired by a novel by the Scottish writer Chris Brookmyre. In his 2011 book Where The Bodies Are Buried, the detectives use aerial images to hunt for undiscovered bodies. I took this idea and threaded it into a song about unpleasant secrets in a more general sense. Infidelity, mistakes, wrong-doings. These things are never really gone, no matter how far down you bury them.

They’re always lurking, even when you yourself are dead. Here, we also introduce to the album the fairly prominent metaphor of death... which is nice.

Holy There was a period of time in 2011 when I wasn’t exactly acting like a pillar of society. Not that I could ever claim to have been a pillar in the past, it’s just that the particular period described in this song was far more destructive than creative.

Now, I also believe that this behaviour, although selfish and thoughtless, can be essential. It is a non-religious baptism of sorts. Ruin everything and start again. Here we have the belligerent protagonist telling his concerned friends to go fuck themselves. So, aye, go fuck yourself. Pal. The Woodpile This song took a while to get right. This is version number five and I’m so glad we didn’t settle for the previous incarnations. It’s a big, confident rock song about helplessness. I like that juxtaposition.

Late March, Death March A jolly tune about an argument between two people as they walk home after a night out. Such arguments, particularly when alcohol is involved, can be utterly devoid of logic and this song takes place at the point where one half just gives in and says, “Look, maybe I was a prick and maybe you were a wee bit reactionary, but we are definitely both drunk and this will not solve itself now. Please can we go to sleep.”

December’s Traditions Minor key! At last! There are a few other minor

key songs that didn’t make it on to the record, but I’m glad this one did. In true minor key fashion, it’s about a sad and frustrating time. After a few too many ‘death marches,’ people begin to discover that they can’t be together anymore.

Housing (in) & Housing (out) These songs were written as a pair and I was trying to reflect the joys of being in a touring band.

Getting to go home for one night, and just as you are settling, being ripped away from all comforts and thrown into the rammy again. I’ve learned to relish most of those minutes of home time for this reason.

Dead Now Death again. Hello sir. Simply put, this is a four minute version of the (usually) flippant statement “I wish I was dead.” Not many people genuinely do wish for that, but I know how it feels to wonder about the relief that the nothingness would bring. I imagine no noise, no light. Fucking nothing. Maybe a drip feed of single malt whisky though, if I’m lucky enough to get punted down to Hell.

State Hospital This was the first song I wrote for the record. Or, at least the first one I finished. Lyrically, it set a standard which I tried to uphold on the rest of the songs. It was my first foray into writing about someone else’s life and constructing a character other than a version of myself.

Nitrous Gas I think this is my favourite song on the album. To me it’s an exercise in writing the most miserable song possible, but then whacking the listener with a punchline at the end. I think it’s a really important song to the record as a whole, as a lot of the other material is rather ‘full-pelt.’ This feels like a breathing space after an onslaught.

The Oil Slick Funky little fucker, this one. I never thought I’d write those words in relation to a Frightened Rabbit song, but I’m happy that I have had to. I think this is my favourite drum sound from any of our records, and Billy really had his pimp hat on when he wrote that bassline. I think that this song, maybe in a similar way to Floating In The Forth on Midnight Organ Fight, provides a last minute lift to what may be our darkest record yet. There is always hope...

GRANDMASTER FLASH

Having pioneered many of the DJ techniques we take for granted to this day, Joseph Saddler, or Grandmaster Flash if you will, has assured his place in the history books. As the man behind those famous Wheels of Steel, he, along with New York rappers The Furious Five, dropped their 1982 debut The Message, one of the most influential records in hip-hop. Yet, after something of a hiatus from the public eye, it seems credit is finally being given its due, with Grammy awards and Hall of Fame inductions coming left, right and centre. Timely enough then to make this appearance at the 02 ABC2 on 1 Feb something of a rare and richly-deserved event.

Scottish singer-songwriter Roddy Hart (02 ABC, 2 Feb) has come from more humble beginnings, releasing his home recorded demo just six short years ago. The Glaswegian troubadour has come on leaps and bounds since then, with three acclaimed albums under his belt and a fourth due for release this year. Success has led him as far afield as New York in 2009 as part of their Homecoming celebrations, but this, his real homecoming show, will be one not to be missed.

Built around the long-running partnership of multi-instrumentalists Joey Burns and John Convertino, Calexico (02 ABC, 15 Feb) have kept their unique brand of Latino-flourished, alt-country buoyant with a string of well-received albums.

Last years’ Algiers proved something of a career highlight however, no small accomplishment from the guys who brought us Feast of Wire and The Black Light. Live, they pull out all the stops with string and brass accompaniment to their already veritable, classically trained skills.

Dress to impress is the instruction for attendance at Club Noir (02 Academy, 16 Feb). Or perhaps we should say s’habiller pour impressionner. The world renowned burlesque club returns to Glasgow bringing with it a distinct Parisian theme, where the DJs will be spinning the best in vintage and modern French music. Of course, however you decide to dress up, you can be sure the entertainment will have a slightly more risqué approach to proceedings with their typically scintillating performances.

Ooh la la! [Darren Carle]

Once more, in the depths of this issue, lies a beast feared by seafarers for centuries. A beast so fearful the mere mention of its name causes paroxysms of terror.

Last year two audacious souls found it. If you, brave reader, are able to locate this nefarious and tentacled monstrosity one final time, you may also be in with a chance of winning the last batch of precious nautical booty.

Said booty is no less than a bottle of The Kraken Black Spiced Rum - imported from the Caribbean and blended with 14 exotic spices. It’s no typical liquor - from its dark inky hue, to the Victorian flagon-style bottle with hooped glass handles (said to mimic the very eyes of the titular colossus itself). Swirling the rum around a glass creates distinctive tentacle-like drips as the rich liquid seeps back to the depths; while the thick, caramel-like taste lingers long after the last sip.

You can find bottles of The Kraken in some of Scotland’s finest pubs and bars – as well as some far less reputable harbourside taverns.

If, however, you would like to win the last bottle through courage and ingenuity alone, tell us what page the wee beastie is hiding on, and how YOU would release The Kraken. CLUE: It’s not in Music Listings...

Head to www.theskinny.co.uk/competitions and answer the above question. Competition closes Mon 4 Mar 2013.

Winners will be notified on the day of closing and will be required to respond within 48 hours or the prize will be offered to another entrant. For full terms and conditions, go to www.theskinny.co.uk/about/ terms, and www.drinkaware.co.uk for the facts.

Below the thunders of the upper deep Far far beneath in the abysmal sea, His ancient, dreamless, uninvaded sleep The Kraken sleepeth: faintest sunlights flee About his shadowy sides: above him swell Huge sponges of millennial growth and height; And far away into the sickly light From many a wondrous grot and secret cell Unnumbered and enormous polypi Winnow with giant arms the slumbering green.

There hath he lain for ages and will lie Battening upon huge seaworms in his sleep, Until the latter fire shall heat the deep; Then once by men and angels to be seen, In roaring he shall rise and on the surface die.

– ‘The Kraken’, Alfred, Lord Tennyson, 1830

facebook.com/o2abcglasgow www.o2abcglasgow.co.uk

Pedestrian Verse is released via Atlantic Records on 4 Feb Playing The Picturehouse, Edinburgh on 26 Feb; The Music Hall, Aberdeen on 27 Feb and Barrowland, Glasgow on 28 Feb www.frightenedrabbit.com

www.krakenrum.com

February 2013

THE SKINNY 19

Midnight Cities

music

Gallic electro-shoegaze rockers Team Ghost are set to blaze a trail through the year with debut album Rituals. The Skinny got the lowdown from singer Nicolas Fromageau (ex-M83), synthwizard Benoît De Villeneuve and guitarist Christophe Guérin Interview: Bram E. Gieben

20 THE SKINNY

February 2013

a hero, when it comes to synth music. But maybe also older bands like Tangerine Dream, Klaus Schulze, Ash Ra Tempel – stuff like that, you know, German guys with moustaches. I love that kind of music.” The other main influence for the band is shoegaze: “I can’t really remember discovering shoegaze,” says Fromageau, a distant look on his face – his love of the genre goes so deep, he cannot remember a time when he didn’t listen to it. “I was maybe fourteen years old. A teenager...”

De Villeneuve steps in: “For me, it was after I discovered Nirvana and Sonic Youth. That led me to My Bloody Valentine and Ride, that kind of stuff.”

What is the enduring appeal of shoegaze, twenty years or more after the scene’s birth? “It’s a style that is established and it won’t disappear,” says Fromageau. “Some elements go, but some stay – the way you use the guitars, things like that.”

“Even in electronic music today you can hear shoegaze influences,” argues De Villeneuve. He references German producer Aksel Schaufler, signed to Kompakt: “Take Superpitcher. It’s kind of moody, melancholic, repetitive, with a lot of delay and reverb. There are no guitars, but it’s not far from shoegaze. It’s the same mood.”

Fromageau has been quoted as saying that for him, “music evokes landscape” when he hears it. What kind of landscape do the band think Team Ghost evoke? “I think it will be different for each person, but for me it’s kind of a new, urban landscape,” says Fromageau. “Maybe at night, you know. Midnight cities...” Guérin, who stays quiet for most of the interview, agrees: “A city like Paris, with gloomy weather.”

“The

most beautiful things in art are kind of sad” nicolas fromageau The first hint of the direction the band are taking on Rituals comes in the form of the track Dead Film Star, which is accompanied by a gritty, pitch-dark horror video from director Simon Cahn.

“We didn’t write any material for the video – Simon did the whole project,” Fromageau explains. “We gave him some influences, some ideas,” says De Villeneuve. “It’s kind of a tribute to our love of horror movies from the ’70s,” says Fromageau.

“Mostly Italian films, but also American ones too.

I believe that the video could be – have you seen Texas Chainsaw Massacre? It could be like, the lady who is still alive, she is going mad at the end... the Dead Film Star video could be after that, you know? She’s running away, and she’s so used to seeing blood that she wants to see more.”

Such dark themes are also addressed in Team Ghost’s lyrics – are they unhappy, dark people by nature? “Actually, no, we are very happy!” says Fromageau. Nonetheless, he feels that: “the most beautiful things in art are kind of sad. Books, movies – all my favourite ones are dark.” Given that the cinematic treatment worked so well for the band’s music in the Dead Film Star video, would the band like to write music for films one day? “We would love to do soundtrack work,” Fromageau confirms, but perhaps his list of preferred directors is slightly unachievable. “We’d love to work with Lucio Fulci but he’s dead, so it could be complicated,”

Photo: Emma Ledoyen

No strangers to these pages, Team Ghost are a Paris-based five-piece who make slowburning, cinematic electro-rock with doomy, sheet-metal walls of shoegaze guitar. Their first two EPs dropped in 2010 on Sonic Cathedral to critical acclaim, shining a much-deserved spotlight on the talents of songwriters Nicolas Fromageau and Christophe Guérin. Fromageau was a founder member of electronic shoegazers M83, with Anthony Gonzalez – the duo parted ways after 2004’s Dead Cities, Red Seas and Lost Ghosts album.

Since 2007, Fromageau has been slowly assembling the members of Team Ghost, with the latest addition being synthesier wizard Benoît De Villeneuve, who joins Fromageau and Guérin as a co-writer. Live and in the studio, the band are backed up by a rhythm section consisting of Félix Delacroix on drums and Pierre Blanc on bass. Set to release their debut full-length album with the expanded lineup, and following incendiary shows in London, courtesy of All Tomorrow’s Parties, and at last year’s Trans Musicales de Rennes festival, 2013 looks likely to be the year when Team Ghost break out of the French music scene and take their expansive, muscular sound to a worldwide audience.

The album is called Rituals, and although the lyrical subject matter and tone of their music is often dark, Fromageau insists that the title is not intended to have occult undertones. “We are very close friends, so it’s about little rituals, like stopping for coffee when I go walking with Benoît, or when we finish in the studio, and go and buy some beers... it’s about a few things,” he explains.

“Everyday things. It’s funny, because it sounds a bit like it should be a black metal album. There are a few artists – like Burzum – who make shoegaze music, and who have that kind of occult influence, so maybe there’s an element of tribute to that.”

The album is coming out on a new French label, wSphere – Team Ghost are their first signings.

Recorded with the full band in de Villeneuve’s studio, Riituals is a departure for Fromageau. “On this album, Team Ghost are more like a real band,” he says. “The first two EPs were just Christophe and I. Now we are a real band, there are five of us.

We’ve been recording live on tape.”

How has bringing De Villeneuve into the songwriting process changed things for the band?

“With Nicolas and Christophe I work on ideas for songs, making the whole structure,” says de Villeneuve. “He’s the one with the strange haircut,” says Fromageau, chuckling heartily with Guérin.

“That’s his job!” De Villeneuve adds: “...and I like weird sounds.”

The most significant element that De Villeneuve has brought to the group is his huge collection of analogue synthesisers. “I like old synthesisers like the Prophet 05, the Juno 60 – not the 106, but the 60,” he says, warming to the topic as only an analogue gear head can. “My favourite synth, my favourite old one at least, is the monophonic Roland SH5. It’s used less to do melody with, more for noise – but it’s my favourite one. It’s nice to look at, too. My favourite one now is a new synth – it’s an OP1 from Teenage Engineering. It’s very small but very powerful, and it has its own identity. It’s really amazing. It’s the synthesiser of the future!”

Asked about their influences, the band namecheck several vintage synth and krautrock legends: “Personally, I am very much influenced by John Carpenter,” says Fromageau. “For me he is

says Fromageau, drawing laughs from the other members of the band. “I’d love to work with Dario Argento, but he is getting old... John Carpenter, but he hasn’t made a good film in a while!”

The band sing in English, because, as Fromageau puts it: “English is the language for rock and roll. Except for Stereolab, I can’t think of any band I like who sing in French.” Guérin chimes in: “It’s natural. There’s no question of ‘do we have to sing in French?’ It just feels right.”

Fromageau is still in contact with former M83 band-mate Anthony Gonzalez, and Team Ghost remixed his single Midnight City back in 2011. “I saw him live maybe one month ago, and I loved it,” he says without a trace of bitterness. If their split was at all acrimonious, that is behind them

now. “I like the album,” says Fromageau, but he speculates that the likelihood of M83 remixing Team Ghost is small. “He’s much more busy now, so he won’t be able to do any remixes for us.”

Now that the band are past the five year mark, and with that difficult second album in the bag, do they feel like they are on solid ground? “It will end in two years!” jokes De Villeneuve, but he is very much kidding us on. The band are a close-knit unit, finishing each others’ sentences, laughing at each others’ jokes and enjoying the small rituals of friendship and collaboration. “We like to work together, we like to talk together,” says Fromageau.

“We’ll do it as long as we can.”

Rituals is released on 18 Feb via wSphere www.teamghostmusic.com

JACK DANIEL WAS A MAN OF COMMITMENT. AT LEAST WHEN IT CAME TO HIS WHISKEY. When it came to whiskey-making, no man was more dedicated than Jack Daniel. It’s the reason he’d wait patiently while his whiskey mellowed through 10 feet of packed sugar maple charcoal, and why he’d watch over every batch with a discriminating eye. Though he never married, Mr. Jack remained forever faithful to his one true love. Unfortunately for the ladies of Lynchburg, Tennessee, that happened to be his whiskey.

J A C K D A N I E L’ S

TENNESSEE WHISKEY

Sip lovingly. Drink responsibly. ©2013 Jack Daniel’s. All rights reserved. JACK DANIEL’S and OLD NO. 7 are registered trademarks.

F EA T URE S

Guest Selector: Golden Grrrls

music

Glasgow’s Golden Grrrls make no secret of their penchant for the often overlooked Kiwi music scene. Founder Ruari MacLean presents ‘5 Cool Things to Check Out If You Like New Zealand Pop Music, 1978-the Present Day’

1. Heavenly Pop Hits: The Flying Nun Story A great TV documentary about Flying Nun records who, along with the more experimental Xpressway records, have defined the sound of New Zealand music over the last 30 or so years. Highlights include Doug Hood’s recollections of the early Flying Nun recording process, the 3Ds being rewarded for attempting to steal booze from U2 and Chris Knox being Chris Knox.

Watch it online: tinyurl.com/PopHits 2. Christchurch City Libraries Poster Archive: 80s Rock Music Provides a fascinating visual aspect to the music of the bands that were, accurately or not, termed ‘the Dunedin Sound.’ It’s startling how many of these posters seem to directly mirror the music many of these bands were making; simple, immediate and timeless.

See the full poster collection: tinyurl.com/80sDunedin 3. David Kilgour – Here Come the Cars If you’ve got a passing knowledge of New Zealand music your probably aware of The Clean, they’re my favourite band of all time. Formed in 1978 by brothers Hamish and David Kilgour and informed by British Invasion, ‘60s psych and first wave NZ punk they expanded the parameters of DIY recording, crashed the New Zealand Top 10 and looked totally cool throughout. During one of their many hiatuses David Kilgour recorded this solo record which is now available on vinyl for the first time courtesy of a reissue on De Stijl records. It was a really big influence when we were writing songs for our record.

Order the LP: destijlrecs.com/121.html

“Many

of these posters directly mirror the music many of these bands were making; simple, immediate and timeless” 4. Stephen Malkmus Covers The Verlaines I guess everyone used to say Pavement ripped off The Fall but I’ve read things where Stephen Malkmus said that they were really trying to capture the Dunedin Sound, this cover was part of a Flying Nun tribute. I’m not sure if it’s really great or rubbish but I think its pretty cool.

Watch the video: tinyurl.com/Malkmus 5. The Story of The Bats’ First UK Tour As well as playing bass in The Clean, Robert Scott plays guitar and sings in The Bats. This blog entry recounts their first trip to the UK and, despite being written 25 years down the line, retains the wide-eyed enthusiasm of a band who are just really excited to be hanging out playing music for people who they don’t know in a place they’ve never been to before. Also includes the pretty bizarre fact that they played two shows in the Hebrides, on Harris and Lewis (nobody seems to know exactly why), and another Scotland-related piece of info, that they recorded half of their first album while on this tour in someone’s flat in Glasgow.

The Bats online: www.thebats.co.nz Golden Grrrls release their self-titled debut album via Night School records on 25 Feb Playing Stereo, Glasgow on 22 Feb

22 THE SKINNY

February 2013

Golden Grrrls: All about the Kiwi pop culture

HAFEZ TOMB CEILING

Art Beyond Borders

The third Edinburgh Iranian Festival promises a re-examination of the culture, history and art of a much-misunderstood country Interview: Bram E. Gieben From 1 to 16 February, the third Edinburgh Iranian Festival comes to the capital to celebrate the history, culture, language and art of Iran. Often, the portrayal of Iran in the media focuses on the negative – policies on censorship and its political situation are the subjects most often addressed, but the country’s rich cultural heritage, not to mention its thriving contemporary cultural life – both in Iran itself, and in the expatriate community – are often passed over.

The Edinburgh Iranian Festival seeks to redress this balance, and to expose the expat Iranian community in Scotland, and Scottish audiences, to a wide array of the nation’s culture, history and art.

Sara Kheradmand set up the first festival in 2008, after founding the Edinburgh University Persian Society, and the first season ran in 2009. “Doing something like this – which is about culture, about giving something back to both the Scottish and the Iranian community – is something we are all passionate about,” she says.

This year’s festival is dedicated to the Persian poet Ferdowsi, who wrote Iran’s ‘national epic,’ The Shahnameh. It celebrated its 1000th anniversary in 2010. “There is a long-standing tradition of people – usually men – acting out the stories from The Shahnameh. People will gather around to listen,” says Kheradmand. Xanthe Gresham will be performing an English-language version of some tales from the epic: “We’ve never seen anyone doing this before,” says Kheradmand. “She has taken the translations and applied her own twists.”

There is also a lecture from Professor Ali Ansari about the relationship between The Shahnameh and modern Iran.

While talking about life and culture in modern Iran, both Kheradmand and her colleagues are keen to dispel some myths. Haleh Jamali, the curator of the festival’s visual arts strand and a featured artist, says: “You rarely see programmes on Iran’s culture or history, so we would like to focus on that.” The film strand engages directly with life in present-day Iran, and the hardships that are entailed: “Modest Reception touches upon life in villages; Orange Suits is about street-sweepers,” says Kheradmand. The films are intimate: “You get to know their lives.” The lecture programme explores contemporary life in Iran from different perspectives: “We have a lecture about tribal life in

Iran with Professor Borbor – a completely different lifestyle than you would encounter in Tehran,” she says. “The photographer James McGachie’s lecture is about his travels in Iran – he presents an outsider’s perspective.”

The art exhibition is based around the theme of ‘borders,’ and presents work from international artists alongside contemporary work from Iran, and Iranian expats. “We were interested to see how people across cultures and nations would respond to the theme,” says Jamali. “Some are about geographical borders, some are about more abstract things – the borders between the real and unreal.” Given that the rest of the programme has a strong focus on Iranian history and culture, why does the Borders event not focus exclusively on contemporary Iranian art? “In the final selection, we have some Iranian artists, but the majority are not Iranian,” says Jamali. “Sending art from Iran can be quite difficult and expensive, so that was a factor. There are some traces in the Iranian pieces, some references to their cultural identity. But there aren’t specific references to Iran. [Their work] can be seen as part of a Middle Eastern art tradition, rather than a specifically Iranian one.”

According to Jamali, the Iranian contemporary art scene is alive and kicking: “In the past three years or so, performance and video art have become quite strong in Iran,” she says. She “can see lots of very high art coming from Iran in the future.” Perhaps at future festivals, more of this work can be exhibited. Nonetheless, this year’s show still has some fantastic Iranian art on display: “There are Iranian artists living in Iran and expatriate artists in the exhibition, so it is a chance to compare their work,” Jamali says.

The festival’s music strand sees five performances from contemporary Iranian bands. “In the Iranian population right now, there are a significant number of people who are under 30. These youngsters, through today’s media and technology, are very much exposed to Western music, and this has an effect,” says Kheradmand. “You get fusions of jazz, pop, hip-hop, lots of diverse musical styles.

Many of these bands use traditional instruments.”

Roxana Vilk, whose band GOL are on this year’s bill, use the daf and santour, blending them with jazz and electronica. “The group Baran have mixed it in another way – they have Indian and Spanish

influences, as well as Iranian and Kurdish,” says Kheradmand. “Radio Tehran are simply a rock band who happen to sing in Farsi. The more traditional bands, you might hear on Iranian radio channels...”

“But who listens to those radio stations? That’s the interesting question,” says Vilk, who is also working on a contemporary dance and video art piece inspired by traditional Iranian tile and metalwork. For Vilk, the internet has changed everything – when GOL were featured on BBC Persia, they had a flood of requests from Iranian fans asking for more of their music, which has never been commercially released in Iran, but thrives illicitly in the backstreet music shops and underground recording studios which service the young music fans of the country.

“Art

and culture always carries on. It finds a way” Sara Kheradmand, EIF curator There is “virtually no copyright in Iran,” according to Vilk. “I’ve recorded in Tehran, and the musicians there will have a better understanding of Western music, and Eastern music, than we do here. They are so culturally and musically literate.”

Much of the music made and enjoyed in Iran has to be discovered via unofficial channels, like internet radio. “Women singing is still forbidden – you can sing as a chorus, but not solo,” says Vilk.

“If you have a record with a lead singer who is female, that will be released underground.”

Another important event in the festival calendar is an exhibition at the National Museum of Scotland, curated by Friederike Voigt, the Museum’s Senior Curator of the Middle East and South Asia collections. It includes metal works and ceramics, and will show “contemporary art in the context of historical pieces.” Voigt says: “We want to show some of the principles applied in the decorative systems; their inner nature, which still inform today.

Pieces by renowned artists such as Parviz Tanavoli or Khosrow Hassanzadeh were acquired and are now on permanent display.” For Voigt, the exhibition is an opportunity to “explore how artists draw

on their own heritage.”

One such exploration is Roxana Vilk’s dance piece, which uses the patterns of Iranian metalwork and ceramic tiles as “a sonic and choreographic score.” Vilk explains: “Showing figurative human forms is a complex issue in Islamic culture.

But the patterns in the tiles and metalwork are about movement and repetition. I wanted to ask how this could be used by bodies, without coming out of the territory of traditional Iranian art and values.” This kind of cultural dialogue between the past and the present, the historical and the contemporary, is what the festival is all about.

Speaking frankly about censorship in Iran, the festival’s curators are loath to categorise the effects of Iran’s attitudes towards, and laws about art as entirely negative. “In certain ways, censorship creates creativity,” says Kheradmand. “Art and culture always carries on. It finds a way, within the limits.” For Jamali, “it depends on the artist.”

She says that living and working in Iran “helped quite a lot,” because she “managed to concentrate on something which [she] could present.”

Vilk meanwhile is wary of romanticising art produced under censorious regimes: “Take Václav Havel or Milan Kundera – undeniably, their lives were made more difficult by censorship. I think that outside Iran, there is a market for art, music and films which idealise that censorship, and the artists’ work produced in reaction to it.”

With workshops on calligraphy, Farsi, Iranian cooking and a whole host of other events, and a gala performance from one of the festival’s long-term supporters, Irish-Iranian comedian Patrick Monahan, 2013’s Edinburgh Iranian Festival promises to educate, inform and entertain, all in the name of reaching a better understanding of the life and history of one of the most maligned and misrepresented cultures in the modern world.

“We have always used the festival as a platform to bring together artists, musicians, lecturers and other people together,” says Kheradmand. “Once you understand another culture, and it stops being alien to you, you’re not afraid of it. You see the people. You see the culture.”

The Edinburgh Iranian Festival runs from 1-16 Feb For times, prices and dates of events, check out the full programme at the festival’s website: www.ediranfest.co.uk

February 2013

THE SKINNY 23

PHOTO: DYNAMOSQUITO

F EA T URE S

F EATURE S

theatre

open season

The Tramway’s Tim Nunn introduces their spring theatrical programme and reveals why this venue is one of the most exciting in the UK. Note to Edinburgh: sometimes, the trams have a positive legacy interview: Gareth K Vile

For a venue with an international reputation – since staging Peter Brook’s Mahabharata in the late 1980s, it has become one of the rare British theatres that can house the large scale yet radical performances more commonly made in Europe – Tramway is often overlooked in Scotland. Its recent resurgence both in the number and success of events, from Michael Clark’s return through to Janis Kounellis’s site-responsive exhibition, marks a new dynamism within Tramway. A strong audience participation programme, which includes legendary youth company Junction 25, parkour sessions, regular family days, a young critics’ course and the bi-annual Fresh Faced festival for young people, supports the gallery and performance programmes: the recent announcement that the Turner Prize would be present at Tramway in 2015 merely acknowledges the importance of the gallery space to contemporary art: the many Turner nominees from Glasgow have nearly all exhibited here.

As part of Glasgow Life (the city council’s culture department), Tramway serves multiple demographics: the cafe is filled with yummy mummies – perhaps attracted by The Hidden Garden out the back – and their energetic children; the theatre, dominated by Brook’s grand red wall, attracts both experimental artists (English programmers Fuel held a mini-festival recently) and large scale, more populist companies (again, Michael Clark sold out quickly); the two gallery spaces rotate exhibitions from the best of contemporary visual artists; past shows have included Douglas Gordon, and the Glasgow International takes advantage of the space’s size every two years to offer a spectacle.

Tim Nunn, originally known as a co-founder of theatre company Reeling and Writhing, is now the Associate Producer at Tramway, responsible for the current programming of the theatre space. The new season, which began with a quintet for cello and four saws, has the title Rip It Up. A reference to the classic Orange Juice hit (‘I hope to God I’m not as numb as you make out...’), the programme’s mixture of familiar faces making new pieces, and emerging artists playing in the renowned venue, suggests that Tramway is indeed ready to rip it up and start again.

“Programming Tramway is an enormous pleasure,” says Nunn. “Most of my time is spent on programming Tramway 1, the main performance space, and I love wandering in there when it’s quiet: it is quite grand but it also has a vulnerability in the exposed bricks and knobbly ‘Peter Brook’

LU KEMP, EVERYDAY

“Programming

Tramway is an enormous pleasure” tim nunn wall at the back.” This love for the building – something felt by a generation of ‘Tramheads’ who have grown up with the venue’s programming – is reflected in Nunn’s programme, which reflects the past while looking towards a new era.

“Tramway has to move away from its history as much as it references it,” Nunn continues.

Recent events, such as the National Theatre’s Macbeth, were a reminder that it can house major, large scale events, “but it wasn’t long after that we had the solo performance by the Belgian choreographer/dancer Lisbeth Gruwez who dragged the walls in around her and took complete control with a performance area of just a few square metres,” notes Nunn. This flexibility is at the heart of Rip It Up. From familiar faces – Eilidh MacAskill of Fish and Game is bringing a show for younger viewers

HANNAH TULIKKI

24 THE SKINNY

February 2013

WALDEN, MAGNETIC NORTH

– to the sort of work that has not been seen for years in Tramway – Pulse is supporting the Red Ensemble, an electronic music group – Nunn has tried to demonstrate the potential of Tramway’s space and organisation. “We needed to find artists who could benefit from something we could provide. For many of them that was the chance to show work in Tramway 1 for the first time,” he says. “For others it was facilitating a collaboration.

It’s great to have a mix of art forms and a peppering of international collaboration but the main thing is that it is quality work with ‘something new.’”

There are also plenty of collaborations – visual artist Hanna Tuulikki is throwing down with improvisor and choreographer Rosalind Masson and film-maker Daniel Warren, Neil Haigh and Lu Kemp work with tap dancer Tunji Falana – and works in progress (including a Rough Mix from Magnetic North of Pass the Spoon fame). Apart from keeping the venue busy, Nunn is representing a diversity of style. “It might seem like a great diversity but there are very few ‘degrees of separation’ between most of the artists in the season,” he responds. “We’re supporting all the artists to see each other’s work and bringing them together

at the end with a series of debating feasts.” Part of Nunn’s innovative approach is to have included partnerships – Fuel return after their recent festival and the Collective Gallery from Edinburgh has joined the fun. In particular, they are hosting two of the three feasts – communal meals to celebrate the programme, open to artists and the public.

The challenge of Tramway has always been the integration of the various interest groups within the space: not being part of the West End community, it is in an area that is increasingly bohemian but is also home to a culturally diverse society. That Scottish Ballet chose to relocate here, and that DV8 left behind The Hidden Garden, shows that the space is on the rise (recently, a Sikh Gudwara has been built on neighbouring grounds and new flats, even allowing for the economic downturn, are springing up). Having been home to New Territories, the annual festival of alternative performance, for years, the spring programme was undermined in 2012 when it disappeared: but in 2013 it promises a new start for the venue often described as the jewel of the Southside.

For full listings go to www.tramway.org/Pages/home.aspx

FROM

DEATH DEATH

TO

AND

OTHER SMALL

TALES

MASTERPIECES FROM THE SCOTTISH NATIONAL GALLERY OF MODERN ART AND THE D.DASKALOPOULOS COLLECTION

15 DEC 2012 – 8 SEP 2013

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Modern One, Belford Road, Edinburgh

LONELY SHARK SEEKS FEISTY JET FOR DINNER, MUSIC AND A RUMBLE BERNSTEIN’S WEST SIDE STORY SYMPHONIC DANCES THURSDAY 14 FEB 2013 CITY HALLS, GLASGOW bbc.co.uk/bbcsso

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February 2013

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Photo: JF Minchin

music

F EATURE

True to Form

The Joy Formidable’s Ritzy Bryan on Wolf’s Law, Highland rescues, and why major label status hasn’t blinkered the Welsh trio Interview: Stu Lewis Formidable (en.) for•mi•da•ble. Adjective: Inspiring fear or respect through being impressively large, powerful, intense, or capable: “a formidable opponent.”

Formidable (fr.) form-i-da-ble. Adjective: Inspiring delight, pleasure or admiration; extremely good; marvellous.

This multilingual meaning of a single word, never mind its different pronunciations, has given many a DJ a headache when they’ve spotted the name ‘Joy Formidable’ on their playlist. Chances are, after a double take they’ve gone for the manly, crunchy English version rather than the stylish French application – unless they’re aligned with the other half of the Auld Alliance of course. But, seeing as either meaning could apply in this instance, it’s a forgivable crime for even the most skilled linguist. This Welsh band’s harmonious pop rock racket has reeled in all who have encountered it; for a three piece, these guys – singer/bassist Ritzy Bryan, guitarist Rhydian Dafydd and drummer Matt Thomas – make an intimidating amount of noise.

Handily lumped in with other shoegaze revivalists upon their 2007 arrival on the live circuit, by the time debut album proper The Big Roar finally appeared in 2010, it became quickly apparent that there was much more to The Joy Formidable than reverb and waves of distortion. Ritzy’s soothing vocals were constantly chased round the album by ferocious blasts of unrelenting noise. Huge, chugging guitar riffs and Matt’s drums – surely the sound of ten men rather than one – gave Whirring the biggest-sounding rock coda this side of a Black Sabbath wig-out. “That album definitely

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captured a time in our lives,” muses Ritzy from a taxi racing round New York. “It’s not like it was written a long time ago and we’ve been touring it up until very recently. It’s always going to evoke a lot of nostalgia for us, but we’re really excited for the new record and the new tour.”

And so to Wolf’s Law. Released in recent weeks to no little acclaim, and described in these very pages as ‘stuffed to the brim with scuzzy-pop excesses’ its paws take it along a similar path, greedily scavenging much more along the way. The record’s widescreen sonic ambition is so palpable you can almost touch it. Everything sounds like the band have had a massive power-up along the way; chests are swelled, heads are high and it feels as though the band know the tiny venues they played pre-Big Roar haven’t a hope in hell of holding them any longer. “The approach to the songwriting has maybe given it a different flavour,” admits Ritzy. “I think every song was conceived just with a voice and one accompaniment; that brings a lyrical boldness, and the production was as much a part of the process as an acoustic guitar or piano was on the first record. In terms of the intent or the ambition I don’t think that’s changed at all, maybe it’s just more obvious on this record.”

In fact, it sounds like it’s drifting close to another big rock three piece, formed in a rural area before an obsession with aliens, conspiracies and Hollywood hotties led to an increasingly distant relationship with what we earthlings know as ‘the plot.’ Yes, Teignmouth’s finest and former Joy Formidable touring buddies: Muse. It doesn’t sound as if Ritzy is terribly fussed about getting

her own giant UFO to step out of onto a stadium stage, and is quick to dismiss any talk of the band pushing towards enormo-shows of their own: “Success for us is not about playing in an arena or stadium,” she insists. “The biggest success is that you remain at the helm creatively and that you don’t lose sight of the band that you are, that you have no regrets and that you have a career that excites and inspires you. That’s what success is to us.”

“Success

for us is not about playing stadiums” ritzy bryan And Maw Maw Song – already a standout from a read of an otherwise sensible-looking tracklisting – could be an early bonkers moment, with the band singing the ‘Maw-maw. Maw-maw-mawmaw-maw’ riff as hell is unleashed around them.

Far simpler are lead-off single Cholla and the likes of The Hurdle, which not only offer restraint, but also the knack for a hummable hook that’s helped them carve a niche as Britain’s loudest pop band.

One certainly hopes there are seismologists on standby on the Great Western Road on 26 February when the band make a welcome return to Glasgow. Òran Mór – better known as an arty host to more sedate evenings – had better get its

foundations checked before these guys rock up for their soundcheck. So how has our fair – and faintly chilly – country treated Ritzy’s band to date?

“Well I don’t think we’ve ever had anything thrown at us,” she laughs. “We played Òran Mór when touring that last album and have great memories of the night and the Glasgow audience. It’s a shame that we’re not doing more Scottish dates on this round.”

More shows are promised, but if The Joy Formidable opt to play further north, there’s a cautionary tale to tell. “One of the first tours that we did, driving ourselves, we got really fucking lost! We thought we’d take a detour to Loch Ness, revolting tourists that we are, but we were so lost that a school bus driver who had dropped off his children for the night took pity on us and drove us back to the motorway!”

Getting lost around Glasgow is unlikely to elicit the same response from the city’s finest passenger carriers, but the backing of Atlantic Records probably at least means they’ve got someone to get lost on their behalf.

And the name? Well we’re assured that it’s the English pronunciation and therefore meaning. But you’re right whichever way you say it. With touring, festivals (“we can’t announce anything yet!”), a Welsh language EP, more touring and some dancefloor-oriented collaborations (“we can’t announce anything yet!”) all coming up, only a fool would stand in their way.

Playing Òran Mór, Glasgow on 26 Feb Wolf’s Law is out now on Atlantic www.thejoyformidable.com

WELCOME STARBUCKS! It’s official, Princes Mall has welcomed Starbucks to it’s already fantastic line-up of coffee vendors!

The new Starbucks store is situated on the upper level of Waverley Steps. Come along and check it out.

ANIME REPUBLIC The biggest anime & manga store in Scotland is now open in Princes Mall!

Plush toys, figures, books, comics, posters, accessories, clothes…even a DIY area and a cosplay zone! Tell your friends about Anime Republic.

we our friends

To show our love this Valentines, in Feb we’re giving exclusive deals to our friends!

Like /ShopPrincesMall on Facebook so you don’t miss out.

www.shopprincesmall.com February 2013

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THE CINESKINNY: BACK WITH A VENGEANCE EVERYONE'S FAVOURITE DAILY GUIDE TO THE GLASGOW FILM FESTIVAL, THE CINESKINNY RETURNS IN FEBRUARY

JOIN US We're looking for a new Books editor for our Scottish edition. Like reading? Got some opinions on our nation's literary scene? Want to put your stamp on the books-related coverage of a soon-to-be-national magazine? Can you write?

KEEP AN EYE OUT IN VENUES AROUND GLASGOW FOR YOUR COPY

ILLUSTRATION: EDWARD MCGOWAN

If so we want to hear from you.

You can find full details of the job at www.theskinny.co.uk/about/get_involved

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ILLUSTRATION: DAVID LEMM

Looking for an inspiring, creative and memorable night out? Then look no further than the Science Festival in 2013. We’re celebrating our 25th birthday with a special future-themed programme for the sociable and sci-curious.

Get a group of friends together, grab a drink and put on your dancing shoes – with music, comedy and art, this is science as you’ve never seen it before.

SCIENCE FESTIVAL LATES: OPENING PARTY Thursday 21 March, 8pm

THE FAME ALGORITHM WITH SIMON PAMPENA Thursday 4 April, 9pm

LATELAB Programme runs 23–24, 27–31 March and 3–7 April, 7.30pm

ROCKET LOLLY Saturday 6 April, 9pm

UGLY ANIMAL PRESERVATION SOCIETY Wednesday 3 April, 9pm

FOR THE FULL PROGRAMME AND ONLINE BOOKING VISIT

SCIENCEFESTIVAL.CO.UK

#EdSciFest

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EDINBURGH MINI MAKER FAIRE AND AFTERPARTY Sunday 7 April, 10am–5pm and 8pm

travel

Lifestyle

Things to See Before You Die: Cemeteries!

We may not have the same preoccupation with death as our ancestors, but there are still plenty of must-see places of final rest words: Kennedy Wilson

Twenty years ago the Victoria and Albert Museum’s scholarly exhibition The Art of Death included Cromwell’s death mask, mourning jewellery, parish coffins, and objects which showed how death was once an important aspect of daily life.

Back then the exhibition caused such a stink it was postponed amid much criticism: the subject was said to be bizarre and unhealthy. It was also thought that it was unsuitable to display during the Gulf War. No such criticism attended the Wellcome Trust’s exhibition Death: A Self Portrait (it runs until 24 February). The world has obviously moved on.

For all modern society’s touchiness about, and denial of death, some of the world’s most famous tourist attractions are deathly – from Poets’ Corner in London’s Westminster Abbey to the pyramids of Egypt; from Lenin’s tomb in Moscow to the Taj Mahal.

There is something thrilling, even transgressive, about such closeness to death and that’s something you don’t have to be a card-carrying Goth to appreciate. Cemeteries can be oddly relaxing, tranquil spots away from the urban clamour.

Virtually every major city has a boneyard worth bagging. Visitors to Madrid make for El Escorial where the Spanish kings were buried just as fans of another King tour Graceland. So, what are the top ten cemeteries to see before you, er, die?

Highgate, London See the graves of Christina Rossetti, John Galsworthy and Sir Ralph Richardson, as well as Karl Marx. The place has a powerful and eerie gothic atmosphere. According to one guide book: ‘The gates are closed well before nightfall and a good job too!’

Greyfriar’s, Edinburgh Greyfriar’s Kirkyard attracts droves of sentimental Americans enthralled by the story of wee Bobby, made famous in books, adjacent statuary and Disney. The little terrier displayed a fine example of canine loyalty by keeping vigil by his master’s grave, where they now lie together. The pup’s grave is marked by a stone erected by ‘American friends of Bobby.’ The graveyard also has associations with Bloody Mackenzie (the great Covenanter chaser) and there is a series of ‘welldocumented’ ghostly goings-on.

Haworth, Yorkshire Coachloads of day-trippers regularly make the pilgrimage to a quaint old churchyard near Bradford. An unmistakable sense of the tragic Brontë family pervades the little cemetery and parsonage at Haworth (none of the famous literary daughters lived beyond 40). The surrounding countryside greatly influenced both Jane Eyre and Wuthering Heights.

San Michele, Venice There’s nothing quite like death in Venice – the church bells, the fog. Reached by boat, San Michele is known as the Isle of the Dead in whose evocative Russian section Stravinsky and Diaghilev sleep near the fishes.

The Old Jewish Cemetery, Prague This is one of the few cemeteries you have to pay to see. It looks as if it was designed for a Hollywood horror flick: tumbledown, darksome and described by author John Banville as “one of the saddest, eeriest urban sites I know.”

illustration: daniel seex

Pere Lachaise, Paris The fourth major tourist attraction in Paris opened in 1804. It was the first landscaped cemetery in modern Europe. It is like heaven’s Green Room.

Pay your respects to Oscar Wilde, Proust, Balzac, Edith Piaf, Molière and Sarah Bernhardt, and leave a lipstick kiss on their last resting place. For years the headliner was rock star Jim Morrison’s graffiti’d grave which has drawn generations of fans brandishing their fibre-tips. A bronze bust of Morrison was stolen long ago. A similar fate befell a bust of James Dean at the entrance to Park Cemetery, Fairmont, Indiana. Dean’s body was brought back to his native soil where chisel-brandishing fans soon began chipping away at the famous rebel’s small granite tombstone, leaving it scarred beyond belief. Tough evergreens flanking the grave were planted so that their roots would prevent the body being exhumed by crazy devotees.

“There

is something thrilling, even transgressive, about such closeness to death” Forest Lawn, LA American attitudes to death are well known thanks to books like Jessica Mitford’s The American Way of Death and Evelyn Waugh’s novel The Loved One. Waugh used Hollywood’s Forest Lawn as a model for his fictional cemetery although he retained a reference to the original’s egregious Wee Kirk o’ the Heather, unable to think up

anything schmaltzier. Forest Lawn is a green, enchanting park – what Eden would have looked like if God had had the money. In this theme park of eternal rest you’ll find old pals Michael Jackson and Elizabeth Taylor. Other stars (including Marilyn Monroe) lie across town at Westwood Memorial.

Graceland, Tennessee Nothing quite compares to the carnival atmosphere of this shrine on Elvis Presley Boulevard. The King’s legendary bolthole is now his mausoleum.

After touring the house, whose decor has been described as ‘Louis XIV crossed with a mobile home,’ you can see the grave where Elvis is interred with his Mom. Strawberry Fields, New York Fortunately, the memorial to that other rock martyr, John Lennon, is more tasteful. To prevent ghoulish fans making a nuisance of themselves at the door of her apartment building Yoko Ono paid for Strawberry Fields, a landscaped acre of Central Park opposite the site where Lennon was shot (no, he’s not buried there). A simple black and white mosaic bears the inscription: ‘IMAGINE.’ The place is very poignant.

Arlington, Washington DC Little electric buses deliver you to the memorial to the Unknown Soldier and JFK’s grave (he was buried with his premature son and stillborn daughter) with its eternal flame. In nearby Baltimore’s Prospect Hill there is a stone marked ‘Harris Glenn Milstead – Divine.’ The oversized schlock film star finally came to rest in the same place where, as a tubby teenager, he picked flowers for flamboyant dinner parties. This might be seen as taking the idea of going back to your roots a little too far. www.wellcome.ac.uk

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LIFESTYLE

fashion

London Collections: Men AW13 Trend Report

alexander mcqueen

Last week, the boys had their turn in the spotlight with the second London Collections: Men, presenting Autumn/Winter 2013 goodies.

Style is at the forefront for all discerning gentlemen these days – it is no longer the era when any attempt to care about what you wear is labelled ‘metro sexual.’ Instead, boy band stars, actors and Davids from Gandy to Cameron sat front row, held parties or attended them, and generally celebrated London as a serious place for fashion, and for serious fashion at that.

On the catwalk there were plenty of purely ‘fashion’ moments of clear eccentricity, such as face masks at Craig Green, but so too was there food for thought for the man on the street. Topshop Design reinvented the humble parka and turned it into the start of an Arctic adventure tale, while Hackett showed pinstripe classic banker looks complete with bowler hats. Here is our round-up of the standout shows during the London Collections: Men...

Richard Nicoll: The Purist Cool kid Richard Nicoll is known for his stripped back aesthetic, and this season saw an even leaner, meaner version. Skinhead-like, angular faced models showed a minimal, utilitarian-feeling collection. They wore East End skull-beanies with all their thuggishcome-hipster connotations. Inspired by ‘reduction,’ clean lines in block colours of blues and greys. The two-tone pea coats were clean yet luxurious, while double leather made the concept of double denim look like a walk in the park. The introduction of icy silver kept things razor sharp, while the paint-fleck print lent an urban edge.

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richard nicoll

Sibling: The Rebels Delivered with all the aggressive speed and hard stares of a punk record, Sibling’s show was a veritable riot in knitwear. Inspired by punk transsexual Jayne County, who was naturally the weapon of choice on the soundtrack, the collection featured her trademark knit that was oversized to almost offensive proportions. Gender was an obvious theme, and Sibling’s tongue-in-cheek attitude brought swagger to baby pink sweaters and leopard-print, made manly by the sauntering youth beneath. Best of gender-bending all, the sweater bearing the floral motto ‘Please Kill Me,’ used notably by punk innovator Richard Hell back in the 1970s. Transplanted onto a comfy winter pullover, it will become the headline success for next Christmas’s anti-Christmas jumper; a Rage Against The Machine vs. the X-Factor fashion moment.

James Long: New Name The muddy palette of dark greens and browns belied sparkling roots in the James Long collection. Jazzy knits featuring a fully made-up portrait gave away the inspiration; the films of John Waters and his muse, drag artist Divine. This was a man who was not all he seems; the Far East-inspired embroidery and quilted, padded jackets textures in 70s chocolate box shades seemed to come straight from a gentleman’s boudoir, though silhouettes were made more modern with elasticated trouser hems on the wide pants, worn with bombers and jumpers. The designer used texture rather than colour to achieve his vision. Rubberised trenchcoats were at once curiously camp and

james long

archly brilliant. Pink flamingos starred in bead work on sweaters and in the print of tropical Hawaiian shirts, something one guest described as “Brilliant, and I don’t even like flamingos.”

Alexander McQueen: The Big Name Comes Home True to her talents, Sarah Burton not only brought back to London today’s international superbrand but even re-styled its very DNA, while staying as true to its heritage as ever. London is the true inheritor of menswear; Savile Row originated professional dress codes, and it was at a tailor’s workshop that Alexander ‘Lee’ McQueen cut his teeth. Against this backdrop, Burton presented a Victorian gothic nightmare tale of plastic-masked Frankenstein’s monsters in grey gangster suits and aristocratic vampires in velvet smoking jackets and dressing gowns. Theatricality was at the centre of McQueen’s vision, and Burton executed on-point.

The Ones To Watch...

At the new design initiative MAN, these names stood out as the hottest tickets for coming seasons.

MAN: Astrid Andersen Riffing on sportswear, Astrid Andersen presented American football jerseys and track pants reimagined in Japanese cotton, silk jersey, and Danish mink. Taking cues from Danish body-builders, the palette was masculine in a clean, androgynous Scandiwegian sort of way: black, gold, lilac and turquoise. Jewels, lilac flowers and sporty

sibling

numerals featured in mash-up prints on sweaters, coats and tracksuits; these and the bomber jacket with faux fur sleeves made for a street wear style that gives a cheeky wink to the material aspirations and hyper-masculinity of a generic hip-hop culture.

Shearling lined denim jackets looked cosy and cool; expect to see appearances on a street style blog near you.

MAN: Agi & Sam Loud, proud and deliciously eccentric, Agape Mdumulla and Sam Cotton AKA Agi & Sam modelled their collection on the English eccentric extraordinaire of our day, the Marquess of Bath. A walk in the country like you’ve never seen before, brilliantly tailored jackets and coats were reworked in bold cobalt blues, meaty tartans and layered with padded gilets with the flair of a man more than secure in his sexuality. There were bright pops of colour in orange gloves and on shoes, that almost looked like the mud from a more psychedelic, surreal version of our own English countryside.

Against the darker tweeds and suiting, these made for a grinning twist on the heritage trend. The only thing missing was the shotgun slung over an arm, though the bloodhound made an appearance; closer inspection of the Paisley print reveals pheasants to be lurking among the foiliage.

The only question is boys especially when it’s still so cold outside, can you wait until next Autumn/ Winter? www.londoncollections.co.uk/men

photo: christopher dadey

words: Rena Niamh Smith

LIFESTYLE

Fashion at the Glasgow Film Festival Words: Nadine Walker & Alexandra Fiddes

Glasgow Film Festival, the fatest-growing and third-biggest film event in the country, is back for its ninth year with a programme of screenings and events that is bursting at the seams. We cast our eye over the fashion strand of GFF and investigate its celebration of countercultures, style icons and trendsetters, as well as looking at the live-events that showcase emerging talent.

When it comes to fashion, sewing machines, mood boards and maximum-security prisons, wardens and gangs don’t ordinarily go hand-in-hand... but in the largest jail of its kind in the Philippines (new Bilibid in Muntinlupa City), fashion designer Puey Quinones is promoting creativity and a love of design. As part of the GFF, Glasgow’s CCA will show The World’s Most Fashionable Prison (16 Feb) which takes a unique look at fashion design in one of the most obscure places.

The renowned Filipino fashion designer (and son of a retired policeman), Quinones holds weekly workshops for around 30 inmates, teaching participants to sew, work with fabrics and turn their concept into a finished product. The ultimate aim is to stage a fashion show from start to finish which will be judged by professionals of the Philippine fashion industry. The film, directed by CK Mak, portrays the trials and tribulations of living in a grim and depressing setting, where fashion provides a touching juxtaposition to such a harsh reality, and is sure to be a great addition to the Fashion in Film strand of the festival.

Additionally, as part of The World’s Most Fashionable Prison event, Eco Chic, an Impact Arts employability initiative, will set up a Pop-Up Shop following the film screening and will also showcase a range of up-cycling workshops. The shop, based in Glasgow’s Merchant City area, helps provide exciting ways to produce and re-create fashion.

About Face: Supermodels Then and Now (18 Feb) examines the lives of some of the fashion world’s most famous models, highlighting the complicated relationship between appearance and the beauty industry. During the film, when asked if she has had plastic surgery, 81-year-old supermodel Carmen Dell’Orefice, who is still working in the business 65 years after the first camera flash captured her beautiful face, replies, “If you had the ceiling falling down in your living room, would you not go and have a repair?” And when a beautiful face is your living, is it imperative to have plastic surgery to maintain that?

By talking with the original supermodels including Carmen Dell’Orefice, Paulina Porizkova, Isabella Rossellini, Bethann Hardison and Jerry Hall, this honest HBO documentary explores the roles they played in “defining and redefining beauty.” Whilst

also recalling the sometimes harrowing truth of the industry and of their supermodel stardom – the racism, the drugs, the misogyny. As well as the role they play in the industry now, while supposedly being ‘past their prime.’

In short, the documentary offers a great opportunity to get an insight into the minds and feelings of some of the most influential players within the fashion industry. It’s certainly sure to be interestingly dark and fabulously colourful!

Another Skinny Fashion section festival highlight is sure to be SHOWStudio: Fashion In The Digital Age (22 Feb), where the head of Fashion Film at SHOWStudio, Marie Schuller joins GFF to talk about the changing face of fashion and its continuing relationship with film in this digital age.

Established in November of 2000 by photographer Nick Knight, the SHOWStudio website has consistently pushed the boundaries of online fashion communication. Working in conjunction with the latest technology, SHOWStudio broadcasts live catwalk shows and fashion shoots, giving never before seen access to the exclusive world of high fashion as it happens, allowing the public to not only see the creative process, but to “respond and contribute creatively, communicating and evaluating the results.” SHOWStudio has worked with some of the most acclaimed names of contemporary fashion, such as Kate Moss, Rick Owens, Alexander McQueen and Comme des Garçons, as well as supporting new design talent such as Gareth Pugh, Giles Deacon and Mary Katrantzou.

Since its beginning, SHOWstudio has worked with the world’s most in-demand writers and filmakers to create exceptional online content, exploring every aspect of fashion through moving image, illustration and photography and is now recognised as the foremost authority in the medium of fashion film. Using archive films from the SHOWStudio back catalogue, Marie Schuller’s presentation will explore how film and ever-improving and changing technology is reshaping the fashion industry and the way we look at it.

Another one of the more interactive offerings from GFF this time is a Red Bull Catwalk Studio event. Red Bull Catwalk Studio is a unique project and launch pad where up-and-coming designers are partnered with ‘soon to be musical sensations,’ so both can push the boundaries of their creativity by producing a new soundtrack and film. On 23 Feb, Red Bull Catwalk Studio presents designer Alex Mattsson on the back of his recent sucess at the London Collections: Men AW13 in January.

Mattsson, the Swedish-Colombian menswear designer who is now based in the UK capital, will make the journey up-north to Glasgow’s Glue

about face: supermodels then and now isabella rosellini

about face: supermodels then and now Carmen dell’orefice

Factory to showcase his AW13 work alongside the film documenting his recent collaboration with New York rapper Zebra Katz. Expect to see garments with futuristic inspirations, oversized silhouettes, multi-layered looks and eye-popping digital prints.

After the collection has been shown, Mattsson will

take part in a Q&A session with the audience.

Thank you Glasgow Film Festival for a very promising (and fashion packed) programme indeed!

To buy tickets and for more information about screenings and events please visit - www.glasgowfilm.org www.glasgowfilm.org

showstudio: fashion in the digital age

February 2013

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Showcase

J o n at h a n O w e n These drawings are made by erasing the ink from printed book pages. No medium is applied to the surface of the page, only removed. From each image, Hollywood actors have been rubbed out, or ‘carved’ to form background details of the scene they inhabited. www.inglebygallery.com/artists/jonathan-owen

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SHOWCASE

February 2013

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76x126 Skinny ATIC_Layout 1 28/11/2012 12:24 Page 1

the art of coffee in the heart of glasgow

60 osborne street, glasgow g1 5qh

www.allthatissolid.co.uk

A real taste of Scotland in the heart of Edinburgh Receive 15% off your total bill.

Just quote Skinny when booking your table to receive 15% off your total bill when ordering off the a la carte menu.

Turquoise Thistle Restaurant @ Hotel Indigo Edinburgh 51-59 York Place Edinburgh, EH1 3JD Tel: 0131 556 5577 Follow the story... facebook.com/hotelindigoeurope

kilderkin

Home of Edinburgh Rum Club Monday

£1 pizzas Tuesday

Pub Quiz Wednesday

Dominoes & Daiquiris Thursday

Booze School Friday

Cocktail Night Saturday

Out of the Bedroom Open mic’ Sunday

Movies on the Mile Check our facebook page for timings and other info Ask us to play “anything by Captain Beefheart” for access to the Secret Menu with discounts on food, cocktails and premium spirits with mixer

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FEBRUARY 2013

food & drink

LIFESTYLE

Flick ‘n’ Mix

To celebrate the Glasgow Film Festival, we’ve paired some of its best bits with foodie films from the past. There Will Be Drinking! words: Peter Simpson

illustration: Nick cocozza

Freaky Aphrodisiacs It’s Valentine’s Day! Phagomania examines the most disgusting and stomachchurning aphrodisiacs from around the world. words: Lewis MacDonald

Food and film go well together, as the plastic cheese industry will tell you. From the industrial bucket of popcorn which leaves viewers of Hollywood blockbusters feeling like the feral beasts they are, to the black coffee injected directly into the eyeballs which helps you power through an all-night Japanese horror marathon, food and film work best when they’re carefully matched and cleverly paired up. So for this month’s Glasgow Film Festival, we’ve taken a peek at the programme and matched some of the choice cuts with a range of food-based films past and present.

Choice cuts, anyone? Anyone? Fine, let’s just get on with it...

THE BURNT-BLACK COMEDY Richard Linklater’s new movie Bernie reads like the definition of a black comedy. Jack Black is a friendly but fey and slightly-downtrodden funeral director who makes friends with Shirley MacLaine from Downton Abbey. The duo do everything together: holidays, spa days, the whole lot, until one day Shirley pegs it. Who killed her? There are plenty of people in town with their own theories, including Matthew McConaughey in his latest attempt to make us all forget about Sahara.

The ideal foodie accompaniment to Bernie is Jean-Pierre Jeunet’s Delicatessen. It matches Bernie in the black comic stakes, as the inhabitants of a French apartment block find themselves in the midst of a mysterious killer whom they overcome in a variety of hilarious circumstances. The food element – well, the killer is a butcher, and the victims are dinner. Presumably a very tasty slowcooked dinner, given the Frenchness of the whole endeavour.

THE LATIN AMERICAN OPTION GFF has certainly grown in the past few years, and now it even has its own carnival. No jokes, you’ll hop on a bus on your way to an actual Brazilianstyle carnival. The film hook to get everyone on board before the dancing starts is Black Orpheus, the late-50s classic starring Pelé’s old teammate Breno Mello. A retelling of Greek mythology, set within the explosion of colour, dance and flamboyant outfits that is the Rio carnival. Lovely stuff.

For a culinary alternative, try out Woman on

Top, starring Penelope Cruz as a celebrity chef.

No, stop, don’t leave just yet. You see, Penelope Cruz is a chef who suffers from motion sickness, leaves her husband, moves to America, and gets her own cookery show on TV almost immediately because she’s Penelope Cruz so of course she does.

OK, now you can go and buy your carnival tickets.

THE DOCUMENTARY How to Make Money Selling Drugs might sound like the kind of sentence you’d find on a Gorbals toilet wall, but it’s also the name of the new documentary from director Matthew Cooke. Cooke has hit on a great new way to illuminate the debate on the ‘war on drugs’ – loads of celebrities. Gasp as 50 Cent talks about dealing cocaine and getting shot a lot! Applaud as Eminem tells us that he’s a grown man and, quote, “ain’t no m*********er tellin’ him what to do!” Wonder whether an ironic knowing take is really the best way to deal with a quite serious subject!

Besides, the de facto king of the food documentaries, Super Size Me, has slightly undermined the ‘people don’t need to be saved from themselves’ argument. Morgan Spurlock’s journey into transfatinduced depression and mild chubbiness shows the danger in letting people have whatever they want, be it hammocks full of chips or daft facial hair. Morgan clearly never got over his Big Mac binge, as he never did get round to shaving that bad boy down. Truly, a cautionary tale.

THE JAPANESE OPTION Helter Skelter centres on a model whose beauty may not be all that it seems. In order to keep things ticking over she resorts to pretty extreme measures. If that sounds predictable then wait until you actually get a look at it; from the trailer it would seem you’re in for butterfly attacks, mental breakdowns, lots and lots of neon colouring, and models going after each other with box-cutters.

And if that sounds like your thing, then pair it up with Tampopo. Tampopo is a ‘ramen western’ – a comedy about a pair of bar-room brawlers who take over a decrepit roadside cafe and turn it into the best noodle bar in Japan. There are punch-ups.

There is food-based eroticism. There is a digression on noodle etiquette involving an old man

in a kimono and Ken Watanabe from Inception.

Apparently you’re supposed to “apologise to the pork” by dipping it in the broth. Who knew?

THE ANIMATION GFF has a bit of a scoop on its hands, with a preview of the new Disney animation Wreck-It Ralph.

Ralph smashes things up in his video game world, until one day he decides he don’t wanna smash things up no more. Instead, he goes on a journey around various other video games to play the hero, bumps into Zangief from Street Fighter, and makes friendships that will last a lifetime. We assume.

Swap food for video games, and you’ve got Ratatouille. The Pixar classic features Remy, a rat who lives it up in his rat world, until one day he decides to become a chef. He goes on a journey with a scrawny ginger idiot with a confusingly-placed American accent given that we’re supposed to be in Paris, he makes lots of delicious food in increasingly bizarre circumstances, and makes friendships that last a lifetime. Oh, and he starts a bistro for rodents. Ratatouille and Wreck-It Ralph, less chalk and cheese, more cheese and a slightly different cheese.

DRINKING! What discussion of films in this Food section would be complete without the demon hooch getting involved? Few films do boozing better than Whisky Galore! For starters, there’s an exclamation mark in the title. Then there’s the plot – a bunch of geriatric Hebridean islanders steal thousands of bottles of whisky from a shipwrecked boat in the middle of WWII, and they’re the heroes we’re all rooting for. Go old people!

Undermine the war effort!

If you like the sound of rugged anti-heroes drinking lots and causing a nuisance, then the ideal film to match up with Galore! is Sideways. Paul Giamatti is a depressed, failed author helping his friend to get drunk and forget about his responsibilities to his fiancee, who he’s supposed to be marrying at the end of the week. Someone gets attacked with a motorbike helmet! Paul Giamatti doesn’t like merlot! This is a comedy! Truly, it’s a match made in heaven.

You want to honour the Feast of Saint Valentine by enticing your courting partner into letting you lick them up and down till they say stop. But, oh, awkward – you can’t get your freak on. Fortunately you paid heed to the advice you read in that Phagomania column in The Skinny. You have sagaciously centred the evening’s meal around it.

What could go wrong?

First you want to sort yourself out with some ambergris. Putting the ‘sperm’ into sperm whale, this waxy solid is sourced from the intestine of said whale. Typically the reason animal rights campaigners avoid perfume, it looks like a giant, dried-out bogey. Eat it.

Want to wine while you dine? Stick a few snakes in the bottle, ideally cobras. Whether it is their ‘essence’ and snake venom dissolving in the drink, or the fact the high alcohol percentage rice wine is getting you randy, the start of your dining experience may not be a time for the debate.

Another staple of Chinese medicine, choose between the deer penis or the tiger penis. The tiger penis looks both longer and slightly more horrific, so please go for deer. Sun-dried in its majestic beauty or chopped into soup, it’ll get both your libidos up to 11.

If that fails, why not try some Spanish Fly? Don’t let the fact that the Chinese created the first documented stink bomb with them, or the fact it’s poisonous, deter you. It works by irritating the genitourinary tract, resulting in an arousing blood rush.

Although you’ll have really wished we had, we can’t skip by the atrocity of nature that is... the balut. Surprise your beau by serving up a lovely-looking boiled duck egg, garnished with chilli, lime and salt. Then allow for 10 minutes of incessant screaming. Inside that egg is the stuff of unhinged nightmares; a fully fertilised embryo. This is genuinely Haute Cuisine in the Philippines and throughout Southeast Asia.

Closer to home, try and get your hands on some casu marzu. Illegal to export out of Sardinia, this unpasteurised sheep’s cheese comes with a surprise party game to close the meal – maggots.

The little blighters have digested the cheese fats for you and pooped out nutritious, runny cheese goodness. They can project themselves six inches out from the cheese. Fun for all the family.

The finale – time to take more aid from the Chinese and pop some blank ant tonic down.

Don’t dwell too long on the packaging, especially the dubious ‘main ingredient’ list: “saffron crocus, cordyceps sinensis, snow lotus herb, snow deer penis, Tibet yak penis, sea horse...” That should do the trick. Now you’re ready for love!

An italian family enjoying casu marzu: www.youtube.com/watch?v=pM-IXqEyfOo

Spanish Greenfly

For dates and times, visit: glasgowfilm.org/festival

February 2013

THE SKINNY 35

Lifestyle

Food News

Round the World in 20 Drinks: The Animal Kingdom

Drinking ale up mountains, taking breakfast with the animals, and watching The Angel’s Share in a school hall in Kingussie – yes, it’s the return of Food News!

Our global voyage gets sidetracked by beer for dogs. Can you blame us?

words: Peter Simpson

words: Peter Simpson

Hello there! Welcome back to Food News.

New Year treating you well? Good, now run as fast as you can – there’s not much time! Yes, the Kingussie Food on Film festival is back once again, and depending on when you read this you may well have time to catch it. It’s worth a try if you can, packed as it is with demos, tastings, and films about food (naturally). Plus, it’s always good to get some fresh air, and to make sure that the North is actually still there after winter. 31 Jan-2 Feb, £various.

And while you’re up north and visiting bluntlynamed food events, why not check out FebruaryFest? It’s a fest, and it’s in February! To be more specific, it’s the twentieth edition of Glencoe’s foremost beer festival, with ales from across Scotland and the UK. Throw in music, whiskies, fireside chats with brewers, and a big snowy mountain in very close proximity and you’ve got a weekend on your hands. Oh, it goes on for a month. You’ve got a month on your hands. 1 Feb-2 Mar, Clachaig Inn, Glencoe, £various.

Back in the Lowlands, and we find ourselves bound by tradition to mention Valentine’s Day.

The most romantic day of the year, so it is, and what could be more romantic than breakfast with monkeys? Yes, you did read that correctly, breakfast with monkeys. Meerkats too, and some other zoo-type animals. Calderglen Country Park are opening their doors early in Valentine’s week to let you lovely lot in for breakfast and an early morning prod at the animals. Non-literal, of course.

It is Valentine’s Day, but keep it clean. 11-15 Feb, Calderglen Country Park, East Kilbride, £15.

Finally, we move from the wild and the natural to the manufactured and metropolitan with this month’s opening of the first Krispy Kreme donut shop in Scotland. Why is this notable? 1,600 of your fellow men and women campaigned – CAMPAIGNED – on Facebook for a Scottish Krispy Kreme, which has wound up at Hermiston Gait on the outskirts of Edinburgh. That’s twice the number of people that follow your esteemed food section on Twitter (@skinnyfooddrink). Enjoy your New Year while you can, as we fear the Mayans may have been finding their range with that ‘21/12/12’ prediction. If not, see you in March.

This booze-soaked research trip around the world has taken us to many strange and unexpected places, and we’ve all seen some crazy stuff. We say this by way of setting up this next sentence, as it’s hard to know if you’ll quite believe it. Here goes.

There is a brewery which makes beer for dogs.

Actually, scratch that. There are three breweries which produce beer for our canine chums. There’s the old mainstay of the doggy drinking scene, Belgium’s Lucky Dog, with its fetching red bottle and added Vitamin D (because if your dog is drinking you’d like him to get something out of it).

Then there’s Bowser Beer, who offer the option of custom labels with your mutt’s face on them. Dog beer, with your dog’s face on the side.

The plucky young upstart in the field we swear we haven’t just made up is Dawg Grog. Dawg Grog has genuine brewing pedigree, as it’s the brainchild of staff at Oregon’s Boneyard Brewery.

Yes, the name of the brewery is just a coincidence.

We should point out at this point that neither of these ‘beers’ contain any alcohol – the Grog for instance is made from vegetable broth and spent

grain from the brewing process, and Bowser Beer proudly boasts that it contains “chicken or beef.” However, they do all contain barley or an equivalent malt, so at least your dog will smell like he or she is drunk. Authentic.

And if your dog doesn’t like beer, they can have a nice glass of wine. Yep, not even joking.

Bark Vineyards produce wine for dogs. Wine.

For dogs. It’s made of livers and other dog food fodder, comes in red and white imitation flavours, and it genuinely exists. Pour it over your pup’s dinner, or get them a cheeky wee glass and some crackers while we appear to be disregarding any sense of sanity.

But if you just don’t like animals, and happen to have a wad of cash that you desperately need to get rid of, try to get your hands on one of Brewdog’s taxidermied stoats. The beer inside – The End of History – may be too strong to possibly be pleasant, and a bottle will set you back a pretty penny, but your attention is what the furry bottleholders would have wanted. That or to go for a pint with the dogs...

A Local Eatery

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36 THE SKINNY

22/01/2013 12:32

February 2013

Lifestyle

deviance

What’s Convention Got To Do With It? What it means to be conventional and whether slipping into an ordinary, bourgeois, heterosexual lifestyle, can be avoided words: Miriam Prosser

Str aight Talking: Promoting Healthy, Safe Relationships

Can more be done to improve the standard of sex education in our schools? The Scottish Women’s Aid campaign I GET IT may be able to offer an answer words: Claire Askew

illustration: oona brown

A few weeks ago, I was lucky enough to be involved in the Scottish Women’s Aid campaign I GET IT. The campaign was launched in response to a number of studies. One, a 2009 report by the National Union of Students called Hidden Marks, revealed that one in seven female students experience a serious physical or sexual assault while at university. I GET IT was aimed at getting people like us (or, at least, those of us aged 16 to 25) talking about what makes a healthy relationship. I ran workshops in which participants were encouraged to frankly discuss friendship, dating, love and sex.

My workshop participants completed an exercise listing the top ten qualities they’d value in an ideal romantic partner. Respect, trust and personal safety always came out on top. Yet, when I’d asked them to list the qualities they looked for in real life romantic partners, they’d listed things like physical attraction, shared interests, and even salary much higher. Comparing their lists, the groups saw how common it is to sacrifice our relationship ideals – and sometimes our safety – for fear of being passed over by potential partners.

Why does this happen? Primarily, it’s to do with the way we learn about relationships as young people. The frank discussions that took place in my workshops are far from the norm, as the groups observed. Even progressive sex education

programmes focus primarily on two things: a purely biological guide to sex as baby-making, and a warning about the dangers of having sex without contraception or barrier-type protection. However, according to the Health Protection Agency, STI rates are steadily rising here in the UK and rates of infection have increased among under 15s and those aged 15 to 24. Furthermore, the average sex education class usually fails to address issues like

“We can all do something to help develop happier and healthier sexual and romantic lives” the importance of consent, or what constitutes an abusive relationship. Sex education classes are often also heterosexist. In 2010 the Office for National Statistics conducted a nationwide evaluation report into sexual identity. They found that 16.8% of 16-24 year olds identified as gay or lesbian.

Yet the vast majority of sex education classes still focus primarily on heterosexual, penetrative sex.

Young people who identify as transgender are often totally excluded from the sex ed discussion, too, and sex education provision for people with disabilities is severely lacking.

Of course, it’s not the sole responsibility of schools and colleges to educate young people about relationships. But, as my workshop groups overwhelmingly agreed, parents, guardians and other family members are often reluctant to talk about these issues. Starting the conversation with peers is even worse: all the groups acknowledged that peer pressure greatly affects the way they view sex and relationships. Participants said they’d been made to feel ashamed about their appearance, about being single, or about having friends of the same sex as their romantic partner.

Happily, though, things are getting better. More campaigns like I GET IT are appearing in schools and colleges, plugging the gaps left by our sex education. However, we can all do something to help develop happier and healthier sexual and romantic lives. By simply talking openly and candidly about what we expect and deserve from our relationships, we’re taking the first step to making all relationships healthier. www.scottishwomensaid.org.uk

Convention is defined by comparisons.

Recently, at Whitby Goth Festival, I was surprised to find that among people who buy into an ‘alternative’ lifestyle our wee troupe from Edinburgh was pretty far left of the mainstream. When we got talking to people it was a shock to realise how far we deviate from the prescribed university-jobmarriage-kids route.

I live in a community of shambling lefties. There’s a high percentage of massage therapists and vegetarians. Among my acquaintances it’s more common to sublet your mates’ basement and eat out of bins for a month (before escaping to Asia to study the ancient art of Buddhist Spoon Weaving) than it is to stick at a shitty job for the money. We don’t have TV, we’re terribly ‘creative,’ and some of us aren’t clear on what an iPad is. There’s not a lot – menstruation, orientation, feminism, or breatharianism (look it up, it’s ridiculous) – that is considered taboo in my social circle. No one will bat an eyelid if you say you’re polyamorous, or that you don’t conform to gender norms and prefer the genderless pronoun ‘ze.’

Yet in comparison to many of my acquaintances, I’m pretty mainstream. For a start, I’m heterosexual and identify firmly as a woman. And I’m in a monogamous relationship with a man. A macho, macho man. Well… he’s got sideburns. That’s pretty macho, right?

We’re strictly monogamous, in a community where most couples are pretty relaxed about who they snog on Beltane night. We’re even buying a flat, thanks largely to my grandpa. This puts us firmly on the map in terms of conservative lifestyle choices. Getting a mortgage means bank records, insurance, ID; a web that keeps you firmly anchored to the conventional adult world. Is our gonzo community enough to keep us safe from the insidious creeping evil of the ordinary? Will the bohemian ideals around us stop our life together from disappearing in a landslide of mortgage payments?

I’m finding confidence in my unorthodox history.

James (my partner) and I have both found personal freedom in questioning convention and following our innermost impulses, even when that was a scary thing to do. It’s this quality that means I’m not worried we’ll be selling this flat in a couple of years and splitting the proceeds and recriminations. The ability to listen to yourself and be honest about what you hear is what makes a relationship good. I also think it’s what makes life good. Not always fun, but ultimately fulfilling. What some people truly want is a stable career, a family, and a church wedding… and good for them. Others have to struggle a little to find what we’re really looking for. I know I don’t want to snog other people cos I’ve been down that road and it was a headache. Some years we may walk a straight line, other years the line may deviate.

We may be property owners who only kiss each other, but we’re going to glue all our furniture to our ceiling and force guests to walk on their hands. That’s maverick love.

February 2013

THE SKINNY 37

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38 THE SKINNY

FEBRUARY 2013

music

P RE V I E W : l iv e m u s i c

The Metal Column

LIVE MUSIC HIGHLIGHTS

Homegrown independent(ish) rock commandeers the gig calendar as CHVRCHES, The Twilight Sad, Frightened Rabbit, Django Django, Gummy Stumps, PAWS, Divorce and Golden Teacher show the big boys how it's done

Now you’ve beaten those stinking January blues, it’s time to get back in the circle-pit and lose your mind, droogs. For a kick off, you could either hit up the Classic Grand for some truly odd, folk-indebted metal from Finland’s Korpiklaani and Estonia’s Metsatöll (1 Feb), but if you’re scoping an outlet for all that built-up frustration from your 9-5, you should head Ivory Blacks’ way for some straight-up death metal from German combo Chapel of Disease and Occvlta on the same night instead. Alternatively, female-fronted glam-rockers Fallen Mafia will be over in the east at Henry’s Cellar Bar. If you like your death metal with more of a technical flourish, you’ll want to be at King Tut’s for The Faceless, who will be pulverisin’ yer tiny minds alongside prog disciples The Safety Fire (3 Feb). Next, it’s some crushingly heavy sludge from Sleep’s Matt Pike and co. as the ever-consistent High on Fire make for the same venue on the following night (4 Feb).

Edinburgh folks, five years of tram bullshit should have you prepared with an answer to this next question: Are you ready for some apocalyptic doom? Liverpool’s Black Magician bring their folkloric style of metal to the Banshee Labyrinth, as do beardy psych-rock trio Headless Kross, retro-sludgers Atragon, and – wait for it – doominfused black metallers Tommy Concrete and the Werewolves (9 Feb). With this much Sabbathworship in one night, it’s like the skies are fallin.’

Back in Glesca, there’s more retro heaviness to hand at King Tut’s with Orange Goblin and Admiral Sir Cloudesley Shovel (11 Feb), followed by Welsh post-hardcore veterans Funeral for a Friend (currently on rude form, by the way) at the same joint (13 Feb). Deftones have gone from strengthto-strength over the years; you won’t want to miss them showcase 2012’s dreamy, art-metal opus Koi No Yokan alongside the classics at the Barrowlands (15 Feb).

If you didn’t get your fill of death at the start of the month, the 13th Note’s Glasgore Fest is the place to rest your bones; led by weirdo-grinders Oblivionized and savage local extremists Scordatura, the bill’s rounded out by Flayed Disciple, Regurgitate Life, Full Body Autopsy and several more (16 Feb). It’s back to King Tut’s later; California’s The Ghost Inside bring melodic hardcore to the table, with welcome backup from NY punks Stray from the Path and UK outfit Landscapes (19 Feb).

The tail-end of the month brings us some theatrical heavy metal from Stockholm in the form of Grand Magus, playing the Cathouse with fellow thrashers Primitai (22 Feb). Ending February right, deathcore sadists Born of Osiris take the Catty just a few nights later, ably backed by a triumvirate of prog-metal ensembles, namely After the Burial, Monuments and The Haarp Machine (26 Feb). Yer heid’ll be spinnin! [Ross Watson]

words: Ilya Kuryakin It’s that time again – February rolls around, and suddenly love is in the air, as the feast of St. Valentine approaches. Or not – there’s not much romance to be found amidst the runny noses, hacking coughs and abject frozen weather that characterise a Scottish February, if we’re honest.

Take comfort in the fact that even if you can’t find romance, or if your lover’s out of the game with a dose of Norovirus, there’s plenty of action on the live circuit.

First up is the Green Door Studio 5th Birthday at Nice ’n’ Sleazy’s on 1 Feb, with Golden Teacher, Gummy Stumps and many more up-and-comers from the Scottish scene. Golden Teacher, a collaboration between Silk Cut and noise-punk trio Ultimate Thrush, have released a simply gorgeous 12” on Optimo – their sound is described by the label as ‘hypno-psych voodoo groove.’ For our money, it’s some of the finest punk-techno to come out of Glasgow in years. Gummy Stumps meanwhile arose from the Winning Sperm Party label, and play a complex, heady fusion of psychedelic sounds, à la Captain Beefheart.

If reggae and roots is more your thing, check out the lineup for the annual Wee Dub Festival, taking place at various venues throughout Edinburgh between 1 and 3 Feb. They’ve got live shows from Mezzanine Allstars, Zion Train and Prince Fatty, while the likes of Mungo’s Hi-Fi, Big Toes Hi-Fi and J Bostron bring the soundsystem bliss. Check the website (www.weedubfestival.co.uk) for the full bill.

One band we’ve been championing for a while now are Dundee ultra-rockers Fat Goth. They launch their sophomore album Stud at Edinburgh’s Electric Circus on 1 Feb, ably supported

by Vasquez. The mighty Goth, as their name might suggest, are a rock band with a sense of humour – a rare thing indeed these days – but they never let that distract from their driving, blistering riffage.

On 7 Feb, The Robin Guthrie Trio – aka the latest project from the Cocteau Twins’ founder – play alongside Ride’s Mark Gardener at Edinburgh’s Electric Circus. Guthrie’s solo output is utterly beautiful – intricate guitar textures and complex instrumentation frame a sound which is a fitting continuation of the dream pop legacy. Gardener meanwhile plays a solo set – if you’re lucky, you might even get a few Ride numbers, and for now, that’s as close to a reunion as you’re likely to get.

An essential gig for all shoegazing fans.

Ah, Divorce, you mental bunch. Their album was packed with highlights, not least of which were the song titles. Who could forget such classic tracks as Cunts in a Circle, or the self-explanatory Bill Murray? They make an unholy racket – excoriating howls, black metal guitars processed and distorted

Golden Teacher

to within an inch of their lives, and clattering drums of death. Live, they’re even scarier. Catch them at Bar Bloc in Glasgow on 9 Feb and prepare to have your bowels rearranged.

On 11 Feb, the NME Awards Tour rolls through Glasgow, stopping at the O2 Academy for an evening with psychedelic art-pop mavericks Django Django. The lads have had a banner year, with their eponymous debut album attracting praise across the board, and placing highly in a great many 2012 end-of-year polls.

PAWS are a slightly more in-your-face proposition than the Django lot – their infectious, upfront brand of pop-punk is winning hearts and minds up and down the UK, with the band shortly set to embark on a US tour. Catch them performing tracks from the fantastic album Cokefloat at an initimate gig at Edinburgh’s Wee Red Bar on 17 Feb, From here on out, these two bands look likely to be known as the ‘big two’ of Scottish indie

rock (Snow Pa-who?), and both bands are in no way short of credibility, devastating live presence, or epic riffs. We speak, of course, of the justlyascendant The Twilight Sad, who play a strippeddown acoustic set at Edinburgh’s Electric Circus on 23 Feb, and their even-more-famous (so far) chums Frightened Rabbit, who take the stage at The Picture House in Edinburgh on 26 Feb. These two will be touring the US together in 2013 – we fully expect world domination to follow, or at least that joint cover of Dancing In the Street they’ve been threatening.

A fan of sweeping, post-rock soundscapes and epic neo-ambient meditations on landscape, language and loss? We thought so. In that case, you’ll want to catch Icelandic soundscapers Sigur Rós when they play the SECC in Glasgow on 2 March. If anyone can fill that gargantuan air hanger with gorgeous, transcendant, symphonic noise, it’s this lot.

www.deftones.com

Do Not Miss:

CHVRCHES are the benficiaries of an entirely justified wave of hype, which saw them ride into the BBC’s ‘Sound of 2013’ longlist on the back of a cranked up synth-fest (called Lies) and a beautifully understated ‘proper’ debut single The Mother We Share. With a growing live reputation on the back of gigs across the country and further afield, the trio’s anthemic, hook-driven electro-pop is refreshingly unpolished, maintaining a feral, frantic energy. Featuring ex-TwiSad keys man Martin Doherty and The Unwinding Hours’ Iain Cook alongside vocalist Lauren Mayberry, there’s a fair chance they’ll dominate 2013 if they can maintain the standard on their in-the-works debut LP. Nae pressure. [Illya Kuryakin]

CHVRCHES

Photo: Ross Gilmore

CHVRCHES, THE ARCHES, 2 MARCH

deftones

February 2013

THE SKINNY 39

photo: Iain scott

poor things

black international

Hector Bizerk / Strange Empire / Woven Tents Nice ‘N’ Sleazy, 12 Jan

Tonight opens with the bluesy and operatic rock stylings of Strange Empire. They’ve brought their fans. Each chorus is greeted with a raucous, booze-enhanced sing-along. Frontman Joe Gallacher has the iron-lunged voice of a hybrid angel and demon, switching up between snarling, old-fashioned rock ‘n’ roll swagger and soaring, pitch-perfect falsetto. There are hints of Muse in their epic, crowd-pleasing set, but the raucous blues medley they close with shows where the band’s influences really lie. Check them out, pronto.

Woven Tents follow up with a delightfully oddball, jazz and psychrock influenced set that takes in Weather Report-esque licks, mental Bonzo Dog Doo-Dah Band drums and strange, spiky keyboard-playing.

It’s impressive, but lacks the phenomenal presence of Strange Empire.

Finally, Hector Bizerk take the stage, expanded to a four-piece by the addition of a synth player and a bassist. They immediately explode into a devastatingly tight set, still anchored by Audrey Tait’s complex drums and Louie’s impassioned, literate raps. Louie is on dynamic form tonight, a consummate and energetic front man who whips the crowd into a baying frenzy. Man Up becomes a fist-pumping call to action, Burst Love swaggers insouciantly before igniting, while a culminative and anthemic Bury The Hatchet closes proceedings.

Like their fellow peers Stanley Odd, Hector Bizerk are knocking down the walls of the Scottish hip-hop ghetto, using the scene’s history and vernacular to create relevant music with universal appeal, becoming one of the most exciting live bands in Scotland in the process. [Bram E. Gieben]

Chris Devotion and The Expectations / Poor Things / Black International / Fat Goth

Daughter Òran Mór, 21 Jan

rrrrr

King Tut’s, 11 Jan

London three-piece Daughter have been the subject of much attention this past year, finally revealing they had signed to 4AD late last year. Tonight they play their first (sold out) headline show in Glasgow since gracing the stage of Barrowlands in 2012 in support of Beirut.

The trio play the majority of material present on EPs His Young Heart and The Wild Youth, as well as recent single Smother and several previews from their iminent debut. Originally a solo endeavour by singer and multi-instrumentalist Elena Tonra, this is evidenced by the format of many of the songs, relying on a prominent, husky and affected vocal, which is equally as impressive in a live setting as it is on record.

Raw, candid lyrics are undeniably the heart of Daughter’s sound, with songs like Candles, Landfill and breakthrough track Youth hinting at traumas past and perhaps present. The moody and atmospheric vibe is dampened somewhat by the venue’s decision to designate a majority of the floor space to rows of school-concert-style seating – a fact bemoaned by the band themselves – but the overall success makes it fairly clear there’s an eager audience for that first LP. [Austin Tasseltine] Daughter’s debut album, If You Leave, is due for release on 18 Mar ohdaughter.bandcamp.com

40 THE SKINNY

fat goth

chris devotion

hector bizerk play broadcast on 15 feb

February 2013

rrrrr Six quid wouldn’t buy you two drinks in most venues. Yet that’s all it costs for entry to a gig with no less than four stellar bands on the bill.

But a love of the six string is the only thing these bands have in common. Each takes a differing approach to pleasing the punters in what is a sizable and enthusiastic crowd.

Someone always has to go on first, and tonight that responsibility falls to Fat Goth. But this hotly-tipped Dundonian power trio are no meek warm-up act. They demonstrate their considerable talent with a pulverising performance of songs from their forthcoming second album, STUD, which has already been attracting some positively glowing reviews. Surf’s Down is a powerful statement of intent; full of energetic riffs and diamond-tough grooves, played by a band who are collectively tighter than a swollen door. Their half-hour slot passes by all too quickly – but that’s all the time they need to leave a lasting impression.

Many bands would dread following such an impressive opener, but Black International display quiet confidence and have no problem quickly finding their stride. The Edinburgh duo, no strangers to music fans from the capital, prefer a more economical post-punk sound,

driven by the forceful drumming of Craig Peebles and given added teeth by the fierce guitar and vocals of Stewart Allan.

In contrast, Poor Things demonstrate a refreshing scuzz-pop sensibility that will please fans of Evan Dando and Pavement. They even find the time to dedicate the predictably sweet Ice Cream to one of their watching parents.

Headliners Chris Devotion and The Expectations stand at the opposite end of the guitar spectrum to Fat Goth, but have no problem in matching their intensity. Devotion is a natural frontman and knows how to write a damn effective chorus. There’s more than a hint of new wave-era Elvis Costello to She is the One, which is one of several numbers to prompt an audience sing-a-long. The Glasgow band have been touring regularly, and steadily building up a following, since the release of their debut album, Amalgamation & Capital, in January last year – and that practice has clearly paid off in what is an impressively tight set. Even a few sound problems can’t knock them off their stride.

Tickets to see them – and the three other bands showcased here tonight – are unlikely to remain this cheap for long. [Chris McCall] www.chrisdevotion.com

photos: david p scott

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The Dirty Dozen

We join post-hardcore champs United Fruit in their Glasgow rehearsal space as they take a break from demoing album number two to survey the February singles. There will be dub... interview: Chris McCall

photography: vito andreoni

Tristan Coleman

Still Life with Sound Mystery Plays, 11 Feb

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United Fruit (left to right): Iskander, Stuart, Ross , Marco

MATTHEW E. WHITE – BIG LOVE (25 Feb, Domino) Marco Panagopoulos: That’s some Ian Brown-style synths right there.

Stuart Galbraith: I don’t think this is building to the crescendo that it could have. It feels quite flat.

Marco: I’d give it a six. It’s a good song, but it’s not inspiring.

THAO & THE GET DOWN STAY DOWN – WE THE COMMON (4 Feb, Ribbon) Iskander Stewart: I do like a good voice, with an emotional quality to it.

Marco: It has a southern twang to it, which is nice.

Iskander: It’s happy, sunshine music.

Stuart: I just feel a bit indifferent about it. I’d give it a five.

Marco: I don’t know if my seven brings it up to a six? Can we give half points?

The Skinny: I’m afraid we can’t allow that.

Iskander: I think a six then.

RICHARD HAWLEY – DON’T STARE AT THE SUN (25 Feb, Parlophone) Marco: This is one of the better songs I’ve heard from this guy. I don’t mind this at all.

Ross Jenkins: It sounds like it’s from Trigger Happy TV. A guy in a dog costume has just been attacked!

Marco: It totally does.

Stuart: I’ll give it an eight, then go buy the album and turn out all the lights.

BEARD OF WOLVES – WET MOUTH (4 Feb, Too Pure) Ross: Nine! For that name alone, they get a nine.

Marco: It’s party rock, you would be drinking as you listen to this.

Iskander: Could you compare this to DZ Deathrays?

Marco: Yeah, it’s got that same vicious sound.

Iskander: I bet they are kick-ass live.

Marco: It’s like Marc Bolan meets Death From Above 1979.

Ross: It’s my favourite so far. I’m going to step out and say nine.

Stuart: They got an extra point for being called Beard of Wolves.

DIZRAELI AND THE SMALL GODS – MILLION MILES (18 Feb, ECC) Iskander: I’m a sucker for strings and big beats. It’s like Immortal Technique.

Ross: I like the music, I like the girl singing, but I

just can’t get the guy rapping in a Scottish accent.

Marco: Is he Scottish though?

Stuart: [reading press release] It says here that he’s not.

Ross: I stand corrected.

The Skinny: He could be deliberately rapping in a Scottish accent?

Ross: [laughing] In that case it’s insulting!

Marco: I liked the music and I liked her voice. I’d give that a seven.

WOLF ALICE – FLUFFY (11 Feb, Chess Club) Stuart: This is very 90s Britpop.

Iskander: I like 90s Britpop!

Stuart: It sounds a bit like Sleeper.

Iskander: I like Sleeper!

Marco: It’s a really crap name. But then we’ve got a cheek to talk!

Iskander: I feel it’s a bit choppy, it starts and stops and doesn’t really get going. Five?

Stuart: It’s more a three.

Iskander: I’m like this with movies. There’s always certain scenes that I like.

Ross: I always enjoy the trailer more than the film.

Stuart: They should have condensed this song into 30 seconds.

Iskander: It’s a five.

JONNIE COMMON – FIGUREHEAD (18 Feb, Red Deer Club) Ross: It’s a synth-pop Proclaimers!

Marco: It sounds like he’s written a song to one of the six programmed beats in his Casio keyboard.

Ross: If there’s more than one person in the band, they should have a word with him.

Iskander: People might say our band is Americanised, it’s open to debate, but I’ve heard this kind of Scottish melancholy so many times. But to be fair, this is really the kind of song where you’d have to spend time getting to know the lyrics. You can’t judge them after hearing them once. I’d say it was a six.

Marco: I definitely wouldn’t go higher than that.

Stuart: I think it’s worth a diplomatic six.

Ross: I hope none of these bands are practising next door. That could get awkward!

DEAD SONS – THE HOLLERS AND THE HYMNS (18 Feb, BeReyt) Marco: It sounds like The Coral got into a fight with The 80s Matchbox B-Line Disaster.

Stuart: And both bands lost.

Marco: I’d still definitely give it a six.

Stuart: I wouldn’t be that generous...

FUNERAL FOR A FRIEND – THE DISTANCE (25 Feb, Distiller) Iskander: Really? I didn’t think they were still going.

Stuart: [reading press release] ‘The Distance is a song about being in a van, on tour travelling around in foreign countries during the summer and going crazy because the van only had one small window and no air-con.’

Ross: They’ve run out of things to be sad about, so they’re singing about having no air-con.

Marco: The vocals ruin this so badly. It’s stock emo melodies.

Iskander: Let’s say three. It’s really, really bad.

This EP is Tristan Coleman’s debut release, but the Melbourne-based singer/composer/multiinstrumentalist already evinces an unusual breadth of vision. When his plaintive vocals drift in over syncopated dub textures on the opening track, he instantly evokes the haunting, melancholy qualities of Arthur Russell or Climate of Hunter-era Scott Walker; as with those artists, there’s a compelling sense of dreamy abstraction here.

Elsewhere, Still Life with Sound’s sonic adventurousness – a result of Coleman’s collaborative work with traditional Indonesian musicians, coupled with a love of cosmic jazz and electronica – gives the EP a fragmented quality, which undermines its coherence somewhat. The levels of imaginativeness, intricacy and diversity on display here, however, bode well for Coleman’s future full-length releases.

[Sam Wiseman] tristancoleman.com

DOBIE – SHE MOANS (18 Feb, Big Dada) Stuart: It’s Thom Yorke solo!

Iskander: It’s a deconstruction of dubstep. I’d dance to this. I’ve done it, I’ve been to Jungle parties. This is tapping into my roots! Dancing with girls with dreadlocks.

Marco: For that, it has to get at least a six.

THE CHILD OF LOV – GIVE ME (25 Feb, Double Six) Iskander: There’s a lot to be said about the production of this. It really brings out the dynamics – that’s such a cool guitar part. It’s got a real Outkast feeling about it.

Marco: Damon Albarn’s involved in the album, apparently. I like this song. It’s proper dirty, scrappy hip-hop. It’s how Odd Future would sound like if they started a band.

Iskander: Yeah! I like this. This is a nine.

SINGLE OF THE MONTH: PETITE NOIR – DISAPPEAR (18 Feb, Double Six) Marco: [impressed] It’s the reinvention of soul!

Iskander: This is good, there’s a lot of different styles, a lot to take in.

Ross: [dismissively] This is daytime radio...

Iskander: [genuinely surprised] You think? It’s too raw. There’s no big chorus...

Marco: This is couch music. It’s four am, you’re crashed out...

Stuart: I think it’s decent...

Marco: I’d say both this and The Child of Lov are nines, but I’d give the single of the month to this.

Ross: Yeah, Damon Albarn doesn’t need the money.

Iskander: Petite Noir is a bit more edgy! unitedfruit.bandcamp.com

Galoshins EP1/EP2

Armellodie, 4 Feb

rrrrr Recorded separately but released concurrently, EP1 and EP2 work well in combination as a single, album-length introduction to Galoshin’s peculiar brilliance. Shake Up opens the first, its rolling drums, restless organ lines and distorted howls initially resembling punked-up merseybeat before visiting more abstruse territories. As the remainder of EP1 unfolds – from The 4th Chord’s driven art-pop to the off-kilter creep of Mink – the band’s chameleonic qualities sharpen, their nervy eclecticism keeping listeners on their toes.

EP2 repeats the trick, tailing opener Chank’s adrenalized post-punk with a jazzy coda that adds further hues to an already busy palette. Devil in Us is another highlight thanks to vocalist Mark Macphail’s frenetic delivery, while final number Get Me out of This Hole ups the mania with cackles and moans, ending on a high. Further EPs will follow later this year, but these twin releases offer more than enough to be getting on with. [Chris Buckle] Galoshins play Nice ‘N’ Sleazy’s, Glasgow on 8 Feb galoshins.bandcamp.com

February 2013

THE SKINNY 41

RE V IEW : ALBU M S

ALBUM OF THE MONTH

Nick Cave and the Bad Seeds Push The Sky Away Bad Seed Ltd., 18 Feb

rrrrr Throughout his thirty year career with the Bad Seeds, Nick Cave has nary put a cloven hoof wrong and fifteenth album Push the Sky Away shows no sign of bucking that trend. The departure of founding guitarist Mick Harvey in 2009 is perhaps most keenly felt in the decisive move from the scuzzy garage rock of Dig, Lazarus, Dig!!! into more sombre, lilting territories, closer to ’97’s The Boatman’s Call or 2003 offering Nocturama.

Yet whilst the delineations of Cave’s output may come with jagged lines as angular as the man’s physique, it’d be judicious to bookmark Push the Sky Away as New Testament psalms. Lyrically it embraces modernity with the likes of Higgs Boson Blues, a listless Cave imploring ‘hear me preaching in a language that’s completely new.’ But perhaps this work is better summed up in a more classic manner on the elegiac title track. ‘Some people say it’s just rock ‘n’ roll, ah but it gets you right down to your soul.’ Amen. [Darren Carle] www.nickcave.com

Dawn McCarthy & Bonnie ‘Prince’ Billy

Frightened Rabbit

Domino, 18 Feb

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What the Brothers Sang

rrrrr Last year, Dawn McCarthy and Will Oldham channelled their mutual passion for The Everly Brothers into a festive 7” containing a brace of cover versions, fronted by forlorn favourite Christmas Eve Can Kill You. Two months on, a full-length tribute arrives in the form of What the Brothers Sang, in which the duo understatedly refashion thirteen more tracks written or previously performed by the Everlys.

As before, McCarthy and Oldham evidence utmost respect for the material, recognising and keeping sight of what made these songs tick in the first place. There are no radical reworkings here, but rather well-considered reflections of the brothers’ key hallmarks, with vocal harmonies decorously forefront throughout, and a suitably old-fashioned aesthetic prevailing thanks to a dream line-up of consummate old-hand session players. Though marginal in relation to its creators’ larger bodies of work (Oldham’s ample discography especially), the results offer vintage pleasures too handsome to pass by. [Chris Buckle]

Pedestrian Verse Atlantic Records, 4 Feb

The divided opinion on 2010’s Winter of Mixed Drinks seemed largely down to issues of production and constraint. What follow up Pedestrian Verse gets right is in identifying that the emotionally-charged, anthemic song writing of Scott Hutchison already packs a weighty punch, with little need for ostentation. Not that this major label debut lacks the abundant musical layers we’ve become accustomed to from the homegrown five-piece, but it’s certainly a record that cuts to the quick.

Some welcome, evocative flourishes pepper what is, on the whole, a confident and propulsive work of brevity and poise. Backyard Skulls, Holy, and lead single The Woodpile barrel along with purpose whilst latter efforts December’s Traditions and Nitrous Gas showcase a band crafting songs from the ground up. As a line in the sand, Pedestrian Verse should find Frightened Rabbit putting past expectations to rest whilst paving a path towards ever bigger things. [Darren Carle] Playing The Picturehouse, Edinburgh on 26 Feb; The Music Hall, Aberdeen on 27 Feb and Barrowland, Glasgow on 28 Feb.

Thao and the Get Down Stay Down We the Common Ribbon Music, 4 Feb

rrrrr On her third album as Thao & The Get Down Stay Down, Thao Nguyen’s nimble genre borrowings pay great dividends.

There are touches of porch-front folk on banjo-based sing-along We The Common (for Valerie Bolden); country trail songs on Kindness Be Conceived (a duet with Joanna Newsom); then there’s the afrobeat infusions of occasional collaborator Tune-Yards in City’s playful percussion and rolling guitar riff.

Each showcases Nguyen’s manifold songwriting skills and lightness of touch, with her casual ear for melody delivering instant, wide-reaching appeal. Tracks like We Don’t Call (all dancing bass and brass) are warmly familiar on first introductions, but sufficiently multifaceted to hold attentions several listens further down the line – a not inconsiderable feat. It’s not a flawless venture – Holy Roller’s repetitive chorus, for instance, quickly turns leaden – but for the majority of its duration, We the Common conveys a natural charm that’s highly persuasive.

[Chris Buckle] thaoandthegetdownstaydown.com

Atoms For Peace

Lusine

Fuzzy Lights

XL, 25 Feb

Ghostly International, 18 Feb

Little Red Rabbit, 4 Feb

Amok

rrrrr Does age mellow everyone? The Thom Yorke we encounter on Amok is not the alienated, fractured personality from The Eraser. Opening with the funk-infused bass and uptempo drums of Before Your Very Eyes, Yorke’s lyrics offer a downbeat perspective, but one that is looking toward the light. The song climaxes in glorious synth bass and Yorke’s reverb-drenched falsetto, soaring as a complex chord progression rises and rises.

The Eraser is a template, but the organic instrumentation and sometimes fussy arrangements are a technical leap forward. Informed

by UK bass music and classic Warp acts like Plaid, Squarepusher and Aphex Twin, tracks like Default and Dropped convince mightily, the electronic bedrock a template for wild excursions on guitar, bass and synth, while Yorke’s vocals are multi-tracked, chopped, and stretched - by Yorke himself, pushing his performance, rather than relying on effects. Amok is the sunrise after the storm and flood of The Eraser – full of dawn light; deceptively simple songs constructed from intricate clockwork parts. [Bram E. Gieben]

The Waiting Room

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Rule of Twelfths

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Developing the vocal-led take on house, synthpop and techno he developed on ’09’s A Certain Distance, Texas-born electronic producer Lusine delivers a competent, slickly realised third album for Ghostly, with guest vocals courtesy of his wife Sarah McIlwain, most notably on a gorgeous, jaunty cover of Marr/Sumner supergroup Electronic’s track Get The Message.

Elsewhere, his production hints at the sonic depth of house producers past – the pulsing, laidback On Telegraph has shades of Matthew Herbert’s house-themed work from the early 2000s, while Another Tomorrow, another vocal cut, employs bubbling synth lines and an ’80s electro-influenced beat to create an atmosphere akin to a mellower Com Truise.

The polished electro-disco of First Call is another instrumental highlight – the album as a whole is coherent and intelligently constructed, with no weak tracks. Lusine deftly achieves Ghostly’s stated aim of producing intelligent, modern electronic pop. [Bram E. Gieben]

Rule of Twelfths refines an aesthetic nine years and three albums in the making, as Cambridgeshire quintet Fuzzy Lights tweak their pastoral-folk-meets-post-rock style without misplacing its most distinctive qualities. The balance now emphatically favours the ‘folk’ half of their portmanteau sound, with fewer noisy crescendos than debut A Distant Voice or successor Twin Feathers, which laid on drama comparatively thick.

Also shifting the parameters are Rachel Watkins’ delicate vocals, more prevalent and centrally placed this time around. The results of this adjustment are mixed, with her soft timbre working beautifully on bewitching single Summer’s Tide, but sounding listless on tracks like Second Skin – a gossamer lullaby boasting the album’s prettiest string parts, but not enough else. Yet attention-grabbing flashes of inspiration – such as the distorted guitar that enlivens The Hour’s close, or the rapid violin that interrupts Blind’s mantras – ensure that, minor qualms aside, Rule of Twelfths is a beguiling success. [Chris Buckle]

www.ghostly.com/releases/the-waiting-room

www.fuzzylights.com

The Bronx

Team Ghost

Pissed Jeans

ATO, 4 Feb

wSphere, 18 Feb

Sub Pop, 11 Feb

The Bronx IV

rrrrr L.A. punks The Bronx lay their mariachi band alterego to one side after a two record stint, returning to a more traditional rock-based sound on their fourth self-titled LP. The formula hasn’t changed a great deal since their last “proper” release back in 2008; Matt Caughthran’s spirited yelps are instantly familiar, and the rhythm section’s beefy, colourful tones ring out positively.

It’s a consistent ride, and contains enough evidence to show they’re keen to flaunt the loud stuff again. Proof can be found in both the anthemic, hook-riddled Along for the Ride, and the fluttery waltz of Torches, which sounds like an abstract, alternative take of Weezer’s My Name is Jonas. Though The Bronx IV lacks the demented bite of their early material, its accessible approach to hard rock is nonetheless refreshing and seems a logical next step for a band that has outgrown the club circuit. [Ross Watson] Playing Glasgow Garage on 16 Feb www.thebronxxx.com

42 THE SKINNY

February 2013

Rituals

rrrrr Following up their two towering EPs in 2010, Team Ghost’s much-anticipated full-length debut We All Shine benefits from the band’s expansion – backed by a new rhythm section, and having incorporated synth-enthusiast and producer Benoît de Villeneuve into their songwrtiting process, the sound of Rituals is big in every way. First and formeost though, Team Ghost are a rock band, and they more than prove their chops on the brooding, propulsive Curtains. Somebody’s Watching explores voyeurism with incipient menace, while the anthemic Dead Film Star, with de Villeneuve on lead vocals, is a thrilling highlight with multi-tracked vocals, complex uptempo drums and towering, shimmering synths behind virtuoso guitar lines.

Instrumental track Things Are Sometimes Tragic brings in a hint of techno; Broken Devices uses beatless, gothic electronica; while Team Ghost dissolves into howling screeds of feedback. Nicely balancing moments of all-out rock and melancholic, reflective electronics, it’s a consistently strong first foot. [Bram E. Gieben]

Honeys

rrrrr Their fourth album proper, their third for Sub Pop, sees Pissed Jeans slowing the tempo in places, delving even deeper into the sludgy, paranoid punk rock that they explored on Hope For Men and King of Jeans. There are fast-paced tracks – Bathroom Laughter and Romanticize Me both have the energy of hardcore punk, but with deceptively polished lead guitar riffs and complex bass. But it’s the epic dirtiness of Chain Worker and the artful mundanity of Cafeteria Food where the band shine.

There are hints of labelmates Mudhoney in the drums and guitar; of The Birthday Party in Matt Korvette’s deep, miserable singing and shredded, harrowing screams. Korvette’s subject matter – sexual frustration, aging, conformity, boredom, failure – contrasts with the grinding, beautifully slack riffs. Suffering becomes laughter, boredom becomes drama. Scuzzy punk traditionalists or grunge revivalists? It’s unimportant – Pissed Jeans are as hard to turn away from as a threecar pile-up. [Bram E. Gieben] www.subpop.com/artists/pissed_jeans

RE V IE W : ALBU M S

Iceage

Dobie

Golden Grrrls

Matador, 18 Feb

Big Dada, 4 Feb

Night School, 25 Feb

You’rre Nothing

rrrrr If New Brigade was Iceage’s statement of intent – raw, immediate, packed with nihilistic attitude – You’re Nothing is their manifesto proper. It’s less of a punch in the gut; there is less of the shock of the new which accompanied their debut.

But it does see the band clearly defining the parameters of their sound – emotional, adrenalised hardcore with post-punk ambitions, and a beating heart of thwarted, fuck-everything catharsis that has earned them their fearsome live reputation.

True, their particular alchemical combination of punk tropes has nothing blindingly unique in its recipe, and those who have followed the scene for years will be able to point out the myriad homages and influences. But somehow, Iceage are more than the sum of these parts, and when they hit a peak – the excoriating Burning Hand; infectious opener Ecstasy; and in the offhand, the half-spoken, stop-start dirge and riot of Awake – they make it all sound so convincing.

[Bram E. Gieben]

Golden Grrrls

We Will Not Harm You

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rrrrr Despite his reclusive nature, Anthony Campbell has built a devout following over the last couple of decades from admirers across the London dance underground; listening to We Will Not Harm You, his first full-length since 1997’s The Sound of One Hand Clapping, it’s easy to see why. Comprised of 13 instrumentals, ranging from the shuddering, Flying Lotus-esque psych-hop of The Beginning to the intricate, uptempo dubstep of She Moans, the LP effortlessly draws upon a swath of disparate genres.

Dobie originally made his name as a hip-hop artist, and on tracks like Stan Lee is a Hero of Mine his talent in that field remains evident: jazzy, DJ Shadow-style sampled breakbeats are stitched infectiously together, and overlaid with a low acid squelch. Yet it’s the assimilation of house, techno and dubstep influences throughout the LP that is most impressive, demonstrating Dobie’s striking ability to stamp his own personality upon urban music’s newer mutations. [Sam Wiseman] ninjatune.net/artist/dobie

With a dramatis personae split across Glasgow and London, Golden Grrrls (Eilidh Rodgers, Ruari Maclean and Rachel Aggs) reference DIY punk from Australia and New Zealand as a formative influence. Employing ruthlessly infectious pop hooks, three-part vocal harmonies and loose, uptempo drums, they make memorable, summery indie rock songs which have a timeless exuberance in their perfectly-formed, three-minutes-or-less structures.

The reference points the band claim are equally as influential to their sound as previous Scottish masters of the form, such as The Vaselines and The Pastels, and there are shades of winsome US indie champs like Juliana Hatfield on tracks like Past Tense. But the most impressive feat Golden Grrrls pull off is that of neatly avoiding the likes of Hatfield’s saccharine, twee sentimentalism in their melodies and lyrics – each song has a diffident, witty bent in its lyrics, and the melodies are so infectious, you’ll be whistling them from the first listen. An entirely charming debut. [Bram E. Gieben]

Foals

Caitlin Rose

TM404

Transgressive Records, 11 Feb

Names, 25 Feb

Kontra-Musik, 4 Feb

Holy Fire

The Stand-In

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TM404

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With Total Life Forever, Foals rejected genre associations like nu-rave and dance-punk by upping the emotional stakes and working ambiance into their blueprint. The general consensus was an old cliché, but it was true nonetheless: they had matured and grown as a band. Nearly three years in the making, this follow-up doesn’t present audiences with the same kind of leap; it’s more a nuanced sharpening of their abilities.

There’s plenty of the tuneful, almost oriental guitar playing here which is instantly characteristic of Foals; Bad Habit and Everytime both demonstrate the kind of melodic-yet-solemn qualities they’ve been brandishing in recent times, whereas fiery lead single Inhaler and the funk-laden My Number showcase their more playful side. Whether he’s crooning over sparse atmospherics (Stepson, Moon) or explosive multi-instrumental freakouts (Late Night, Providence), vocalist Yannis Philippakis sounds more confident and iconic now than ever before.

His band does, too. [Ross Watson]

Tiptoeing the divide between showiness and subtlety, Caitlin Rose has a voice all-but guaranteed to melt hearts. Velvet-soft and effortlessly emotive, the 25-year-old Nashville native clearly has the capacity to belt out the high notes, but the good sense to know she doesn’t always have to, her tender restraint infinitely more affecting than any big-lunged talent show warbler. But while arguably the star attraction, there’s more to recommend The Stand In than just a pretty voice.

As on debut Own Side Now, Rose’s hometown heritage shapes her sound significantly; if anything, The Stand In’s fuller arrangements at times move Rose closer to her more mainstream modern country contemporaries, not further. But throughout, the songwriting remains distinguished and immaculately pitched, whether it’s walking a melancholic waltz (Pink Champagne) or an upbeat strut (Waitin’). Her mastery of melody yields soulful results that are proud of their roots yet gratifyingly unbeholden to them. [Chris Buckle]

TM404 is the latest alias of Swedish glitch pioneer Andreas Tilliander; this project turns his considerable talents to spacious, dubby techno in the vein of Gas and Basic Channel. TM404 is not merely a foray into new sonic pastures, however; the LP is also underpinned by two core conceptual ideas.

Firstly, Tilliander deliberately restricts the range of tools at his disposal, working primarily with a Roland TB-303; and secondly, TM404 was recorded live, in real time, in his studio.

The LP works as a techno record in its own right: Tilliander’s decision to use a limited range of equipment gives it an unusual aesthetic coherence and lucidity, and the 303 in this context acquires a new subtlety, which he characterises as “somnolent acid.” As a live album, however, TM404 is less convincing, since no overarching sense of spontaneity emerges. Nonetheless, Tilliander’s determination to challenge electronica’s orthodoxies ensures his continuing significance.

[Sam Wiseman]

Playing Glasgow Barrowlands on 5 Mar

Caitlin Rose plays CCA, Glasgow on 2 Mar

www.kontra-musik.com

www.foals.co.uk

thecaitlinrose.com

K-X-P

The Soft Hills

Universal Sex Arena

Melodic, 11 Feb

Tapete Records, 11 Feb

Gran Donna, 11 Feb

II

rrrrr Recorded between Berlin and their native Helsinki, K-X-P’s sophomore record takes the heavily krautock-influenced template of their debut, and gives it a thrilling jolt of post-punk, math rock, electro and straight-up pop. It’s an album that struggles to contain its myriad influences, but actually makes a very decent fist of it, the tracks coalescing in layers. Two-track madcap opener Ydolem / Melody moves from funereal trumpets to driving glam rock guitar and harmonies, completely wrong-footing the casual listener before diving into epic Faust-like jam Staring At the Moon.

Elsewhere we get swathes of brooding noise (RBJTEV), driving electro synth-pop (Magnetic North, with it’s cheeful chorus “for those who are bored, Satan is Lord”), manic gothic pixie-pop meets post-rock (In TheValley), propulsive, PiL-influenced post-punk (Flags & Crosses) and frantic, mutant disco (Easy (Infinity Waits)). It’s so densely packed with energy and influence that it’s a little overwhelming at first, but key in to the madness, and K-X-P emerge as a bizarre and utterly unique talent. [Bram E Gieben]

A year since last album The Bird is Coming Down to Earth, Seattle’s The Soft Hills return sounding slightly less pastoral and a tad more cosmic, successfully expanding their horizons without quite managing to consistently turn ‘good’ to ‘great.’ The echoing, fragile Payroll is one of the few tracks to emphatically earn the latter epithet, its sparse crawl and satellite bleeps constituting the album’s chilly peak.

The most recurrent reference point for The Soft Hills’ sprawling sound remains Midlake, partly due to some obvious shared influences; Garrett Hobba’s high, slightly reedy vocals, for example, owe a definite debt to Neil Young, particularly on tracks like closing country ballad Desert Rose. When the band’s touchstone inspirations are parlayed well, the results flirt with brilliance. But elsewhere, Chromatism’s unswervingly downbeat tone robs individual songs of impact, meaning that, for the time being at least, excellence is the exception rather than the rule. [Chris Buckle]

Look beyond the sleazy triumvirate of band name, album title and cover art (a kitsch bunga bunga fantasy in pen and watercolour), and the debut album from Italy’s Universal Sex Arena has plenty to recommend it. With archetypal psychedelia, garage rock and twanging surf guitar setting solid foundations, the sextet rattle out rambunctious, urgent variations on a vintage theme, without ever sounding antiquated or phony.

They do, however, sound like a band in need of an editor, with Women Will Be Girls’ 15-track, 53-minute bulk in definite want of a trim, its palette too narrow to warrant such sprawl. Admittedly, some of the album’s slighter offerings earn a place by injecting diversity (for instance, Kill You’s lo-fi acoustic interlude) but others, like Brain Ferry or Slow Down, just drag. Ignore the bloat, however, and Universal Sex Arena do themselves proud – let’s just hope they don’t last even longer on their second go. [Chris Buckle] universalsexarena.com

thesofthills.com

Doldrums

E Works, 4 Feb

Souterrain Transmissions, 25 Feb

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Eels

Wonderful Glorious

Women Will Be Girls

Chromatisms

Lesser Evil

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In the eyes of die-hards who inhale each passing release, it doesn’t matter a great deal what a new Eels album sounds like; Mark E. Everett’s place in the great American alternative songbook is already assured, regardless of any missteps he might have made since his ’96 breakthrough. Since Everett can write a blissful country ballad in his sleep, it’s often the louder sounds that mark out an Eels album, and so it proves here.

Bombs Away grabs you by your grubby shirt lapels and demands that you’d ‘better listen, cause you just might learn,’ while the title track proves Everett can still pull off arena-ready pop without breaking a sweat. And the fuzz bass on Peach Blossom? HUGE. Wonderful, Glorious perhaps won’t lure in too many newcomers, but it’s sure to keep those acquainted with Mr E’s Beautiful Blues well satisfied. On those terms, this is a notch above Eels’ batting average, and a work few contemporary indie rock bands could better. [Stu Lewis]

From the opening of Doldrums’ eccentric debut album, you’re in for treats. Recorded on a laptop borrowed (or lifted, if you believe the interview in this month’s magazine) from Grimes, using entirely analogue gear, it’s a work of ambitious, experimental indie-pop, sans guitars, recorded with the same breathtaking adventurousness in terms of production and arrangement as the work of Grimes and fellow Canadians Purity Ring.

We get looped, cascading vocals on the blissed-out Anomaly, tumbling into harsh, overlapping squelches and synths on the punishing, punk-infused She Is The Wave; the dream-pop harmonics of Sunrise explode into the Blondie-rififng, exalted pop-rock-meets-techno of the matchless Egypt; and the carnivalesque pop hooks of Live Forever. The album’s mercurial, restless pallette is anchored by Airick Woodhead’s plaintive falsetto and boldly imaginative songwriting; Lesser Evil reveals him as a unique new voice in experimental pop. [Bram E. Gieben]

Playing O2 Academy, Glasgow on 18 Mar

soundcloud.com/doldrumss

The Top five 1

Nick cave and the bad seeds

2

doldrums

push the sky away lesser evil

frightened rabbit 3 pedestrian verse

pissed jeans 4 honeys

5

iceage

you're nothing

www.eelstheband.com

February 2013

THE SKINNY 43

44 THE SKINNY

February 2013

music

New Blood

Exploring The Infinite

Tipped for the top in 2013 by Grimes, and coming off the back of a sold-out tour supporting Purity Ring, Canada’s latest electronic sensation, Doldrums, combine anthemic indie rock and techno-influenced improv electronics Interview: Bram E. Gieben Doldrums is the brainchild of Canadian Airick Woodhead, an itinerant musician and visual artist who has been in and out of bands his whole life, most notably alongside brother Daniel Woodhead, as a member of Spiral Beach. After a period of wandering, both in bands and in splendid isolation, Woodhead returned to Canada, eventually moving from his native Toronto to Montreal. He embedded himself in the city’s emergent musical scene.

Befriended by Claire Boucher, better known as Grimes, Woodhead began working on tracks under the name Doldrums, and quickly gained recognition both locally and internationally. In 2011, when Woodhead was just 21, his remix/ cover of Portishead’s Chase The Tear caught the attention of the band online, and the Doldrums version was included as the flipside of a charity single by Portishead on XL Recordings.

Since then, anticipation for Doldrums’ debut album has been building to fever pitch, with Woodhead whetting the world’s appetite for his skewed, restlessly inventive electronic pop through the Egypt EP, released via Souterrain Transmissions in May last year. Lesser Evil finally arrives in the UK this month. The Skinny caught up with Woodhead on the eve of the final date of a massive European tour, where Doldrums supported fellow rising stars of Canadian electronica, Purity Ring.

In person, Woodhead is animated and engaging, despite tour fatigue – his arms are covered from wrist to elbow with brightly coloured wristbands from festivals and gigs. He speaks in a quiet, almost androgynous falsetto, and gives off the confident air of a young man living out his dream of being a touring musician. “We’ve been really spoiled, playing through these amazing European sound systems,” he enthuses. “Most of the people are new to Doldrums, we’ve definitely been well received. Especially in Europe, people are really listening. I love playing in the UK, because there’s so much energy, and everyone’s fucked.”

He clearly enjoys touring on its own terms: “I’m addicted to travelling. It’s always positive for me.”

Woodhead has spent time in Europe before: “I came to Berlin when I first started travelling, as a potential home for myself, but didn’t really click

in with any group of people there.” He eventually found a suitable home in Montreal: “I guess the best thing about it is that it’s just very humble and chilled out. There’s not a lot of what I see as ‘social bullshit.’” What does he mean by that? “Like... I get excited when I see cheese is on sale. I play boardgames with my friends.”

One of the turning points for Doldrums was when Woodhead moved into a complex in Toronto occupied by two collectives of experimental musicians. “The complex had DIY venues for shows. It was a lot of noise music, a good community.” The experience “reinvigorated” Woodhead. Moving away from big rock shows and concentrating on composition and visual art, he found the inspiration to start Doldrums. “And now I’m back to playing in fucking 3,000 capacity raves!” he laughs.

Doldrums have been rounded out live on this tour by collaborators Kyle Bennett (also a producer in his own right, under the alias Flow Child), and drummer Steve Foster. Bennett and Foster played on Lesser Evil as well: “Doldrums is basically just a big umbrella that I carry around with me, and I’m happy to be able to still do whatever the fuck I want without being piegonholed, or feeling trapped by circumstance. My focus is always on just making the band as organic, and as much about the players as possible. There is a lot of improvisation, and they each bring their own sonic element.”

Watching the band live, there is a real sense of unpredictability. As Woodhead sings and jams away on a KAOSS pad, a turntable and various bits of analogue gear, Bennett responds, bringing out the house and techno elements from Woodhead’s often fragile, sometimes strident and anthemic songs. Foster meanwhile taps out intricate, complex polyrhythms. How much of the live show is improvised? “Kyle and I are very influenced by people like Black Dice – when you listen to them you think that it’s completely improvised and free, but then you see them a few times and you see that they actually wrote songs,” says Woodhead. He admires Black Dice because they have “created their own language” – something Doldrums try to replicate. “We’ve been developing

a language between us, just by jamming every weekend for years, and getting into our own kinds of gear, our own kinds of expression. Even though it might seem improvised – and some of it still is – I think that if you try and understand what we are doing as a band on our own terms, rather than by comparing it to what someone else is doing, then you’ll have an easier time just getting into it and enjoying yourself.”

What does Woodhead make of the fact that Grimes, now a hugely well-known and successful artist, is tipping Doldrums for similar success this year? “She’s a good friend of mine, she’s doing her job!” Woodhead laughs. And what of the rumour that he borrowed Boucher’s laptop to record his early work as Doldrums? “I’ve never played music with a laptop before, I’ve always had analogue gear... I didn’t have a computer when I started the record. I actually just took it from her,” he confesses.

Doldrums are a band who have had their fair share of hype on the internet, getting a lot of love

“I want to fucking smash my computer every time I open it” airick woodhead from blogs and websites in 2012. Does Woodhead feel that the band embody the current wave of internet-based musicians? “No. It’s anti-internet music,” he states emphatically. “I mean, that’s super hypocritical, because I’m only able to do what I’ve been doing because of the internet. But like, I was the last person to get on Facebook. I still don’t have a cellphone. I’m very much a recluse in Montreal, off the grid. I guess just because I’m a workaholic.”

An iconoclast from a young age, Woodhead’s resistance to net culture is deeply held, and is to do with not wishing to conform. “I’d say if anything, I want to encourage people not to feel they have to

live in this very small rut of lifestyle that’s been laid out in front of everybody, which leaves you feeling left out if you don’t participate in it,” he says.

“When I was a kid, I stopped watching TV when I was ten. I was like, ‘I’m not gonna watch TV any more.’ I didn’t want to be a part of that. I feel the same way about the internet – I want to fucking smash my computer every time I open it.”

Responding to the notion that Lesser Evil might be that most dreaded of things – a kind of concept album – rooted in science fiction themes, Woodhead’s on the defensive. “I know there’s been some propaganda going around that it’s a concept album, but I’d just like to debunk that!” he insists. The theme tying it all together is: “Feeling like you’ve lost yourself in an organism that is not something you understand.”

This suggestion that his debut carries a sci-fi narrative stems from an interview where Woodhead freely discussed ideas he had for an epic science fiction story about dreams, consciousness and the nature of reality. “That’s the propaganda!” he exclaims. “That’s actually a science fiction plot that I’m working on, and it has no connection with my album, other than the fact they are both by me, and are about how I perceive the world.” He namechecks the SF-influenced works of Derrick May and George Clinton as influences: “That’s totally what rave culture’s all about – future shock.

Feeling like you’re so ahead of your time that it doesn’t feel real to you.”

Woodhead describes his work as “pretty self-conscious music,” quoting from the lyrics of Anomaly: “It says ‘Call me an anomaly, whatever that’s supposed to mean / Are you living out your fantasies, or stuck in someone else’s dream.’ It’s all kind of about my personal struggles to live the life that I want to live.” For Woodhead that means creative fulfilment, and regular travel. “I guess I’m happy to be doing that now, and if there’s any lesson that people can take, or that I can impart with my music, it’s to do that – do whatever you want to do.”

Lesser Evil is released on 25 Feb via Souterrain Transmissions www.soundcloud.com/doldrumss

February 2013

THE SKINNY 45

clubs

P RE V IEW

Clubbing Highlights words: omar j. kudos

illustration: elena boils

Hopefully, by the time you read this column, we’ll no longer be snowbound (you Edinburghers at least – at the time of writing, Glasgow was positively tropical by comparison), and ready to kick off the dust of January’s inevitably slow start to the year, and get stuck in to an action-packed month in Scotland’s clubland. Or perhaps the snow will have gotten heavier, ushering in some sort of grim, bleak snowpocalypse? Only time will tell! One thing’s for sure – there’s no better place to hide from the elements than a packed nightclub, full of sweaty, gyrating bodies.

If you picked up this copy of The Skinny quickly enough, be advised to start your month proper with a choice of three stellar line-ups over in Glasgow on 1 Feb, as last month’s featured artist Andrew Weatherall and compatriot Sean Johnston bring their justly-acclaimed night A Love From Outer Space to The Berkeley Suite (£8 adv.), promising an eclectic back-to-back mix of electro, disco, house, post-punk, dub and krautrock (or none of the above – these guys play exactly what they want to play). Down the road at The Arches, the mighty Pressure have their by-now-familiar star-packed lineup, this month featuring Speedy J, Sandwell District, Maceo Plex and Davide Squillace playing alongside the ubiquitous Slam boys (£18). But that’s not all! The Optimo crew welcome hotly-tipped experimental art-rockers Aggi Doom to the Sub Club (£TBC). In the vernacular – YASS. We’ve mentioned Henry Steinway’s RL Grime alias before in this column – he makes deep, dirty trap and future-bass. He mans the decks on 5 Feb at Killer Kitsch, for a measly fiver – get yourself down to the Buff Club, wear some ear protectors, or prepare for tinnitus. By 8 Feb, things have started to hot up in Edinburgh – Belgian liquid drum and bass ambassador Netsky comes to The Sound of C at the Liquid Room for a hybrid DJ and live set that should prove pretty stellar (£TBC).

The same night, back west, French techno savant Laurent Garnier headlines Return to Mono at Sub Club, with Slam (there they are again) backing him up (£18). Alternatively, get retro with Farley Jackmaster Funk at La Cheetah – he headlines The House Sound of Chicago on the same night (£10).

On the Saturday (9 Feb), Club Houch and Perversity take over Edinburgh’s Liquid Room with DJs from Luvely, Nuklear Puppy, Pulse and Oxygen, alongside residents (£12), in a night that will bring tears of nostalgic joy to east coast clubbers over the age of 30. Meanwhile in Glasgow, justly-applauded straight-friendly lesbian night Lock Up Your Daughters (ha!) welcome Her Royal Highness for a sensuous set of funk, disco and house (£5). Alternatively, check out Work For Love at La Cheetah, who welcome analogue heroes Silk Cut to the party (Free before 12 / £3 after). The same night, party monsters Wrong Island welcome back resident, and previous star of our DJ Chart feature, Teamy back to the fold after a brief sabbatical. Their Facebook page merely states: “Daddy’s back.” Expect an eclectic mix of house, disco, alternative classics and unexpected gems, along with the usual hedonistic and welcoming atmosphere (£3).

On 13 Feb, Club Together features the welcome return of those wonderful Scratch Perverts to Teviot Underground. Undisputed kings of UK turntablism, it’s even a homecoming show of sorts for the Pervs – DJ Plus One honed his decksmanship right here in Edinburgh, fact-fans. How much do they want for the Perverts? Just £3 for normal humans, and absolutely free for students. No excuses for missing this one.

46 THE SKINNY

February 2013

Looking to dance the night away on Valentine’s Day? The Philanthrobeats crew have the club night for you. Taking on the Rubix clique for one night only, they welcome Fortywinks and Floyd for a versus set, alongside Toby Nicholas, Bop Gun and HaHaHa. Join them at Sub Club (£4).

15 Feb is a busy night in Glasgow, with Jim Lambie’s Poetry Club launching a new night, The Burning Sand with a live performance from Correcto, who feature members of Franz Ferdinand and The Royal We among their number, plus DJ sets from Sarah Lowndes and Torsten Laushmann (£5). It’s a 2am finish as well, so perfectly suited to the stamina of tired old clubbers who can’t hack the pace any more (just kidding... or are we...?). If you’re after something a bit more exotic, go and check out dubstep dilettante Mala at Stereo, who’ll be performing live tracks from his acclaimed Mala in Cuba album (£12).

On 16 Feb, expect cosmic house and upsidedown disco from the one and only Auntie Flo, who headlines Wasabi Disco at Edinburgh’s Sneaky Pete’s (£3, members free). Or you could check out French Express label-head Perseus, who drops in for tea and twelve-inches with the Gasoline Dance Machine crew at Cabaret Voltaire (£7/5). Over in Glasgow, Auntie Flo’s pals David Barbarossa and Andrew Thompson’s Huntley and Palmers night welcome Veronica Vasika and Trevor Jackson to La Cheetah for some cosmic disco and krautinfluenced sounds (£10).

By the time 22 Feb rolls around, you’ll be due a rest. But no! Pump yourself full of your stimulant of choice (ours is coffee, naturally) and get yourself down to #Notsosilent at the Liquid Room, who welcome not one but two special guests to the party – Numbers’ sexytime electro-hero Joy Orbison, and Germany’s Roman Flugel (£12). Top notch. If you’re in Glasgow, you’d be a fool to miss Weatherall collaborators Timothy J. Fairplay and Scott Fraser’s revered club night Crimes of the Future – they welcome one of Warp’s best-loved electronic artists, Plaid, to headline their night at The Berkeley Suite, for a mere fiver. And on 23 Feb, last moth’s DJ Chart star Gerry Blythe and his partner-in-crime GK Machine welcome Les Diaboliques to their party (£3), also at The Berkeley Suite. On 23 Feb, Numbers take on Subculture at Sub Club, with special guest, New York’s Leon Vincent, laying down some serious party tunes (£TBC).

On 1 March, up-and-coming house, garage and bass music crew 49Hz take over a new clubbing space, 511, located beneath The Newsroom, for a free party with residents Fault Lines and DeCourcy, who are joined by rising stars of the Edinburgh club scene Atticus Jacks and Comrade Massie.

The capacity of this event is strictly limited to 120 people, so be sure and get down early. 49Hz have been building up their rep since last Summer, throwing a launch party for the Dimensions Festival in Croatia, and featuring guests like Auntie Flo, Boom Monk Ben, Mosca and Pasteman. If forward-thinking bass music is your thing, this is a crew to keep your eyes on in 2013.

A final shout-out to regular Edinburgh Sunday knees-up and well-loved fixture in the capital’s club scene, Coalition – head honcho AF Meldrum is joined weekly by a revolving cast of Edinburgh DJs, including the mighty Ingen, who provides a very special DJ chart for us this issue (see facing page). It’s free, and it has one of the best, most friendly atmospheres in Edinburgh’s clubbing community. Get in! We’ll see you next month.

[Omar J. Kudos] Check listings for times and prices

PREVIEW

DJ CHART: INGEN (COALITION) A rising star of the UK dark / minimal techno scene, Edinburgh’s INGEN (Coalition / Digital Distortions / Fixate) presents a banging ten-track mix INTERVIEW: BRAM E. GIEBEN PHOTOGRAPHY: JASSY EARL

EDINBURGH’S INGEN has come to prominence in the last year or two having featured as a regular performer at club nights in the capital such as Split and Coalition, where he has been a resident since 2005. He cut his teeth playing experimental live sets of original material, and has distilled his sound down into tough, brooding, experimental techno.

With releases on Fixate, Nerve, Digital Distortions, Wired Room and Tribal Waves, including remixes for Si Begg, Temper D, Hostage and 9tails, Ingen has begun playing all over the UK alongside high-profile names from the techno scene such as Derrick May, Savier, The Youngsters, The Advent, Whitehouse, Surgeon, Robert Logan, Phil Kieran and Meat Katie. Here he gives us a tentrack guide to his influences and favourite tracks, including Napalm Death, J-Pop, and a healthy dose of dark techno.

British Murder Boys – Don’t Give way to Fear [Counterbalance] The track that’s had the biggest impact on the hairs on the back of my neck. The first time I heard this, it blew me away. Mixing breakbeats and amazing textures to make a sonic treat for the ears; whether it be in a club or in the house, it causes devastation. Every time.

Cursor Miner – Every Want Power [Combat Recordings] Cursor Miner is one of the only producers who can move me this way. Creating harsh rhythms, mixed with completely devastating distorted bass. It’s like order and chaos at exactly the same time.

Dead Fader – Corrupt My Examiner [3by3] Brutal, beautiful... Terrifying. One of my favourite producers from last year. Completely originalsounding and probably some of the most extreme electronic music I’ve ever heard. A real breath of fresh air. I came across Dead Fader at a time where I was feeling very uninspired with my own production. Suddenly, it seemed after listening to a short Dead Fader showcase mix on Electronic Explorations, everything was in colour again. Truly inspirational stuff.

Dom & Roland – Sound Wall [Moving Shadow] One of the first tracks I ever heard that made me want to jump out of my own skin (in a good way).

One of the most heavy and impressive uses of the Amen break in existence. That mixed with a deep sci-fi sound scape makes this in my opinion the finest drum and bass around.

Ingen – Snap the Tilt [Digital Distortions] A turning point in my own work that finally made me think I had an idea of why I was even doing this stuff. After getting picked up by one of my all time favourite underground labels Digital Distortions, and the track being released alongside some of my heroes, it seemed like the first step in the right direction. There will be a follow up remix EP coming soon with remixes from Black Mass Plastics,

T-Polar and one other unconfirmed mystery guest..

Whitehouse – Dumping the Fucking Rubbish [Susan Lawly] The loudest, biggest, scariest, bestest thing ever.

I first heard Whitehouse in early BMB (British Murder Boys) sets. After hearing some of their tracks being played by BMB live at club Dogma in Edinburgh, I was convinced by how powerful and unique they were. I went on to book Whitehouse to play at Cabaret Voltaire after hearing what they could do live. Nothing was the same ever again.

“It doesn’t get better than this,” as one fan said to me at the gig!

Kyary Pamyu Pamyu – Tsukematsukeru [Yasutaka Nakata] Like multi coloured sweets you know are bad, but you cant stop eating. After being first introduced to J-Pop, (reluctantly) I’ve become a massive fan!

Mostly of the work of Yasutaka Nakata. He is responsible for production for the artists Perfume and Kyary Pamyu Pamyu. J-Pop sounds so alien at first, then after the mind-worm takes effect, (approximately after 3 listens to any track) you’re hooked. Some of the shiniest, best-produced music in the world, mixing techno-pop with melodic hooks and the cutest female creature ever (KPP herself). No-one is safe. This has probably been the most played song on my iPod in the last year.

Napalm Death – Volume of Niglect [Spitfire] In my opinion one of the finest live bands ever.

Totally underrated. Hard to describe the sheer racket these guys can make. Simple, sonic brutality in its purest form. Might take a bit of slack for this one, as nowadays they seem more like a tribute band (performing with none of their original members). All that aside, they can still cut it when it comes to sheer noise terror!

Ochre – Circadies [Benbecula] This song is the purest form of beauty, from seminal Scottish electronica label Benbecula. I find it hard to enjoy melody in a lot of dance music, but this truly moves me. I can’t think of a nicer set of sounds other than those in this track. Some really complicated polyrhythms and edits that would even put Aphex to shame. A perfect ten.

Oscar Mulero – 46 Antagonists Mix [Warm Up Records] Raw, hypnotic and strangely funky. Oscar has been one of my favourite producers for many years now. This version of his track (remixed

by Regis) really pushes the boundaries. A real dancefloor killer and a regular fixture in my DJ sets.

GRAB A FREE DOWNLOAD OF INGEN’S GENERATIONAL DYNAMICS FROM HIS SOUNDCLOUD PAGE: SOUNDCLOUD.COM/INGEN/INGEN-GENERATIONAL-DYNAMICS THE LUSHER EP IS OUT NOW ON DIGITAL DISTORTIONS: WWW.DIGITAL-DISTORTIONS.CO.UK/DD/ DIGITALDISTORTIONS/DDD051-INGEN-LUSHER/ SOUNDCLOUD.COM/INGEN

FEBRUARY 2013

THE SKINNY 47

RE V I E W

february EVENTS film

The Glasgow Film festival doesn’t have the only film events worth checking out in February – here’s The Skinny’s guide to special screenings, events and happenings in the rest of the country words: Becky Bartlett

i wish

I Wish

This Is 40

Director: Hirokazu Koreeda Starring: Koki Maeda, Ohshirô Maeda, Ryôga Hayashi, Rento Isobe, Kanna Hashimoto Released: 8 Feb Certificate: PG

Director: Judd Apatow Starring: Leslie Mann, Paul Rudd, Maude Apatow, Iris Apatow Released: 14 Feb Certificate: 15

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Hirokazu Koreeda’s Nobody Knows (2004) is one of the saddest films ever made about childhood, but his latest, I Wish, feels like the optimistic flipside to that picture. The Japanese director is once again exploring fractured family ties, but the young siblings in I Wish know how to bring their estranged parents together: with a wish made as two bullet trains pass each other.

It’s a perfect story for Koreeda, allowing him to display his keen sense of character, his ability to coax utterly beguiling performances from children, and his unfailing knack for making a deeply affecting film without resorting to cheap sentimentality. I Wish is completely in sync with its young lead characters, superbly showing us the adult world filtered through their perspective, and the apparent simplicity of this children’s fable cunningly disguises enormous depths of heart and wisdom. We all spend so much time yearning for films as good as this, and the latest great work from Hirokazu Koreeda is pure wishfulfilment. [Philip Concannon]

Judd Apatow revives characters from Knocked Up (2005) in this spin-off starring Leslie Mann and Paul Rudd. Attempting a Lena Dunham-esque take on the dreaded turn of 40, it sees Debbie (Mann)’s fear of unhappiness kick in, sparking a series of panicked life changes for the whole family (cue montage of medical check-ups, fitness regimes and ceremonious cupcake binging) – much to the chagrin of their offspring, teen Sadie and marginalised Charlotte (played

by Apatow and Mann’s real-life daughters).

The script is as haphazard as its premise, with the director’s trademark improvisation creating messy scenes – some so long they seem to usher in middle-age – which barely adhere to an overall arc and are wrought with more tension than laughs, as finances, extended family, and untrustworthy employees complicate matters. Decent turns from Megan Fox and Jason Segel do little to lighten the tone, making this a family drama that lacks structure and salvages only a little heart. [Nicola Balkind]

Wreck-It Ralph

Cloud Atlas

Director: Rich Moore Starring: John C. Reilly, Sarah Silverman, Jane Lynch, Jack McBrayer, Alan Tudyk Released: 8 Feb Certificate: PG

Director: Tom Tykwer, Andy Wachowski, Lana Wachowski Starring: Tom Hanks, Halle Berry, Jim Sturgess, Ben Whishaw, Doona Bae Released: 22 Feb Certificate: 15

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Wreck-It Ralph’s primary source of pleasure is nostalgia: it’s a CGI timemachine for those who misspent their youth developing RSIs on bleeping 8-bit arcade consoles. Our eponymous hero (Reilly) is the Donkey Kong-like villain of one such game. By day Ralph conforms to his destructive thug-programming and by night he curses his lot with his baddie buddies – a cameo from Zangief, the Soviet brute from Street Fighter, is inspired. Like the protagonists of Megamind and Despicable Me, Ralph’s a bad guy who just wants to be good.

Director Rich Moore creates a vivid universe for this existential crisis. In an attempt to put his smashing skills to heroic use, Ralph goes AWOL from his own game and finds himself battling Starship Trooper-like bugs with a gung-ho commando (Lynch) and forming a brotherly bond with a live-wire glitch (Silverman) from a kaleidoscopic racing game. Ralph’s odyssey through these 3D vistas is sparky enough, but becomes increasingly manic and never matches the wit of the in-joke loaded opening. [Jamie Dunn]

Condensing David Mitchell’s Cloud Atlas into a single film was always going to be a mammoth task, so credit is due to the three directors (the Wachowski siblings plus Tom Tykwer) for bringing it to the screen at all, but that’s as far as the praise can go. Their adaptation of Cloud Atlas is a lumpy, awkward behemoth in which a collection of admirably game actors don generally unconvincing prosthetics to tell six stories spanning multiple centuries.

The best of these is a sensitively played 1930s love affair between Ben Whishaw and James D’Arcy, but the other tales never spark into life and the film grows more interminable and incomprehensible with every step it takes into the distant future (marred by comical gobbledygook language). The unimaginative cross-cutting between narratives fails to illuminate their parallels in any kind of interesting way, and for all of its spectacle, Cloud Atlas is ultimately let down by a script (“What is an ocean but a multitude of drops?”) that comes off as insultingly trite. [Philip Concannon]

Bullhead

Bullet to the Head

Director: Michaël R. Roskam Starring: Matthias Schoenaerts, Jeroen Perceval, Jeanne Dandoy Released: 1 Feb Certificate: 15

Director: Walter Hill Starring: Sylvester Stallone, Christian Slater, Jason Mamoa, Sung Kang Released: 1 Feb Certificate: 15

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In synopsis Michaël R. Roskam’s feature debut is just another gangster tangle of black market drug-peddling, Coen-esque deadpan and unrequited love. Albeit set in a cattle farm. In Belgium. But anchoring all this drifting convention is a masterful, creeping character study. Every frame is stained with the swollen silhouette of cattle farmer Jacky (Schoenaerts), who has become snagged on a criminal cow-doping racket. Like Brando’s Stanley Kowalski, or Muni’s Scarface, Jacky wields his too-powerful body with haplessness, juiced on a heady cocktail of chemicals and vile circumstance.

An agonising flashback to his childhood unveils the pivot upon which this tragic carousel ride must careen to its conclusion. Between Nicolas Karakatsanis’s agile camerawork and an uncanny deployment of silence, Roskam teases open bare, fluid spaces in which Schoenaerts’ intense performance can really writhe. It’s refreshing that such a dark and viciously cynical beast earned an Oscar nod last year; it’s just frustrating that it might have prowled more potently if unleashed from a plot which feels somewhat arbitrary.

[Kirsty Leckie-Palmer]

There’s something faintly tragic about Sylvester Stallone’s determination to cling to those much beloved macho action sensibilities of the 1980s, with his recent series of celluloid flashbacks to those glory days becoming increasingly tiresome. Luckily, this latest retro smash ‘em-up delivers more musclebound thrills than melancholy.

Stallone is wily New Orleans assassin Jimmy Bobo, set-up for a fall by his paymasters then inexplicably paired with investigating cop Taylor Kwon (Kang).

The duo uncover a gobbledygook real estate conspiracy that “goes right to the top,” bickering and bashing heads along the way – a trope director Walter Hill wrote the book on.

Some of the back-and-forth falls flat, while Kang is generally out of his depth, but there’s wryness in Bullet’s dependence on genre cliché and its aging star has a ball with his no-nonsense button-man. Brutally intense fight scenes, sharp editing and Game of Thrones’ charismatic colossus Jason Momoa as the most 80s henchman this side of Commando provide further zip to an enjoyable 90 minutes. [Chris Fyvie]

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February 2013

The Cameo in Edinburgh is screening three Hitchcock films this month as part of its Vintage Sundays season. Based on a short story by Daphne Du Maurier, The Birds (3 Feb) tells the tale of a small community trying to survive a vicious avian attack. The excellent Rear Window, starring James Stewart as a housebound photographer convinced his neighbour has murdered his wife, is showing the following week (10 Feb). The season finishes with Psycho (17 Feb), the film that cemented Hitchcock’s reputation as a master of suspense.

cinema paradiso

The DCA in Dundee hosts Cinema Republic each month – a film suggested by the people, for the people. This month the chosen movie is Cinema Paradiso (14 Feb), an Italian comedy drama inspired by the childhood of director/ screenwriter Giuseppe Tornatore. The acclaimed film, which won the Best Foreign Language Film award at the 1989 Oscars, is a love story between a boy and the movies – what better way to spend Valentine’s Day? With Tarantino’s latest, Django Unchained, nominated for five Academy Awards including Best Picture, it is only fitting that the Belmont in Aberdeen screens some of the acclaimed director’s movies this month. Kill Bill: Vol. 2 kicks off the month in a suitably violent fashion (4 Feb), followed by Death Proof, sadly still separated from its Grindhouse companion Planet Terror (11 Feb), and ending with Inglorious Basterds (18 Feb), which saw Christoph Waltz win his first Best Supporting Actor award.

On 6 Feb punk fans should head to the GFT in Glasgow or the Cameo in Edinburgh for a special screening of The Punk Syndrome, a documentary about Finnish punk band Pertti Kurikan Nimipäivät, whose members all have learning disabilities but use their music to challenge society’s assumptions about disability. Documenting their transition from obscurity to fame, this insightful and entertaining film is followed by a live Q&A session with the band’s members at both venues.

Finally, both the Filmhouse in Edinburgh and the DCA are showing several Roman Polanski movies this month. Repulsion, starring Catherine Deneuve as a young girl in London whose mental state rapidly deteriorates due to her isolated lifestyle, is showing at the Filmhouse (1-2 Feb), alongside Dance of the Vampires (1-4 Feb). At the DCA, one of the director’s finest films and a hugely influential movie of the 1970s, Chinatown, is showing (3 Feb), as is the Oscar-winning Tess (10 Feb), an adaptation of Thomas Hardy’s Tess of the d’Urbervilles.

le bal des vampires

REVIEW: DVD

MCCULLIN

5 BROKEN CAMERAS

DIRECTOR: JACQUI AND DAVID MORRIS STARRING: RELEASED: 25 FEB CERTIFICATE: 15

DIRECTOR: GUY DAVIDI AND EMAD BURNAT STARRING: RELEASED: OUT NOW CERTIFICATE: 15

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When a man can talk of the “first” execution he witnessed, and calmly make it clear that this was the just first of many, we can be sure that we are in the presence of someone who has seen the worst the world contains. But what inspires awe in this solid documentary exploring the work of the great photojournalist Don McCullin is just how much he has seen.

His pictures most famously captured the conflict zones of the 1960s and 70s, but in his photo-features for The Sunday Times he reported back from every corner of the globe on a variety of subjects, from jazz musicians in New Orleans to the homeless of London’s East End. But if McCullin inspires awe, he does not inspire envy. Now in his seventies, he is no longer the man who “became totally mad, free, running around like a tormented animal” in Vietnam, but a figure of great introspection, cursed with an almost perfect recall of the horrors he witnessed.

[Keir Roper-Caldbeck]

Arriving on DVD with the imprimatur of an Oscar nomination, 5 Broken Cameras is a world away from the glamour of the Academy Awards red carpet. Drawing on hundreds of hours of footage shot by Palestinian activist and amateur cameraman Emad Burnat, the film records the grinding struggle by his friends and neighbours to turn back encroachments onto their land by Jewish settlers, whose vast condominiums loom menacingly on the hill above their village.

The rough and ready camerawork reflects the chaos of improvised protests held in the face of often trigger-happy Israeli soldiers. As the conflict intensifies, so does the violence filmed by Burnat, but we also begin to realise the seemingly ramshackle structure of the film has drawn us in for a series of heartstopping events. Burnat’s is necessarily a partial view, but this documentary remains a vital record of the way the lives of a whole generation have been warped and distorted by life on the front line. [Keir Roper-Caldbeck]

CHAINED

SKYFALL

DIRECTOR: JENNIFER LYNCH STARRING: VINCENT D’ONOFRIO, EAMON FARREN, JULIA ORMOND RELEASED: 4 FEB CERTIFICATE: 18

DIRECTOR: SAM MENDES STARRING: DANIEL CRAIG, JAVIER BARDEM, JUDI DENCH RELEASED: 18 FEB CERTIFICATE: 12

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Cinematically speaking, Jennifer Lynch comes with a lot of baggage. The daughter of David Lynch, at 19 she wrote and directed one of the most reviled films of the 1980s, Boxing Helena. Her latest film, Chained, is a seamy exploration of father figures and psychopathy.

Bob is an efficient, taxi-driving serial killer who, after murdering nine year old Tim’s mother, tells the terrified boy: “I didn’t ask for you but since you’re here I’m going to make the most of it.” Tim becomes Bob’s shackled slave and a witness to his master’s frequent murders. The film then jumps forward some years. Tim is now a gaunt, haunted teenager, still a captive, who must now decide whether or not to follow his adoptive ‘father’ into the family business.

If Lynch shares with her father a fascination for the darkness hidden in the everyday, Chained, while gruesome, remains too tied to genre conventions and trite psychology to really disturb.

[Keir Roper-Caldbeck]

Skyfall’s success at the box office has cemented Daniel Craig’s reputation as the best Bond since Connery. Bringing to the role the blunt charm of a hammerhead shark and stripping it of all traces of camp, he has helped reinvigorate 007 for a postBourne world. This installment has a fine mix of action, humour and, in a deserted island off Macau, a truly great villain’s lair.

But the move to the small screen throws into relief some of the drawbacks of hiring a highbrow director like Sam Mendes, whose attempt at a ‘reboot’ of the character means mostly bolting on the inevitable Oedipus complex. Whether this is necessary for Bond is debatable; he, like that other great British fictional hero, Sherlock Holmes, has always been something of a psychological vacuum.

Mendes’s approach certainly undermines Raoul Silva, the evil genius of the film, who sets in motion the usual preposterous plan not in order to rule the world, but because he misses his mummy.

[Keir Roper-Caldbeck]

The ScoTTiSh NaTioNal Jazz orcheSTra featuring trumpet sensation Paolo FreSU directed by ToMMY SMiTh - presents the music of MileS DaViS and Gil eVaNS

Miles AheAd And

Birth of the Cool

£5

tickets with

SNJo YoUTh carD Apply for free card to lr@snjo.co.uk quoting “the Skinny” eligible if 16-25yrs

Thurs 21 Feb, 2013 — Dundee, caird hall 01382 434940 www.cairdhall.co.uk

Fri 22 Feb, 2013 — edinburgh, Queen’s hall 0131 668 2019 www.thequeenshall.net

Sat 23 Feb, 2013 — Glasgow, royal conservatoire 0141 332 5057 www.rcs.ac.uk

Sun 24 Feb, 2013 — Stirling, Macrobert centre

SINISTER

AMERICAN MARY

DIRECTOR: SCOTT DERRICKSON STARRING: ETHAN HAWKE, VINCENT D’ONOFRIO, JAMES RANSOME RELEASED: 11 FEB CERTIFICATE: 15

DIRECTOR: JEN SOSKA, SYLVIA SOSKA STARRING: KATHARINE ISABELLE, ANTONIO CUPO, TRISTAN RISK RELEASED: OUT NOW CERTIFICATE: 18

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In an attempt to restore his ailing career, a true crime writer moves his family into a house to write the definitive account of the murders that happened there. But when he starts to investigate a box of snuff movies he discovers in the attic, he opens an ancient can of worms that threatens them all.

It’s an ingenious hook to hang a horror film on. As we watch the movies with him – alone in the dark, of course – they’re undeniably creepy and effective, earning some genuine scares and contributing to a pervasive atmosphere of dread and menace.

It’s a shame when the more traditional supernatural elements take over as they’re both underdeveloped conceptually and look like cheap Halloween costumes. But despite creative misfires, the basic idea is fun and Ethan Hawke playing an unapologetic asshat is perfectly watchable. It may not live up to its potential, but there’s still enough for a horror fan looking for something new.

[Scotty McKellar]

Perhaps those willing to endure cold steel against warm flesh for aesthetic self expression are the ultimate fashion victims. Yet twisted twin directors Jen and Sylvia Soska present extreme body modification as anything but in this sinister tale of surgical revenge. Katharine Isabelle is the medical sculptor avenging a horrific sexual attack. She plays the part so very well, dry as vermouth and with tongue firmly in cheek.

If only the filmmakers could stitch their movie together as tightly as their master surgeon; at times editing causes confusion and certain narrative strands simply fade away. But it remains a thematic and visual victory, bathed in red, white and blue and with the kinky treat of Isabelle in a latex nurse’s uniform. This may arguably contradict its feminist perspective but American Mary will certainly spark discussion, something these talented twins will surely continue to do within the horror genre.

[Alan Bett]

01786 466666 www.macrobert.org

For more information, please see www.snjo.co.uk

GET INVOLVED WE'RE LAUNCHING A MANCHESTER & LIVERPOOL EDITION THIS YEAR AND LOOKING FOR WRITERS, PHOTOGRAPHERS AND ILLUSTRATORS TO GET INVOLVED! KEEP AN EYE ON WWW.THESKINNY.CO.UK/ABOUT/GETINVOLVED FOR MORE INFO

FEBRUARY 2013

THE SKINNY 49

REVIEW

FROM DEATH TO DEATH AND OTHER SMALL TALES

art

SCOTTISH NATIONAL GALLERY OF MODERN ART, EDINBURGH, UNTIL 6 SEP

SOGOL MABADI STUDIO 41, GLASGOW

rrrrr Crossing the threshold of Studio 41, you immediately enter a small room, where it seems everything is awaiting your arrival in order to begin. The invigilator speaks in hushed tones, telling me what’s going to happen. “When you’re ready, have a seat opposite the other. She will remove her blindfold and use it to blindfold you. If you could lean forward when she does this to make it easier…” His words sound rehearsed and have been carefully chosen.

It’s slightly uncomfortable at first, sitting so close that our knees are almost touching. Although she is blindfolded, I avoid facing her head-on, instead looking around me. The walls are painted pistachio green and matching padded totems encircle us, screening us from view of the window. Everything seems soft, cushioned, restful.

When she unwinds her blindfold and draws it forward to transfer to me, I don’t see her face, as my head is bowed forward ready. By chance or design, it falls to cover my whole face and mask my expression. The sounds of traffic outside are now

heightened, but also muted.

The artist’s knees touch mine and nudge them apart slightly. Next there is a light pressure on my thumb joint, gradually working its way to press against my palm. It would be easy to respond more actively, unclasping my hands, but it seems that isn’t the point. Is it strange that to have this kind of slow, tentative intimacy with strangers, we blindfold it and call it art?

As I leave, it feels rude not to thank the artist, but wordless thanks aren’t possible as she remains blindfolded. Even stranger is not turning to someone to chat. This reluctance to leave life outside and acquiesce to the silence is perhaps due to the lack of any anteroom device as prep for the performance. But perhaps its lack of remove from life, or butting up against it, is what the work’s about. [Jac Mantle] THESTUDIO41.WORDPRESS.COM/2012/12/14/ COMING-SOON-SOGOL-MABADI-ENDEAVOUR-NO6-THE-GREEN-THE-BOWS-AND-THE-BINDING/

Following the success of last year’s The Sculpture Show, the National Galleries continues to break brave new ground with another sprawling behemoth of a show.

Filling the entire gallery space with bold, bloody and beguiling representations of the human body, From Death to Death unites corporeal gems from the National’s permanent collection with some of the biggest names in contemporary art, cherry-picked from Dimitris Daskalopoulos’s enviable hoard. In the context of such an impressive cast of visiting masterpieces, familiar works are reinvigorated.

As you might expect in a show dealing with the pleasures, neuroses and agonies of the flesh, sex and death weigh heavily. Notably present is the abject aspect of bodily functions and pleasures, making for a deliciously visceral treat for those with a strong stomach and an open mind.

The curation is more experimental than didactic and juxtapositions range from the seemingly obvious (splayed legs through the ages) to the unpredictably obtuse (Kiki Smith paired awkwardly with Paul Delvaux). It traverses the ground of seemingly disparate movements and times amid more genitalia than you can swing a dick at, and yet somehow manages to avoid coming across as salacious.

Marcel Duchamp’s game-changing Fountain, arguably the most significant work of the 20th Century, magically manages to not totally outshine its companions in a crowded room of pristine white forms. In a refreshing break from convention, the infamous urinal has been removed from its typical pedestal and backed into a corner. Elsewhere, the unnerving eyeless stares of Douglas Gordon’s stars of the silver screen face off with a confrontational memento mori by Magritte. A slumped torso by the omnipresent Robert Gober pulls the gaze in further

MARINA ABRAMOVICH IMPONDERABILIA (1977)

unexpected directions.

The grainy footage of Marina Abramovic’s 1977 performance Imponderabilia candidly addresses the hypocrisy of a collective discomfort with ‘live’ nudity, making clear the vast chasm in our perception between ‘real’ nakedness and the (mostly young, white, beautiful, female) archetypal nudes we are accustomed to seeing portrayed in art.

There are certainly enough world-class artists here (Gober, Barney, Duchamp) to make several money-spinning solo shows, but in bravely sidestepping the neat, safe approach, the show affords a broad audience the chance to experience this giant, heaving, unruly body of work. Let’s hope that these big bold shows continue to knock some of the dust off of the Scottish art world’s public programme.

[Kate Andrews] WWW.NATIONALGALLERIES.ORG/WHATSON/EXHIBITIONS/FROMDEATH-TO-DEATH-AND-OTHER-SMALL-TALES/THE-SHOW-23460

ADVERTISING FEATURE

OWN ART AT PEACOCK VISUAL ARTS WORDS: JAC MANTLE

A CREATIVE hub located in a region of austere landscape and weather, Peacock Visual Arts is many things to many people – and prioritises community participation. With state-of-the-art printmaking and darkroom facilities, it offers a range of courses by expert printmakers and visiting artists, but also shows an interesting programme of contemporary art. Recent exhibitions have included Toby Paterson’s exploration of the urban built environment in a series of prints, and The Obsidian Isle, Gayle Chong Kwan’s photographic documentation of a fictional island off the west coast of Scotland. The pre-degree show of BA Hons Printmaking students from Gray’s School of Art is an annual fixture on PVA’s programme.

Far from limiting itself to printmaking, though - or to Scottish art - the gallery programs shows as diverse as This is Performance Art, a four-day event which featured world renowned collective, Black Market International, Katri Walker’s video exploring Scotland’s historical fascination with Wild West culture, and an offsite project where Jacques Coetzer pitched a small tent on the edge of a cliff in the Highlands to use as a one-man cathedral.

Shoring up its claim of providing the widest range of media anywhere in Scotland, PVA is now making forays into animation. This month it will stage Aberdeen’s first animation festival, In Motion, presenting shorts and feature films from around the world at the Belmont cinema.

The festival includes films by the graphic artist

and animation maestro Thomas Hicks, who creates music videos for bands such as Gravenhurst.

Hicks will also present a collection of drawings, paintings and sketchbooks at PVA’s gallery, giving a rare peek into his working methods and techniques.

Hicks begins by making quirky illustrations in response to a record, then turns them into linocut prints and sculptures, and finally into animations.

Typically, he combines high-tech and traditional techniques, as in Unicycle Film (2009), which used Plaster Of Paris sculptures, handmade zoetropes, puppets on strings and a time lapse camera. The film tells the tale of two unicyclists who meet in a forest and fall in love, whereupon their unicycles join and work together as a bicycle.

Hicks will give a talk at Gray’s School of Art as part of the Guests @ Gray’s series, and a masterclass and workshop at PVA, sharing his skills with participants to produce an exciting collaborative outcome. For those who are novices in the field, the gallery will run drop-in intro workshops as well as weekend workshops designed for young people.

Currently showing in PVA’s reception gallery is a wide selection of prints, from Frances Walker’s study of remote, desolate places and craggy rocks from Tiree to Svalbard, to Toby Paterson’s Inchoate Landscapes. For this 2010 suite, Paterson turned his attention from Canning Town to Moscow to Sofia, using an award from Creative Scotland to fund his stimulating travels around

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

50 THE SKINNY

FEBRUARY 2013

THOMAS HICKS , SKULLS COURTESY THE ARTIST AND PEACOCK VISUAL ARTS

Eastern Europe. All of the works on show at PVA can be bought affordably using the Own Art scheme to spread the cost, with even more available on Peacock’s online gallery on the Culture Label website.

Browsing the site from the comfort of your sofa, you could pick up one-off screenprint editions such as The Nose: Epilogue, a cartoonish depiction of an anthropomorphic book of sheet music which peers down its nose loftily from atop the music stand. The

IMAGE: COURTESY THE MARINA ABRAMOVI ARCHIVES AND SEAN KELLY GALLERY, NEW YORK

SOGOL MABADI, ENDEAVOUR NO 6 THE GREEN, THE BOWS, AND THE BINDING

PHOTO: THERESA MOERMAN

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artist Mick Peter has been described as having a divided identity, torn between the psyche of an urban aristocrat and a bumpkin.

Whether you favour Peter’s outlandish figurative creations, or eminent cultural icon John Byrne is more your bag, the Own Art scheme makes taking one away with you hard to resist.

PEACOCK VISUAL ARTS IS SUPPORTED BY THE OWN ART SCHEME. WWW.OWNART.ORG.UK WWW.PEACOCKVISUALARTS.COM

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 operated by ArtCo Trading Ltd, a wholly owned subsidiary of Arts Council. Registered address: Arts Council England, North East, Central Square, Forth Street, Newcastle upon Tyne, NE1 3PJ

249 West George Street Glasgow G2 4QE

books

RE V I E W

The Dandy - The Last Issue Stonemouth

By Iain Banks

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By Various

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Out now. Published by Little, Brown Cover price £7.99 paperback

Out now. Published by DC Thompson. Cover price £3.99, if you can still get it

tech

Stewart Gilmour returns home after 5 years to the small town of Stonemouth to attend a funeral, but only after getting permission from the Murstons, one of two gangster families that run things there.

This being an Iain Banks book, the past functions almost as a character as well, and here it’s a while before we find out exactly how Stewart angered the Murstons in the past.

Stewart has enough to be concerned with in the present, as the amnesty he’s been extended doesn’t seem to affect some of the junior Murstons, and the whole thing might well be an elaborate trap anyway.

But then there’s Ellie Murston, a lost love, the reason he’s returned, but part of why he left as well. Ellie doesn’t properly appear until the latter half of the book, but she’s ever present for Stewart.

Banks’ prose takes on a more spare quality here than usual, but though it appears clearer, he hasn’t lost his knack for keeping details hidden in plain sight. It’s not a major departure for Banks, but it’s a very compelling tale. [Michael Ireland]

This last ever print version of The Dandy is a pretty representative compendium of some 75 stories. The Dandy’s humour was never particularly sophisticated, and even this last issue contains a lot of perfunctory slapstick and cheesy jokes put into cartoon form – the old ‘I dreamed I was eating a large meal, and when I woke up my pillow was gone’ line features in an early strip here. In a nice touch, a facsimile of The Dandy’s first issue is included, from December 1937.

The comic’s longevity meant it was always a weird read, with long running strips produced in the same style for decades alongside more modern ones – see, for one of many examples, Big Head and Thick Head rubbing shoulders awkwardly with Owen Goal.

The inclusion of the first issue allows a comparison between the first and last Desperate Dan strips – a vast difference in illustration style, because Dan did get a makeover on occasion, but much the same old jokes. This time, that’s a fine, nostalgic thing, and as Dan makes his last exit, appropriately strolling off into the sunset with his head held high, The Dandy goes out in much the same way. [Keir Hind]

'Mega' or How to Hide and Share Your Files at the Same Time words: Alex Cole

THE FEED

Rewind to a year ago. In that age, if you wanted to find movies, TV shows and other media that was, for a variety of reasons, not available for viewing in your country, or at that time, or without an extortionate price, you had two options. The first was using torrents, which required tracking down the right link to the right torrent and using third-party software to get said media. You had the media forever, at that point, but you also opened your IP address up to all kinds of danger from itchy-fingered prosecutors.

Most people, however, only needed the media once (especially for TV episodes), and for that, you went to MegaUpload, which delivered media through MegaVideo and its siblings, streamed right to you, without having to download a thing.

And it was so good at this that one year ago the US government came down like a ton of bricks on owner Kim Dotcom.

Months of pointless litigation and meandering later, and Doctom is back, this time determined not to go through any of that again. Late last month, he launched Mega.co.nz, which put a very swish coat of paint over what is, essentially, a peer-to-peer file hosting and sharing service.

File hosts like Dropbox and SkyDrive have been

doing this for a while, but Mega puts a massive emphasis on security and encryption. Your files are encoded before they ever reach the cloud servers, and those servers don’t have the decoding key needed to decrypt them, only you do, and you can share it with whomever you like. That way Mega can cooperate with any government investigation, while also not having anything to give them.

Without the key, your files are meaningless data.

The site garnered more than 1m signups within its first weekend live, and many had trouble getting their media up to the site at any decent speed.

There’s also a huge way to go before the security experts get through with throwing every kind of brute-force attack imaginable at the service, to see just how reliable its encryption and its legal immunity really is.

That said, the fundamental concept of a legally invulnerable, well-encrypted repository for all kinds of files opens the door to every kind of copyrightbusting opportunity imaginable. Movies, TV shows, and more, all easy to view and impossible to directly take down, all make the case that if media producers can’t offer a simple, widely-available spot for their media, the pirate community will do it for them.

The Investigation

By Philippe Claudel

rrrrr Philippe Claudel’s latest novel is an engrossing and often frustrating descent into the irritation and tyranny of the modern world. Frustrating because spending a prolonged period of time with someone constantly thwarted by minor inconveniences, as our protagonist is, cannot help but leave the reader similarly itching to escape such claustrophobic confines. Whether it be an overzealous policeman insisting on one final reconstruction of a meaningless triviality or a snack machine delivering tantalising food just out of reach, a complete catalogue of modern horrors is present here.

The novel is written in the high modern-allegorical style of a Kafka or a Coetzee - every character is an abstract noun, their entire identity provided by their profession - and follows the Investigator as he journeys to the Firm to seek out an explanation for their recent spate of suicides. The story descends deeper and deeper into this bureaucratic hell, only just allowing the hope that the Investigator will emerge from this frustration to gasp at least one lungful of clean air. Such satisfaction remains elusive, however, and this novel leaves a bitter aftertaste as we reflect on just how diabolical our seemingly harmless world can be. [Daniel Davies] Out now. Published by MacLehose. Cover price £16.99

The Library of Unrequited Love

By Sophie Divry

rrrrr It would seem a good plan to release a book about love, for lovers of books, on St Valentine’s Day, but this is an odd one for that particular date. This is a short book comprised entirely of a monologue by a librarian to a library patron she finds in her section, after she or he has been locked in one night.

The reader assumes the role of that patron, and listens, as it were, to a well constructed talk about how the librarian’s life led her there, which then develops into an exploration of history, and in particular how libraries developed during the events of French History – Robespierre was good for them, Napoleon less so.

This in turn gradually reveals more and more, in asides, about the librarian’s crush on a researcher named Martin, who probably doesn’t know her name – the reader never finds this out either – and who is the reason for the title. It sounds a little complex, but in practice this text follows the rambling logic of conversation rather well – and the translator deserves credit too. More poignant than romantic, this small book might not be the best gift choice for Valentine’s Day, but it’s an enjoyable short work. [Alan Redd] Release date: Feb 14. Published by MacLehose. Cover price £10

Aliens: Colonial Marines It’s a crowded market out there for shooters, as any CoD, Halo, MW, or other acronym-fan will tell you.

Ever worse for making a game off of an existing franchise, which has to please both fans of the original film, and people new to the story. Trying to do both well is nothing short of impressive, but that’s the aim of Aliens: Colonial Marines, coming out this month.

Gearbox have had this one in the works for a while, pushed back several times due to all kinds of shifting schedules, but previews into the gameplay have been abundant, and in this case, have kept the enthusiasm for this title going.

The game borrows some of the best bits of Aliens 2, all the great motion tracking kit and pulse rifles and flamethrowers and throws the player into the role of a marine with what could be described as a very limited life expectancy for many levels. It also goes one better by adding new types of aliens to casually eviscerate you and lay their eggs in your chest.

More compelling is the multiplayer offering, which pits teams of marines up against the alien hordes, each with different objectives and very strategic means of accomplishing them, beyond just point and shoot.

Ultimately what will separate this from the swath of other shooters out there will be how much they capture the feel of Aliens films (creepy, claustrophobic, surrounded) and how much they add to it (new aliens, strategy, barest sliver of hope of survival).

This will live and die on the loyalty of the fan base, or else be doomed to being dragged off into a dimly lit corridor with face-hugger attached. [Alex Cole]

HMV crashes under the weight of all those downloads, • internet still probably just a fad • Google’s cut-price Nexus 4 ordered 10 times more than expected, still in no one’s hands • Facebook allows free calling on iPhone version of app, perfect for drunk dials • Google buys up £1bn development in London for new HQ • Coder outsources dev work to China, spends all day on forums and actually turns in great code

February 2013

THE SKINNY 51

theatre

P RE V I E W

February Round Up

After the horror of the pantomime season, and the subsequent January hangover, February sees the theatres come back to life: Matthew Bourne’s company turns up at the King’s, Glasgow, Scottish Opera are taking Werther on the road, while the Ballet Boyz are promising to rock the EFT. Apart from the big national tours, there is plenty of local and new work budding for spring. Found at Sea sees two drinking buddies embark on a journey of the mind. Directed by David Greig – fresh from Glasgow Girls and with the definitive sequel to Macbeth in his back catalogue – it’s a fine example of how The Traverse is still supporting new work, as this was originally seen in progress during the Fringe. An adaptation of poems by David Greig, it explores both new writing and the need for adventure, especially after a few rounds.

Taking over the Asylum is a Citizens and Lyceum co-production that takes the TV show and gives it new life on the stage. Hospital radio, a cast of idiosyncratic characters and an old school R’n’B soundtrack combine to present a look at the potential of music to free the mind and body. It’s a playful interlude in the hardcore Citz season (next stop: Doctor Faustus) and a more creative example of TV adaptation than Bird of a Feather (coming to Edinburgh later this year).

There’s an increase in short runs, small scale plays and ambitious fusions of style: the doubledip recession is impacting on theatre not to close it down but change some formats, but in this scaling down, there are more shows dotting about.

[Jack Booth] Found at Sea, Traverse, 19-23 Feb Taking Over the Asylum, Citizens, 14 Feb- 1 March www.traverse.co.uk

found at sea

The White Rose

The Lemon Tree, 14 Feb

Various Venues, 21 Feb - 16 Mar

it into the narration, which emphasises the personal cost of military action and governement decisions.

Directed by John Tiffany, the play manipulates music, voice, and movement to depict the human side of a distant war and make it immediate. From the atrocities of the battlefield to the trouble of readjusting to life back home, Black Watch follows the eponymous Scottish regiment, and explores the experiences of those enlisted to fight the war on terror. It sheds light on the mental stress of war and its physical - often violent - manifestation.

With a cast of theatre veterans and debutantes, the touring production has earned international acclaim and won multiple awards, promising an intense theatrical experience to the crowds at the SECC. [Eric Karoulla]

Described by Dancebase’s artistic director Morag Deyes as “refreshing, dark, funny, erotic and original,” Do You Nomi? excavates the life of Klaus Nomi, a now marginalised hero of the New York avant garde during the 1980s.

Created by a Scottish super-duo, Nomi is a collaboration between choreographer Alan Greig – most recently a Grumpy Old Dancer and the restless Grant Smeaton, who has shown his skill at bringing life to the biographies of iconic characters, even making Benny Hill appear sympathetic.

Pooling their experiences in dance and theatre, Smeaton says that “Alan and I both felt that dance and theatre were the perfect combination to tell this man’s story.”

“His unique singing voice, his melding of pop, rock, opera, fashion, cabaret, and theatricality make him an ideal subject,” says Greig. “We, too, are trying to bring in lots of different styles and approaches.”

Nomi lived during an era that saw the impact of HIV and the growth of LGBTQ activism. Both Smeaton and Greig acknowledge that this production sits somewhere between dance and theatre. “I’ve never done a show like this before and neither has Alan, so it certainly doesn’t fit easily into a category,” Smeaton elaborates. “Unlike most dance shows it has a strong narrative story. And unlike most theatre shows it has a strong abstract element. And we think both these elements sit very comfortably with the spirit of the man himself.”

Both an aesthetic celebration of an almost forgotten star, and a comment on the sexual politics of recent history, Do You Nomi? follows the aspirations of its hero to forge a new approach to performance and an imaginative blending of genres.

[Gareth K. Vile]

SECC, various times

The Lemon Tree, Aberdeen. 7pm start. £7.50 +BF

Straight out of Heart of Hawick, Firebrand are rapidly becoming one of Scotland’s hardest touring theatre companies. On the heels of Rona Munro’s Iron comes a version of Peter Arnott’s White Rose. Reviving work by two important contemporary playwrights is part of Richard Baron, Director of Production’s vision for the company, who have proved that drama isn’t just the preserve of the central belt.

“White Rose is beautifully written, takes on the epic battle of Stalingrad with a cast of three, has terrific acting roles (the original cast featured Tilda Swinton), is seen from a female perspective and hasn’t been revived since its debut in 1985,” says Baron. “I was intrigued by the fact that the play had had such a great reception in 1985, and yet still had not been revived for 27 years!”

Arnott is one of the veteran authors who made Scottish theatre such a vibrant presence in the late twentieth century, and White Rose showcases his skill with a clear narrative and precise characterisation. “I really liked the idea that it was a Scottish play about Russian history - it tells the story of legendary World War 2 female fighter pilot Lily Litvak,” says Baron. “Taking on big themes about modern warfare and sexual politics but relating them to the intimate personal relationships of its three main characters: the rebellious Lily, her friend and mechanic Ina and her Squadron Commander and lover, Alexei.”

“I wanted to see if in our production we could achieve this marriage of the epic and the personal.”

Arnott’s interest in the political - “the play was written at the height of Thatcherism” - is balanced by the deft characterisation. “I believe that its passion and commitment are visceral and its analysis of the politics of modern warfare and the battle of the sexes, seen from a female point of view, still has the power to engage and enrage.” [Gareth K. Vile]

www.nationaltheatrescotland.com

www.boxofficeaberdeen.com/events/do-you-nomi

www.firebrandtheatre.co.uk

black watch

Black Watch SECC, 28 Mar - 13 Apr

“If he wants to know what it’s like in Iraq, Cammy, he has to feel some fucking pain!” A man in military dress is bent over a young man, trying to break his arm. Physical theatre, a script based on soldiers’ recollection, rough action and fierce men: Black Watch is back.

Presented by the National Theatre of Scotland, Black Watch attacks the Scottish stage once more in March 2013. Writer Gregory Burke put together the play using his interviews with former soldiers who served in Iraq. As a consequence, the tale unfolds from the soldiers’ perspective as they travel from Fife, to Iraq, and back.

While the Black Watch regiment was at the centre of poltical controversy during the 2003 operations in Iraq, the play does not sidestep the political issue; but Burke avoids direct commentary on the politics of the operations. Instead he incorporates

52 THE SKINNY

February 2013

photo: manuel harlan

Do You Nomi?

comedy

REVIEW

THE STATE OF THE NATION’S COMEDY

Comedian and advocate for Southside independence BRUCE MORTON looks at the state of comedy in Scotland in 2013 PHOTO: AMY MUIR

PaPPy’s 

The LisT / sCOTsMAN / MeTRO GUARDiAN / TeLeGRAPh

ASPIRANT STAND-UPS are everywhere these days. The place is hoaching with them. Some days, you can’t get parked. For them, the blue-chip gig is Red Raw at The Stand which is currently running a 14-month waiting list. For a 5-minute unpaid gig.

It invites this question – where are the other gigs that these jokesters hope to play? Recent noises from the London comedy circuit bemoan the growth of comedy clubs charging nothing and paying nothing to the performers. How do you compete with that, as a professional?

And the new arrivals keep on pouring off the boat, sometimes lighting up the scene, sometimes diluting the pool and, at worst, spreading a lowestcommon-denominator expectation in the minds of comedy audiences. A generation of comics now are imitating comics, doing what they think it is that stand-up comics do. Familiar with style, they give second-billing to substance. To paraphrase Big Div – hip-hop guru from Paisley – “if you’re not in it for your art, that’s when things fall apart.”

Here’s an example of a recent trend. Experienced comics mutter about the recent rise of a breed of nasty comedians: people influenced by Frankie Boyle’s success, blind to his cunning and concision, ignorant of Frankie’s intentions as the tabloids they’d aspire to satirise. Will Durst once said that he plans his satires by looking at the news story and wondering how it makes him feel. I have a sense that many new comics wonder how it would make Jimmy Carr feel.

Enough. To the positive. There is a small but significant shift in the Scottish scene. There are what my friend and collaborator Andrew Learmonth describes as “niche comedy” events. Born from ennui or from imagination, what’s happening is collaboration, cabaret, sketches, improv; people getting together for the sake of making something other than money or fame.

Sketch crews like How Do I Get Up There?, a talented three-man team including James Kirk who became a legend in our community when, having won the prestigious So You Think You’re Funny competition, rebuffed the immediate and myriad

media offers by saying, “Get real – I’ve only got ten minutes (of material)”. At 21 years old.

Other sketch crews in Scotland: Stockholm Syndrome, Broken Windows Policy, Jo Caulfield’s Comedy Collective.

The Improv Dogs. Putting together a sensational two-hour gig every month featuring not just improv, but original comedy songs and sketches.

And for all this effort the seven performers share a door-split.

Enterteasement. Combining burlesque, magic and stand-up and filling a room every month in Glasgow.

Endemic. Writing, performing, filming, editing and posting online short comedy sketches.

The Bright Club. Science comedy. A show by science students and academics featuring brainy people riffing about their field of study.

The Greater Shawlands Republic. Satirical political movement running monthly gigs of live music, close-up magic, audio visual content and über-hi-quality stand-up comics.

Soft Play Area. A GSR off-shoot, providing an occasional, Sunday afternoon, profanity-free comedy gig for mums and dads and their new babies and who rarely get to go out as a family.

Neil ‘The Wee Man’ Bratchpiece and Billy Kirkwood act as hosts at wrestling matches and The Wee Man also organises rap battles between rappers and comedians.

Those few mentioned above contain awardwinning comedians, actors, musicians and disparate performers bringing new comedy ideas to arts centres, bars, theatres, websites and basements near you. From somewhere in the Scottish scene, an energy has become apparent – driving performers to take their talents down alternative routes, to shake hands with like-minded souls. To bring different flavours to the table.

I’ll drink to that. And anticipate the glass being filled again in 2013.

BRUCE MORTON IS EL PRESIDENT OF SEPARATIST GROUP GREATER SHAWLANDS REPUBLIC. THE NEXT MEETING WILL BE HELD AT THE BUNGO, GLASGOW ON 1 APR

John hastings 2010 BesT NewCOMeR The MONTReAL JUsT fOR LAUGhs fesTivAL

DaviD TrenT 2012 eDiNBURGh COMeDy AwARD NewCOMeR NOMiNee And Your Host

CHArlie BAker

F r i d ay

8 March

UShEr

haLL

B O O k N O w:

0131 228 1155 w w w. u s h e r h a l l . c o . u k

WWW.BRUCEMORTON.NET/GSR.HTM

FEBRUARY 2013 PUNCHLINE SKINNY AD 1.indd 1

THE SKINNY 53 22/01/2013 10:32

comps

COMPETITIONS

WIN 50 ALBUMS & A PAIR OF BEATS HEADPHONES

Our friends at Fopp have 50, yes that’s FIFTY albums to give to one lucky reader, including a few of our favourites from last year.

If that amount of new music wasn’t enough then you'll be overjoyed to hear they've also included a pair of Beats headphones for your listening pleasure (and presumably flatmates' convenience).

To view the full list of albums and for your chance to win, head along to www.theskinny.co.uk/competitions and correctly answer this question: Our past cover stars Errors released an album entitled Have Some Faith In...?

A) Blank Media B) Dust C) Magic Fopp stores: 358 Byres Road, Glasgow, G12 8AP 19 Union Street, Glasgow, G1 3RB 3-15 Rose Street, Edinburgh, EH2 2PR www.fopp.co.uk twitter.com/foppofficial Closing date 28 Feb 2013 Winners will be notified on the day of closing and will be required to respond within 48 hours or the prize will be offered to another entrant. For full terms and conditions, go to www.theskinny.co.uk/ about/terms.

54 THE SKINNY

February 2013

Win Tickets to High Society Get ready for the musical event of the season as Cole Porter’s timeless classic skips into town in a dazzling new production.

Wealthy socialite Tracy Lord is in the midst of planning a lavish summer wedding when her ex-husband Dexter Haven turns up to disrupt the proceedings in an attempt to try and win her back.

Adapted from the hit 1956 film, which starred screen legends Bing Crosby, Grace Kelly and Frank Sinatra, High Society bubbles with a host of beautiful ballads including True Love, You’re Sensational and the unforgettable Well, Did You Evah!

Prepare yourself for a glorious night of vintage Hollywood as you’re invited to the wedding of the year, and what a swell party it is gonna be!

Based on the play The Philadelphia Story by Philip Barry and the Turner Entertainment Co. motion picture High Society.

Answer this question to win a pair of tickets to see High Society at the Festival Theatre:

MUSIC & LYRICS IN ASSOCIATION WITH VENUE CYMRU LLANDUDNO presents

Which Hollywood icon played Tracy Lord in the 1956 movie High Society?

1) Marilyn Monroe 2) Grace Kelly 3) Audrey Hepburn Competition closes Wed 27 Feb. Winners will be notified on the day of closing and will be required to respond within 48 hours or the prize will be offered to another entrant. For full terms and conditions, go to www.theskinny.co.uk/ about/terms.

For more information on High Society visit www.edtheatres.com/high-society.

High Society Music & lyrics by Cole Porter Tue 5 – Sat 9 Mar, 7.30pm, Edinburgh Festival Theatre

LISTINGS

G lasgow music Tue 29 Jan Metz Broadcast, 20:00–23:00, £6 adv.

The Toronto-based grunge trio bring the energy and volume as only they know how.

Jane Birkin: The Songs of Serge The Arches, 19:30–22:00, £28.50

Early outing for GMFF with the one-off UK premiere of Jane Birkin’s candid personal documentation of her relationship with the late Serge Gainsbourg, Souvenirs of Serge, with Birkin herself playing a rare and intimate live set post-screen.

Sweet Empire 13th Note, 20:00–23:00, £tbc

Melodic punk rock’n’rollers from The Netherlands, paying their first visit to Dundee as part of their UK tour.

Cuddly Shark (Atlas: Empire, The Dirt) Broadcast, 20:00–23:00, £5 adv.

Country-tinged rock trio born and bred in the bonnie highlands of Scotland.

Rura Oran Mor, 19:00–22:00, £13

Glasgow-based folk ensemble, matching muscular yet lyrical instrumental’s with Adam Holme’s haunting songcraft.

Another Evening With Danny and Ben

Sat 02 Feb

Oran Mor, 19:00–22:00, £19

Karine Polwart

The Thunder main men hit the road for another acoustic tour.

Fri 01 Feb Folks King Tut’s, 20:30–23:00, £7

Melodic six-piece from the north-west of England, led by Scott Anderson’s weighty vocals.

Emma’s Imagination (Chris Price, Mark Nicolas, Erin Viv-

City Halls, 19:30–22:00, £15

The Borders lass brings the loveliness with her provokingly poetic and bittersweet folk tunes, playing songs from her 2012 album Traces. Part of Celtic Connections.

We Were Kings (The Face On The Moon, Kurupi) Classic Grand, 18:30–22:00, £6

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

How Deep is the Garden?

Woodlands Community Garden, 18:00–19:00, £donation

Rue Royale The Art School Union, 19:30–22:00, £6

Husband and wife duo made up of Ruth and Brookln Dekker, loved equally for their indie-pop goodness and handknitted merch.

The Faceless (The Colour Pink Is Gay) King Tut’s, 20:00–23:00, £10

Los Angeles-based technical death metal quintet formed by guitarist Michael Keene and bassist Brandon Giffin in 2003, then under the name The Faithless.

Little Feat (John Fullbright) O2 ABC, 19:00–22:00, £22

Fusion of blues, funk, r’n’b, country and multi-guitar from the American rockers, formed back in 1969 in Los Angeles.

Part of Celtic Connections.

Dixon Street Studios: 1st Birthday (Battery Face, The New Fabian Society, Vladimir, Electric Gardens) 13th Note, 20:00–23:00, £tbc

A wee birthday perty for local rehearsal and recording hooligans, Dixon Street Studios, headered by black metal lot, Battery Face.

Mon 04 Feb The Glasgow Slow Club Bloc+, 21:00–01:00, Free

Relaxed music night soundtracked by a selection of live guests from the local scene, completed by mood lighting, candles and cake.

Could it be any bloody lovelier?

Session A9 Stereo, 19:00–23:00, £5

Contemporary Scottish folk ensemble with an all-star cast of players churning out original tunes and intricately orchestrated arrangements.

Martha Wainwright (Erin McKeown)

High On Fire

Royal Concert Hall, 19:30–22:00, From £22

King Tut’s, 20:30–23:00, £13

Stoner metal trio hailing from California, adept at pushing drone to its very limits.

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

Part of Celtic Connections.

Modestep O2 ABC, 19:00–22:00, £12

London dubstep-styled rockers touring in support of their debut album Evolution Theory.

Boy Jumps Ship 13th Note, 20:00–23:00, £tbc

Newcastle punk-rock quartet big on the thundering choruses.

Wed 30 Jan Declan O’Rourke (Ciara Sidine) Oran Mor, 19:00–22:00, £14

The Irish singer/songwriter fuses mainstream pop with a renowned exploratory independence, his vocal amalgamation of rawness combined with sterilized beauty rippling round the ears. Part of Celtic Connections.

Aimee Mann (Amelia Curran) O2 ABC, 19:00–22:00, £16

The US-of-A rock songstress celebrates 20 years since her first solo release, pop savvy still all-well and in place. Part of Celtic Connections.

Rita Ora O2 Academy, 19:00–22:00, £tbc

Toustle-haired pop singer/songwriter and actress, also know for dating – and dumping – poor ol’ Rob Kardashian.

Dinosaur Jr The Arches, 19:00–22:00, £18.50

Dinosaur Jr (aka the bastard kids of Neil Young and Black Sabbath) continue to ride the wave of their reunion years, with J. Mascis’ vocals still imbued with the ability to knock a grown man floorwards. We welcome you, bleeding ears.

(a is to b), Le Thug, Machines In Heaven 13th Note, 20:00–23:00, Free

Triple-header of noise, including a live set by Glasgow indie-rock combo Machines In Heaven – imbued with a fine feel for tough dance beats and experimental electronics.

Thu 31 Jan Bitter Ruin Nice ‘n’ Sleazy, 19:30–22:00, £8

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

Trust

Barrowland, 19:00–23:00, £sold out

Coldwave electro pop hits from Trust, aka the alter ego of Toronto artist Robert Alfons.

Bellowhead O2 ABC, 19:00–22:00, £16

Beast of a contemporary English folk ensemble (there’s 11 of ‘em) fusing folk, funk, rock, world, jazz, music hall and classical music into their mix. Part of Celtic Connections.

Green Door Studios: 5th Birthday (Gummy Stumps, The Creeping Ivies, Future Glue, In Posterface) Nice ‘n’ Sleazy, 20:00–23:00, £1

The favourited Glasgow music studio turns 5, celebrating with a selection of their favourite artists – plus the joys of the specially-assembled Green Door disco band (aka Golden Teacher).

Free mix CD of 2012 recordings for all attendees.

Old Crow Medicine Show Barrowland, 19:30–22:00, £18

Americana string band from Nashville, fusing all-acoustic old-time instruments smart and original songwriting.

Part of Celtic Connections.

Korpiklaani (Metsatoll, Morlich) Classic Grand, 18:30–22:00, £15

Classic Grand, 19:00–22:00, £6

O2 ABC, 19:00–22:00, £15

Blazing bagpipes, fiddle and accordions, lynch-pinned on Alec Dalglish’s soaring vocals. Part of Celtic Connections.

Great Cop (Salo, Hunt/Gather) Bloc+, 21:00–01:00, Free

Glasgow-based punk-rockers led by Joe Campbell on vocals, drums and official sweating duties.

Two Door Cinema Club

Broadcast, 20:00–23:00, £8 adv.

General Fiasco

Skerryvore (Goitse)

Bloc+, 21:00–01:00, Free

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

The restless Finnish folk metal pioneers tour a set of classics, as well as playing tracks from their latest album, Manala.

Ulster chaps wholly dedicated to the rock’n’roll sound.

Cast The Net

Maggie May’s, 19:30–22:00, £6

Noir indie-folk from the Brighton duo, fueled on vicious outbursts, intense balladry and dark’n’passionate lyrics just on the right side of disturbing.

King Tut’s, 20:00–23:00, £7

Tue 05 Feb

ers)

SlyDigs (The Hollows) Pure unadulterated rock’n’roll from the Warrington quartet, as per.

Winterhold, Spaceface, The Sound and The Fury, Alavano, Trauma Inc The Art School Union, 19:00–22:00, £6

Mixed showcase including metal noisemakers Winterhold, deft at delivering a highly-polished live set.

Little Mix SECC, 18:30–22:00, From £19.50

The X-Factor 2011 winners take to the road, likely armed with the lowestselling winner’s single since 2004, Cannonball.

Fallen Mafia (Urban Myth, Fun With Chloroform, Engines Of Vengeance) The Art School Union, 19:00–22:00, £7

Female-fronted hard rock-meetsmetal hellraisers hailing from Newcastle.

The Beatstalkers Barrowland, 19:00–22:00, £20

The Scottish pop phenomenon return, combining blues and soul rarities with original material (and the odd early David Bowie composition, natch).

Parlour Flames (The Featherman, Jeye T) King Tut’s, 20:30–23:00, £6.50

Musical collaboration between former Oasis rhythm guitarist Bonehead (aka Paul Arthurs) and the Manchesterbased singer/songwriter and poet Vinny Peculiar (aka Alan Wilkes).

Roddy Hart and The Lonesome Fire (Three Blind Wolves) O2 ABC, 19:00–22:00, £15

Roddy Hart and his live band launch their new EP, a darkly compelling conjunction of classic Americana and Celtic soul. Part of Celtic Connections.

The Ross Ainslie and Jarlath Henderson Band Oran Mor, 19:00–22:00, £13

Newly-formed ensemble, fortuitously/ accidentally formed at last year’s Celtic Connections following a double bill of the frontline pipers’ trio line-ups. Part of Celtic Connections.

Wave Machines (Golden Fable) Broadcast, 20:00–23:00, £6 adv.

The Liverpudlian alternative rock outfit tour their new album, Pollen, a euphoric funk-pop gem of a thing.

Sun 03 Feb Hazy Recollections (Rory Butler, Findlay Napier and the Bar Room Mountaineers, Miss Irenie Rose, This Silent Forest, Anais Mitchell) O2 ABC, 14:00–16:00, £10

Afternoon sesh of handpicked acts from the flourishing Scottish indie, folk and roots scene. Part of Celtic Connections.

Mixed media musical project with original music, live visuals and contemporary performers, featuring Hidden Orchestra’s Philip Cardwell on trumpet, amongst others. Donations go direct to the venue, Woodlands Community Garden.

Thu 07 Feb We Are The Ocean The Garage, 19:00–22:00, £12.50

Essex-based rock quartet led by Liam Cromby.

Pure Love King Tut’s, 20:00–23:00, £10

English-American alternative rock duo comprised of former Gallows frontman Frank Carter and ex-Hope Conspiracy and Suicide File guitarist Jim Carroll.

Ryan Leslie O2 ABC, 19:00–22:00, £16

Stage fright-blighted London singer/songwriter who has developed a cult following for his fragile, bedroom-produced tunes – now facing the big ol’ world after playing his first few live shows at the end of last year. Be gentle with him.

Honey Ryder (Alex Wayt, Johnny Jack, Mark Copeland) Broadcast, 20:00–23:00, £7 adv.

London-based pop, rock and folkstraddling trio, touring on the back of their second album – recorded in a five star recording studio in Thailand, no less.

Fri 08 Feb Henrik Freischlader (Albany Down) O2 ABC, 18:30–22:00, £12

German blues guitarist, singer/ songwriter, producer and autodidactic multi-instrumentalist (aka one talented chap).

Galoshins (Paddy Steer, Fur Hood, Giblets of Yesterday) Nice ‘n’ Sleazy, 19:30–23:00, £4

Glasgow foursome of the psych-rock variety, combining Captain Beefheartstyle melting organs with raw, drawling vocals, launching their new EP on the night.

Los Tentakills (Kill Surrrf, Halfrican, Deathcats) 13th Note, 20:00–23:00, £5

Glasgow-based noisemakers riding along on a lo-fi patchwork of psychedelia, garage and surf.

Vigo Thieves King Tut’s, 20:30–23:00, £7

Jake Bugg (Little Green Cars, Hudson Taylor)

O2 Academy, 19:00–22:00, £30

Marc Carroll

Esben and the Witch

Broadcast, 20:00–23:00, £6

Acoustic folk-rock singer/songwriter hailing from Dublin, touring on the back of his new album.

Wed 06 Feb Struggle Bloc+, 21:00–01:00, Free

Monthly punk and post hardcore selection from DIY collective Struggletown.

Dutch Uncles The Art School Union, 20:00–22:00, £7

Manc indie-pop five-piece, known for their use of atypical time signatures within a distinctly poppy context.

Keaton Henson Mitchell Theatre, 19:30–22:00, £12.50

The Glasgow Slow Club

Bear Arms (The King Hats, True Arcadian)

Relaxed music night soundtracked by a selection of live guests from the local scene, completed by mood lighting, candles and cake. Could it be any bloody lovelier?

Johnny Cash tribute act.

Nice ‘n’ Sleazy, 19:30–23:00, £6

Glasgow quartet firmly of the alternative indie variety, allid with a dose of post hardcore.

This Feeling (The Merrylees, Selective Services, Davey Horne, The Hollows, The Boston Tea Party) Maggie May’s, 20:00–22:00, £6

The favourited London rock’n’roll night takes a trip to Scotland, with a se-

Bloc+, 21:00–01:00, Free

Orange Goblin King Tut’s, 20:00–23:00, £13

London-based heavy metal quartet who’ve made the genre a way of life; balls-out and booze-fuelled in their approach.

NME Awards Tour 2013 (Django Django, Miles Kane, Palma Violets, Peace) O2 Academy, 19:00–22:00, £19.50

NME host their annual showcase tour of the most exciting emergent talent around, in their eyes anyway.

Dan Deacon Stereo, 20:00–23:00, £11 (£9)

The Baltimore-based composer tours on the back of his recent album, America, a hyper-driven set of bold beats that evidence his continued sonic progression.

Stornoway Oran Mor, 19:00–22:00, £13

lection of live bands taking to the stage.

Desaparecidos The Arches, 19:00–22:00, £14

Nebraskan post hardcore trio headed by Bright Eyes’ Conor Oberst, who called it a day back in 2002, but reunited in mid-2012, back with a batch of all-new material.

Ronan Keating SECC, 19:30–22:00, £33.50

The twinkly-eyed Irish singer/ songwriter does his solo thing, sans the other Boyzoners.

The Sensational Alex Harvey Tribute Band The Garage, 19:00–22:00, £8 adv.

The Alex Harvey tribute act play a special set as part of Alex Harvey day, following the unveiling of a memorial bust in memory of Alex Harvey (1pm4pm at The Peoples Palace, Glasgow).

The Robin Guthrie Trio, Mark Gardener Mono, 19:30–22:00, £10 adv.

The chief sound architect of the Cocteau Twins, Robin Guthrie, plays a double headline show with Ride mainman Mark Gardener.

Peter Getty and the Stone River Band Stereo, 19:00–23:00, £10 (£8)

Glasgow based singer/songwriter Peter Getty plays with his newly-formed live band, in amidst recording their new album (due late 2013).

Alternative indie-folk band hailing from Oxford, built on the crystalline vocals of Brian Briggs and Jon Quin’s delicate arrangements..

It’s Not OK (Uniforms, The Walking Targets, The Kimberly Steaks) Broadcast, 20:00–23:00, £5

The London-based melodic pop-meetspunk lot pay their first visit to Scotland, armed with their brand of driving guitars and heavy hardcore tuneage.

Tue 12 Feb Cast The Net (4 Day Weekend) Bloc+, 21:00–01:00, Free

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

Kaiser Chiefs Barrowland, 19:00–23:00, £25

The gangly Leeds indie-pop scamps return to the live circuit to give their new anthology of singles – Souvenir: The Singles 2004-2012 – an airing, some eight years after they first hit the charts with Oh My God.

I Am Kloot Oran Mor, 19:00–22:00, £16

Thu 14 Feb PAWS Mono, 19:00–22:00, £tbc

The Glasgow noisemakers of the tropical thrash variety take to the road for their UK tour, having just about recovered from their NYE blowout at Glasgow’s Broadcast.

Plan B SECC, 18:30–22:00, £27.50

Plan B (aka Ben Drew) takes to the intimate, ahem, surrounds of SECC, known for sharing the raw and brutal realities of his own existence through music.

The Virginia Dons Nice ‘n’ Sleazy, 19:30–23:00, £tbc

Glasgow soft-rock quartet, infusing their sound with a bit o’ indie, country, folk and blues.

Fri 15 Feb Shaka Bloc+, 21:00–01:00, Free

The extreme sports acolytes host their mixed media party night, backed as per by their own unique brand of rhythm, sound and vision.

Hector Bizerk (Girobabies, Colonel Mustard and the Dijon Five) Broadcast, 20:00–23:00, £5

Glasgow-based alternative hip-hop duo, made up of Louie and Audrey, MC and drummer respectively.

Train (Gin Wigmore) O2 Academy, 19:00–22:00, £sold out

The San Franciscoan pop-rockers do their Grammy Award-winning thing.

Deftones Barrowland, 19:00–23:00, £sold out

Having tapped another rich musical vein with seventh album Koi No Yokan, Chino Moreno et al make another of their all too rare Scottish soujourns to give the album a live airing (i.e. you may well have to beg, borrow or steal your way in).

Whatever Gets You Through The Night (Rachel Sermanni, Swimmer One, Wounded Knee, Bigg Taj) The Arches, 19:00–22:00, £8.50 (£6.50)

Film accompaniment to the collective words/music project, featuring stories told in song, shot during the night in various locations, bolstered by live performances from a selection of musicians. Part of GMFF.

Calexico (The Dodos) O2 ABC, 19:00–22:00, £15

The Arizona-based indie-rock duo tour their seventh LP, Algiers, after first coming together as part of the band Giant Sand.

The Mercury-nominated Manchester trio tour their latest album, Let It All In.

Unkle Bob

Wed 13 Feb

Uplifting Glasgow outfit celebrating the return of frontman and singer/ songwriter Rick Webster.

Funeral For A Friend (Such Gold, Major League, Divide) King Tut’s, 20:00–23:00, £14

Stereo, 19:30–23:00, £8 adv. (£10 door)

Lewis Hamilton Band Maggie May’s, 19:30–22:00, £6

Family trio currently earning their stripes on the Scottish circuit, playing a mix of rock covers and original material.

Queer’d Science (No Island) 13th Note, 20:00–23:00, £tbc

Stockholm, Colwyn Bay and Burnley-straddling trio of the trans-European 4th wave disco pop. It’s a thing.

Popcorn II: Electric Boogaloo The Flying Duck, 21:00–03:00, £5

Local acts play covers of their favourite movie themes and scores, which last year included Graeme Ronald’s rendition of Goodbye Horses (from The Silence of the Lambs).

Discount for those dressed as their favourite movie character.

Part of GMFF.

The Art School Union, 20:00–22:00, £7

Sat 16 Feb

Ronan Keating SECC, 19:30–22:00, £33.50

The twinkly-eyed Irish singer/ songwriter does his solo thing, sans the other Boyzoners.

Nordloef, Harley Likes Music, Centipede Threat, The Laohu, Theremin Hero Broadcast, 20:00–23:00, £5

Live chiptune showcase night from 8-Bit Nights.

The Amazing Snakeheads

13th Note, 20:00–23:00, £tbc

Glasgow-based rock’n’rollers gently imbuing their sound with a bit o’ garage blues.

Mon 11 Feb

O2 ABC, 18:30–22:00, £10

The Brighton trio blend druggy guitars, sinister ambience and gothic lyrical themes in their own inimitable way, all reliably intense in a live setting.

Stage fright-blighted London singer/ songwriter who has developed a cult following for his fragile, bedroomproduced tunes – now facing the big ol’ world after playing his first few live shows at the end of last year. Be gentle with him.

Broadcast, 20:00–23:00, £5

Nice ‘n’ Sleazy, 19:30–23:00, £6 adv.

London-based trio led by folkster Andrew Davie (formerly of Cherbourg).

O2 Academy, 19:00–22:00, £sold out

Young Nottinghamborn folk-meetsindie singer/ songwriter, known to his mammy as Jake Edwin Kennedy.

American r’n’b singer/songwriter, record producer and actor, known to his mammy as Tremaine Aldon Neverson.

Bear’s Den (Joe Banfi)

Cash

Mitchell Theatre, 19:30–22:00, £12.50

Neon Trees

Trey Songz (Sway, Bluey Robinson)

Chirpy American punk-popsters, all fast-paced and fizzy with hooks.

Keaton Henson

Wishaw alternative indie quartet, rich with synthesizers and emotionallycharged vocals, riding high on the promise of 2013.

King Tut’s, 20:00–23:00, £10

O2 Academy, 19:00–22:00, £sold out

American record producer, singer/songwriter, multiinstrumentalist, occasional rapper and all-round man of many talents.

Bangor indie-rock outfit comprised of Alex Trimble, Kevin Baird and Sam Halliday, built on a bed of angular guitar pop with electro undertones.

Utah alternative rockers brewing up a combination of slick pop hooks and sturdy organic rock, traversing the line between melodic and hard-hitting.

All Time Low (Lower Than Animals, The Summer Set)

Sat 09 Feb Vakunoht (Skullwizard, Skeleton Gong) Mysterious experimentalists playing a set of their trademark progressive space rock.

The Recovery Broadcast, 20:00–23:00, £5

Full-on blend of hardcore punk from the Glasgow five-piece, with a bit of metalcore thrown in for good measure (read: extra noise), launching their new EP on the night.

Sun 10 Feb

The Welsh emo stalwarts take to the road armed with their new album, Conduit.

Gallops (Garden of Elks)

Paul Carrack

King Tut’s, 20:30–23:00, £6

North Wales quartet building their epic noise on a series of mechanically pivoting and glitchy instrumental postrock sounds.

Kerrang! Tour 2013 (Black Veil Brides, Chiodos, Tonight Alive, Fearless Vampire Killers) O2 Academy, 19:00–22:00, £16.50

A five-strong bill of headliners come together to headline Kerrang!’s 2013 tour, showcasing punk-rock from near and far.

The Australian Pink Floyd SECC, 18:30–22:00, From £29.50

Pink Floyd tribute act. May well be Australian.

Villagers Stereo, 19:00–23:00, £12 adv.

Cono O’Brien-fronted folk outfit that began life as a nameless collection of musical poems (penned by O’Brien), currently out and touring their new album.

Royal Concert Hall, 19:30–22:00, £27.50

Sheffield-born singer, songwriter and former frontman of Ace, Squeeze and Mike and The Mechanics is back and a-tourin’ his new album.

Syd Arthur Broadcast, 20:00–23:00

Young psychedelic pin-up from Canterbury, taking in Glasgow as the only Scottish date on his month-long UK mini-tour.

The Saccharines 13th Note, 20:00–23:00, £tbc

Fledgling Edinburgh rock quartet who started playing together at the end of June 2012 and released their debut single in November 2012.

Dead Wolf Club Bloc+, 21:00–01:00, Free

Rea Garvey King Tut’s, 20:30–23:00, £13

Solo outing from the Irish singer/ songwriter, guitarist and frontman of the German pop-rock outfit Reamonn.

Perpetual Motion O2 ABC, 19:00–22:00, £8

Denver-based acoustic world fusion quartet making their noise on violin, guitar, bass and drums.

Andrew Pearson and The Riflebirds (Fay Butler, Hamish James Hawk) The Glad Cafe, 19:30–22:00, Free

This experimental alternative folkies tour their new album, There’ll Be Flowers Come The Spring, with support from label mates Fay Butler and Hamish James Hawk.

Machines in Heaven The Glad Cafe, 20:00–23:00, £5

Glasgow indie-rock combo imbued with a fine feel for tough dance beats and experimental electronics.

Dark punk band hailing from Tintagel, who’ll also answer to the genre ‘geek rage’.

February 2013

THE SKINNY 55

LISTINGS

G lasgow music

Fred Eaglesmith

Nevada (scored by Lau)

Stereo, 19:00–22:00, £13 adv.

Saint Andrew’s in the Square, 19:00–22:00, £8.50 (£6.50)

The doggedly independent Canadian singer/songwriter returns to Glasgow for his first a solo show there in over four years.

Screening of Ruth Paxton’s psychological portrait of two lovers who have grown to hate one another, inspired

by Marilyn Monroe and Arthur Miller’s fated marriage, bolstered by a live score from experimental folk trio Lau. Part of GMFF.

Darwin Deez Oran Mor, 19:00–22:00, £12

US-of-A indie-popsters fronted by curly-locked frontman Darwin Smith, touring in support of their new album, Songs For Imaginative People.

Wed 20 Feb

Indievous (The Dawn Cartel, The Bawlers, Telegaph Road, Andrew Lewis, Marionettes)

Bird King Tut’s, 20:30–23:00, £6

Live music showcase featuring an indiecentric selection of bands.

Liverpudlian trio fusing siren-esque vocals, hypnotic drum beats and intricate guitar work into one haunting whole.

Jonnie Common

Rae Morris

Maggie May’s, 19:30–22:00, £6

Broadcast, 20:00–23:00, £5

The Arches, 19:00–22:00, £7.50

Glasgow-based sonic boom of majestic devilry, taking to Broadcast for the official launch of his new LP.

Young Blackpool singer/songwriter singing about love ‘n’ stuff, as you do.

Everything Everything Oran Mor, 19:00–22:00, £14

Sun 17 Feb

Manchester residing indie quartet touring in support of their new album, Arc.

Example SECC, 18:30–22:00, £27.50

Thee Platcions (Helicon, Connor McGlave)

The electronic man of the moment (aka Elliot John Gleave) returns to Glasgow set as part of his fourth major headline tour.

13th Note, 20:00–23:00, £tbc

Domodossola-based psychrock fourpiece touring their new EP, muscle and melody firmly in place.

Calamity Jane Barn Dance Grand Ole Opry, 19:30–22:30, £10.00

60th anniversary screening of the Oscar-wining musical, followed by a live band barn dance.

Stetsons all but obligatory. Part of GMFF.

Clockwork Social (Owls In Antartica)

Auricle Ensemble: The City

Bloc+, 21:00–01:00, Free

Old Fruitmarket, 19:00–22:00, £10 (£8/£5 under 26’s)

The 20-piece Auricle Ensemble perform live alongside a showing of seminal documentary The City, originally produced for New York’s 1939 World Fair. Part of GMFF.

Jim Lockey and The Solemn Sun King Tut’s, 20:30–23:00, £6

Cop)

The anarcho-Anglo storytellers deliver their own blend of alternative country rock.

Bloc+, 21:00–01:00, Free

The Lumineers (Langhorne Slim) O2 ABC, 19:00–22:00, £sold out

Denver folk-rock trio awash with timeless melodies and soul-stirring lyrics.

Tue 19 Feb Cast The Net (Johnny and the Bomb, Suicide Underground, Melted Messiah) Bloc+, 21:00–01:00, Free

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

JAM and Red Note Ensemble: String Concert St Mary’s Episcopal Cathedral, 20:00–22:00, £12 (£5)

JAM (the John Armitage Memorial ensemble) collaborate with contemporary Scottish music ensemble, Red Note Ensemble, for the first time, with a series of choral and string concert specials.

Rock Sound Impericon (Bury Tomorrow, The Ghost Inside, Stray From The Path, Landscapes) King Tut’s, 20:00–23:00, £11

Metalcore heroes Bury Tomorrow co-headline the Rock Sound Impericon Exposure Tour 2013 alongside LA hardcore kings The Ghost Inside, plus supports.

In Search of Blind Joe Death The Glad Cafe, 20:00–23:00, £8.50

The Glad Cafe host a special screening of the documentary about legendary American finger-plucking guitarist John Fahey, tailed by a solo guitar set from Alasdair Roberts. Part of GMFF.

56 THE SKINNY

The Birmingham Brit-poppers take to the road ahead of the release of latest LP, Painting, playing two consecutive Glasgow dates at which you can expect a fair few album previews.

Burial (Funeral Throne, Haar, Maelstrom) 13th Note, 20:00–23:00, £tbc

Keeping Dirt Clean (Paul McGranaghan) Nice ‘n’ Sleazy, 19:30–23:00, £5

Indie-meets-grunge semble spawned from the back bedroom of a south Glasgow spare room.

en-

O2 ABC, 19:00–22:00, £7

The Birmingham-based quartet continue spreading the pop-rock gospel, following the release of their debut album, Tricks and Games.

Walk The Moon King Tut’s, 20:00–23:00, £9

The Cincinnati lyrical indie lot cherrypick tracks from their self-titled debut album.

Jani Lang, Komel Varga The Glad Cafe, 20:00–23:00, £5

Award-winning Hungarian musicians and founding members of Fianna.

Cachin Cachan Cachunga: 4th Anniversary!

Mono, 19:00–23:00, £3 (£2)

The queer and trans night of dance, poetry, film and music celebrates its 4th birthday, coinciding with LGBT History Month.

Pinact (Min Diesel, Blades, Poor Things) 13th Note, 20:00–23:00, £tbc

Brash Glasgow duo playing hyperactive punk-rock rich with energy and catchy melodies.

Animat: Dark Star CCA, 21:30–23:00, £tbc

Sheffield-based musicians and producers Animat soundtrack a screening of John Carpenter’s first feature, Dark Star, using their own original tracks fused with remixed themes from the original score. Part of GMFF.

Fri 22 Feb Love and Money Barrowland, 19:00–23:00, £25

The Glasgow cult heroes of the edgilyliterate jazz-rock variety take to the not-so-intimate surrounds of the Barrowland.

King Tut’s, 20:30–23:00, £6

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

Fresh-faced X-Factor almost-weres (as in, they lost), playing a two-night stint.

Deep joy.

Pheromoans (World Peace)

Fenech-Solar

Nice ‘n’ Sleazy, 19:30–23:00, £5

Nice ‘n’ Sleazy, 19:30–23:00, £8 adv.

Experimental rock sextet from the South East of England who serve up deadpan DIY tuneage at its bloody finest.

Polished electro-pop foursome hailing from Northamptonshire, touring in support of their upcoming new album (which may well feature the sound of an egg shaker, in case that swings it for you).

Golden Grrrls (Sex Hands) Stereo, 19:00–22:00, £5

Glasgow and London-straddling outfit firmly of the distorted noise-pop variety, launching their new album on the night.

Of Monsters and Men O2 Academy, 19:00–22:00, £sold out

Lovely folk-pop Iceland sextet touring on the back of their full-length debut.

Natalie Pryce Buff Club, 20:00–23:00, £5

Mark Swan-led band of weirdos, with Swan likely rambling away into a vintage mic, helped along by murky projections and a bass-heavy rhythm section.

The Yawns The Glad Cafe, 20:00–23:00, £5

Glasgow-based outfit who expertly blend lo-fi garage rock and indie pop in one sunny whole.

Steve Diggle Maggie May’s, 19:30–

22:00, £6

The Buzzcocks guitarist and vocalist does his solo thing, playing a special acoustic set.

Sun 24 Feb Exit Ten (White Light Theory)

King Tut’s, 20:30–23:00, £6

Bright indie hopefuls making sunkissed dross-pop in their hometown of Birmingham.

Gerard and the Watchmen (Robin Adams, Adriana) Ivory Blacks, 19:30–23:00, £6 adv.

Alternative folk lot rich with harmonies and prone to grabbing whatever instrument comes to hand.

O2 ABC, 19:00–22:00, £sold out

The Birmingham Brit-poppers take to the road ahead of the release of latest LP, Painting, playing two consecutive Glasgow dates at which you can expect a fair few album previews.

Wet Nuns Broadcast, 20:00–23:00, £5

Blues-punk red necks from, er, Wild West Yorkshire.

Gary Edward Jones, Franny McKeown, Red River, Sincerely Yours, Johnny Hagan The Art School Union, 19:30–22:00, £tbc

Mixed showcase night including sets from Liverpudlian singer/songwriter Gary Edward Jones and acoustic indie lass Franny McKeown.

The Passion of Joan of Arc The Arches, 19:00–22:00, £10

Special screening of Carl Theodor Dreyer’s 1928 classic, rich with dazzling camerawork and striking compositions, accompanied by a haunting live score featuring soprano, church organ and electronics by composer Irene Buckley.

Part of GMFF.

Roller Trio King Tut’s, 20:30–23:00, £7

Leeds-based young jazz tinkerers of the menacing and bass-heavy variety.

Rescheduled date.

Angel Haze O2 ABC, 19:00–22:00, £10

American rapper and lyricist who began writing at the tender age of 11.

Death Shanties, Crying Lion The Glad Cafe, 20:00–23:00, £6

Trembling Bells and Muldoon’s Picnic members provide an evening of jazz and folk experimentalism.

Dorje, The Drills (Stormborn) Stereo, 19:00–22:00, £10

Double headliner set from UK progressive rockers Dorje and LA-based hard-rock trip The Drills.

Raintown Oran Mor, 19:00–22:00, £10

Glasgow boy/girl contemporary country duo made up of Paul Bain and Clair McArthur, who supported Wet Wet Wet on their anniversary show last year.

A Hundred Black Kites (4 Inches Ov Foreskin) 13th Note, 20:00–23:00, £tbc

Experimental Brighton duo combining the atmosphere of post-rock and ambience of shoegaze, whilst also bringing the joys of 4 Inches Ov Foreskin to our attention on support duties. Nice.

King Tut’s, 20:00–23:00, £8

Camera Obscura (Eugene Kelly)

Classic Album Sundays: Miles Davis

The Glasgow-based indie-popsters return after their two-year hiatus with a one-off show raising funds for MacMillan Cacer Support and The Beatston Oncology Centre Fund.

Reading-based rock and metal crossover currently setting Kerrang’s pant on fire.

The Berkeley Suite, 19:30–20:30, £6

A hit down’t London way, Classic Album Sundays dip the lights and play a classic album in its entirety – in this case Miles Davis’ Kind of Blue.

Relaxed music night soundtracked by a selection of live guests from the local scene, completed by mood lighting, candles and cake. Could it be any bloody lovelier?

Taking Hayley (Speaking In Shadows)

Mechanical Smile (Life On Standby)

More evil offerings of the death and black metal persuasion.

Ocean Colour Scene

Nice ‘n’ Sleazy, 19:30–23:00, £7 (£6)

Oran Mor, 19:00–22:00, £13

Live set from the respected American underground musician, best known as the lead singer of American Music Club.

SECC, 18:30–22:00, £25

The Glasgow Slow Club

All-out alternative rock quartet hailing from Newcastle-Upon-Tyne.

Wed 27 Feb Mark Eitzel

One Direction

Sat 23 Feb

Mazes (Deathcats, Great

February 2013

O2 ABC, 19:00–22:00, £sold out

Thu 21 Feb

My Extraordinary (We Caught The Castle)

Relaxed music night soundtracked by a selection of live guests from the local scene, completed by mood lighting, candles and cake. Could it be any bloody lovelier?

Ocean Colour Scene

Local bloggers Scottish Fiction, Aye Tunes and Peenko return for their monthly music showcase night, with a singer/songwriter special featuring Beerjacket, Shambles Miller and Lovers Turn To Monsters.

Swim Deep (Paradise, Father Sculptor)

London-based quartet with their punchy brand of garage-rock, still riding high on their snappy debut LP.

The Glasgow Slow Club

Broadcast, 20:00–23:00, £5

Up-beat tunes from the Glasgow polyrhythmic indie-rockers/super cool dudes.

The Roxy 171, 20:00–23:00, £6

Unsigned fledgling Glasgow quartet of the noisy mathrock variety, enjoying nothing more than playing in different time signatures to mess wit’ yo’ head.

Broadcast, 20:00–23:00, £6 adv.

Mon 18 Feb

Pronto Mama (Crayons)

Scottish Fiction Presents: Aye Tunes Vs Peenko (Beerjacket, Shambles Miller, Lovers Turn To Monsters)

The Twilight Sad: Acoustic Nice ‘n’ Sleazy, 19:30–23:00, £tbc

The Twilight Sad boys appear a tad less noisy than usual, playing a special stripped-back acoustic show.

Girls Names (Post)

CCA, 20:00–22:30, £12 adv.

Thu 28 Feb Loch Lomond (Cherry Grove) King Tut’s, 20:30–23:00, £10

Portland-hailing new signings to Chemikal Underground, lush with multitasking strings and swirling vocals.

Hidden Orchestra Oran Mor, 19:00–22:00, £12

Exit Calm (Delta Mainline, David McKellar) King Tut’s, 20:30–23:00, £6

South Yorkshire guitar-based psychedelic quartet led by vocalist Nicky Smith.

Sat 02 Mar Horse Barrowland, 19:00–23:00, £25

The inimitable Scottish singer/ songwriter and her live band showcase a selection of classics.

Lindi Ortega Nice ‘n’ Sleazy, 19:00–22:00, £9 adv.

The Canadian singer/songwriter does her country-styled-pop-meets-rockabilly thing, most likely in cherry-red cowboy boots.

The Stranglers O2 Academy, 19:00–22:00, £23

The long-standing punk-rockers take to the road for the month of March, playing 23 dates across the UK – kicking off with a quartet of gigs in bonnie Scotland.

Bastille Oran Mor, 19:00–22:00, £sold out

Dan Smith-led indie ensemble who may or may not have their faces painted as skulls.

Kid Canveral: Album Launch #2 The Glad Cafe, 20:00–22:30, £8

The affable indie-pop chaps and chapesses bring the singalong joy to The Glad Cafe, playing two consecutive nights in order to launch their new LP good’n’proper.

CHVRCHES The Arches, 19:00–22:00, £sold out

Their buzz-word single, Lies, proved to be just the tip of an already impressively-proportioned electro-pop iceberg, as waves of ready-formed earworms affirm this mighty trio’s mettle.

Sigur Ros SECC, 19:00–22:00, £sold out

The Icelandic ambient post-rockers par excellence tour their latest LP, Valtari, backed by an 11-piece live band. If you missed out on tickets (doh!), they also play Eden Project in June and End of the Road festival in August.

Steven Wilson O2 ABC, 19:00–22:00, £22.50

The Porcupine Tree frontman takes to the road solo, accompanied by his live band.

Skate-skuzz indie from big ol’ London town.

Joe Acheson and his Edinburgh based outfit, duelling acoustic and digital percussion, piano, violin, bass and samples in one gloriously experimental whole.

Mon 25 Feb

Frightened Rabbit (Wintersleep, Three Blind Wolves)

Garage-meets-house duo made up of brothers Guy and Howard Lawrence.

Barrowland, 19:00–22:00, £sold out

Sun 03 Mar

Broadcast, 20:00–23:00, £5 adv.

Bloc+, 21:00–01:00, Free

Iceage Broadcast, 20:00–23:00, £8 adv.

Copenhagen-based post-punk foursome of noise, bringing back the visceral thrill of 1976.

Lawson O2 ABC, 19:00–22:00, £tbc

London-based foursome completed by the later addition of singer/songwriter Andy Brown, who bonded with the rest of the band over pear cider, as you do.

Andy Burrows King Tut’s, 20:30–23:00, £10

The former Razorlight drummer (and sometime guest drummer for We Are Scientists) plays solo.

Tue 26 Feb Cast The Net (Eliza and The Bear) Bloc+, 21:00–01:00, Free

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

Veronica Falls CCA, 20:00–22:30, £8.50

More perfectly-wrought goth-tinged pop songs from the ramshackle London four-piece, touring on the back of their new LP, Waiting For Something to Happen.

The Joy Formidable Oran Mor, 19:00–22:00, £12.50

Hardworking female-fronted Welsh trio and their atmospheric indie rock, heavy on melody but with plenty of driving, sinewy riffs.

One Direction SECC, 18:30–22:00, £25

Fresh-faced X-Factor almost-weres (as in, they lost), playing a two-night stint. Deep joy.

Swiss Lips King Tut’s, 20:30–23:00, £6

Mancunian quintet of the danceable electro-pop variety, fizzing along on Balearic-esque beats.

Christopher Owens Broadcast, 20:00–23:00, £7 adv.

The singer/songwrier of the nowdisbanded San Franciscan outfit, Girls, goes it alone, touring on the back of his solo debut, Lysandre, loosely inspired by his former band’s first tour.

The mighty F’Rabbit gear up for their imminent tour of the US-of-A with a series of UK dates, with Scottish shows in Edinburgh, Aberdeen and Glasgow (26-28 Feb) giving newest album, Pedestrian Verse, an airing in the homeland.

Dizraeli and The Small Gods O2 ABC, 19:00–22:00, £9

Bristol, Brighton and London-straddling hip-hop ensemble fusing harmony singing, turntablism, heavy beats and delicate instrumentation in one fresh whole.

The Jacksons SECC, 18:30–22:00, From £35

The Jackson brothers play as part of their new tour, after reuniting at the end of last year, sans only Michael.

Brave Young Red (Anna Sweeney, Matt Scott) 13th Note, 20:00–23:00, £tbc

Alternative Ayr quartet, rich with folkinfluenced sounds and a rich underlay of bass and guitar.

Fri 01 Mar UFO O2 ABC, 19:00–22:00, £20

The longtime hard rock mainstays show the kids how it’s done, following the 2012 release of their 20th studio album.

The Courteeners O2 Academy, 19:00–22:00, £18.50

Middleton indie-rock quartet, all of whom have known each since they were the tender age of 10.

Disclosure King Tut’s, 20:30–23:00, £10

The Darkness Barrowland, 19:00–23:00, £25

The glam rockers tour their third album, with Justin Hawkins still very much on shrieking duty.

Foy Vance Oran Mor, 19:00–22:00, £10

County Down native who infuses his Irish influences with soul, blues and gospel.

Beth Hart O2 ABC, 19:00–22:00, £20

American singer/songwriter who found fame with LA Song, which aired during the final season of Beverly Hills 90210.

Yeah, that famous.

Tom Odell (Sinny) King Tut’s, 20:30–23:00, £8

Chichester-born singer/songwriter who studied at the Brighton Institute of Modern Music.

Mon 04 Mar Lianne La Havas (Josh Kumra) O2 ABC, 19:00–22:00, £13

Folk and soul singer/songwriter who also found herself part of the BBC’s Sound of 2012 poll. Rescheduled date.

Deap Valley King Tut’s, 19:00–23:00, £7

Bluesy rock’n’roll duo made up of Lindsey Troy and Julie Edwards.

EDINBURGH Tue 29 Jan

Admiral Fallow, Olympic Swimmers

Paloma Faith Usher Hall, 19:00–22:00, From £19.50

The British singer/songwriter-cum-actress does her glossy, retro-referencing soul-meets-pop thing.

Little Mix Edinburgh Playhouse, 19:00–22:00, From £20.50

The X-Factor 2011 winners take to the road, likely armed with the lowestselling winner’s single since 2004, Cannonball.

Wed 30 Jan Mothertone Bannermans, 20:00–23:00, £4

C-tuned heavy rock quartet from Edinburgh, taking pride in assaulting the ears of many.

Chasar

Thu 31 Jan

The Caves, 23:00–03:00, £11 adv. (£14 door/£38 all-access weekend)

Scottish Chamber Orchestra: MacMillan Oboe Concerto The Queen’s Hall, 19:30–19:30, From £10

The favourited chamber orchestra present the Scottish premiere of James MacMillan’s new Oboe Concerto.

Bergen Philharmonic Orchestra

Stereo, 19:00–22:00, £10 adv.

The Liverpudlian experimental art-rockers play Glasgow in advance of the release of Free Reign II; a set of alternate mixes of the original album by revered producer Daniel Lopatin.

Wee Red Bar, 19:00–22:00, £5 (£4)

Genre-defying Leithers, taking in romantic ballads, rockabilly, swirling guitars and rolling bass.

Burn The Maps, Censor Thoughts, Monsters On Movie Posters, Idkid

The Changes, Red Light District, The Mowbrays, The Vibe

Showcase night of four unsigned acts hailing from our very own capital.

Wee Red Bar, 19:00–22:00, £5

Mixed showcase of rock’n’roll, playing host to the lush boy/girl harmonies of Edinburgh six-piece The Vibe, amongst others. Raising funds for Mount Kilimanjaro First Aid Community Programme.

Fri 01 Feb Wee Dub Festival: Session #1 (East Park Reggae Collective, Mezzanine Allstars) The Liquid Room, 19:00–22:00, £8 adv. (£11 door/£38 all-access weekend)

The Cabaret Voltaire, 19:00–22:00, £6

Holocaust (Paper Beats Rock) Bannermans, 20:00–23:00, £7

The heavy metal noisemakers play a rare hometown show.

Sound Collision: Aftershock (Kennel Wages, Ded Rabbit, Red Manalishi, Ten Foot Tom and the Leprosy Crooks, Pure Black, Pocket Rocket, Deluded Buddhas, The Patches) Henry’s Cellar, 20:00–03:00, £4.50 adv. (£6 door)

Mini fest of indie and alternative rock, unsigned wonders, post-grunge and blues. That do you?

Multi-venue dub, reggae and roots weekender, kicking off with a double-header from East Park Reggae Collective and Mezzanine Allstars.

The Nature Boys,Pirate Sons, The Litigators

Wee Dub Festival: Session #2 (Jinx In Dub, J Bostron, Breezak Bass, Jammin J, Electrikal Sound System)

Charity fundraiser in aid of Maggie’s Cancer Caring Centre, headlined by Edinburgh’s own underground prodigal punk troupe, The Nature Boys.

Teviot, 23:00–03:00, £5 adv. (£8 door/£38 all-access weekend)

Multi-venue dub, reggae and roots weekender, rounding off day one with late night sets from dubwise breaks producer Jinx In Dub, and more.

Fat Goth (Vasquez, Hagana) Electric Circus, 19:00–22:00, £4 adv.

Ex-Alamos members in a new alternative guise, taking to the road in support of their new album, STUD.

Caravan Club (The Bare Bones) Henry’s Cellar, 23:00–03:00, £4 (£5 after 12)

Edinburgh six-piece featuring shared boy/girl harmonies between lead singers Liam Mabon and Lisa Russell.

The Sawyer Family Bannermans, 20:00–23:00, £tbc

The Californian grunge-rock gents take in Edinburgh as part of their world tour.

Fallen Mafia (Vantage Point, Engines Of Vengeance) Henry’s Cellar, 19:00–22:00, £5

Female-fronted hard rock-meets-metal hellraisers hailing from Newcastle.

Electric Circus, 19:00–22:00, £5 adv.

Sun 03 Feb Jed Potts and the Hillman Hunters Bannermans, 20:00–23:00, Free

Intimate and electric blues from Potts and his merry band.

Wee Dub Festival: Session #5 (Mungo’s Hi-Fi with Kenny Knotts, Prince Fatty with MC Horseman, Big Toes Hi-Fi, Argonaut Sounds) The Caves, 21:00–02:00, £10 adv. (£13 door/£38 all-access weekend)

Multi-venue dub, reggae and roots weekender, drawing to a close with a guest-heavy party in The Caves dank lair, including heavyweight selections from Mungo’s Hi-Fi, joined on the night by soundsytem veteran Kenny Knots.

A Gilbert and Sullivan Gala The Queen’s Hall, 19:30–22:00, £10

The soloists and chorus of the Edinburgh Gilbert and Sullivan Society return with their annual gala concert.

Rev Doc and The Congregation (Main Street Blues, Dead Men’s Shoes) The Voodoo Rooms, 19:15–23:00, £10

Blues frontman Rev Doc leads his merry band, delivering raw vocals and harp, wrapped in a web of enigmatic humour.

Jamie and Shoony (Call Me Salvador, Benny Monteux, Keli Thomson) Electric Circus, 19:00–22:00, £6 adv.

Edinburgh indie-rock trio imbued with catchy riffs and an unstoppable live energy.

Mon 04 Feb

The Roxy 171, 20:00–23:30, £5 (£4)

Clinic

Boyupatree

Usher Hall, 19:30–22:00, From £10

Miss The Occupier (Ghosts of Dead Airplanes, Pelts)

Nice ‘n’ Sleazy, 20:00–22:30, £7

Multi-venue dub, reggae and roots weekender, with dub-meets-reggae pioneers Zion Train returning after their blow-out set at Wee Dub 2012.

Famed old orchestra dating way back to 1765.

The Glad Cafe, 20:00–22:30, £8

Progressive Manc indie-rock ensemble touring on the back of their debut LP, Good Don’t Sleep.

Studio 24, 19:00–22:00, £8 adv. (£11 door/£38 all-access weekend)

Multi-venue dub, reggae and roots weekender, featuring a live set from reggae ensemble Laid Blak, created through the partnership of Bristol producer DJ Bunjy and MC Joe Peng.

Wee Dub Festival: Session #4 (Zion Train, Dreadsquad, Riddim Tuffa)

Bannermans, 20:00–23:00, £5

The affable indie-pop chaps and chapesses bring the singalong joy to The Glad Cafe, playing two consecutive nights in order to launch their new LP good’n’proper.

Egyptian Hip Hop

Sat 02 Feb Wee Dub Festival: Session #3 (Laid Blak, Samba Sene, BenJamin Vs Nem)

Classic hard rock fresh(ish) from the Hard Rock Hell Festival last month.

Kid Canveral: Album Launch #1

The punk-inflected Glasgow popsters launch their new album with a hometown show at The Roxy 171.

Avalanche Records, 20:30–22:00, £5

Admiral Fallow and Olympic Swimmers play as one band (which will total something nuts like 14 members) for a special in-store session at Avalanche, playing in a rotating line-up covering songs from their top ten albums of all time.

Sound Projects (The Omega Corridor, The Cosmonauts, Llennett) Wee Red Bar, 19:00–22:00, £6 (£5)

Bi-monthly music night featuring a second appearance from The Omega Corridor, plus debuts from The Cosmonauts and Llennett.

Heath Quartet (Isabel Charisius) The Queen’s Hall, 19:45–22:00, From £12

The international chamber ensemble play a special set joined by violinist Isabel Charisius, giving Mendelssohn’s second string quartet a live reworking.

Ryan Morcombe (Peter Dawson) Bannermans, 20:00–23:00, £4

Acoustic showcase night headered by West Lothian singer/songwriter Ryan Morcombe.

music The Tin Cans

Wee Red Bar, 19:00–22:00, £5 (£4)

Acoustic Edinburgh lot mixing gospel and indie into their soundscapes.

Wed 06 Feb Adam Holmes and The Embers The Voodoo Rooms, 19:30–23:00, £tbc

Rootsy-pop singer/songwriter Adam Holmes plays accompanied by his fivestrong band of players, The Embers.

Dolly Varden (The Wynntown Marshals) The Voodoo Rooms, 19:30–23:00, £10

Chicago country-folk duo built around the singing and songwriting of husband and wife duo Steve Dawson and Diane Christiansen.

Thu 07 Feb Blaze Bayley (Sinnergod) Bannermans, 19:30–23:00, £8

The ex-Iron Maiden vocalist plays a live-and-unplugged set, touring on the back of his new EP.

Jake Bugg HMV Picture House, 19:00–22:00, £sold out

Young Nottingham-born folk-meetsindie singer/songwriter, known to his mammy as Jake Edwin Kennedy.

The Radio Pachuco Show The Voodoo Rooms, 19:30–23:00, £5

Seven-piece swing and blues ensemble Radio Pachucco take over The Voodoo Rooms for the evening, joined by a magician, comedian and much general merriment.

The Robin Guthrie Trio, Mark Gardener Electric Circus, 19:00–22:00, £12 adv.

The chief sound architect of the Cocteau Twins, Robin Guthrie, plays a double headline show with Ride mainman Mark Gardener.

Fri 08 Feb Pussy Whipped (Mayr, Spat, Spread Eagle) Wee Red Bar, 19:00–22:30, £3

Pro-queer, pro-female band night for Edinburgh, featuring all-female sets from Mayr, Spat and Spread Eagle.

This Feeling (The Merrylees, The 10:04s, Blind Folds, Davey Horne) The Voodoo Rooms, 19:30–23:00, £6

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

RSNO: An American Festival I Usher Hall, 19:30–22:00, From £11.50

The RSNO host the first of two concerts dedicated to the stars and stripes.

Pure Love (Turbogeist, Vestals) Electric Circus, 19:00–22:00, £10 adv.

English-American alternative rock duo comprised of former Gallows frontman Frank Carter and ex-Hope Conspiracy and Suicide File guitarist Jim Carroll.

Mark Morriss (Callum Beattie) The Caves, 19:00–22:00, £8

The Bluetones frontman takes to the road, now a solo entity following the band’s split (and farewell tour) at the end of 2011.

Kodaline The Cabaret Voltaire, 19:00–22:00, £8.50

Dublin-based indie-rock quartet who use their music as a form of therapy (i.e. they write about break-ups).

Jason Kyrone, Neil Watson, Matt Dunn, Andy Boyle The Three Sisters, 19:00–23:00, Free

A selection of local acoustic acts take to The Three Sisters bus (parked in the courtyard space) for a live session.

Sat 09 Feb Henrik Freischlader (Lewis Hamilton, Albany Down) Bannermans, 20:00–23:00, £12

German blues guitarist, singer/ songwriter, producer and autodidactic multi-instrumentalist (aka one talented chap).

Nordloef, HarleyLikesMusic, The Tin Foil Hat Brigade, Comptroller, Bubu The Banshee Labyrinth, 23:00–03:00, Free

Showcase night of chip, electro and 8-bit from INST/DEL, featuring a headline set from electronic punk-pop Game Boy hero Nordloef.

LISTINGS

The Classic Rock Show: Top Ten Classic Rock Albums The Queen’s Hall, 19:30–22:00, £20

Anthem-upon-anthem of classic rock covers by the likes of Lynyrd Skynyrd, Led Zeppelin, Jimi Hendrix and Pink Floyd, taking in the ten best-selling rock albums of all time.

Edinburgh Iranian Festival: Music Concert (Parvaz, Baran, Radio Tehran) Studio 24, 20:00–03:00, £10 (£15)

Special live music night featuring Parvaz, Baran, and Radio Tehran, plus stand-up comedy from Irish/ Iranian comedian Patrick Monahan and Persian dance tunes by DJ Barfi. Part of Edinburgh Iranian Festival.

Limbo (Edinburgh School for the Deaf, Plastic Animals, Battery Face) The Voodoo Rooms, 20:00–23:00, £6 adv.

Beloved gig-in-a-club night, this time heralding the return of fuzzy noisepopsters Edinburgh School For the Deaf for what will be their third Limbo set.

Bad Fun (The Black Tambourines, Honeyblood, North American War) Henry’s Cellar, 19:00–22:00, £5

Music blogger Song, By Toad’s hosts his monthly music night, this time boasting a set from Falmouth guitar rockers The Broken Tambourines, joined by two of Glasgow’s finest underground guitar bands: Honeyblood and North American War

Local Natives Electric Circus, 19:00–22:00, £10.50 adv.

Silver Lakes indie-rockers whose core trio met at high school, joined later by a bassist and a drummer.

Sun 10 Feb Cranachan Bannermans, 21:00–23:00, Free

Classic rock covers from the 60s to present day.

Don Giovanni The Queen’s Hall, 18:30–22:00, From £12

Edinburgh Grand Opera host a semistaged interpretation of one of Mozart’s finest operatic works.

It’s Not OK (Uniforms, The Walking Targets, The Kimberly Steaks) The Tron, 20:00–23:00, £4

The London-based melodic pop-meetspunk lot pay their first visit to Scotland, armed with their brand of driving guitars and heavy hardcore tuneage.

Memory Drawings (Chris Tenz, Talvihorros) The Banshee Labyrinth, 20:00–23:00, £5

Beguiling project of Minneapolisraised, Morocco-based hammered dulcimer player Joel Hanson, former Hood guitarist/multi-instrumentalist Richard Adams and Lanterns On The Lake violinist Sarah Kemp.

North with the Lights by the Sea (Hailey Beavis, Toby Mottershead, Hannah Kitchen) Old Chain Pier, 19:00–21:30, £4

Live and unplugged music showcase of the indie-folk variety, featuring singer/songwriter Haily Beavis, the roots-inspired tunes of Black Diamond Express frontman Toby Mottershead and Hannah Kitchen of Kite and the Crane.

Mon 11 Feb Delphic The Liquid Room, 19:00–22:00, £tbc

Mancunian indie-electro ensemble all bracing guitars and euphoric choruses, if that’s your thing.

Gallops (Portasound) Electric Circus, 19:00–22:00, £6 adv.

North Wales quartet building their epic noise on a series of mechanically pivoting and glitchy instrumental postrock sounds.

The Marionettes (Little Love and the Friendly Vibes) Bannermans, 20:00–23:00, £4

Aberdeen quintet doing a rather fine line in shouty indie-pop, gigging a selection of new material.

Wed 13 Feb Doomdogs (Winterlizard) Bannermans, 20:00–23:00, £4

Gotherburgh quartet offering up doom, stoner rock and sludge metal all rolled into one.

Thu 14 Feb Paul Carrack The Queen’s Hall, 19:00–22:00, £33.50 (£28.50)

Sheffield-born singer, songwriter and former frontman of Ace, Squeeze and Mike and The Mechanics is back and a-tourin’ his new album.

Unkle Bob The Voodoo Rooms, 19:30–23:00, £8 adv. (£10 door)

Uplifting Glasgow outfit celebrating the return of frontman and singer/ songwriter Rick Webster.

City Reign Bannermans, 20:00–23:00, £4

The Manc alternative indie quartet kick off their UK tour with a set down’t Bannermans.

Fri 15 Feb Vakunoht (Lords of Bastard) Bannermans, 20:00–23:00, £5

Mysterious experimentalists playing a set of their trademark progressive space rock.

Electric Circus Live Lounge Electric Circus, 19:00–22:00, £2

Acoustic-styled musical variety show hosted by HP ‘the sauce’ Neilson.

Scottish Ensemble: La Follia The Queen’s Hall, 19:30–22:00, £15 (£5)

The Scottish Ensemble bring together a programme of musical earworms (i.e. those pieces that go round-and-round in your head) from across the ages.

RSNO: Romantic Valentine’s Concert Usher Hall, 19:30–22:00, From £11.50

The RSNO get y’all in the mood for love with a special Valentine’s concert dedicated to classics including Tchaikovsky’s Romeo and Juliet Fantasy Overture.

JAM and Red Note Ensemble: Choral Concert

Andrew Pearson and The Riflebirds (Fay Butler, Hamish James Hawk) The Forest Cafe, 19:30–22:00, Free

This experimental alternative folkies tour their new album, There’ll Be Flowers Come The Spring, with support from label mates Fay Butler and Hamish James Hawk.

Mon 18 Feb Bird (Lidh) Electric Circus, 19:00–22:00, £6 adv.

Liverpudlian trio fusing siren-esque vocals, hypnotic drum beats and intricate guitar work into one haunting whole.

Axis Of Bannermans, 20:00–23:00, £5

Belfast hardcore outfit Axis Of bore a hole through the stage, taking a night off from supporting The Bronx.

Wed 20 Feb My Extraordinary (We Caught The Castle, The Phantoms, Exit The Theatre, Cantona) Electric Circus, 19:00–22:00, £5 adv.

All-out alternative rock quartet hailing from Newcastle-Upon-Tyne.

Greyfriars Kirk, 19:30–22:00, £12 (£5)

JAM and Red Note Ensemble: String Concert

Wave The Flag

JAM (the John Armitage Memorial ensemble) collaborate with contemporary Scottish music ensemble, Red Note Ensemble, for the first time, with a series of choral and string concert specials.

JAM (the John Armitage Memorial ensemble) collaborate with contemporary Scottish music ensemble, Red Note Ensemble, for the first time, with a series of choral and string concert specials.

Henry’s Cellar, 19:00–22:00, £4 (£5 after 7.30)

Eight-piece easy listening hip-hop and reggae fusion combo headered by Vincenzo Lorusso (aka Skeggia MC).

Greyfriars Kirk, 20:00–22:00, £12 (£5)

Ambush For Flamingos Bannermans, 20:00–23:00, £4

Edinburgh-based alternative indie types, named after George Catlin’s 1856 painting of nesting flamingos.

The Click Clack Club

Sat 16 Feb Sonic Cineplex (Jeff Mills, Dieter Mobius, Raime, Adam Stafford, Remember Remember) The Arches, 15:00–23:00, £19.50

One-off film and music event featuring the UK premiere of Detroit techno master Jeff Mills’ score of Fritz Lang’s Woman in the Moon, alongside myriad other live scores from the likes of Raime, Adam Stafford, and Remember Remember. Part of GMFF.

Randolph’s Leap, Snowgoose, Jo Mango The Queen’s Hall, 18:30–22:00, £12 (£10)

Glasgow-based bands Randolph’s Leap, Snowgoose and Jo Mango head eastwards along the M8 for a stellar triple bill at Edinburgh’s Queen’s Hall.

Anton and Erin Go To Hollywood Usher Hall, 19:30–22:00, From £20

Anton Du Beke and Erin Boag present a salute to the golden years of the MGM musicals: cue singing, dancing and a live show band.

Jim Lockey and The Solemn Sun Electric Circus, 19:00–22:00, £6 adv.

The anarcho-Anglo storytellers deliver their own blend of alternative country rock.

Steve Adey Elvis Shakespeare, 14:30–16:00, Free

The Edinburgh-based musician returns to the stage, kicking things off with a solo in-store set at which he’ll preview songs from his new album.

Friend of a Friend (The Preventors, Testing The Water) The Cabaret Voltaire, 19:00–22:00, £6

Scottish alternative indie lot, joined by a selection of local support.

Ramage Inc (A Torn Mind) Bannermans, 20:00–23:00, £5

Ambient metal quartet formed by Ramage for the purpose of bringing life to his musical work on stage.

Bloco Vomit Wee Red Bar, 19:00–22:00, £5 (£4)

Edinburgh-born ensemble who mix various rhythms from Brazil with primarily punk, reggae, r’n’b, rock and garage.

Mark Tremonti HMV Picture House, 19:00–22:00, £16.50

The Grammy Award-winning guitarist for American rock bands Creed, Alter Bridge and Tremonti plays his Edinburgh date.

Sun 17 Feb PAWS Wee Red Bar, 19:00–22:00, £tbc

The Glasgow noisemakers of the tropical thrash variety take to the road for their UK tour, having just about recovered from their NYE blowout at Glasgow’s Broadcast.

Weatherbird Bannermans, 20:00–23:00, £5 (£4)

Indie-pop and rock offerings from the End of the Trail records signees.

Henry’s Cellar, 20:00–23:30, £tbc

Occasional experimental music club bringing the good times with their Beefheart-inspired experimental funk.

Thu 21 Feb The Winter Tradition (Scotia, Modern Misfortune, Gathering) The Voodoo Rooms, 19:00–23:00, £4

Noisy powerpop-meets-rock from the loveable Scottish quartet.

The Pictish Trail (eagleowl) The Caves, 20:00–01:00, £11.50

The Fence Records’ label boss rounds off his new album tour with a special set down’t The Caves, supported by fellow Fencers eagleowl (who’ll also double as backing band), before it turns into an all-out party with special guests to be revealed.

Scottish Chamber Orchestra: Anderszewski plays Mozart The Queen’s Hall, 19:30–22:00, From £10

Playing the piano and directing an orchestra at the same time, Piotr Anderszewski takes in Mozart’s Piano Concerto No 23 in A K488, amongst others.

Land of Cakes Bannermans, 20:00–23:00, £4

The ‘burgh indie-rockers play a hometown show, adept at combining delicate melodies and harmonies with doses of all-out noisiness.

Stephen Hudson and The Fiat Pandas (Trapped Mice, The Meanest Creature Ever Known, Simon Herron) Henry’s Cellar, 19:30–23:30, £5

The Lancashire singer/songwriter performs some of his heart-on-sleeve pop numbers, supported by a bunch of miserable bastards from Edinburgh

Fri 22 Feb Wet Nuns (Blindfolds, Vladimir) Electric Circus, 19:00–22:00, £6 adv.

Blues-punk red necks from, er, Wild West Yorkshire.

White Heath Henry’s Cellar, 19:00–22:30, £5

Edinburgh-based quintet layering dark, sombre ballads with a diverse range of live instrumentation, incorporating strings, guitar, trombone and piano as they go.

The Retrophones (Banned For Life) The Voodoo Rooms, 19:00–23:00, £8

Edinburgh-based retro-styled funk outfit built on female vocals and a full-on horn section.

RBS Museum Lates: Night of the Vikings National Museum of Scotland, 19:00–22:30, £10 (£8)

The National Museum of Scotland host another late night happening, this time in celebration of their Vikings exhibition – with music from Edinburgh’s Broken Records and Shetland fiddle-player Chris Stoutt, plus Viking-themed entertainment. Obviously.

Scottish National Jazz Orchestra play Miles Davis The Queen’s Hall, 19:30–22:00, £17.50 (£12.50)

The internationally-acclaimed Scottish National Jazz Orchestra pay homage to Mr Smooth himself, Miles Davis.

RSNO Naked Classics: Stravinsky’s Firebird Usher Hall, 19:30–22:00, £10

The full RSNO ensemble take on the mystical beings, magic spells, green-clawed monsters and beautiful princesses of Stravinsky’s The Firebird.

Tag Team Champion (Yeah Detroit, Lyndsey Sheilds) The Caves, 19:00–22:00, £5

The Edinburgh-based rock-meets-pop quartet launch their new single, joined by musical guests and a bit of stand-up comedy from funnywoman Sian Bevan.

The Jacarandas, The Boscos, The Mandrakes, The Stonehouse Violets Bannermans, 20:00–23:00, £5

Selection of unsigned Edinburgh bands spanning the musical genres.

Aidan McIvor, Steve Heron The Three Sisters, 19:00–23:00, Free

A selection of local acoustic acts take to The Three Sisters bus (parked in the courtyard space) for a live session.

The Hostiles, Electric River, Colt 45, Taking Chase Wee Red Bar, 19:00–22:00, £4

Big Cheese magazine take to the road for their new tour, with US west coast ska-punksters The Hostiles on headlining duties.

Sat 23 Feb Love and Money The Queen’s Hall, 19:00–22:00, £25

The Glasgow cult heroes of the edgilyliterate jazz-rock variety take to the not-so-intimate surrounds of the Barrowland.

The Sweet Melindas Wee Red Bar, 19:00–22:00, £3

The Edinburgh sextet bring their foot-stomping brand of folk-rock Glasgow-way as part of their 2013 Scottish tour.

Madison The Cabaret Voltaire, 19:00–22:00, £6

Alternative piano rockers hailing from the fiery musical furnace of Cumbernauld.

Funeral Throne (Burial, Haar, Barshasketh) Bannermans, 19:30–23:00, £5

Death metal noisemakers who’ve confirmed themselves as a formidable live outfit, with their driving bass lines, whirlwind drumming and serrated guitars.

The Twilight Sad: Acoustic Electric Circus, 19:00–22:00, £10 adv.

The Twilight Sad boys appear a tad less noisy than usual, playing a special stripped-back acoustic show.

Sun 24 Feb

Thu 28 Feb Scottish Chamber Orchestra: Nelson Mass

dundee music

The Queen’s Hall, 19:30–22:00, From £10

Conductor Adam Fischer comes to Scotland with a programme highlighting Haydn in symphonic, operatic and grand styles. Pre-concert talk with Fischer, 6.30pm.

Richard Thompson Usher Hall, 19:30–22:00, £25 (£20)

The unassuming elder-statesman brings it with his acoustic and electric guitar virtuosity, marking the release of his new album, aptly titled Electric.

Dead Echos (Papa Zita) Bannermans, 20:00–23:00, £4

Multi-influenced hard rock, progressive and grunge quintet hailing from the ‘burgh.

Fri 01 Mar Lindi Ortega (Zervas and Pepper) The Voodoo Rooms, 19:00–22:00, £9 adv.

The Canadian singer/songwriter does her country-styled-pop-meets-rockabilly thing, most likely in cherry-red cowboy boots.

Hidden Orchestra The Queen’s Hall, 19:00–22:00, £12

Joe Acheson and his Edinburgh based outfit, duelling acoustic and digital percussion, piano, violin, bass and samples in one gloriously experimental whole.

The Stranglers HMV Picture House, 19:00–22:00, £23

The long-standing punk-rockers take to the road for the month of March, playing 23 dates across the UK – kicking off with a quartet of gigs in bonnie Scotland.

Penguins Kill Polar Bears Electric Circus, 19:00–22:00, £5 adv.

The Linlithgow dense rockers preview new tunes from their forthcoming album, due for release later in the year.

Bastille The Liquid Room, 19:00–22:00, £tbc

Dan Smith-led indie ensemble who may or may not have their faces painted as skulls.

999

Fri 01 Feb The Alley (The Sesh, Unknown on Sunday, Drenched, Sights Collide) Non-Zero’s, 19:30–22:00, £4

The Alley top the bill after a successful 2012, with support from a selection of up-and-comers.

Jericho Hill Beat Generator Live!, 20:00–22:30, £7 adv.

Johnny Cash tribute act.

Fri 08 Feb It’s Not OK (Uniforms, The Kimberley Steaks, Shatterhand) Kage, 20:00–22:30, Free

The London-based melodic pop-meetspunk lot pay their first visit to Scotland, armed with their brand of driving guitars and heavy hardcore tuneage.

Sat 09 Feb Fat Goth (Cuddy Shark, Carson Wells) Non-Zero’s, 20:00–22:30, £5

Ex-Alamos members in a new alternative guise, taking to the road in support of their new album, STUD.

A Lot Like Birds Beat Generator Live!, 19:30–22:30, £6 adv.

The Sacramento post-hardcore ensemble take in Dundee as their only Scottish date on their current world tour, flitting seamlessly between ambient soundscapes and more aggressive punk-fueled anthems.

Sun 10 Feb Our Final Hour (Oath of Kings, Letters From Above, Primal Visions, Insights) Beat Generator Live!, 19:00–22:30, £5 adv.

Citrus Club, 19:00–22:00, £9.99 adv. (£14 door)

Post-hardcore noisemakers from the Isle of Mann, with ambitions to tour the world (so say they).

Robert Vincent

Raime (Female Band)

English punk-rock ensemble formed way back in’t day (aka 1976), back and touring for 2013.

Sneaky Pete’s, 19:00–22:00, £7 adv.

Liverpudlian singer/songwriter mixing folk, rock and country into one musical whole.

Sat 02 Mar The Courteeners HMV Picture House, 18:30–22:00, £sold out

Middleton indie-rock quartet, all of whom have known each since they were the tender age of 10.

Fri 15 Feb DCA, 20:00–22:30, £8 (£6)

Enigmatic London-based duo rich with their own unique shadowy aesthetic, showcasing their debut album, Quarter Turns Over A Living Line, with a specially-created A/V set.

Sat 16 Feb Model Aeroplanes Non-Zero’s, 20:00–22:30, £5 adv. (£6 door)

Classic rock covers from the 60s to present day.

Usher Hall, 19:00–22:00, From £29.50

Pink Floyd tribute act. May well be Australian.

The Dundee-based rockers play what will be their very first show, after forming at the tail-end of 2012, playing a selection of tracks from their debut EP.

Mon 25 Feb

Egyptian Hip Hop

The Creeping Ivies (The Fnords)

Royal Republic (HerBrightSkies)

Progressive Manc indie-rock ensemble touring on the back of their debut LP, Good Don’t Sleep.

Cranachan Bannermans, 21:00–23:00, Free

Electric Circus, 19:00–22:00, £7.50 advance + STBF

Swedish punk and funk-influenced four-piece, who specialise in making a big ol’ racket.

Miaow Miaow Bannermans, 20:00–23:00, £4

The London and York-straddling quartet bring the post-punk nocturnal pop disco, possibly in possession of toy synthesizers.

Tue 26 Feb Frightened Rabbit (Wintersleep, Three Blind Wolves) HMV Picture House, 19:00–22:00, £sold out

The Australian Pink Floyd

Electric Circus, 19:00–22:00, £7

Edinburgh Highland Reel and Strathspey Society The Queen’s Hall, 19:30–22:00, £12 (£8)

Annual bash with the celebrated fiddle orchestra and guests hosting an evening of traditional Scottish fiddle music and song.

Sun 03 Mar Lianne La Havas The Queen’s Hall, 19:00–22:00, £13

Folk and soul singer/songwriter who also found herself part of the BBC’s Sound of 2012 poll. Rescheduled date.

Marika Hackman Electric Circus, 19:00–22:00, £6

The mighty F’Rabbit gear up for their imminent tour of the US-of-A with a series of UK dates, with Scottish shows in Edinburgh, Aberdeen and Glasgow (26-28 Feb) giving newest album, Pedestrian Verse, an airing in the homeland.

Young folk singer/songwriter whose debut music video was produced by Burberry, for whom she is also official ‘eyewear model’, cos that’s obviously a thing.

Wed 27 Feb

Since leaving his quiet little town in Queensland, Stu Larsen has spent the years mostly touring and recording – a folk troubadour if ever there were.

Verden Demo Project 2012 Showcase (Megan D, Mothertone, Karmataus, Holly Wilson, The Southpaws, Nic Tate And the Sharks) Electric Circus, 18:00–22:00, Free

Showcase night for the young bands and musicians who took part in the Verden Demo Project 2012.

Stu Larsen The Caves, 19:00–22:00, £7

Mon 04 Mar Will and The People The Cabaret Voltaire, 19:00–22:00, £6

Multi-genre chilled pop ensemble who write and play as a unit.

Beat Generator Live!, 20:00–22:30, £5

Dundee-based rock’n’roll duo made up of Becca Bomb and Duncan Destruction (totally their real surnames), who released their debut album at the tail-end of 2012.

Sun 17 Feb Arliss Nancy (The Barents Sea, Terrafraid. Mark McCabe) Kage, 19:30–22:00, £5

Soulful, whiskey-drenched Colorado country blues ensemble with a DIY punk rock spirit, playing their first ever show in Scotland.

Sat 23 Feb Control Beat Generator Live!, 20:00–22:30, £6 adv.

The self-proclaimed hooligan rock’n’rollers play a trademark set, chock with attitude, as per.

Tue 26 Feb The Courteeners Fat Sam’s, 19:00–22:00, £18.50

Middleton indie-rock quartet, all of whom have known each since they were the tender age of 10.

Fri 01 Mar Dirty Harry Beat Generator Live!, 20:00–22:30, £7.50

Blondie tribute act.

Sat 02 Mar Dave Colwell Beat Generator Live!, 20:00–22:30, £10 adv.

The ex-Bad Company guitarist performs a best of set of tunes from Bad Company, Free, and several tracks taken from his solo album.

February 2013

THE SKINNY 57

LISTINGS

G lasgow

CLUBs

Tue 29 Jan

The Shed Fridays

Melting Pot (Psychemagik)

Dam Mantle

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

Under 18s rock night playing, er, anything and everything rock.

Killer Kitsch

Shed, 22:30–03:00, £6 (£4)

Pop and chart hits with Andy Robertson in the main room, plus hippity-hop in the Red Room.

The Admiral, 23:00–03:00, £10

Saramago Terrace Bar cca 20:00–00:00 (free)

The Shed Fridays Shed, 22:30–03:00, £6 (£4)

Lock Up Your Daughters (Her Royal Highness)

Buff Club, 23:00–03:00, £5 (£3)

Electronic music of all ages, for all ages.

Voodoo Voodoo

Propaganda (The Enemy)

Nice ‘n’ Sleazy, 23:30–03:00, Free

O2 ABC, 23:00–03:00, £5

Duncan Harvey plays a mix of vintage rock ‘n’ roll, sleazy R’n’B, swing, soul, surf and pop from a bygone age.

Student-orientated night playing the best in new and classic indie music, with Coventry-formed indie-rockers The Enemy joining the fold for a live set.

TV Tuesday

Pressure (Slam, Maceo Plex, Speedy J, Sandwell District, Davide Squillace)

The Garage, 23:00–03:00, £5 (£3)

New Tuesday nighter with DJ Garry playing a selection of dancefloorfriendly anthems.

The Arches, 23:00–04:00, £18

i AM Sub Club, 23:00–03:00, £5 (free via iamclub.co.uk)

Resident young guns Beta & Kappa play the usual mix of electronica and bass.

Wed 30 Jan

The mighty deep house and techno monthly come out all-guns-blazing for their first show of 2013, with an all-star line-up of guests taking to the turntables.

Optimo (Aggi Doom) Sub Club, 23:00–03:00, £tbc

Octopussy The Arches, 23:00–03:00, £7 (£5)

Chart, indie and electro student favourite, with a bouncy castle an’ all.

LAID: Late Burns Nicht (Louie Vs Erin Friel, The Banjo Lounge 4, Finn LeMarinel) Bloc+, 21:00–01:00, Free

Favourited gig-in-a-club night offering up an ever-impressive live line-up of bands and, er, egg-shaped treats – this time hosting a Burns Night special, featuring a Toast to the Lassies delivered

by Hector Bizerk’s Louie.

Traffic Jam Flat 0/1, 22:00–03:00, Free

Reggae, dub, dancehall and hip-hop midweeker from DJ Greenman and friends.

JD Twitch and JG Wilkes take to the decks for a night of pure Optimo goodness, featuring a live set from the synth-pop Glasgow quartet Aggi Doom.

Void (Andreas Gehm) La Cheetah Club, 23:00–03:00, £7

Andreas Gehm performs live in his heavily acid influenced Elect Pt.1 moniker, with support from Baz Reznik and Andrew Ingram.

Yes! The Flying Duck, 22:30–03:00, Free (£5/£3 student after 12)

Thu 31 Jan

Classic Grand, 22:30–03:00, £6

Absolution Metal, industrial and pop-punk over two floors.

Cathouse, 23:00–03:00, £4 (£2)

Cathouse Saturdays

Full-on mix of nu-metal and hard rockin’ tunes, with yer man DJ Muppet.

Cathouse, 22:30–03:00, £6 (£5)

Punk, rock and metallic beats with DJs Billy and Muppet.

Taking Back Thursdays Cathouse, 23:00–03:00, £4 (£2)

The Rock Shop

Weekend welcoming mix of rock and metal, with guest DJs mixing it up in the Jager Bar.

Maggie May’s, 22:00–03:00, Free

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

Jellybaby

Love Music

O2 ABC, 23:00–03:00, £3 adv. (£5 door)

O2 ABC, 23:00–03:00, Free (£5 after 11.30)

Chart, disco and party tunes. Can’t say fairer.

Saturday night disco with Gerry Lyons and guests.

Boom Thursdays The Garage, 23:00–03:00, £5 (£3)

Rip This Joint

Chart and indie anthems, plus a live Twitter feed where you can log tune requests (#Garagelive).

Slouch, 23:00–03:00, Free

DJ Jopez plays a choice selection of indie, rock, blues and funk.

The Afterparty

Balkanarama (Baghdaddies, Pellizco Flamenco)

Buff Club, 23:00–03:00, £4

Euan Neilson handpicks a selection of classic R’n’B and hip-hop.

The Glue Factory, 22:30–03:00, £8

All singing, all dancing Balkan-styled clubber’s orgy, with live guests the Baghdaddies, plus belly dancing, bespoke visuals and free plum brandy for all. As in, we’re sold.

Camden Nights Flat 0/1, 22:00–03:00, £4 (£2)

New indie club playing the best in rock’n’roll, electro and, yes, indie.

Fri 01 Feb

Freakbeats

Old Skool

Mod, soul, ska and groovy freakbeat 45s, with DJs Jamo, Paul Molloy and Gareth McCallum.

The Flying Duck, 21:00–03:00, £5

Buff Club, 23:00–03:00, £7 (£6)

Connoisseur’s mix of old-school jazz, funk and soul.

Supermax

Damnation

The Berkeley Suite, 23:00–03:00, £5

Classic Grand, 23:00–03:00, £6

Two floors of the best in punk, metal and alternative tunes.

A taste of the decadent sound systems of NYC’s disco era with yer main man Billy Woods.

Cathouse Fridays

Let’s Go Back... Way Back La Cheetah Club, 23:00–03:00, £3

Cathouse, 22:30–03:00, £6 (£5)

Residents Bosco and Rob Mason bring acid-house, techno and rave back to the dancefloor for their first outing of 2013.

Rock, metal, punk and emo over two levels, with the residents manning the decks.

Badseed Slouch, 23:00–03:00, Free

Strange Paradise

Booty Call

Brand new night from Wild Combination man David Barbarossa, specializing in leftfield disco, post-punk and far-out pop.

Nice ‘n’ Sleazy, 23:30–03:00, £3

Badass mix of indie, rock and electro with DJ Heather McCartney.

The Garage, 23:00–03:00, £5 (£3)

Mixed bag of indie, rock, underground hip-hop and chart classics across four rooms.

Deathkill 4000

Maggie May’s, 22:00–03:00, Free

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

A Love From Outer Space The Berkeley Suite, 23:00–03:00, £8 adv.

Andrew Weatherall and Sean Johnston’s rather ace London night makes its now regular trip north, with the mighty duo playing back-to-back all night long.

Liquid Sky (Golden Teacher) Nice ‘n’ Sleazy, 23:30–03:00, £3

58 THE SKINNY

Colours: 18th Birthday (Markus Schulz, John O’Callaghan, Jochen Miller, Shermanology, Third Party, Kaz James) Colours celebrate 18 party-filled years with a host of guests dropping by, including a selection of acts that have been responsible for some of the club’s best memories of recent years.

February 2013

Return To Mono (Laurent Garnier) Sub Club, 23:00–03:00, £18 adv.

Chart, disco and party tunes. Can’t say fairer.

Monthly night from Soma Records, with producer/DJ duo Slam (aka Stuart McMillan and Orde Meikle) joined by Parisian techno music producer and DJ Laurent Garnier, making his Sub Club debut, no less.

The Afterparty

Dress To Impress

Jellybaby O2 ABC, 23:00–03:00, £3 adv. (£5 door)

Buff Club, 23:00–03:00, £4

The Flying Duck, 23:00–03:00, £5

Choice nu-disco and house picks from the Instruments Of Rapture label, hosted by Ali OOFT and The Revenge.

Sunday Roaster

Cathouse, 23:00–03:00, £2 (£1)

Buff Club, 23:00–03:00, £5 (£3/Free with wage slip)

The Garage, 23:00–03:00, £5 (£3)

Andy R plays chart hits and requests past and present, with DJ Muppet holing up in The Attic.

Tue 05 Feb 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, 23:00–03:00, £5 (£3)

New Tuesday nighter with DJ Garry playing a selection of dancefloorfriendly anthems.

Killer Kitsch (RL Grime) Buff Club, 23:00–03:00, £5

Electronic music of all ages, for all ages, bolstered by a guest set from RL Grime (aka the new future-bass project from 20-year-old wunderkid Henry Steinway).

I AM (Deadboy) Sub Club, 23:00–03:00, £5 (£6 after 12)

Euan Neilson handpicks a selection of classic R’n’B and hip-hop.

Chirpy selection of classic indie and pop, served up in the kitchen bar.

Shore Nice ‘n’ Sleazy, 23:30–03:00, Free

The House Sound of Chicago (Farley Jackmaster Funk)

Boom Thursdays: We Are The Ocean After-party

La Cheetah Club invite house music hero Farley Jackmaster Funk for a debut appearance, hailed for releasing the first house single to reach the charts in 1986.

Eclectic new party night playing everything from the electronic aquatic funk of Drexciya to the outer-space jazz of Sun Ra. The Garage, 23:00–03:00, £5 (£3)

Chart and indie anthems, plus a live Twitter feed where you can log tune requests (#Garagelive). Also doubles as the official We Are The Ocean after-party.

R.U.IN Thursdays Cathouse, 23:00–03:00, £4 (£2)

The Garage, 23:00–03:00, £5 (£3)

Craig McGee’s staple eclectic mash-up midweeker.

Take It Sleazy Nice ‘n’ Sleazy, 23:30–03:00, Free

Connoisseur’s mix of old-school jazz, funk and soul.

Classic Grand, 23:00–03:00, £6

Two floors of the best in punk, metal and alternative tunes.

Kino Fist Nice ‘n’ Sleazy, 23:30–03:00, £3

Propaganda O2 ABC, 23:00–03:00, £4

Student-orientated night playing the best in new and classic indie music.

Cathouse Fridays Cathouse, 22:30–03:00, £6 (£5)

Rock, metal, punk and emo over two levels, with the residents manning the decks.

Sub Rosa

Kilmarnock’s hairy disco legend, David Barbarossa, digs out some vinyl gems.

All-new Wednesday nighter with Sean Chan playing bangin’ house only.

Thu 07 Feb Misbehavin’ Cathouse, 23:00–03:00, £4 (£2)

Monthly mish-mash of electro, dance and dirty pop with DJ Drucifer.

Absolution Classic Grand, 22:30–03:00, £6

Punk, rock and metallic beats with DJs Billy and Muppet.

Buff Club, 23:00–03:00, £7 (£6)

Wild Combination

Buff Club, 23:00–03:00, £4 (£3)

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

Old Skool

An unabashed mix of 80s pop, electro and nu-disco. They will play Phil Collins.

Sub Club, 23:00–03:00, £5 (£4)

Buff Club, 23:00–03:00, £7 (£6)

Cathouse Saturdays

Genre-spanning mix of 60s psych, leftfield pop and Krautrock with resident Charlotte (of Muscles of Joy).

Garage Wednesdays

Nu Skool

Fri 08 Feb

Wed 06 Feb The Arches, 23:00–03:00, £7 (£5)

Sat 09 Feb

Metal, industrial and pop-punk over two floors.

Damnation

Chart, indie and electro student favourite, with a bouncy castle an’ all.

La Cheetah Club, 23:00–03:00, £10

A floor of rock and metal, plus guest DJs mixing it up in the Jager Bar.

Resident young guns Beta & Kappa host their only guest slot of the month, with London-based producer Deadboy dropping in a set full of his digital heartbreak house, having not played Glasgow in an age (aka three years).

Octopussy

Thu 14 Feb

The Shed Fridays

Stereo, 23:00–03:00, Free

Launch of a brand new monthly club night, playing a rich and varied mix of house, disoc, acid, garage, techno, hip-hop, and more.

Subculture (Ame) Sub Club, 23:00–03:00, £tbc

Long-running house night with residents Harri & Domenic manning the decks, joined by German duo Kristian Beyer and Frank Wiedemann (aka Ame).

Oddio (Auntie Flo, Jim Hutchison)

The Berkeley Suite, 23:00–03:00, £3

Badseed Slouch, 23:00–03:00, Free

Cathouse, 22:30–03:00, £6 (£5)

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)

Saturday night disco with Gerry Lyons and guests.

Rip This Joint Slouch, 23:00–03:00, Free

DJ Jopez plays a choice selection of indie, rock, blues and funk.

Osmium Blackfriars Basement, 23:00–03:00, £3 (£4 after 12)

Resident Blair Benzini play Italo, disco, synthpop, funk and a whole bunch of other stuff aimed at making you throw yourself about with abandon.

I Heart Garage Saturdays The Garage, 22:30–03:00, £7 (£5)

Classic Garage, all rooms open, all genres on the go, cheap promos.

Standard.

Badass mix of indie, rock and electro with DJ Heather McCartney.

The Shed Saturdays

Common People

Frothy weekend mix of commercial pop and cheese classics.

The Flying Duck, 21:00–03:00, Free (£5 after 11)

Celebration of all things 90s, with hits a-plenty and a pre-club bingo session.

Booty Call The Garage, 23:00–03:00, £5 (£3)

Mixed bag of indie, rock, underground hip-hop and chart classics across four rooms.

Shed, 22:30–03:00, £7 (£5)

Work For Love (Silk Cut) La Cheetah Club, 23:00–03:00, Free (£3 after 12)

More 80s boogie and disco burners from the Work For Love Crew, joined by a live set from those purveyors of pure analogue joy, Silk Cut.

Wrong Island Nice ‘n’ Sleazy, 23:30–03:00, £3

The legendary Teamy and Dirty Larry spin some fresh electronics for your aural pleasure.

Garage Wednesdays (Funeral For A Friend) The Garage, 23:00–03:00, £5 (£3)

Dam Mantle Saramago Terrace Bar cca 20:00–00:00 (free)

Dam Mantle plays an eclectic mix of records each Thursday night at the Saramago Terrace Bar during February as part of the Film Festival Club.

Jellybaby

O2 ABC, 23:00–03:00, £3 adv. (£5 door)

Chart, disco and party tunes. Can’t say fairer.

Philanthrobeats

The Garage, 23:00–03:00, £5 (£3)

Thunder Disco Club Sub Club, 23:00–03:00, Free (£5 after 12)

The Thunder Disco Club residents churn out the 90s house, techno and disco hits.

Shed, 22:30–03:00, £6 (£4)

Pop and chart hits with Andy Robertson in the main room, plus hippity-hop in the Red Room.

Mala in Cuba Stereo, 23:00–03:00, £12 adv.

Sync in Squares bring producer, DJ, label owner and all-round visionary Mala, armed with his Cuban live show, to the Renfield Lane basement.

Sensu (Michael Mayer) Sub Club, 23:00–03:00, £tbc

Offbeat (John Heckle)

Buff Club, 23:00–03:00, £4

Garry and Andrew Kilgour incite more mayhem than should really be allowed on the Sabbath.

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

The Afterparty

Pretty Ugly: Born To Be Pretty Nostalgic

Sunday Roaster

Maggie May’s, 22:00–03:00, Free (£5/£3 student after 12)

Barry Price and Junior provide the cutting edge electonic from across the globe, with Michael Mayer their special guest for the evening – treating y’all with a four-hour set.

Monthly club where promoters raise funds for the charity of their choice, joined by a handpicked selection of live guests.

Sun 10 Feb

The Garage, 23:00–03:00, £5 (£3)

Mixed bag of indie, rock, underground hip-hop and chart classics across four rooms.

Sub Club, 23:00–03:00, £4

New monthly residency at which man-of-the-moment Auntie Flo (aka Glasgow’s Brian D’Souza) will be playing a guest slot, alongside fellow Weegie stalwart Jim Hutchison.

Bloc+, 23:00–03:00, Free

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

Space Invader

Blank Inside

The all-female collective, blog and fanzine brings together a selection of live acts and DJs for their monthly party night – including a set from local screamers Divorce.

Burn

Booty Call

Jamming Fridays

TYCI (Divorce)

Mon 04 Feb

Buff Club, 23:00–03:00, £4 (£3)

Craig McGee’s staple eclectic mash-up midweeker, bolstered by a DJ set by Welsh emo stalwarts Funeral For A Friend.

Favourited indie night headed up by a trio of female DJs, this month bringing together Edinburgh’s Electric Circus’ Magic Nostalgic and Born To Be Wide DJs, for a bit of an east meets west love in.

Renegade

Funk’d

Bloc+, 21:00–01:00, Free

The extreme sports acolytes host their mixed media party night, backed as per by their own unique brand of rhythm, sound and vision.

The Flying Duck, 23:00–03:00, £5

The straight-friendly lesbian party returns for its regular themed shenanigans, with a GSFF special featuring a live set from HRH – who’ll be working up a disco funk frenzy like only she knows how.

The Admiral, 23:00–03:00, £5 (£6/£5 student after 12)

The Garage, 23:00–03:00, £5 (£3)

Rock’n’roll party with live bands playing on the floor.

Shaka

All-new Wednesday nighter with Sean Chan playing bangin’ house only.

The Berkeley Suite, 23:45–03:00, £5 adv.

Sub Club, 23:00–03:00, Free (£5 after 12)

Funk’d

Frothy weekend mix of commercial pop and cheese classics.

Monthly dose of industrial, EBM and electronic. We hear it’s very danceable.

The Flying Duck, 20:00–23:00, Free

Instruments Of Rapture

The Shed Saturdays Shed, 22:30–03:00, £7 (£5)

Cryotec

Last Bus Home

Sun 03 Feb

Weekly student night, with residents Ray Vose and Desoto joined by various live guests.

The Arches, 23:00–05:00, £24.50

Formed from the ashes of Pandemic, Chad Palestine plays everything from vintage rock’n’roll to soul, leftfield pop to the best in alternative indie.

Sub Club, 23:00–03:00, £tbc

Long-running house night with residents Harri & Domenic manning the decks, joined by US starlet Urulu.

Industro-rock noise party with live players and bespoke visuals to boot.

Bloc+, 23:00–03:00, Free

Jamming Fridays

Subculture (Urulu)

Rock, metal and punk playlists all night long, selected by yer man DJ Mythic.

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

Early evening club night playing dancing tunes without the worry of losing out on your beauty sleep. And, yes, you’ll make the last bus home.

Classic Grand, 23:00–03:00, £3

Cathouse, 16:00–21:00, £4 (£2 members)

Nice ‘n’ Sleazy, 23:30–03:00, Free

Classic Grand, 23:00–03:00, £4

Danse Macabre

Voodoo Under 18s rock night playing, er, anything and everything rock.

Weirdo Wednesday

Cathouse, 16:00–21:00, £4 (£2 members)

Pop and chart hits with Andy Robertson in the main room, plus hippity-hop in the Red Room.

The Danse Macabre regulars unite those two happiest of bedfellows, goth rock and, er, classic disco, in their new home of Classic Grand.

Sat 02 Feb

Craig McGee’s staple eclectic mash-up midweeker.

Counterfeit

The Garage, 22:30–03:00, £7 (£5)

Voodoo

Maggie May’s, 22:00–03:00, Free (£5/£3 student after 12)

Dam Mantle plays an eclectic mix of records each Thursday night at the Saramago Terrace Bar during February as part of the Film Festival Club.

Student superclub playing everything from hip-hop to dance and funk to chart, with the added joys of a guest appearance from Made In Chelsea’s Oliver Proudlock.

Garry and Andrew Kilgour incite more mayhem than should really be allowed on the Sabbath.

Buff Club, 23:00–03:00, £7 (£6)

The Garage, 23:00–03:00, £5 (£3)

I Heart Garage Saturdays (Oliver Proudlock)

New gay indie night on the block, with a playlist that mixes classic Bowie, The Smiths, Blondie et al alongside new kids iike Django Djanjo and Grimes.

Nu Skool

Garage Wednesdays

The Melting Pot crew kick off 2013 with a Glasgow debut from Psychemagik, the UK psychedelic disco duo loved by many for their Fleetwood Mac edit.

Jamming Fridays

Euan Neilson handpicks a selection of classic R’n’B and hip-hop.

Shore Nice ‘n’ Sleazy, 23:30–03:00, Free

Eclectic new party night playing everything from the electronic aquatic funk of Drexciya to the outer-space jazz of Sun Ra.

Boom Thursdays: Queen Of Hearts Valentine’s Ball The Garage, 23:00–03:00, £5 (£3)

Loved-up edition of the weekly chart and indie night, plus a live Twitter feed where you can log tune requests (#Garagelive).

R.U.IN Thursdays Cathouse, 23:00–03:00, £4 (£2)

A floor of rock and metal, plus guest DJs mixing it up in the Jager Bar.

Fri 15 Feb 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

La Cheetah Club, 23:00–03:00, First 50 free (£5 after)

The Offbeat crew welcome John Heckle to the decks, with the versatile young house DJs incorporating three turntables as well as live jams on his Roland 707. First 50 go free.

The Burning Sand The Poetry Club, 21:00–02:00, £5

Brand new club night tying in with the launch of a new art mag of the same name, featuring a live performance by Correcto (featuring members of Franz Ferdinand and The Royal We), alongside DJ sets from Sarah Lowndes and Torsten Lauschmann.

Sat 16 Feb Nu Skool Buff Club, 23:00–03:00, £7 (£6)

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

Black Tent Nice ‘n’ Sleazy, 23:30–03:00, £3

Indie, electro and anything inbetween with Pauly (My Latest Novel), and Simin and Steev (Errors).

Absolution

Renegade Cathouse, 23:00–03:00, £2 (£1)

Rock, metal and punk playlists all night long, selected by yer man DJ Mythic.

Mon 11 Feb 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, with DJ Muppet holing up in The Attic.

Tue 12 Feb Killer Kitsch Buff Club, 23:00–03:00, £5 (£3)

Electronic music of all ages, for all ages.

i Am Sub Club, 23:00–03:00, £5 (free via iamclub.co.uk)

Resident young guns Beta & Kappa play the usual mix of electronica and bass.

Two floors of the best in punk, metal and alternative tunes.

Voodoo Voodoo

Argonaut Sounds Reggae Soundsystem

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, 23:00–03:00, £5 (£3)

New Tuesday nighter with DJ Garry playing a selection of dancefloorfriendly anthems.

Wed 13 Feb Octopussy The Arches, 23:00–03:00, £7 (£5)

Chart, indie and electro student favourite, with a bouncy castle an’ all.

Milk: Anti Valentine's Flat 0/1, 21:00–03:00, £4 (£3)

Anti-Valentine’s edition of the rather ace gig-in-a-club night, with live sets from Make Sparks and The OK Social Club, jollied along by cherry Lambrini, made-to-order pink Russians, live visuals and all the romance that a game of Shag Tag can bring.

Blackfriars Basement, 23:00–03:00, £3 (£5 after 12)

Roots reggae, dancehall and rocksteady in original soundsystem stylee

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)

Rock, metal, punk and emo over two levels, with the residents manning the decks.

Badseed Slouch, 23:00–03:00, Free

Badass mix of indie, rock and electro with DJ Heather McCartney.

Bottle Rocket Nice ‘n’ Sleazy, 23:30–03:00, £3

Indie dancing club, playing anything and everything danceable.

Classic Grand, 22:30–03:00, £6

Metal, industrial and pop-punk over two floors.

Subculture Sub Club, 23:00–03:00, £tbc

Long-running house night with residents Harri & Domenic manning the decks.

Cathouse Saturdays Cathouse, 22:30–03:00, £6 (£5)

Punk, rock and metallic beats with DJs Billy and Muppet.

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)

Saturday night disco with Gerry Lyons and guests.

Rip This Joint Slouch, 23:00–03:00, Free

DJ Jopez plays a choice selection of indie, rock, blues and funk.

I Heart Garage Saturdays The Garage, 22:30–03:00, £7 (£5)

Classic Garage, all rooms open, all genres on the go, cheap promos.

Standard.

LISTINGS Singles Night

i Am

The Flying Duck, 23:00–03:00, £5

Sub Club, 23:00–03:00, £5 (free via iamclub.co.uk)

Cathouse Fridays Cathouse, 22:30–03:00, £6 (£5)

Andy Divine and Chris Geddes’ gem of a night dedicated to 7-inch singles from every genre imaginable.

Resident young guns Beta & Kappa play the usual mix of electronica and bass.

Rock, metal, punk and emo over two levels, with the residents manning the decks.

Fantastic Man

Voodoo Voodoo

Badseed

Bloc+, 23:00–03:00, Free

Nice ‘n’ Sleazy, 23:30–03:00, Free

Messy Saturday night uber-disco featuring a rotating schedule of live talent.

Duncan Harvey plays a mix of vintage rock ‘n’ roll, sleazy R’n’B, swing, soul, surf and pop from a bygone age.

Symbiosis (Calaco Jack, Yellow Benzene, Hex, Alcane)

TV Tuesday

Audio, 22:00–03:00, Free

Innovative D’n’B beats in a relaxed, bass-rich environment complete with guests DJs and live visuals from

The Garage, 23:00–03:00, £5 (£3)

New Tuesday nighter with DJ Garry playing a selection of dancefloorfriendly anthems.

Slouch, 23:00–03:00, Free

Badass mix of indie, rock and electro with DJ Heather McCartney.

Animal Farm (Answer Code Request, Markus Suckut) Sub Club, 23:00–03:00, £12

Dancefloor-filling techno nuts Animal Farm take the reins, joined by MDR Records’ latest signing, Answer Code Request, and up-and-coming German DJ Markus Suckut.

Booty Call The Garage, 23:00–03:00, £5 (£3)

Mixed bag of indie, rock, underground hip-hop and chart classics across four rooms.

Jamming Fridays Maggie May’s, 22:00–03:00, Free (£5/£3 student after 12)

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

Shake Appeal Bloc+, 23:00–03:00, Free

Damn fine evening of hip shakers and neck breakers, combining everything from Buddy Holly to Motorhead.

The Shed Fridays Shed, 22:30–03:00, £6 (£4)

Pop and chart hits with Andy Robertson in the main room, plus hippity-hop in the Red Room.

Crimes of the Future (Plaid) The Berkeley Suite, 23:30–03:00, £5

Altronix.

The Shed Saturdays

Wed 20 Feb

Shed, 22:30–03:00, £7 (£5)

Octopussy

Hot Mess: Glasgow (JD Twitch)

Chart, indie and electro student favourite, with a bouncy castle an’ all.

Frothy weekend mix of commercial pop and cheese classics.

The Poetry Club, 22:00–02:00, £4 (£6 after 11)

DJ Simonotron hosts the gay disco party like no other, playing disco, house and acid on vinyl in a special Glasgow outing at Jim Lambie’s rather ace Poetry Club, for which he’ll be joined by onehalf of Optimo, JD Twitch.

Club Noir Valentine’s: One Night in Paris O2 Academy, 21:00–03:00, £15.50

Glasgow’s burlesque star teasers host the Valentine’s edition of their favourited raunchy cabaret club, transporting revellers to a Parisian wonderland.

Voodoo Cathouse, 16:00–21:00, £4 (£2 members)

Under 18s rock night playing, er, anything and everything rock.

Huntley and Palmer’s (Veronica Vasika, Trevor Jackson) La Cheetah Club, 23:00–03:00, £10

The Arches, 23:00–03:00, £7 (£5)

Garage Wednesdays The Garage, 23:00–03:00, £5 (£3)

Craig McGee’s staple eclectic mash-up midweeker.

Not Moving Nice ‘n’ Sleazy, 23:30–03:00, Free

South African house, grime, jungle, R’n’B and hauntology. A tropical mix, ayes.

Funk’d Buff Club, 23:00–03:00, £4 (£3)

All-new Wednesday nighter with Sean Chan playing bangin’ house only.

Thu 21 Feb Dam Mantle Saramago Terrace Bar, cca 20:00–00:00 (free)

Dam Mantle plays an eclectic mix of records each Thursday night at the Saramago Terrace Bar during February as part of the Film Festival Club.

New Life (Barberos, Ultra Zook) Bloc+, 23:00–03:00, Free

More cosmic, kraut and disco picks, with guests Veronica Vasika and Trevor Jackson.

Delightful clubber’s mash-up of alternative pop, indie and electro.

DC Sessions: 3rd Birthday

O2 ABC, 23:00–03:00, £3 adv. (£5 door)

The Berkeley Suite, 23:00–03:00, £tbc

DC celebrate their third birthday at their favourited home of The Berkeley Suite, with special guests being kept under wraps for now.

Sun 17 Feb Sunday Roaster The Garage, 23:00–03:00, £5 (£3)

Jellybaby Chart, disco and party tunes. Can’t say fairer.

Boom Thursdays

Rock, metal and punk playlists all night long, selected by yer man DJ Mythic.

Classic Grand, 22:30–03:00, £6

Metal, industrial and pop-punk over two floors.

Cathouse Saturdays Cathouse, 22:30–03:00, £6 (£5)

Punk, rock and metallic beats with DJs Billy and Muppet.

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)

Saturday night disco with Gerry Lyons and guests.

Rip This Joint Slouch, 23:00–03:00, Free

DJ Jopez plays a choice selection of indie, rock, blues and funk.

I Heart Garage Saturdays The Garage, 22:30–03:00, £7 (£5)

Buff Club, 23:00–03:00, £4

Buff Club, 23:00–03:00, £5 (£3)

Electronic music of all ages, for all ages.

Everyone’s Serious... But Us (Mr. C) La Cheetah Club, 23:00–03:00, £8

Dance music force Richard West (aka Mr. C) takes charge for the evening, responsible for legendary club The End in London, and now in charge of Superfreq events.

Kill Yr Idols (GK Machine) The Berkeley Suite, 23:00–03:00, £3

DIY disco with a punk attitude, where psychedelic voodoo grooves meet souped-up turbo-tech, played out by guest purveyor of phychedelic dungeon disco, Les Diaboliques, alongside residents GK Machine and G Blythe.

Geeeman (Ben Martin) Chambre 69, 23:00–03:00, £5

In demand producer Geeeman (yep, that’s a lotta e’s) brings his Dutch house sounds to Glasgow, with support from High Sheen’s Ben Martin.

Sun 24 Feb

Chart, indie and electro student favourite, with a bouncy castle an’ all.

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.

Garage Wednesdays The Garage, 23:00–03:00, £5 (£3)

Craig McGee’s staple eclectic mash-up midweeker.

Funk’d Buff Club, 23:00–03:00, £4 (£3)

All-new Wednesday nighter with Sean Chan playing bangin’ house only.

Paradise Garage Discotheque (Billy Woods) Sub Club, 23:00–03:00, £tbc

Sub Club is transformed into famous New York discotheque, Paradise Garage, for one night only (with the help of GSA’s interior design department), where disco king Billy Woods will man the decks, supported by the Sub Rosa residents.

Thu 28 Feb Dam Mantle Saramago Terrace Bar, cca 20:00–00:00 (free)

Nicola Walker plays cult rock hits from the 70s, 80s and 90s.

Dam Mantle plays an eclectic mix of records each Thursday night at the Saramago Terrace Bar during February as part of the Film Festival Club.

Sunday Roaster

Cathouse, 23:00–03:00, £4 (£2)

Slide It In Cathouse, 23:00–03:00, £4 (£2)

The Garage, 23:00–03:00, £5 (£3)

Garry and Andrew Kilgour incite more mayhem than should really be allowed on the Sabbath.

Renegade Cathouse, 23:00–03:00, £2 (£1)

Rock, metal and punk playlists all night long, selected by yer man DJ Mythic.

Optimo (Mister Saturday Night) Sub Club, 23:00–03:00, £tbc

JD Twitch and JG Wilkes take to the decks for a night of pure Optimo goodness, featuring a live set from New York party institution Mister Saturday Night.

Mon 25 Feb 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)

Counterfeit

Full-on mix of nu-metal and hard rockin’ tunes, with yer man DJ Muppet.

Jellybaby O2 ABC, 23:00–03:00, £3 adv. (£5 door)

Chart, disco and party tunes. Can’t say fairer.

Boom Thursdays The Garage, 23:00–03:00, £5 (£3)

Chart and indie anthems, plus a live Twitter feed where you can log tune requests (#Garagelive).

The Afterparty Buff Club, 23:00–03:00, £4

Euan Neilson handpicks a selection of classic R’n’B and hip-hop.

Shore Nice ‘n’ Sleazy, 23:30–03:00, Free

Eclectic new party night playing everything from the electronic aquatic funk of Drexciya to the outer-space jazz of Sun Ra.

Frogbeats: Unleash The Beast (Denney, Pharo, Mrs Magoo)

We Techno Prisoners

Kim Ann Foxman The Berkeley Suite, 23:00–03:00, Free (£5 after 12)

Shore Eclectic new party night playing everything from the electronic aquatic funk of Drexciya to the outer-space jazz of Sun Ra.

R.U.IN Thursdays Cathouse, 23:00–03:00, £4 (£2)

Connoisseur’s mix of old-school jazz, funk and soul.

The Hot Club Nice ‘n’ Sleazy, 23:30–03:00, £3

Tearin’ it up with 60s psych-outs and modern sleaze, provided by Rafla and Andy (of The Phantom Band).

I AM Edinburgh

The Liquid Room, 21:00–04:00, £16 earlybird

The Arches, 23:00–03:00, £18 adv.

The mighty deep house and techno monthly play host to myriad guests, amongst ‘em Podium and Figure label head Len Faki, known for his untamed DJ sets that meander in style and tone.

Oneman (Brenmar)

Damnation Classic Grand, 23:00–03:00, £6

Two floors of the best in punk, metal and alternative tunes.

Propaganda O2 ABC, 23:00–03:00, £4

Student-orientated night playing the best in new and classic indie music.

Legendary house DJ Danny Rampling headers a packed bill, as STREETrave pay homage to all things acid house.

Chart, dance and electro fare, plus punter requests all night long.

The Cabaret Voltaire, 23:00–03:00, £4 (£3/free via iamclub.co.uk)

Resident young guns Beta & Kappa make their now regular trip east, playing the usual fine mix of electronica and bass.

Juice Sneaky Pete’s, 23:00–03:00, Free

Chambre 69, 23:00–03:00, £5 adv.

All-new Thursday nighter for Sneaky’s, playing a mighty mix of everything from The Stooges to ODB.

ReFrame (John Steel)

Misfits

The London-based DJ tours his new Solitaire mix, with support from Brooklyn-based house producer Brenmar.

Basura Blanca, 22:00–02:00, Free

ReFrame returns to The Brunswick Hotel’s basement club for a night of electro, house and techno, welcoming back DJ and producer John Steel for a guest set.

Sat 02 Mar Nu Skool Buff Club, 23:00–03:00, £7 (£6)

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

Absolution Classic Grand, 22:30–03:00, £6

Metal, industrial and pop-punk over two floors.

Freakbeats The Flying Duck, 23:00–03:00, £5

Mod, soul, ska and groovy freakbeat 45s, with DJs Jamo, Paul Molloy and Gareth McCallum.

Strange Paradise Nice ‘n’ Sleazy, 23:30–03:00, £3

Brand new night from Wild Combination man David Barbarossa, specializing in leftfield disco, post-punk and far-out pop.

10th Annual Hard Dance Awards (Wildstylez, Evil Activities, Yoji, Kutski, Alex Kidd, Andy Whitby) The Arches, 21:30–05:00, £25 adv.

The Annual Hard Dance Awards take place in Scotland for the very first time, celebrating their 10th year with an all-out party night manned by muriad guests across four arenas.

Jozef K Chambre 69, 23:00–03:00, £tbc

Manchester’s Jozef K brings his wares Glasgow-way, after a prosperous 2012 that saw him become the newest resident at favourited Manc club, Sankeys.

The Hive, 22:00–03:00, Free

Alternative anthems cherrypicked from genres of rock, indie and punk.

Fri 01 Feb

Andy R plays chart hits and requests past and present, with DJ Muppet holing up in The Attic.

Sub Club, 23:00–03:00, £4

Frogbeats and residents host their D’n’B and jungle showcase night, transform Subbie into their own concrete jungle for the evening.

Tue 26 Feb

R.U.IN Thursdays

Killer Kitsch

A floor of rock and metal, plus guest DJs mixing it up in the Jager Bar.

Buff Club, 23:00–03:00, £5 (£3)

Electronic music of all ages, for all ages.

i Am Sub Club, 23:00–03:00, £5 (free via iamclub.co.uk)

Resident young guns Beta & Kappa play the usual mix of electronica and bass.

Cathouse, 23:00–03:00, £4 (£2)

Fri 01 Mar Old Skool Buff Club, 23:00–03:00, £7 (£6)

Connoisseur’s mix of old-school jazz, funk and soul.

The Musika 6th Birthday Musika pulls it out the bag with a monster session in celebration of their 6th birthday, featuring sets from Maceo Plex, Ben UFO, Huxley, Pearson Sound, and more, snaking across The Liquid Room and adjoining Annexe space.

Propaganda (The Enemy) HMV Picture House, 23:00–03:00, £4

Student-orientated night playing the best in new and classic indie music, with Coventry-formed indie-rockers The Enemy joining the fold for a live set.

We Own

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 (£5 after 11)

Retro from 1970 to 1999, moving from Abba to ZZ Top.

Kapital (Max Cooper) The Caves, 23:00–03:00, £9 adv.

The Kapital crew return with a beefedup new soundsystem and an exclusive set from London-based electronica and techno producer Max Cooper, known for his remixes of the likes of Hot Chip and Sasha.

This Is Music Sneaky Pete’s, 23:00–03:00, £3 (members free)

Indie and electro from the Sick Note DJs.

Balkanarama (Baghdaddies, Pellizco Flamenco) Studio 24, 22:00–03:00, £8 (£9 after 10.30)

All singing, all dancing Balkan-styled clubber’s orgy, with live guests the Baghdaddies, plus belly dancing, bespoke visuals and free plum brandy for all. As in, we’re sold.

Sneaky Pete’s, 23:00–03:00, £3 (members free)

The We Own crew bring a concentrated version of their famed party blowouts to Sneaky Pete’s diminutive lair.

Pocket Aces (Thunder Disco Club) The Cabaret Voltaire, 23:00–03:00, £7 (£5)

Dance-inducing party with an anything goes attitude and rotating rota of guest DJs, with TDC making their monthly journey to the capital for a night of disco-infused house.

Sun 03 Feb Coalition Sneaky Pete’s, 23:00–03:00, Free

Dubstep, breaks and bassline house from AF Meldrum and a cast of Edinburgh’s best underground DJs.

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 04 Feb Mixed Up The Hive, 22:00–03:00, Free

Request-driven night of pop-punk, chart, indie and good ol’ 90s classics.

Nu Fire

Stacks Wee Red Bar, 23:00–03:00, £4 (£3)

Bawlin’ r’n’b, soul, swing and motown from the Stacks residents, plus free mix CDs on the door.

Sneaky Pete’s, 23:00–03:00, Free

Moving from hip-hop to dubstep with a plethora of live MCs.

Cream Soda

Tue 05 Feb

Electric Circus, 22:30–03:00, £3 (£4 after 12)

Antics

American Prom-styled fun night celebrating all that is great about pop, new and old.

Jackhammer (DJ Hell, Neil Landstrumm) The Liquid Room, 22:00–03:00, £10 adv.

The Jackhammer crew provide our dose of all things techno, with solo sets from German house-techno specialist DJ Hell and heralded sonic experimenter Neil Landstrumm.

Supersonic Vague

The Hive, 22:00–05:00, Free

Alternative anthems cherrypicked from genres of rock, indie and punk.

Soul Jam Hot Sneaky Pete’s, 23:00–03:00, Free

Fresh mix of funk, soul, disco and hippity-hop from the Soul Jam Hot DJs.

Hector’s House The Cabaret Voltaire, 23:00–03:00, £6 (£5)

Electronic basslines allied with homecooked house beats.

Wed 06 Feb

All-new student Friday nighter, blasting oot an eclectic mix of indie, dance, pop, dubstep and electro playlists.

Bangers & Mash

Sat 02 Feb

Midweek student rundown of chart and cheese classics.

The Hive, 22:00–05:00, £1 (£3 after 11)

Indigo

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 (£4 after 12)

The Liquid Room, 22:30–03:00, £3 (£1)

Indie, pop and alternative favourites with a danceable beat, from LCD Soundsystem to The Ting Tings.

Witness Sneaky Pete’s, 23:00–03:00, Free

Sneaky’s resident bass spectacular of garage, dubstep and bassline house.

Sneaky Pete’s, 23:00–03:00, Free

Art School institution with DJs Chris and Paul playing the finest in indie, garage, soul and punk.

The Go-Go

Studio 24, 23:00–03:00, £1.99 (£2.99 after 12)

Hector’s House

Studio 24, 22:30–03:00, £2 (£5/£4 student after 11.30)

Soul Jam Hot

Bloc+, 23:00–03:00, Free

Potterrow, 21:00–03:00, £3 (£4 after 12)

The Hive, 22:00–03:00, Free

Antics

Shed, 22:30–03:00, £7 (£5)

Big Cheese

Pressure (Len Faki, Paul Ritch, Slam, Nic Fanciulli, Nina Kraviz, Silicone Soul)

Tue 29 Jan

The Shed Saturdays

The Arches, 22:00–03:00, £15 adv.

Thu 31 Jan

Base Nightclub, 23:00–03:00, £4 (£3)

The Shake Yer Shoulders crew take to Base for their regular Saturday nighter, playing only the dirtiest and hardest techno tunes they can get their grubby mitts on.

Term-time student party night playing a selection of cheesy dancing tunes.

edinburgh clubs

The Flying Duck, 23:00–03:00, £5

STREETrave: The Acid House Party (Danny Rampling, Shades Of Rythym, Iain Boney Clark, Michael Kilkie, Zammo)

Sneaky’s resident bass spectacular of garage, dubstep and bassline house, joined by RL Grime (aka the new future-bass project from 20-year-old wunderkid Henry Steinway).

HMV Picture House, 23:00–03:00, £4

Resident DJs Jer Reid, Martin Law and guests play music from, and some music inspired by, 1970s and early 80s NYC. Frothy weekend mix of commercial pop and cheese classics.

Sneaky Pete’s, 23:00–03:00, £3 (members free)

Studio 24, 22:30–03:00, £2 (£5/£4 student after 11.30)

Frisky

Buff Club, 23:00–03:00, £5 (£3/Free with wage slip)

Houndin’ The Streets

A floor of rock and metal, plus guest DJs mixing it up in the Jager Bar.

Bordello

The Liquid Room, 22:30–03:00, £3 (£1)

The NYC-based dance DJ and vocalist plays a special set down’t The Berkeley Suite. Earlybirds get in free before midnight.

Mon 04 Mar

DJs Fraser Dunn, Felonious Munk and Alan McKenzie play an all-vinyl mix of soul, motown and R’n’B from the 60s and 70s.

Buff Club, 23:00–03:00, £7 (£6)

Killer Kitsch

Sub Club, 23:00–03:00, £tbc

The Subculture residents join forces with Numbers for a mighty versus night, joined by NY resident Levon Vincent for a set of techno-heavy beats.

The Arches, 23:00–03:00, £7 (£5)

Witness (RL Grime)

SWG3, 22:00–03:00, £7 adv.

A dark and electronic off-shoot of the Moda Music label, Moda Black take over the warehouse space for a showcase night, joined by George Fitzgerald, Rochy Ahmed, Jaymo & Andy George and Hot Since 82.

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

Burn

Tue 19 Feb

Subculture Vs Numbers (Levon Vincent)

Octopussy

Sleazy-styled classic rock, all night long.

South Side Soul

Members of Glasgow’s post-hardcore noise-masters, United Fruit, curate their lively monthly event of big-beat alternative indie.

Andy R plays chart hits and requests past and present, with DJ Muppet holing up in The Attic.

Wed 27 Feb

Under 18s rock night playing, er, anything and everything rock.

Moda Black

Indie, pop and alternative favourites with a danceable beat, from LCD Soundsystem to The Ting Tings.

Pollok Ex-Servicemens Club, 20:00–01:00, £5

Fri 22 Feb

The Garage, 23:00–03:00, £5 (£3)

friendly anthems.

Cathouse, 16:00–21:00, £4 (£2 members)

Nice ‘n’ Sleazy, 23:30–03:00, £3

Old Skool

Space Invader

Voodoo

Thunder Disco Club

Mon 18 Feb Buff Club, 23:00–03:00, £5 (£3/Free with wage slip)

New Tuesday nighter with DJ Garry playing a selection of dancefloor

Classic Garage, all rooms open, all genres on the go, cheap promos.

Standard.

Teenage Riot

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

The Garage, 23:00–03:00, £5 (£3)

Indigo

The Afterparty

Nice ‘n’ Sleazy, 23:30–03:00, Free

Cathouse, 23:00–03:00, £2 (£1)

Absolution

TV Tuesday

Classic Grand, 23:00–03:00, £6

Two floors of the best in punk, metal and alternative tunes.

Burn

Chart and indie anthems, plus a live Twitter feed where you can log tune requests (#Garagelive).

Highlife

Renegade

Buff Club, 23:00–03:00, £7 (£6)

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

Upping the soundsystem culture in Glasgow over the past year, Bad News celebrate their 1st birthday with sets from Dark Sky and Paleman (for whom it’ll be his Scottish debut). Held in Chambre 69’s new pop-up space, Make Do, on Hope Street.

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.

Damnation

The Thunder Disco Club residents churn out the 90s house, techno and disco hits.

Euan Neilson handpicks a selection of classic R’n’B and hip-hop.

Music from across the globe with the ever-capable residents Auntie Flo and Esa Williams.

Sat 23 Feb Nu Skool

Make Do, 23:00–03:00, £7 adv.

Voodoo Voodoo

The Garage, 23:00–03:00, £5 (£3)

Garry and Andrew Kilgour incite more mayhem than should really be allowed on the Sabbath.

Sub Club, 23:00–03:00, Free (£5 after 12)

Scott Fraser and Timothy J. Fairplay host their favourited music club, with their February edition boasting a special one off live performance from UK electronic pioneers, Plaid.

Bad News: 1st Birthday (Dark Sky, Paleman)

Fresh mix of funk, soul, disco and hippity-hop from the Soul Jam Hot DJs. The Cabaret Voltaire, 23:00–03:00, £6 (£5)

Electronic basslines allied with homecooked house beats.

Wed 30 Jan Bangers & Mash The Hive, 22:00–03:00, £1 (£3 after 11)

Midweek student rundown of chart and cheese classics.

Long-running retro night with veteran DJs Tall Paul and Big Gus.

Bubblegum The Hive, 21:00–03:00, Free (£4 after 10)

Handpicked weekend mix of chart and dance, with retro 80s classics as standard.

Speaker Bite Me Electric Circus, 22:30–03:00, £5

The Evol DJs worship at the alter of all kinds of indie-pop, as long as it’s got bite.

Zoot DJs Swank’n’Jams seamlessly mix tropical beats and swing rhythms, mashed up with some well-kent classics.

Thu 07 Feb Frisky The Hive, 22:00–05:00, Free

Chart, dance and electro fare, plus punter requests all night long.

I AM Edinburgh The Cabaret Voltaire, 23:00–03:00, £4 (£3/free via iamclub.co.uk)

Resident young guns Beta & Kappa make their now regular trip east, playing the usual fine mix of electronica and bass.

February 2013

THE SKINNY 59

LISTINGS Juice Sneaky Pete’s, 23:00–03:00, Free

All-new Thursday nighter for Sneaky’s, playing a mighty mix of everything from The Stooges to ODB.

David Rodigan The Liquid Room, 22:30–03:00, £12

The man with the flair for selecting the sweetest of reggae beats, as in David Rodigan, takes over the Liquid Room decks for the evening.

Sun 10 Feb

Unpop: Valentine’s Special

Coalition

Indie-pop dance party for the twee of heart, this month in a Valentine’s special.

Sneaky Pete’s, 23:00–03:00, Free

Dubstep, breaks and bassline house from AF Meldrum and a cast of Edinburgh’s best underground DJs.

The Sunday Club The Hive, 22:00–03:00, Free

Two rooms of all the chart, cheese and indie-pop you can think of.

Fri 08 Feb

Mon 11 Feb

Misfits

Mixed Up The Hive, 22:00–03:00, Free

The Hive, 21:00–03:00, Free (£4 after 10)

Request-driven night of pop-punk, chart, indie and good ol’ 90s classics.

Chart, electro, indie-pop and alternative anthems over two rooms.

Nu Fire

Planet Earth

Sneaky Pete’s, 23:00–03:00, Free

Moving from hip-hop to dubstep with a plethora of live MCs.

Citrus Club, 22:30–03:00, Free (£5 after 11)

Retro from 1970 to 1999, moving from Abba to ZZ Top.

Tue 12 Feb

This Is Music

Antics

Sneaky Pete’s, 23:00–03:00, £3 (members free)

The Hive, 22:00–03:00, Free

Alternative anthems cherrypicked from genres of rock, indie and punk.

Indie and electro from the Sick Note DJs.

Soul Jam Hot

Cosmic

Sneaky Pete’s, 23:00–03:00, Free

Studio 24, 21:00–03:00, £3 (£6 after 11)

Fresh mix of funk, soul, disco and hippity-hop from the Soul Jam Hot DJs.

Monthly club bringing the spirit of the psychedelic trance dance ritual to the floor, with live acts, VJs and colourful fluoro decor.

Hector’s House The Cabaret Voltaire, 23:00–03:00, £6 (£5)

Electronic basslines allied with homecooked house beats.

Cream Soda Electric Circus, 22:30–03:00, £3 (£4 after 12)

Wed 13 Feb

American Prom-styled fun night celebrating all that is great about pop, new and old.

Bangers & Mash The Hive, 22:00–03:00, £1 (£3 after 11)

Invasion of the Jungle Soldiers

Midweek student rundown of chart and cheese classics.

Henry’s Cellar, 23:00–03:00, £3 (£4 after 12)

The Liquid Room, 22:30–03:00, £3 (£1)

Indigo Indie, pop and alternative favourites with a danceable beat, from LCD Soundsystem to The Ting Tings.

Shake Yer Shoulders’ favourited celebration of all things techno, taking on a jungle bent for the evening.

Witness

The Sound of C (Netsky)

Sneaky Pete’s, 23:00–03:00, Free

The Liquid Room, 23:00–03:00, £tbc

The Sound of C residents welcome Hospital Records’ DJ Netsky for a live set, incorporating live drums, synths, keys and guest vocalists into his mighty mix.

Sneaky’s resident bass spectacular of garage, dubstep and bassline house.

Supersonic Vague

The folk behind Balkanarama present a brand new Balkan, klezmer, gypsy and all things eastern club night.

East Beat Studio 24, 23:00–03:00, £1.99 (£2.99 after 12)

HMV Picture House, 23:00–03:00, £4

All-new student Friday nighter, blasting oot an eclectic mix of indie, dance, pop, dubstep and electro playlists.

Teviot Underground, 23:00–03:00, £3 (students free)

Sat 09 Feb Tease Age Citrus Club, 22:30–03:00, Free (£5 after 11)

Long-running indie, rock and soul night.

The Egg

Frisky The Hive, 22:00–03:00, Free

Chart, dance and electro fare, plus punter requests all night long.

Bass Syndicate

I AM Edinburgh

Sneaky Pete’s, 23:00–03:00, £3 (members free)

The Cabaret Voltaire, 23:00–03:00, £4 (£3/free via iamclub.co.uk)

The regular Edinburgh breaks and bassline Manga crew takeover.

Resident young guns Beta & Kappa make their now regular trip east, playing the usual fine mix of electronica and bass.

Bubblegum The Hive, 21:00–03:00, Free (£4 after 10)

Juice Sneaky Pete’s, 23:00–03:00, Free

Handpicked weekend mix of chart and dance, with retro 80s classics as standard.

All-new Thursday nighter for Sneaky’s, playing a mighty mix of everything from The Stooges to ODB.

Propaganda HMV Picture House, 23:00–03:00, £4

Fri 15 Feb

Student-orientated night playing the best in new and classic indie music.

Misfits

Dr No’s

The Hive, 21:00–03:00, Free (£4 after 10)

Henry’s Cellar, 23:00–03:00, £4 (£5 after 12)

Chart, electro, indie-pop and alternative anthems over two rooms.

Danceable mix of the best in 60s ska, rocksteady, bluebeat and reggae.

Planet Earth

Beep Beep, Yeah!

Citrus Club, 22:30–03:00, Free (£5 after 11)

Electric Circus, 22:30–03:00, £3 (£4 after 12)

Retro from 1970 to 1999, moving from Abba to ZZ Top.

Retro pop stylings from the 50s to the 70s.

This Is Music

We Techno Prisoners Base Nightclub, 23:00–03:00, £4 (£3)

The Shake Yer Shoulders crew take to Base for their regular Saturday nighter, playing only the dirtiest and hardest techno tunes they can get their grubby mitts on.

Think Twice (Craig Smith)

Sneaky Pete’s, 23:00–03:00, £3 (members free)

Indie and electro from the Sick Note DJs.

Animal Hospital Studio 24, 23:00–03:00, Free (£3 after 11.30)

The Animal Hospital troops continue to medicate Edinburgh with their unique blend of techno, house and minimal.

The Cabaret Voltaire, 23:00–03:00, £7 (£5)

Resident Craig Smith brings a rotation of stand out guests from around the world to the dancefloor.

Cream Soda Electric Circus, 22:30–03:00, £3 (£4 after 12)

Big Cheese Potterrow, 21:00–03:00, £3 (£4 after 12)

Term-time student party night playing a selection of cheesy dancing tunes.

Club Houch Vs Perversity

American Prom-styled fun night celebrating all that is great about pop, new and old.

Mambo Henry’s Cellar, 23:00–03:00, £5 (£4)

Old school hip-hop, r’n’b, reggae, dancehall, afro beats and plenty more eclecticness besides.

Club Houch present a one-off clubber’s delight, featuring DJs from five of Edinburgh’s biggest club nights past and present: Luvely, Nuklear Puppy, Pulse, Perversity and Oxygen.

60 THE SKINNY

New weekly student rip up at Potterrow, with a selection of high profile live guests taking to the decks – this edition with legendary Fabric residents Scratch Perverts.

Thu 14 Feb

Wee Red Bar, 23:00–03:00, £2 (£4 after 12)

Art School institution with DJs Chris and Paul playing the finest in indie, garage, soul and punk.

The Liquid Room, 22:30–03:00, £8 adv. (£12 door)

Club Together (Scratch Perverts)

Bad Robot The Liquid Room, 22:30–03:00, £5 (£3)

The Bad Robot has invaded Edinburgh, armed with an intergalactic mashup of Electro Party tunes provided by the ace DJ team of Mastercaird & Chow Main

February 2013

Wee Red Bar, 23:00–03:00, £4

Supersonic Vague HMV Picture House, 23:00–03:00, £4

All-new student Friday nighter, blasting oot an eclectic mix of indie, dance, pop, dubstep and electro playlists.

Sat 16 Feb 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 (£4 after 12)

Tue 19 Feb

Sat 23 Feb

Wed 27 Feb

Antics

Tease Age

Bangers & Mash

The Hive, 22:00–03:00, Free

Long-running indie, rock and soul night.

Soul Jam Hot

The Egg

Sneaky Pete’s, 23:00–03:00, Free

Fresh mix of funk, soul, disco and hippity-hop from the Soul Jam Hot DJs.

Hector’s House The Cabaret Voltaire, 23:00–03:00, £6 (£5)

Electronic basslines allied with homecooked house beats.

Wed 20 Feb Bangers & Mash The Hive, 22:00–03:00, £1 (£3 after 11)

Art School institution with DJs Chris and Paul playing the finest in indie, garage, soul and punk.

Midweek student rundown of chart and cheese classics.

Bubblegum

The Liquid Room, 22:30–03:00, £3 (£1)

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)

Surf, blues and rockabilly from the 50s and early 60s, plus free cake! Nuff said.

Propaganda HMV Picture House, 23:00–03:00, £4

Student-orientated night playing the best in new and classic indie music.

Decade Studio 24, 20:00–03:00, Free

Fresh playlists spanning pop-punk, emo and hardcore soundscapes.

We Techno Prisoners Base Nightclub, 23:00–03:00, £4 (£3)

The Shake Yer Shoulders crew take to Base for their regular Saturday nighter, playing only the dirtiest and hardest techno tunes they can get their grubby mitts on.

Pop Rocks!

Electric Circus, 22:30–03:00, £4 (£5 after 12)

Pop and rock gems, taking in motown, 80s classics and plenty danceable fare (well, the Beep Beep, Yeah! crew are on decks after all).

Big Cheese Potterrow, 21:00–03:00, £3 (£4 after 12)

Term-time student party night playing a selection of cheesy dancing tunes.

Disco Circus (Mighty Mouse, Le Visiteur) 99 Hanover Street, 20:00–01:00, Free

DJ and producer Mighty Mouse guests at Disco Circus’ first ever event in the UK, joined by the night’s latest addition, disco auteur Le Visiteur, for a set of pure disco, house and techno goodness.

Wasabi Disco (Auntie Flo) Sneaky Pete’s, 23:00–03:00, £3 (members free)

Indigo Indie, pop and alternative favourites with a danceable beat, from LCD Soundsystem to The Ting Tings.

Witness Sneaky Pete’s, 23:00–03:00, Free

Sneaky’s resident bass spectacular of garage, dubstep and bassline house.

Zoot Studio 24, 23:00–03:00, £1.99 (£2.99 after 12)

DJs Swank’n’Jams seamlessly mix tropical beats and swing rhythms, mashed up with some well-kent classics.

Thu 21 Feb Frisky The Hive, 22:00–03:00, Free

Chart, dance and electro fare, plus punter requests all night long.

I AM Edinburgh The Cabaret Voltaire, 23:00–03:00, £4 (£3/free via iamclub.co.uk)

Resident young guns Beta & Kappa make their now regular trip east, playing the usual fine mix of electronica and bass.

Juice Sneaky Pete’s, 23:00–03:00, Free

All-new Thursday nighter for Sneaky’s, playing a mighty mix of everything from The Stooges to ODB.

Fri 22 Feb 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 (£5 after 11)

Retro from 1970 to 1999, moving from Abba to ZZ Top.

This Is Music Sneaky Pete’s, 23:00–03:00, £3 (members free)

Indie and electro from the Sick Note DJs.

Kris ‘Wasabi’ Walker hosts his usual heady bout of cosmic house, punk and upside-down disco, for which he’ll be welcoming man-of-the-moment Auntie Flo (aka Brian D’Souza) for a guest set.

Cream Soda

All Gone with Pete Tong

Sesame Street

The Liquid Room, 22:30–03:00, £16.50

Electric Circus, 22:30–03:00, £3 (£4 after 12)

American Prom-styled fun night celebrating all that is great about pop, new and old.

Studio 24, 23:00–03:00, £3 (£5 after 12)

Iconic dance DJ Pete Tong takes his new club night (which enjoyed a 17-date Ibiza residency last year) on the road, making a welcome stop at Edinburgh’s The Liquid Room. We’ll do the screaming.

Alphabetical playlists of the mostly funk, hip-hop and disco variety, with guest DJs and live art from the Too Much Fun Club

Gasoline Dance Machine (Perseus)

Studio 24, 23:00–03:00, £3 (£5 after 12)

The Cabaret Voltaire, 23:00–03:00, £7 (£5)

Label honcho of French Express and lover of the laydeez, Perseus drops into GDM for his Scottish debut, joining regular host Cheap Picasso for a set of contemporary house and disco.

Anticausal System Henry’s Cellar, 23:00–03:00, £5 (£6 after 12)

Electronic mash-up party for your Saturday night pleasure.

Sun 17 Feb Coalition Sneaky Pete’s, 23:00–03:00, Free

Dubstep, breaks and bassline house from AF Meldrum and a cast of Edinburgh’s best underground DJs.

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 18 Feb 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

Moving from hip-hop to dubstep with a plethora of live MCs.

Citrus Club, 22:30–03:00, Free (£5 after 11)

Alternative anthems cherrypicked from genres of rock, indie and punk.

Defcon

Wee Red Bar, 23:00–03:00, £2 (£4 after 12)

Art School institution with DJs Chris and Paul playing the finest in indie, garage, soul and punk.

Bubblegum The Hive, 21:00–03:00, Free (£4 after 10)

The Hive, 22:00–03:00, £1 (£3 after 11)

Midweek student rundown of chart and cheese classics.

Indigo The Liquid Room, 22:30–03:00, £3 (£1)

Indie, pop and alternative favourites with a danceable beat, from LCD Soundsystem to The Ting Tings.

Witness Sneaky Pete’s, 23:00–03:00, Free

Sneaky’s resident bass spectacular of garage, dubstep and bassline house.

Handpicked weekend mix of chart and dance, with retro 80s classics as standard.

East Beat

Magic Nostalgic

The folk behind Balkanarama present a brand new Balkan, klezmer, gypsy and all things eastern club night.

Electric Circus, 22:30–03:00, £6 (£7 after 12)

A hodgepodge of quality tracks chosen

by JP’s spinning wheel. Expect anything from 90s rave to power ballads, and a lot of one-hit wonders.

Ride Sneaky Pete’s, 23:00–03:00, Free

Ride girls Checkie and Lauren play hip-hop and dance, all night long – now in their new party-ready Saturday night slot.

Propaganda HMV Picture House, 23:00–03:00, £4

Student-orientated night playing the best in new and classic indie music.

Madchester The Liquid Room, 22:30–03:00, £6

Indie classics and baggy greats, from Primal Scream and the like.

Betamax Studio 24, 23:00–03:00, £5 (£4)

Monthly offering of new wave, disco, post-punk and a bit o’ synthtastic 80s with your hosts Chris and Big Gus.

Dr No’s Henry’s Cellar, 23:00–03:00, £4 (£5 after 12)

Danceable mix of the best in 60s ska, rocksteady, bluebeat and reggae.

Studio 24 Rawks Goes Metal Studio 24, 22:30–03:00, £2 (£5/£4 student after 11.30)

The regular alternative rock night takes a foray into all things heavy and metal for their usual last Saturday of the month blow-out.

We Techno Prisoners Base Nightclub, 23:00–03:00, £4 (£3)

Studio 24, 23:00–03:00, £1.99 (£2.99 after 12)

Thu 28 Feb Frisky The Hive, 22:00–03:00, Free

Chart, dance and electro fare, plus punter requests all night long.

I AM Edinburgh The Cabaret Voltaire, 23:00–03:00, £4 (£3/free via iamclub.co.uk)

Resident young guns Beta & Kappa make their now regular trip east, playing the usual fine mix of electronica and bass.

Juice Sneaky Pete’s, 23:00–03:00, Free

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 (£5 after 11)

Retro from 1970 to 1999, moving from Abba to ZZ Top.

This Is Music Sneaky Pete’s, 23:00–03:00, £3 (members free)

Indie and electro from the Sick Note DJs.

Cream Soda Electric Circus, 23:00–03:00, £3 (£4 after 12)

Big Cheese

HMV Picture House, 23:00–03:00, £4

Supersonic Vague

Potterrow, 21:00–03:00, £3 (£4 after 12)

All-new student Friday nighter, blasting oot an eclectic mix of indie, dance, pop, dubstep and electro playlists.

Pocket Aces (i AM)

Sat 02 Mar

The Cabaret Voltaire, 23:00–03:00, £7 (£5)

Tease Age Citrus Club, 22:30–03:00, Free (£5 after 11)

Long-running indie, rock and soul night.

The Egg

The Caves, 23:00–03:00, £8 adv.

The Jackhammer crew provide our dose of all things techno, with solo sets from Radioactive Man and Billy Nasty, before they join forces for a double-header set as ‘Radionasty’.

#notsosilent (Joy Orbison, Roman Flugel) The Liquid Room, 23:00–03:00, £12 adv.

Fresh Edinburgh party crew #notsosilent host a special night with a double booking of guests in the form of Numbers’ chap Joy Orbison and German electronic mainman Roman Flugel.

Supersonic Vague HMV Picture House, 23:00–03:00, £4

All-new student Friday nighter, blasting oot an eclectic mix of indie, dance, pop, dubstep and electro playlists.

Beat Club (DJ Moneyshot) Reading Rooms, 22:30–02:30, £tbc

Diverse selection of hip-hop, funky stuff, fat beats and breaks with the regular beatmasters and their special guest – the ever-eclectic DJ Moneyshot.

Fat Sam’s Fridays Fat Sam’s, 20:00–03:00, £3.50

Party-styled Friday nighter. Beware the six quid fishbowls.

Warped Kage, 23:00–02:30, £4

Ska, screamo and pop-punk offerings, featuring additional live performances from a selection of choice noisemakers.

Sat 02 Feb Fat Sam’s Saturday Nights Fat Sam’s, 21:00–03:00, £8

Asylum Best of selection of rock, metal and alternative.

Fri 08 Feb Bass Orgy Soundsystem Reading Rooms, 22:30–02:30, £tbc

Full-on electro, D’n’B and dub orgy, complete with a massive soundsystem and live visuals over eight screens.

Fat Sam’s Fridays Fat Sam’s, 20:00–03:00, £3.50

Party-styled Friday nighter. Beware the six quid fishbowls.

Kaos Dundee Kage, 23:00–02:30, £4

Brand new night exploring new music and the bands that inspired them, and the bands that in turn inspired them...

And so on for eternity.

Sat 09 Feb Roots Reading Rooms, 22:30–02:30, £2

Two rooms of all the chart, cheese and indie-pop you can think of.

Propaganda HMV Picture House, 23:00–03:00, £5 (£4)

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

Moving from hip-hop to dubstep with a plethora of live MCs.

Tue 26 Feb 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, disco and hippity-hop from the Soul Jam Hot DJs.

Hector’s House The Cabaret Voltaire, 23:00–03:00, £6 (£5)

Electronic basslines allied with homecooked house beats.

The Voodoo Rooms, 21:00–01:00, £6 adv.

50s-themed party fun night, with Frankie Sumatra, Bugsy Seagull, Dino Martini, Sam Jose and Nikki Nevada.

Plus Vegas showgirls a-go-go, natch.

Fat Sam’s, 21:00–03:00, £8

Massive Saturday night party spreading its wares over three floors and no less than six rooms.

Asylum Kage, 23:00–02:30, £4

Fri 15 Feb Non-Zero’s, 19:30–00:00, £7 adv.

Burlesque variety show from new collective Burlesque Cares, with 13 acts joining forces to raise profits for selection of local charities.

Eddie Halliwell (Felix Leiter, Jon Mancini) Fat Sam’s, 22:00–02:30, £20

The international trance DJ, who’s held residencies at Goodgreef, Gatecrasher and Cream, makes a guest appearance in Dundee. We’ll do the screaming.

Gorilla In Your Car Kage, 23:00–02:30, £4

Electric Circus, 23:00–03:00, £5

Hardcore, emo, punk and scenester selections. Also perhaps the best-named club night in Dundee’s existence.

Big Cheese

Fat Sam’s Saturday Nights

Speaker Bite Me The Evol DJs worship at the alter of all kinds of indie-pop, as long as it’s got bite.

Potterrow, 21:00–03:00, £3 (£4 after 12)

Term-time student party night playing a selection of cheesy dancing tunes.

Sun 03 Mar Coalition

Sat 16 Feb Fat Sam’s, 21:00–03:00, £8

Massive Saturday night party spreading its wares over three floors and no less than six rooms.

Asylum Kage, 23:00–02:30, £4

Sneaky Pete’s, 23:00–03:00, Free

Best of selection of rock, metal and alternative.

The Sunday Club

Messenger Sound System (MC Afrikan Simba)

Dubstep, breaks and bassline house from AF Meldrum and a cast of Edinburgh’s best underground DJs. The Hive, 22:00–03:00, Free

Two rooms of all the chart, cheese and indie-pop you can think of.

Mon 04 Mar 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

Moving from hip-hop to dubstep with a plethora of live MCs.

Asylum Kage, 23:00–02:30, £4

Best of selection of rock, metal and alternative.

Mashed Up Nights (Patrick Hagenaar) Redd, 21:00–02:30, £7 adv. (£10 door)

The Dundee-based mash-up night welcomes fast-rising Holland DJ and produce Patrick Hagenaan for a guest set.

Sat 02 Mar Autodisco Reading Rooms, 22:30–02:30, £tbc

Electro-funk, house and disco with your regular hosts Dave Autodisco and Dicky Trisco.

g l asgow theatre Citizens Theatre The Maids 24 Jan – 2 Feb, not 27 Jan, 28 Jan, times vary, From £12

Award-winning director and designer Stewart Laing brings his aesthetic eye to a new interpretation of Jean Genet’s notorious play, about three women (two maids and their mistress) locked in an abusive cycle of domination and submission.

Takin’ Over The Asylum various dates between 14 Feb and 9 Mar, times vary, prices vary

Presenting what will be its world premiere, Citizens Theatre play host to a moving adaptation of Donna Franceschild’s cult 90s BBC television series set in Glasgow.

Cottiers Theatre Village gossip Babs White stirs things up in what is basically Fife’s version of The Steamie.

The Sunday Club The Hive, 22:00–03:00, Free

Fat Sam’s, 21:00–03:00, £8

Massive Saturday night party spreading its wares over three floors and no less than six rooms.

Fat Sam’s Saturday Nights

Handpicked weekend mix of chart and dance, with retro 80s classics as standard.

The Hive, 21:00–03:00, Free (£4 after 10)

Sat 23 Feb Fat Sam’s Saturday Nights

A Right Guid Gab

Bubblegum

Dubstep, breaks and bassline house from AF Meldrum and a cast of Edinburgh’s best underground DJs.

Redd, 22:30–02:30, £6.50 adv. (£8 door)

The Roots crew dig deep into their record boxes, dusting off a selection of, erm, roots classics.

Sneaky Pete’s, 23:00–03:00, Free

Coalition

VEGAS!

Jackhammer (Radioactive Man, Billy Nasty)

Fri 01 Feb

Burlesque Cares: Valentine’s Charity Show

Sun 24 Feb

Art School institution with DJs Chris and Paul playing the finest in indie, garage, soul and punk.

Mixed Up

Edinburgh Tekno Cartel bring the sleazy bass and techno beats, this month with a heroes vs villains theme and a series of versus sets between the ETC Residents and guests. Make like Batman.

Fat Sam’s, 22:30–03:00, £3.50

Messy student midweeker of party tunes and jelly shots.

Best of selection of rock, metal and alternative.

Robigans Reggae

Wee Red Bar, 23:00–03:00, £7 (£5)

Friendzy

Wee Red Bar, 23:00–03:00, £2 (£4 after 12)

Student-orientated night playing the best in new and classic indie music.

ETC13: Heroes Vs Villains

Messy student midweeker of party tunes and jelly shots.

Kage, 23:00–02:30, £4

Mon 25 Feb

Dub, reggae and dancehall clubbing spectacular.

Eclectic mix of bass, breakbeat, d’n’b, dub and electro playlists with guest DJ Freear, throwing in some balkan and gypsy vibes for good measure. Oh, and hula dancers.

Fat Sam’s, 22:30–03:00, £3.50

Fri 01 Mar

Jungle, jungle and, er, more jungle with residents Switch, Jamin and Tekkerz.

Henry’s Cellar, 23:00–03:00, £4 (£5 after 12)

Level Up! (Freear)

Massive Saturday night party spreading its wares over three floors and no less than six rooms.

American Prom-styled fun night celebrating all that is great about pop, new and old.

Dance-inducing party with an anything goes attitude and rotating rota of guest DJs, with I AM residents Beta and Kappa showing their versatility with a monthly appearance.

Wed 30 Jan Friendzy

All-new Thursday nighter for Sneaky’s, playing a mighty mix of everything from The Stooges to ODB.

The Shake Yer Shoulders crew take to Base for their regular Saturday nighter, playing only the dirtiest and hardest techno tunes they can get their grubby mitts on.

Term-time student party night playing a selection of cheesy dancing tunes.

dundee music

Fri 22 Feb Reading Rooms, 22:30–02:30, £5 (£7 after 11.30)

Conscious roots and dub reggae music from the usual beefty soundsystem, with guest MC African Simba joining proceedings for a Bob Marley birthday special.

Fat Sam’s Fridays Fat Sam’s, 20:00–03:00, £3.50

Party-styled Friday nighter. Beware the six quid fishbowls.

various dates between 24 Jan and 9 Feb, times vary, prices vary

Eastwood Park Theatre The Nutcracker 15 Feb, 21 Feb, 7:30pm – 9:30pm, prices vary

Ballet West’s retelling of Tchaikovsky’s dance classic, ripe for the winter season with its dreamlike narrative and magical journey of discovery.

A Chorus Line 29 Jan – 2 Feb, times vary, From £10

Story of one cut-throat dance audition in 1975, where the fate of a chosen few unfolds as they bare their souls in a series of tragic, hilarious and poignant songs.

Back To The 80s 6–9 Feb, times vary, From £11

Minerva Youth Theatre present their homage to all things 80s, harking back to a time when Rick Astley was the King of Pop. Prepare thy lungs for a mega singalong.

The Young Ones 26 Feb – 2 Mar, times vary, From £10

EROS Musical Society present an adaptation of the hit TV series for the stage, packed with hits o’ the 60s.

Film city Long Live The Little Knife 7–9 Feb, 7:30pm – 9:30pm, £10 (£8)

Site-specific wizard David Leddy showcases his brand new work, a dynamic and somewhat absurd work about forgery, where the audience sit inside a mess of paint-spattered dustsheets in a former town hall location. Tramway off-site performance.

Kelvingrove Art Gallery and Museum Chaos and Contingency 2–3 Mar, times vary, Free

Renowned for their imaginative use of public spaces, Janis Claxton Dance present a performance based on the study of emergent mathematical patterns, featuring an international cast of nine dancers. Tramway off-site performance.

Oran Mor A Play, A Pie And A Pint various dates between 28 Jan and 4 Mar, 12:00pm – 1:00pm, From £8

Afternoon session showcasing new work from a selection of talented playwrighs, plus a pie and a pint, naturally. See oran-mor.co.uk for schedule details.

Mrs Lees and Her Ladies 8 Feb, 7:30pm – 10:00pm, £10 (£8)

A bittersweet snapshot of the life of Mrs Lees, a woman trying to hang on to what little independence she has left, despite the myriad of carers who puntuate her weekly life.

The King’s Theatre Matthew Bourne’s Sleeping Beauty 12–16 Feb, times vary, From £15

Keeping the festive season alive, Matthew Bourne (y’know, he who is tirelessly reimagining just about every classic in theatrical existence) presents a re-telling of the classic fairytale, set to Tchaikovsky’s original score.

New Jersey Nights various dates between 24 Jan and 9 Feb, times vary, From £10

Singalong musical journey celebrating the greatest hits of Frankie Valli and the Four Seasons.

My Name is Rachel Corrie various dates between 5 Feb and 2 Mar, times vary, prices vary

Powerful one-woman play about Rachel Corrie, the twenty-three-year-old American who was killed by an Israeli bulldozer in the Gaza Strip in 2003, composed from Rachel’s own journals, letters and emails.

Running On The Cracks 6–16 Feb, not 10, 11, times vary, £12 (£7)

Fast-moving new play about runaways, identity and survival, adapted from Julia Donaldson’s novel of the same name.

various venues In An Alien Landscape 9 Feb, 11 Feb, 12 Feb, 13 Feb, 26 Feb, times vary, prices vary

Absorbing tale of an otherwise ordinary man who emerges from a coma and can’t stop painting, driven by the sound of a continuous rushing white noise in his head.

edinb u rg h t h eatre

Chinese State Circus 29–31 Jan, times vary, From £17

Circus-style event featuring all sorts of acrobatic, contortionist and juggling wizardry, including 12 artists balancing on one bicycle.

Licence To Thrill 20 Feb, 24 Feb, 7:30pm – 10:00pm, prices vary

Choreographer Brendan Cole leads an evening of ballroom dancing and Latin tunes, with a cast of 20 muscians and dancers in tow.

Copacabana 19–23 Feb, times vary, From £16

Stage musical penned by Barry Manilow, based on the song of the same name...

And so begins the saga of Lola, the showgirl. Look busy.

The Rocky Horror Show 25 Feb – 2 Mar, times vary, From £10

The latest incarnation of the favourited rock’n’roll musical arrives at the Playhouse.

Theatre Royal Scottish Opera: Werther various dates between 15 Feb and 2 Mar, times vary, prices vary

Scottish Opera bring to life on of Jules Massenet’s finest works, at its essence an intimate study of the unraveling of one man’s hopes and dreams.

Go Dance 13 29 Jan – 2 Feb, 7:30pm – 9:30pm, From £11

Now in its sixth year, Go Dance returns with another diverse programme of inspiring dance performances, as energetic and humourous as ever.

WOW: A Celebration of Kate Bush 25 Feb, 7:30pm – 10:00pm, £20.50

Maaike Breijman takes on the role of Kate Bush, singing Bush’s greatest songs and performing numerous dance routines with a full troupe of musicians, dancers and a live light and video show.

Rambert Dance Compay 28 Feb – 2 Mar, 7:30pm – 10:00pm, From £6

The British dance company returns to Glasgow with a trio of works, featuring world-class dancers and live music by the Rambert Orchestra.

Tramway Mechanical Wave 8–9 Feb, 7:30pm – 9:30pm, £5

The Red Ensemble, joined by guest musicians, combine varied approaches in electronic and experimental composition and performance, presenting a multi-perspective sonic investigation into the intimacies, idiosyncrasies and potentiality of the performance space.

Everyday 22–23 Feb, 7:30pm – 9:30pm, £5

Work-in-progress solo performance from tap dancer Tunji Falana, weaving together a series of stories about ordinary lives tapped out on different surfaces and in different people’s shoes.

No End 28 Feb – 1 Mar, 7:30pm – 9:30pm, £10 (£8)

The fifth and final piece in a series of interdisciplinary works based on the premise of waiting, aiming to reveal new means for movement and modes of dialogue between art forms.

Tron Theatre Do You Nomi?

8 Feb, 20 Feb, 21 Feb, times vary, prices vary

New production by award-winning director Grant Smeaton and seminal Scottish choreographer Alan Greig, using four male performers to hold a spotlight on the life of Klaus Nomi.

Bedlam Theatre The Moon, Who Spoke Softly 30–31 Jan, 7:30pm – 9:30pm, £5 (£4.50)

New original writing from the EUTC, about what it means to be a human being in the sometimes-fleeting, always-tricky state of being in love.

The History Boys 5–9 Feb, 7:30pm – 9:30pm, £6 (£5.50)

New adaptiation of Alan Bennett’s multi-award winning play, following eight bright young lads on the brink of adulthood.

Brunton Theatre The Nutcracker 15 Feb, 21 Feb, 7:30pm – 9:30pm, prices vary

Ballet West’s retelling of Tchaikovsky’s dance classic, ripe for the winter season with its dreamlike narrative and magical journey of discovery.

Farm Boy 31 Jan, 7:30pm – 9:30pm, £11.50 (£9.50/£6.50 children)

Michael Morpurgo’s compelling sequel to War Horse; a moving account of the changing face of the English countryside told via a Grandfather/grandson relationship.

In An Alien Landscape 9 Feb, 11 Feb, 12 Feb, 13 Feb, 26 Feb, times vary, prices vary

Absorbing tale of an otherwise ordinary man who emerges from a coma and can’t stop painting, driven by the sound of a continuous rushing white noise in his head.

Do You Nomi?

8 Feb, 20 Feb, 21 Feb, times vary, prices vary

New production by award-winning director Grant Smeaton and seminal Scottish choreographer Alan Greig, using four male performers to hold a spotlight on the life of Klaus Nomi.

Church Hill Theatre West Side Story 29 Jan – 2 Feb, times vary, £12.50 (£8.50/£6.50 concessions)

Edinburgh University Footlights revisit the Broadway musical favourite for a fresh retelling, some 50-odd years after Jerome Robbins transposed a timeless tale of romance and rivalry to the streets of New York.

Edinburgh Playhouse Cats 9–22 Feb, not 10, 17, times vary, From £17.50

New adaptation of Andrew Lloyd Webber’s favourited production, adapted from TS Eliot’s Old Possum’s Book of Practical Cats. And featuring cats.

Loadsae cats.

Chinese State Circus 29–31 Jan, times vary, From £17

Circus-style event featuring all sorts of acrobatic, contortionist and juggling wizardry, including 12 artists balancing on one bicycle.

Beyond Broadway 22 Feb, 8:30pm – 10:30pm, £15

Notre Dame de Paris: Live from Teatro alla Scala 14 Feb, 7:00pm – 9:00pm, £25

New adaptation of the favourited musical, featuring Yves Saint-Laurent’s renowned costumed, streamed live from the Teatro alla Scala in Milan.

BalletBoyz 18 Feb, 7:30pm – 10:00pm, From £12.50

Fresh, young dance company Balletboyz tour their new production, featuring ten exceptional young dancers across an evening of inspired dance work.

The Yamato Drummers 19 Feb, 7:30pm – 10:00pm, From £19.50

The dynamic Japanese drum crew take to the road for their 20th anniversary world tour, myriad sized Wadaiko drums most definitely in tow.

Licence To Thrill 20 Feb, 24 Feb, 7:30pm – 10:00pm, prices vary

Choreographer Brendan Cole leads an evening of ballroom dancing and Latin tunes, with a cast of 20 muscians and dancers in tow.

Les Ballets Trockadero De Monte Carlo 22–23 Feb, 7:30pm – 10:00pm, From £17

The all-male cast of divas return to the UK following their last sell-out visit, with one foot in farce and the other in classical ballet.

Scottish Opera: Werther various dates between 15 Feb and 2 Mar, times vary, prices vary

A Wild Growling Happiness 5 Feb, 7:30pm – 8:30pm, £15.50 (£11.50/£6 unemployed)

Magical story about creating and exploring our own worlds, told via group and solo characterisation balanced with striking larger than life puppet characters. Part of manipulate festival.

The Odyssey 6 Feb, 7:30pm – 8:30pm, £15.50 (£11.50/£6 unemployed)

The Paper Cinema returns with a new production of Homer’s cornerstone of world literature, suitcase full of cut-out paper puppets in tow. Part of manipulate festival.

Papercut 7 Feb, 9:15pm – 11:00pm, £15.50 (£11.50/£6 unemployed)

Yael Rasooly’s ingenious one-woman show in which she turns the vivid language and style of black and white cinema into a delightful low-tech universe of paper cut-outs and object theatre. Part of manipulate festival.

King’s Theatre

Trio of short works from awardwinning collaborative Los Angelesbased performance group Cloud Eye Control, combining interactive high and low-tech media with live performance.

Part of manipulate festival.

Save The Last Dance For Me 18–23 Feb, times vary, From £13

Coming-of-age musical tale, riding along on the rock’n’roll classics of the early 60s.

A Midsummer Night’s Dream 25 Jan – 1 Feb, not 27 Jan, 28 Jan, 29 Jan, 30 Jan, times vary, prices vary

The Royal Conservatoire of Scotland’s winter collaboration with Scottish Opera, this time taking on Shakespeare’s classic comedy tale of unrequited and unwanted love.

Agatha Christie’s Go Back for Murder 11–16 Feb, times vary, From £14

The official Agatha Christie Theatre Company present a retelling of one of the great lady of crime’s classics, about a young woman who learns a disturbing family secret.

Abigail’s Party 25 Feb – 2 Mar, times vary, From £14

After its stint at the West End, Lindsay Posner’s revival of Mike Leigh’s everpopular play makes its way to Scotland.

Royal Lyceum Theatre A Taste of Honey 24 Jan – 9 Feb, not 27 Jan, 28 Jan, 3 Feb, 4 Feb, times vary, From £14.50

Written when she was just 18, Shelagh Delaney’s bittersweet tale of love and betrayal – set amidst tenements, housing estates and bingo halls – gets a welcome revisit for 2013.

Time and the Conways

8 Feb, 7:30pm – 8:30pm, £15.50 (£11.50/£6 unemployed)

Schiklegruber... Alias Adolf Hitler 9 Feb, 7:30pm – 8:30pm, £15.50 (£11.50/£6 unemployed)

New adaptation of JB Priestley’s play; an extraordinary manipulation of time and the fates, climaxing with the narrative returning to the original moment when the successful Conway family began to sow the seeds of their own downfall.

Scottish Storytelling Centre Noor 5 Feb, 7:30pm – 9:00pm, £10 (£8)

13–15 Feb, 7:45pm – 9:15pm, £8 (£6)

Tea ‘n’ Tease

The Voodoo Rooms 16 Feb, 8:00pm – 11:00pm, £30

Special afternoon of cheeky delights, as the Voodoo Rooms plays host to an afternoon of burlesque and, yeah, cake.

Wed 30 Jan Best Of Irish Comedy The Stand, 20:30–22:30, £7 (£6/£3 member)

A selection of top comics from the contemporary Irish circuit do their thing.

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 31 Jan The Thursday Show (Kevin Gildea, Chris McCausland, Teddy, Christiane O’Mahony) The Stand, 20:30–22:30, £8 (£7/£4 members)

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.

Having A Giraffe Maggie May’s, 19:30–22:00, £5

Maggie May’s own occasional comedy night, with a selection of comics taking to the stage.

Fri 01 Feb The Friday Show (Kevin Gildea, John Hastings, Christiane O’Mahony) The Stand, 20:30–22:30, £12 (£10/£6 members)

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 08 Feb The Friday Show (Bennett Arron, Matt Green, Darren Connell, Raymond Mearns) 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 09 Feb The Secret Policeman’s Ball 2013 (Susie McCabe, Dog Shit Johnson, Steffen Peddie, Scott Gibson, The Wee Man, Gary Little) Queen Margaret Union, 19:30–22:00, £7 (£5)

Annual student-run comedy benefit, with a whole host of comedy talent pitching in to help raise funds for Amnesty International, under the watchful eye of host Billy Kirkwood. Go support the cause, eh?

The Saturday Show (Bennett Arron, Matt Green, Darren Connell, Raymond Mearns) The Stand, 21:00–23:00, £15

Packed Saturday evening bill of standup headliners and resident comperes to jolly along your weekend.

Sun 10 Feb

Slick

The Saturday Show (Kevin Gildea, John Hastings, Teddy, Christiane O’Mahony)

Chilled Sunday comedy showcase with resident Irish funnyman Michael Redmond and guests.

12–16 Feb, times vary, £15.50 (£11.50/£6 unemployed)

Dark and dirty exploration of greed, corruption and the all too easy lossof-innocence told via a mix of absurd comedy, visual storytelling, puppetry, object theatre and physical performance. Part of manipulate festival.

My Name is Rachel Corrie various dates between 5 Feb and 2 Mar, times vary, prices vary

Powerful one-woman play about Rachel Corrie, the twenty-three-year-old American who was killed by an Israeli bulldozer in the Gaza Strip in 2003, composed from Rachel’s own journals, letters and emails.

d u ndee t h eatre Dundee Rep Five Pound and Twa Bairns 30 Jan – 1 Feb, 7:30pm – 9:30pm, £12 (£10)

New production of the Scottish musical drama based around the Tay Rail Bridge disaster, centred on three very different woman united by loss.

A Right Guid Gab various dates between 24 Jan and 9 Feb, times vary, prices vary

7–8 Feb, 7:30pm – 9:30pm, £18 (£14)

The Granary

The Stand, 20:30–22:30, £2

Open-mic style beginners showcase, plus some old hands dropping by to roadtest new material.

The Thursday Show (Bennett Arron, Matt Green, Darren Connell, Raymond Mearns)

Sat 02 Feb

The Old Lady’s Guide to Survival

Gagarin Way

Tue 29 Jan Red Raw

Michael Redmond’s Sunday Service

Village gossip Babs White stirs things up in what is basically Fife’s version of The Steamie.

Cockle-warming comic tale in which two very different elderly women cope with two different kinds of diminished capacity – fading sight and failing memory – the result of which is they both find their capacity for love greatly enhanced.

glasgow

Thu 07 Feb

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts.

Labyrinth Dance Theater present their telling of the incredible true story of Noor Inayat Khan, a Sufi Pacifist who become a spy for the allies during WWII. 23 Feb, 7:30pm – 9:30pm, £10 (£8)

COMEDY

Neville Tranter’s brings his wicked sense of humour to bear on Hitler, using his trademark vitruoso puppetry to tell the tale of the Fuhrer’s 56th birthday.

Part of manipulate festival.

various dates between 15 Feb and 9 Mar, times vary, From £14.50

Festival Theatre Edinburgh Giuseppe Verdi’s opera of four acts, streamed live from the Teatro alla Scala in Milan.

Powerful piece of visual theatre which wordlessly explores the perils and peculiarities of green-eyed jealousy, inspired by that most gory of fairytales – the myth of Bluebeard’s castle. Part of manipulate festival.

Final Space, Ocean Flight, Myth and Infrastructure

Cabaret of musical theatre from an array of West End and Touring Production cast members, featuring a repertoire of musical theatre classics and hits from contemporary smashes.

13 Feb, 7:00pm – 10:30pm, £25

4 Feb, 7:30pm – 8:30pm, £15.50 (£11.50/£6 unemployed)

Scottish Opera bring to life on of Jules Massenet’s finest works, at its essence an intimate study of the unraveling of one man’s hopes and dreams.

Reworking of Scottish playwright Gregory Burke’s classic play, an acerbically comic look at the Scottish working class and the dying tradition of socialism in Scotland.

Nabucco: Live from the Teatro alla Scala

Traverse Theatre To the End of Love

An Evening of Dirty Dancing The cult 80s film revamped for the stage with live singalongs a-plenty; cue Baby and Johnny, sexy dancing and hungry eyes.

Scottish Dance Theatre: Spring 2013 20–23 Feb, 8:00pm – 10:00pm, £16 (£9)

Under the charge of new Artistic Director Fleur Darkin, Scottish Dance Theatre presents two new works: Second Coming (by Montreal based Victor Quijada) and Winter, Again (by Norwegian choreographer Jo Stromgren).

Kanjoos 26 Feb – 2 Mar, times vary, From £12 (£10)

Moliere’s classic comedy is transported from 17th century France to modern India, in an new adaptation by Hardeep Singh Kohli and Jatinder Verma.

The Stand, 21:00–23:00, £15

Packed Saturday evening bill of standup headliners and resident comperes to jolly along your weekend.

Sun 03 Feb Glasgow Kid’s 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.

Michael Redmond’s Sunday Service The Stand, 20:30–22:30, £6 (£5/£1 members)

Chilled Sunday comedy showcase with resident Irish funnyman Michael Redmond and guests.

Greater Shawlands Republic February Gala (Bruce Morton, Andrew Learmonth, Stu Who, Elaine Malcolmson) The Bungo, 20:00–22:00, £6

Bruce Morton and Andrew Learmonth introduce some of their favourite acts from the Scottish comedy circuit, bolstered by magic from Stuart Thomson and music from Tales of Jake.

Mon 04 Feb Improv Wars The Stand, 20:30–22:30, £4 (£2)

Improvised comedy games and sketches, with an unpredictable anything-goes attitude – just how we like it.

Tue 05 Feb Red Raw The Stand, 20:30–22:30, £2

Open-mic style beginners showcase, plus some old hands dropping by to roadtest new material.

Wed 06 Feb Wicked Wenches (Marian Pashley, Viv Gee, Elizabeth Hotson) The Stand, 20:30–22:30, £6 (£5/£3 members)

All-female stand-up, with a suitably varied mix of headliners and newcomers taking to the stage.

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.

The Stand, 20:30–22:30, £6 (£5/£1 members)

Mon 11 Feb The Holyrood Secondary School Charity Benefit (Gary Little, Joe Heenan, Des McLean, Scott Agnew, Eddie Cassidy) The Stand, 20:30–22:30, £10

The south side secondary school – who’ve spawned the comedic talents of the likes of Des Clarke, Scott Agnew and Eddie Cassidy – host a special fundraiser night in aid of the myriad charities they support.

Tue 12 Feb Red Raw The Stand, 20:30–22:30, £2

Open-mic style beginners showcase, plus some old hands dropping by to roadtest new material.

Wed 13 Feb The Fun Junkies The Stand, 20:30–22:30, £5 (£4/£2.50 members)

Diverse offerings from the comedy spectrum, featuring stand-up, variety acts, sketches, musical comedy and, yes, magicians!

New Material Night Vespbar, 20:00–22:00, £3

LISTINGS

Sun 17 Feb

Fri 01 Mar

Milton Jones: On The Road

The Friday Show (Tony Burgess, Parrot, Lauren Kerr)

The Pavilion Theatre, 19:30–21:30, £20

The neurotic English comic takes to the road with another tour – imaginatively entitled, erm, On The Road – rich with one-liners, and some pictures wot her drew specially.

Michael Redmond’s Sunday Service The Stand, 20:30–22:30, £6 (£5/£1 members)

Chilled Sunday comedy showcase with resident Irish funnyman Michael Redmond and guests.

Mon 18 Feb Simon Munnery: Fylm Maker Glasgow Film Theatre, 21:15–22:15, £10

The experimental stand-up comic presents a live projection of his latest flights of imagination, with a series of sketches taking in stand-up, music and animation. Part of GFF.

Tue 19 Feb

Benefit for Quarriers (Chris Forbes, Keiron Nicholson, Colin Geddis) The Stand, 20:30–22:30, £8 (£6)

Comedy fundraiser in aid of Quarriers, with a headline set from guest Chris Forbes. Hosted by Glasgow mainman Raymond Mearns.

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 21 Feb The Thursday Show (Junior Simpson, Nick Beaton) The Stand, 20:30–22:30, £10 (£7/£5 members)

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.

Mon 04 Mar The Stand, 20:30–22:30, £8 (£6)

Chippenham’s cult comedic storyteller previews his confessional new show, in which he’ll touch on the crushes, fantasies, and desires of a geeky boy growing up in the 80s/90s – obviously Catwoman was up there.

edinb u rg h Tue 29 Jan Grassroots Comedy The Pleasance, 19:30–23:00, £1

Showcase night featuring the best in fresh, local talent – bringing together first-time and up-and-coming comics in a series of quickfire 10-minute slots.

Wed 30 Jan Best of Scottish Comedy

Fri 22 Feb The Friday Show (Junior Simpson, Nick Beaton) 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.

Acoustic and Comedy Night The Roxy 171, 20:00–23:00, £4

Chilled night fusing acoustic music sessions from Becca Starr and Sean Wilson with live stand-up comedy from Chris Thorburn, and others, plus talented chap Sean Reid doing a bit o’ both.

Sat 23 Feb The Saturday Show (Junior Simpson, Nick Beaton) The Stand, 21:00–23:00, £15

Packed Saturday evening bill of standup headliners and resident comperes to jolly along your weekend.

Mon 25 Feb Improv Wars The Stand, 20:30–22:30, £4 (£2)

Red Raw

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts.

Michael Redmond’s Sunday Service

Wil Hodgson: Kidnapped By Catwoman

The Thursday Show (Carey Marx, Andrew Stanley, Mikey Adams, Wayne Mazadza)

The Stand, 20:30–22:30, £12 (£10/£6 members)

The Stand, 15:00–16:00, £4

Jokes suitable for little ears (i.e. no sweary words), for children aged 8-12 years-old.

Wed 20 Feb

Tue 26 Feb

The Friday Show (Carey Marx, Andrew Stanley, Mikey Adams, Wayne Mazadza)

Sun 03 Mar Glasgow Kid’s Comedy Club

The Stand, 20:30–22:30, £2

Open-mic style beginners showcase, plus some old hands dropping by to roadtest new material.

Thu 14 Feb

Fri 15 Feb

The Stand, 21:00–23:00, £15

Packed Saturday evening bill of standup headliners and resident comperes to jolly along your weekend.

Chilled Sunday comedy showcase with resident Irish funnyman Michael Redmond and guests.

Improvised comedy games and sketches, with an unpredictable anything-goes attitude – just how we like it.

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.

Sat 02 Mar The Saturday Show (Tony Burgess, Parrot, Lauren Kerr)

The Stand, 20:30–22:30, £6 (£5/£1 members)

Red Raw

Resident host Julia Sutherland introduces a variety of stand-up comedians from the Scottish circuit delivering, yes, all new material.

The Stand, 20:30–22:30, £10 (£7/£5 members)

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.

The Stand, 20:30–22:30, £6 (£5/£3 members)

A selection of top comics from the contemporary Scottish circuit do their thing, aye.

Thu 31 Jan The Thursday Show (Ron Vaudry, Stuart Goldsmith, Ed Patrick) The Stand, 21:00–23:00, £8 (£7/£4 members)

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.

Fri 01 Feb Improverts Bedlam Theatre, 22:30–23:30, £5.50 (£5 members)

Long-standing improv comedy troupe fae Edinburgh, whose rather fine show is built entirely on (oft daft) audience suggestions.

Comedy Central Live (Ivo Graham, Kockov) The Pleasance, 19:30–23:00, £5

Comedy Central present the best from the comedy world in their monthly showcase night, for all but a fiver.

The Friday Show (Ron Vaudry, Stuart Goldsmith, Ed Patrick) The Stand, 21:00–23:00, £12 (£10/£6 members)

The Stand, 20:30–22:30, £2

Open-mic style beginners showcase, plus some old hands dropping by to roadtest new material.

Wed 27 Feb Best Of Irish Comedy The Stand, 20:30–22:30, £7 (£6/£3 member)

A selection of top comics from the contemporary Irish circuit do their thing.

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.

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 up-and-coming acts fom Scotland and beyond, topped with a guest headliner. Check their Facebook page on the day for line-ups.

Chris Difford and Norman Lovett Brunton Theatre, 19:30–21:30, £15.50 (£13.50)

Squeeze lyricist Chris Difford joins forces with Red Dwarf star and standup comedian Norman Lovett for an evening of songs, tall tales and humour.

Sat 16 Feb

Thu 28 Feb

The Saturday Show (Carey Marx, Andrew Stanley, Mikey Adams)

Sat 02 Feb

The Thursday Show ( Tony Burgess, Parrot, Lauren Kerr)

The Saturday Show (Ron Vaudry, Stuart Goldsmith, Ed Patrick)

The Stand, 21:00–23:00, £15

Packed Saturday evening bill of standup headliners and resident comperes to jolly along your weekend.

The Stand, 20:30–22:30, £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 standup headliners and resident comperes to jolly along your weekend.

February 2013

THE SKINNY 61

LISTINGS The Beehive Comedy Club

Mon 11 Feb

Beehive Inn, 20:30–22:30, £7

Regular weekend comedy showcase featuring a selection of up-and-coming acts fom Scotland and beyond, topped with a guest headliner. Check their Facebook page on the day for line-ups.

Sun 03 Feb

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 12 Feb

Whose Lunch Is It Anyway?

Grassroots Comedy

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)

The Pleasance, 19:30–23:00, £1

Showcase night featuring the best in fresh, local talent – bringing together first-time and up-and-coming comics in a series of quickfire 10-minute slots.

Electric Tales The Stand, 20:30–22:30, £5 (£4/£2.50 members)

Chilled comedy showcase to cure your Sunday evening back-to-work blues.

Stand-up comedy meets live storytelling, with the tease of a promise of robot badges for all (as in, we’re there).

Mon 04 Feb

The Speakeasy (Janey Godley, Stanley Odd, Kevin McMahon, Lach, JA Sutherland, Eleanor Morton)

Red Raw The Stand, 20:30–22:30, £2

Open-mic style beginners showcase, plus some old hands dropping by to roadtest new material.

Scottish Storytelling Centre, 20:00–22:00, £5 (£4)

Tue 05 Feb Grassroots Comedy The Pleasance, 19:30–23:00, £1

Showcase night featuring the best in fresh, local talent – bringing together first-time and up-and-coming comics in a series of quickfire 10-minute slots.

Wicked Wenches (Marian Pashley, Viv Gee, Elizabeth Hotson)

Wed 06 Feb Broken Windows Policy

The Thursday Show (Sean Percival, Richard Melvin) 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 08 Feb Improverts Bedlam Theatre, 22:30–23:30, £5.50 (£5 members)

Fri 22 Feb Improverts Bedlam Theatre, 22:30–23:30, £5.50 (£5 members)

Long-standing improv comedy troupe fae Edinburgh, whose rather fine show is built entirely on (oft daft) audience suggestions.

The Pleasance, 19:30–23:00, £8 (£6)

Young comic who burst onto the comedy scene whilst studying for a Law degree at Edinburgh University.

The Stand, 21:00–23:00, £12 (£10/£6 members)

The multi-Edinburgh Comedy Award winner gives birth, live on stage, and then raises it in the space of two hours, in an effort to make baby-raising an accesible male subject too.

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts.

Thu 14 Feb

Regular weekend comedy showcase featuring a selection of up-and-coming acts fom Scotland and beyond, topped with a guest headliner. Check their Facebook page on the day for line-ups.

The Beehive Comedy Club Beehive Inn, 20:30–22:30, £7

Sat 23 Feb

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.

The Saturday Show (Nick Revell, Anthony J Brown, Chris Conroy, Susan Morrison)

Fri 15 Feb

Packed Saturday evening bill of standup headliners and resident comperes to jolly along your weekend.

Improverts Bedlam Theatre, 22:30–23:30, £5.50 (£5 members)

Long-standing improv comedy troupe fae Edinburgh, whose rather fine show is built entirely on (oft daft) audience suggestions.

The Friday Show (Phil Nichol, Paul Myrehaug, Susie McCabe, Richard Melvin)

Long-standing improv comedy troupe fae Edinburgh, whose rather fine show is built entirely on (oft daft) audience suggestions.

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.

The Friday Show (Nick Revell, Anthony J Brown, Chris Conroy, Susan Morrison)

The Stand, 21:00–23:00, £10 (£7/£5 members)

Thu 07 Feb

The Stand, 21:00–23:00, £10 (£7/£5 members)

Wed 13 Feb

The Thursday Show (Phil Nichol, Paul Myrehaug, Susie McCabe, Richard Melvin)

The Stand, 20:30–22:30, £4 (£2)

Fast-paced and anarchic skits and character comedy from The Stand’s resident sketch comedy troupe.

Thu 21 Feb The Thursday Show (Nick Revell, Anthony J Brown, Chris Conroy, Susan Morrison)

Iain Stirling: Happy to Be the Clown?

Brunton Theatre, 19:30–21:30, £17.50

All-female stand-up, with a suitably varied mix of headliners and newcomers taking to the stage.

The Stand, 20:30–22:30, £5

A bright collective of comedians experiment with the medium of stand-up, under the ever-watchful eye of Jo Caulfield.

Brand new 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.

Russell Kane: Posturing Delivery

The Stand, 20:30–22:30, £6 (£5/£3 members)

The Good, The Bad and The Unexpected (Richard Melvin, Susan Calman, Gary Delaney)

The Stand, 21:00–23:00, £15

The Beehive Comedy Club Beehive Inn, 20:30–22:30, £7

Regular weekend comedy showcase featuring a selection of up-and-coming acts fom Scotland and beyond, topped with a guest headliner. Check their Facebook page on the day for line-ups.

Sun 24 Feb

The Stand, 21:00–23:00, £12 (£10/£6 members)

Whose Lunch Is It Anyway?

The Friday Show (Sean Percival, Bruce Devlin)

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts.

The Stand, 21:00–23:00, £12 (£10/£6 members)

The Beehive Comedy Club

Improvised lunchtime comedy favourite with resident cheeky chappies Stu & Garry.

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 up-and-coming acts fom Scotland and beyond, topped with a guest headliner. Check their Facebook page on the day for line-ups.

Portobello Comedy Night (Vladimir McTavish, Susie McCabe)

Regular weekend comedy showcase featuring a selection of up-and-coming acts fom Scotland and beyond, topped with a guest headliner. Check their Facebook page on the day for line-ups.

Sat 16 Feb The Saturday Show (Phil Nichol, Paul Myrehaug, Susie McCabe, Richard Melvin) The Stand, 21:00–23:00, £15

Portobello Indoor Bowls and Leisure Centre, 20:30–22:30, £6

The official Porty comedy crew return with their third ever showcase night, this time featuring Vladimir McTavish and Susie McCabe. Compered by Steven Davidson. Held in the upstairs Mum’s Cafe space.

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 up-and-coming acts fom Scotland and beyond, topped with a guest headliner. Check their Facebook page on the day for line-ups.

Sat 09 Feb

Sun 17 Feb

The Saturday Show (Sean Percival, Bruce Devlin)

Whose Lunch Is It Anyway?

The Stand, 13:30–15:30, Free

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

Improvised lunchtime comedy favourite with resident cheeky chappies Stu & Garry.

Tom Stade Totally Rocks The Stand, 20:30–22:30, £15

Beehive Inn, 20:30–22:30, £7

Regular weekend comedy showcase featuring a selection of up-and-coming acts fom Scotland and beyond, topped with a guest headliner. Check their Facebook page on the day for line-ups.

The shouty Canadian monster that is Tom Stade takes his 2012 Edinburgh Fringe show on the road, imbued with his his refreshingly laid-back and unconventional ethos on life.

Mon 18 Feb

Sun 10 Feb

Red Raw

Whose Lunch Is It Anyway?

The Stand, 13:30–15:30, Free

Beehive Inn, 20:30–22:30, £7

The Stand, 20:30–22:30, £2

Improvised lunchtime comedy favourite with resident cheeky chappies Stu & Garry.

Open-mic style beginners showcase, plus some old hands dropping by to roadtest new material.

The Sunday Night Laugh-In

Tue 19 Feb

The Stand, 20:30–22:30, £6 (£5/£1 members)

Chilled comedy showcase to cure your Sunday evening back-to-work blues.

62 THE SKINNY

Grassroots Comedy The Pleasance, 19:30–23:00, £1

Showcase night featuring the best in fresh, local talent – bringing together first-time and up-and-coming comics in a series of quickfire 10-minute slots.

February 2013

The Stand, 13:30–15:30, Free

The Sunday Night Laugh-In The Stand, 20:30–22:30, £6 (£5/£1 members)

Chilled comedy showcase to cure your Sunday evening back-to-work blues.

Jamie Kilstein The Stand, 20:30–22:30, £10

A chance to see the left wing political comic do his reliably sarcastic and engaging thing, or, as he puts it, ‘yell about some bullshit’.

Mon 25 Feb

Thu 28 Feb Laughing Horse New Act of the Year 2013 Beehive Inn, 20:30–22:30, £5 adv.

A selection of 12+ comedians compete in the 2013 quarter final heat for the Laughing Horse New Act of the Year competition. Compered by Ben Verth.

The Thursday Show (Mark Nelson, Stu & Garry, Chris Kent, Joe Heenan) 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 01 Mar Improverts Bedlam Theatre, 22:30–23:30, £5.50 (£5 members)

Long-standing improv comedy troupe fae Edinburgh, whose rather fine show is built entirely on (oft daft) audience suggestions.

Comedy Central Live (Rob Deering, Phil Wang) The Pleasance, 19:30–23:00, £5

Comedy Central present the best from the comedy world in their monthly showcase night, for all but a fiver.

The Friday Show (Mark Nelson, Stu & Garry, Chris Kent, Joe Heenan) 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 up-and-coming acts fom Scotland and beyond, topped with a guest headliner. Check their Facebook page on the day for line-ups.

Sat 02 Mar The Saturday Show (Mark Nelson, Stu & Garry, Chris Kent, Joe Heenan)

The Pleasance, 19:30–23:00, £1

Scottish Fair Trade Benefit The Stand, 20:30–22:30, £6 (£5)

24–31 Jan, times vary, Free

Manda Rin (from pop group Bis) exhibits a selection of new work alongside pieces from artists David Murphy and Craig McKintosh.

CCA Economy @ CCA various dates between 26 Jan and 23 Mar, 11:00am – 6:00pm, Free

Stills’ Social Documents programme concludes with a two-venue group exhibition examining the impact of the economy upon life, extending its wares across Glasgow’s CCA – who host work by Tanja Ostojić, Hito Steyerl and WochenKlausur, amongst others.

Oliver Braid: Snorlax Beanbag 26 Jan – 2 Feb, not 27 Jan, 11:00am – 6:00pm, Free

New solo exhibition from GSA graduate Oliver Braid, presenting works produced in the wake of realisations that his over-rational methodologies were irrationally frustrating his original intentions. Amen.

Suzanne Déry and G. Küng: Giantess 15 Feb – 1 Mar, not 17 Feb, 24 Feb, 11:00am – 6:00pm, Free

Collaborative exhibition from Suzanne Déry and G. Küng for which they’ll hybridise their respective visions and see what happens when control is acquiesced to each other – envisaging an imaginary character emerging, able to act on their behalf.

Cyril Gerber Fine Art The Winter Collection 2012 24–31 Jan, times vary, Free

The Drawing Show

Beehive Inn, 20:30–22:30, £7

Regular weekend comedy showcase featuring a selection of up-and-coming acts fom Scotland and beyond, topped with a guest headliner. Check their Facebook page on the day for line-ups.

Sun 03 Mar Whose Lunch Is It Anyway?

The Stand, 13:30–15:30, Free

Improvised lunchtime comedy favourite with resident cheeky chappies Stu & Garry.

Wil Hodgson: Kidnapped By Catwoman The Stand, 20:30–22:30, £8 (£6)

Chippenham’s cult comedic storyteller previews his confessional new show, in which he’ll touch on the crushes, fantasies, and desires of a geeky boy growing up in the 80s/90s – obviously Catwoman was up there.

Mon 04 Mar Red Raw The Stand, 20:30–22:30, £2

Tue 26 Feb Showcase night featuring the best in fresh, local talent – bringing together first-time and up-and-coming comics in a series of quickfire 10-minute slots.

Single Bullets

The Beehive Comedy Club

A mixed batch of stand-up rookies take to the stage to cut their teeth. Be gentle on ‘em.

Grassroots Comedy

Bar Gandolfi

Winter exhibition of speciallyselected works of 19th-21st century modern British paintings, drawings and sculpture work.

The Stand, 21:00–23:00, £15

The Stand, 20:30–22:30, £2

Open-mic style beginners showcase, plus some old hands dropping by to roadtest new material.

glasgow

Packed Saturday evening bill of standup headliners and resident comperes to jolly along your weekend.

Open-mic style beginners showcase, plus some old hands dropping by to roadtest new material.

Red Raw

Art

Newbees Beehive Inn, 20:00–22:00, £2 (£1)

DUNDEE Fri 22 Feb

31 Jan – 23 Feb, not 3 Feb, 10 Feb, 17 Feb, times vary, Free

Showcase exhibition focusing on the skill and draughtsmanship of seven contemporary artists, each with their own imaginative way of looking, seeing and expressing their understanding of the world around them through the discipline of drawing.

David Dale Gallery and Studios Easy Does It various dates between 1 Feb and 23 Feb, times vary, Free

The first in an evolving trilogy of exhibitions curated by Kevin Hunt examining the complexity inherent within the simplest of actions, featuring work from a mixed batch of artists.

Gallery of Modern Art Tales of the City (Gallery 2) 24 Jan – 23 Jun, times vary, Free

As part of the gallery-spanning Tales of the City exhibition, Glasgow Gallery of Modern Art display a selection of mixed media objects in Gallery 2, encompassing work from Alex Frost, David Hockney, Scott Myles, David Sherry and Simon Starling.

Niki de Saint Phalle: The Eric and Jean Cass Gift​ 24 Jan – 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.

Phil Differ and Bob Doolally help launch Fair Trade Fortnight 2013, with the two footballing eminences heralding Scotland’s efforts to become a Fair Trade footballing nation.

February Comedy Circuit (Bruce Morton, Mark Nelson, Danny Angelo)

Glasgow School of Art

Wed 27 Feb

The Gardyne Theatre, 20:00–22:00, £12 (£10)

The Gilded Balloon’s Comedy Circuit returns, with yer men Bruce Morton, Mark Nelson and Danny Angelo providing the laughs.

Mariusz Tarkawian: Anticipating The Future

Laughing Horse New Act of the Year 2013 Beehive Inn, 20:30–22:30, £5 adv.

A selection of 12+ comedians compete in the 2013 quarter final heat for the Laughing Horse New Act of the Year competition. Compered by Ben Verth.

Jamie Kilstein The Stand, 20:30–22:30, £10

A chance to see the left wing political comic do his reliably sarcastic and engaging thing, or, as he puts it, ‘yell about some bullshit’.

24 Jan – 23 Feb, 11:00am – 5:00pm, Free

First solo exhibition in the UK for Polish artist Mariusz Tarkawian, featuring a selection from Anticipation of Art – his ongoing series of over 600 drawings that anticipate what kind of work well-known contemporary artists may be making in the future.

Good Press Ode to the Loss 24 Jan – 2 Feb, 11:00am – 7:00pm, Free

Collection of new printwork and paintings by Swedish artist Fredrik Åkum, currently studying his MFA at the Valand Academy in Gothenburg.

Kelvingrove Art Gallery and Museum

The Lighthouse

Scottish Art in the 20th Century

Modern Languages

24 Jan – 24 Feb, times vary, Free

Pharaoh – King of Egypt

24 Jan – 31 Mar, times vary, Free

24 Jan – 24 Feb, times vary, £5 (£3)

Showcase exhibition taking in 130 objects from the British Museum’s collection of ancient Egyptian artefacts, including sculpture, bronze figures, written works on papyrus, jewellery and weaponry.

Group exhibition offering contemporary perspectives of five international artists and designers on the familiar traditions of Irish craft: Nao Matsunaga, Laura Mays, Deirdre Nelson, Ciara Phillipsn and Barbara Ridland.

James Rigler: Room Service 24 Jan – 17 Feb, times vary, Free

Mary Mary Alexis Marguerite Teplin various dates between 22 Feb and 13 Apr, times vary, Free

The California-born, London-living artist – best known for her abstract, visually-arresting paintings – takes over the gallery space with a new selection of solo paintings and sculptures.

Ceramicist James Rigler showcases a selection of site-specific objects that he created in response to the grandeur and formality of the Maxwell’s Georgian House in Pollok Country Park, commissioned by The Lighthouse.

George Square: Redesigned 24 Jan – 5 Feb, times vary, Free

Artists in Residence 2012

International competition for the redesign of George Square, with the six shortlisted design teams who are in the second stage of the competition showcasing their designs at The Lighthouse.

Winner announced on 18 January.

various dates between 24 Jan and 19 Mar, 10:00am – 5:00pm, Free

21 Feb – 31 Mar, times vary, Free

Project Ability Project Ability present a group exhibition looking back at the 2012 residency programme, before they begin their exhibition programme for 2013, with the selected artists each resident for an intense one-month working period during 2012.

RGI Kelly Gallery George Wyllie: Scul?tor and Navigator 7 Feb – 9 Mar, not 10 Feb, 17 Feb, 24 Feb, 3 Mar, times vary, Free

Unique look at the ideas and design of late Scottish artist George Wyllie’s work, including materials related to the artist’s more famous works, alongside a number projects that did not make it to fruition.

Recoat Gallery David Galletly: Wee 1 Feb – 3 Mar, not 4 Feb, 11 Feb, 18 Feb, 25 Feb, 12:00pm – 6:00pm, Free

Solo exhibition of new work from the Glasgow-based artist, illustrator and graphic designer David Galletly, featuring his distinctive pen and ink drawings, a series of mosaics and a collection of drawings on the walls which he’ll create in situ.

SWG3 SoundScaping 26 Jan – 2 Feb, 11:00am – 6:00pm, Free

Mini festival of sound delivered through an exhibition of interactive sound installation by artists Justyna Ataman, Krysia Kordecki and Amy Pickles, joined by various live daily performances.

Street Level Photoworks The 7th Street Level Open 24 Jan – 3 Feb, not 28 Jan, times vary, Free

Showcase of existing work by both new and established artists embracing the range of formats and methods of photographic image-making – including 19 image-makers selected from 67 applicants responding to a call for artists.

Studio 41 Theresa Moerman: Suspended Animations various dates between 8 Feb and 23 Feb, 1:00pm – 6:00pm, Free

New body of work from the Netherlands-born, GSA-graduating artist revolving around the unreliability of memory and the tension between holding on and letting go – taking in sculpture, video, photography and text.

The Duchy Amelia Bywater: Handwriting Upside Down and Backwards

Model Business Three businesses that have participated in the Cultural Enterprise Office Starter for Six programme over the last three years show their products and services, giving insight into the challenges they face in launching a creative enterprise.

Pecha Kucha 15: Made in China 22 Feb, 6:00pm – 8:00pm, £6

A range of creative speakers explore the links between designers and artists working between China and the UK – via Pecha Kucha’s unique image-led discussion of 20 slides shown for 20 seconds – to coincide with Takeaway China film festival.

The Modern Institute Monika Sosnowska 24 Jan – 16 Feb, not 27 Jan, 3 Feb, 10 Feb, times vary, Free

The Polish painter – who studied at the Painting Department of the Academy of Fine Arts in Poznan – presents a showcase of all-encompassing work, known as she is for designing projects to fit into a specific space.

The Virginia Gallery Patchwork 7: 10th Anniversary various dates between 29 Jan and 22 Feb, 11:00am – 5:30pm, Free

The French photographic association celebrate 10 years of existence with a group show of its photographers, first shown in Paris in late 2012 and now touring around Europe for 2013.

Tramway Lauren Gault: Sweet Ensilage 1–24 Feb, not 4, 11, 18, times vary, Free

Belfast-born, Glasgow-based artist Lauren Gault displays a new series of work drawing on theories surrounding sight, ‘seeing’ and the seminal research of Temple Grandin in the treatment of autism and livestock management.

Nick Evans: Solar Eyes various dates between 1 Feb and 24 Mar, times vary, Free

Ambitious new exhibition from Glasgow-based sculptor Nick Evans, presenting a newly-commissioned body of sculptures within an environment which is part sculpture ‘theme park’ and part lost civilisation.

Rachel Adams: Space Craft 2–24 Mar, not 4, 11, 18, times vary, Free

Glasgow-based artist Rachel Adams creates an installation of new sculptural works in Tramway 5, extending her exploration of the relationship between science fiction, classical sculptural motifs and decorative craft techniques.

edinbu r gh

various dates between 2 Feb and 23 Feb, 12:00pm – 6:00pm, Free

Exhibition of new work from Glasgowbased artists Amelia Bywater, in which she explores a relationship to a set of objects unearthing traces of what remains.

The Glue Factory Erottaa+- us (a roundup of reindeer) 13–16 Feb, times vary, Free

Showcase exchange project between artists based in Helsinki and Glasgow, featuring artists from both cities (following the initial exhibition, which took place in Helsinki).

City Art Centre John Clerk of Eldin: 1728-1812 24 Jan – 3 Feb, times vary, Free

Special exhibition celebrating the 200th anniversary of the death of one of Scotland’s finest amateur artists, John Clerk of Eldin, giving his geological drawings and etching their first major overview.

Wilhelmina Barns-Graham 24 Jan – 17 Feb, times vary, Free

Major exhibition exploring the work of the late Wilhelmina Barns-Graham (1912 -2004), who settled in St Ives and became an integral part of a group of artists working there, including Ben Nicolson and Barbara Hepworth.

The Derek Williams Collection 24 Jan – 24 Feb, times vary, Free

Touring exhibition from the late Cardiff-based collector, bringing together pieces from his personal collection for their first touring outing – including work by Lucien Freud, L.S. Lowry and David Jones.

Selection of pieces from the City Art Centre’s expansive collection, looking at the work of century Scottish artists whose work relates to that of Wilhelmina Barns-Graham (whose retrospective show runs concurrently).

Collective Gallery New Work Scotland Programme: Andy Holden 24 Jan – 10 Feb, not 28 Jan, 4 Feb, 11:00am – 5:00pm, Free

First solo exhibition in Scotland by Andy Holden, incorporating a diverse array of outputs – from painting to performance. As part of the New Work Scotland Programme, giving Scottishbased graduates their first significant project or commission.

New Work Scotland Programme: Conor Kelly and Calvin Laing 22 Feb – 24 Mar, not 25 Feb, 4 Mar, 11 Mar, 18 Mar, times vary, Free

Double-header exhibition from Conor Kelly and Calvin Laing. As part of the New Work Scotland Programme, giving Scottish-based graduates their first significant project or commission.

Dovecot Wendy Ramshaw: Rooms of Dreams various dates between 1 Feb and 30 Mar, 10:30am – 5:30pm, Free

Solo show from the leading contemporary British designer – renowned for her jewellery work and large scale public art – spanning the past 50 years of her career, with the centrepiece being a scale model of the original Room of Dreams.

Edinburgh Printmakers Slovakian Master Printers various dates between 24 Jan and 2 Mar, 10:00am – 6:00pm, Free

Four Slovakian printmakers take over the Prinmaker gallery space, with Karol Felix, Igor Benca, Marián Komáček and Robert Jančovič displaying a selection of printmaking. Mezzotint, etching, monotypes and digital prints.

Embassy Gallery Defcon Salon 1: Embassy Members’ Show 2013 25 Jan – 3 Feb, not 28 Jan, 29 Jan, 30 Jan, times vary, Free

The Embassy crew host their annual members’ show, displaying works from a selection of new and existing gallery members. With no theme, no size limit and no format specification, it’s always a hotch potch mix of joy.

Fruitmarket Gallery Massimo Bartolini 1 Feb – 14 Apr, times vary, Free

The Italian-born artist, known for his immersive and experiential work, presents a special work made outside of the studio in La strada di sotto – a field of coloured lights of the kind used during street celebrations in Sicily.

Gallery TEN Illustrators At TEN 8 Feb – 10 Mar, not 11 Feb, 18 Feb, 25 Feb, 4 Mar, times vary, Free

Collection of work by illustrators who use printmaking as part of their practice, including ECA Illustration graduates Catherine Rayner and Alice Melvin – both now award-winning writers and illustrators of children’s books.

Inspace Light Bright Electric: Solar Electricity for Art and Architecture 15–16 Feb, times vary, Free

Mini exhibition exploring colourful, fluorescent materials and lesser-known solar materials, fusing art, architecture and science across innovative technology that can be used to generate electricity from light.

Inverleith House Derek Roberts: Northern Paintings various dates between 9 Feb and 14 Apr, 10:00am – 5:30pm, Free

Major exhibition of new and recent paintings by Scottish artist Derek Roberts, selected and installed by the artist for the seven rooms of Inverleith House – where they will be shown in natural light.

National Museum of Scotland Art From Iran 1 Feb – 28 Apr, 10:00am – 5:00pm, Free

A selection of highlights from the National Museum of Scotland’s collection of exquisite Iranian treasures spanning the 12th to the 21st century. Part of Edinburgh Iranian Festival.

Open Eye Gallery John Bellany: Works On Paper 24–30 Jan, not 27, times vary, Free

A selection of works on paper by the acclaimed Scottish artist, coinciding with the major retrospective of his work currently running at the Scottish National Gallery.

John Clerk of Eldin: Early Scottish Printmaking 24–30 Jan, not 27, times vary, Free

To coincide with John Clerk of Eldin’s current retrospective at the City Art Centre, the Open Eye gallery showcase a selection of prints by the artist and a collection of other early Scottish printmakers.

Urban and Rural Scottish Landscapes 4–20 Feb, not 10, 17, times vary, Free

Thematic mixed artist group showcase, for which each contributor has been asked to submit a landscape painting.

Donald Provan 25 Feb – 13 Mar, not 3 Mar, 10 Mar, times vary, Free

The Edinburgh artist showcases a recent selection of paintings, taking in fish, seascapes and landscapes as they go.

Patriothall Gallery Arabella Hope 2–10 Feb, not 4, 12:00pm – 6:00pm, Free

Scottish National Gallery of Modern Art The Scottish Colourist Series: SJ Peploe 24 Jan – 23 Jun, 10:00am – 5:00pm, £7 (£5)

From Death to Death and Other Small Tales

Transformation and Revelation: Gormley to Gaga – Designing for Performance

The second in the Scottish Colourist Series of exhibitions takes in a retrospective of Samuel John Peploe (1871-1935), the eldest of the four artists popularly known as The Scottish Colourists.

24 Jan – 8 Sep, 10:00am – 5:00pm, Free

Selected masterpieces from the Scottish National Gallery of Modern Art and the D.Daskalopoulos Collection, taking in some 130 works that each highlight the significance of the body as a theme in 20th and 21st century art practice.

24–31 Jan, times vary, Free

The RSA showcase a selection of works from the long career of prominent and longstanding RSA member Derek Clarke, in celebration of his 100th birthday.

Scottish Painters and Limners: Part 2 various dates between 28 Jan and 25 Mar, 10:00am – 5:00pm, Free

Second showcase from the RSA’s Nationally Significant Collection, exploring work by artists who’ve filled the post of Scottish Painter and Limner since the early 20th Century – from Robert Gibb to current post-holder Elizabeth Blackadder. Open Mondays.

Sculptor’s Print 23 Feb – 31 Mar, times vary, Free

An investigation into printmaking by sculptor members of the Royal Scottish Academy, including work by current members as well as highlights from past and honorary members Eduardo Paolozzi, Iain Hamilton Findlay and Antoni Tapies.

Portfolio: Treasures from the Diploma Collection at the Royal Scottish Academy 6–14 Feb, times vary, Free

Exhibition curated by Dr Tom Normand HRSA to celebrate the publication of his new book of the same name, taking viewers on a journey into the RSA vaults with 300+ works from leading Scottish artists (from the gallery’s Diploma Collection) on display.

Scottish National Gallery Turner In January 24–31 Jan, times vary, Free

Annual January showcase of works from JMW Turner, with some 38 watercolours providing a remarkable overview of the great artist.

Town and City: Scotland’s Urbanised Landscapes 1700-1900 24 Jan – 10 Feb, times vary, Free

Revealing exhibition of some of the earliest visual records of Scotland’s urban landscapes, offering a rare document of urban life in Scotland between the turn of the 18th century through to the beginning of the 20th century.

Showcase of 33 specially-designed vitrines, featuring the work of various British stage and theatre designers, including Anthony Gormley’s design for a Sadler’s Wells opera and stage designs for Lady Gaga’s Monster Ball World Tour.

Lucknow to Lahore

A selection of 29 colour photographs never before exhibited, including evidence of a raucous party held by Andy Warhol in honour of his friend Joseph Beuys in Napoli in 1980.

24 Jan – 7 Apr, times vary, Free

Series of photos by Scottish commercial photographer Fred Bremner spanning his travels in the Indian subcontinent from 1882 to 1922, exquisitely detailing the people and places of Imperial India.

Jitka Hanzlová 24 Jan – 3 Feb, times vary, Free

Since defecting from the communist regime in Czechoslovakia and settling in West Germany, Jitka Hanzlová has explored her condition of exile through photography. In the only UK showing of her work, this showcase displays the profound fruits of her labour.

Leading Lights: Portraits by KK Dundas 24 Jan – 3 Mar, times vary, Free

Tickling Jock

Derek Clarke

24 Jan – 22 Feb, 11:00am – 6:00pm, Free

The ‘Lost’ Photographs: Andy Warhol and Joseph Beuys

Royal Scottish Academy (RSA) Exhibition of small works sourced by open submission from artists across Scotland, including paintings, drawings, sculptures, prints and photographs – all available to buy – with this year seeing the addition of a room dedicated solely to architecture.

Summerhall

Scottish National Portrait Gallery

In 2011, to celebrate its 60th anniversary, the Royal Conservatoire of Scotland commissioned portraits of its students past and present, with this selection featuring some of their most illustrious alumni.

24–31 Jan, times vary, Free

24 Jan – 21 Apr, 11:00am – 6:00pm, Free

Stills’ Social Documents programme concludes with a two-venue group exhibition examining the impact of the economy upon life, with Stills’ playing host to works by Tracy Emin, Andreas Gursky, Mitra Tabrizian and Paolo Woods, amongst others.

Solo exhibition from the Glasgow School of Art graduate, perhaps best known for her large-scale paintings exploring the intimate spaces of domestic bathrooms.

RSA Open 2012

Stills Economy @ Stills

23 Feb – 25 May, times vary, Free

Photography showcase featuring key figures of 20th-century Scottish comedy, bringing together images of over 50 stars including Sir Harry Lauder, Rikki Fulton, Stanley Baxter, Ronnie Corbett and Billy Connolley.

Edith Tudor-Hart: In the Shadow of Tyranny 2 Mar – 26 May, times vary, Free

Retrospective showcase of the Austrian-British photographer, communist-sympathiser and Soviet Union spy – taking in black and white images of a politically-charged interwar Vienna and penetrating imagery of children during the post-war years.

Migration Stories: Valentina Bonizzi 23 Feb – 22 Sep, times vary, Free

Having lived in Scotland for eight years, Italian-born artist Valentina Bonizzi uses photography and video to create what she has terms the ‘Image document’, exploring migrant experiences from 1850 to today.

Minette: The Life and Letters of a Stuart Princess 24–5 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.

Scottish Storytelling Centre Pictish Stone Stories 24 Jan – 16 Feb, not 27 Jan, 3 Feb, 10 Feb, 10:00am – 6:00pm, Free

Natural dye archival work by Marianna Lines based on the original full-size Pictish Stones, presented as a collection of original wall hangings taken directly from the historic carved stones over 25 years ago.

Moy Mackay: Well Kent Places 20 Feb – 19 Mar, not 24 Feb, 3 Mar, 10 Mar, 17 Mar, 10:00am – 6:00pm, Free

Scottish artist Moy Mackay presents a selection of picture landscapes and cityscapes, accompanied by a series of poetry and stories written specifically in response to the art works.

St Margaret’s House Art’s Complex Borders 6–16 Feb, 11:00am – 7:00pm, Free

Unique exhibition exploring the shifting notions of what constitutes a border, incorporating the work of 28 national and international artists from different disciplines. Part of Edinburgh Iranian Festival.

24 Jan – 22 Feb, 11:00am – 6:00pm, Free

Stephen Thorpe: Once It’s In You, It Never Goes Away 24 Jan – 22 Feb, 11:00am – 6:00pm, Free

The recent winner of Saatchi Online’s Showdown competition exhibits new work that tempts the viewer to journey into the artist’s imagination, hinting at the creative process behind each artwork.

Antonio Claudio Carvalho: Let The Sun Hear You Crying 24 Jan – 22 Feb, 11:00am – 6:00pm, Free

Thought-provoking exhibition where images from Nazi Germany in the 1930s are printed over bright, colourful backgrounds.

dundee

Crystal Baws

Cooper Gallery Estrangement

with Mystic Mark

24 Jan – 16 Feb, not 27 Jan, 3 Feb, 10 Feb, times vary, Free

Large cinematic installation showcasing exciting new works from four up-andcoming international artists: Fatma Bucak, Larisa Daiga, Evariste Maiga and Samuel Williams.

DCA Jutta Koether various dates between 9 Feb and 21 Apr, times vary, Free

Solo show by painter, performance artist, musician, critic and theoretician Jutta Koether, who’ll incorporate elements of underground culture and works inspired by Nicolas Poussin’s Seven Sacraments into what will be her largest UK exhibition to date.

Generator Projects Generator Projects: Members’ Show 2013 various dates between 16 Feb and 10 Mar, 12:00pm – 5:00pm, Free

Annual mixed members’ show, where current Generator Projects members are invited to submit a single piece of work for display.

The McManus Reflections from the Tay 24 Jan – 13 Aug, times vary, Free

New exhibition focusing on artists with links to Dundee – artists who were born there, worked locally or were associated with the Dundee College of Art.

Ingrid Christie: 12 Factorial 24 Jan – 22 Feb, 11:00am – 6:00pm, Free

The Fine Art graduate displays a selection of unique work exploring the limitless possibilities of art – using a computer program to rearrange divisional elements of her paneled paintings, for which over 245 billion combinations can be arranged.

Talbot Rice Gallery Zoe Beloff 24 Jan – 16 Feb, 10:00am – 5:00pm, Free

Solo exhibition bringing together the final installation and film part of Zoe Beloff’s The Days of the Commune project, for which she assembled in various public spaces in New York City to work on scenes from Bertol Brecht’s The Days of the Commune.

Charchoune: The Exhibition is Open 24 Jan – 16 Feb, 10:00am – 5:00pm, Free

Unique exhibition of work by FrancoRussian painter Serge Charchoune, connected to movements including Cubism, Dada and Purism. In the Georgian Gallery.

The Old Ambulance Depot The Human Condition 1–8 Feb, not 4, times vary, Free

Showcase of recent works by Softbox – an Edinburgh-based photography collective – for which they’ll explore different elements of human existence through photography and installation.

ARIES While scuba diving this month you accidentally mix-up your oxygen tank with a pressurised colostomy tank. The first breaths taste of farts so you toggle the pressure gauge thinking it isn’t fully opened. Instead of life-giving oxygen however, it unleashes 200 atmospheres-worth of pressurised shit into your lungs and stomach, filling you up like a parade balloon. Lifelessly you float to the surface with a scuba mask of solid brown.

a

b

TAURUS Next time you’re hungry, just remember: your entire arm is made of meat.

c

GEMINI Washing the spunk out of your eyes with holy water after choir practice each week is getting a bit annoying.

Whitespace Bec Wonders 23–28 Feb, times vary, Free

The Vancouver-based artist transforms the Whitespace gallery to produce the sensation of being inside her work, allowing viewers to experience her work in a more physical sense.

Index 16–21 Feb, 10:00am – 4:00pm, Free

Group exhibition of work from seven female artists – Lesley McDermott, Angie McLaren, Carol Mason, Karen Strang, Nicola Wilson, Val Shatwell and Nicola Carberry – each responding to the space and the title theme from a female perspective.

Expensive Space 1–7 Feb, times vary, Free

Showcase exhibition from the final year Intermedia students at ECA, taking in an array of works ranging from photography, film, performance, sound, drawings and text pieces.

CANCER Neutered testicles make great cat toys. Ask your vet if you can keep the removed balls, attach a piece of string and watch with joy as your cat frantically chases them around the room trying to get them back.

d

LEO You attempt to impress a potential employer by sending one of your kidneys through the post wrapped in a covering letter.

e

VIRGO You are you. You will always be you.

Don’t ever let anyone tell you you aren’t you. You are.

f

LIBRA Tucking your children into bed they look at you with big innocent eyes and ask, “Mummy, what’s an abortion?” Stroking their hair you carefully explain that when a mummy and daddy don’t want a baby, the Abortion Stork

g

swoops down from the sky and, after a brief introduction, surgically removes the foetus from mummy’s tummy using its special beak, gulping down the torn, mangled remnants as payment before soaring off into the black night from whence it came.

h i

SCORPIO You’re little more than a tube of human paste.

SAGITTARIUS There’s something growing behind your ear. Eat it.

CAPRICORN When your doctor declares you brain dead this month, it leaves the ghost of your brain trapped inside your skull.

j

AQUARIUS You’re adventurous in the bedroom, often climbing all over your partner’s body using pulleys and ropes and orienteering your way around their legs with the aid of a compass. Camping out on your partner, you dig a latrine in the small of their back. Better get some rest, at dawn you are going to explore Pube Valley by firelight.

k

PISCES Having taken to sexually abusing plants, you force ivy to grow up your shaft and ejaculate into the open mouths of your Venus flytrap. Safe in the knowledge the plants will never betray your secret, you observe with relish that when the traps reopen your seed has been consumed. This February however, you discover with horror a meaty stalk with your eyes beginning to sprout from the soil. You flinch from its sentient gaze as it watches you pace back and forth. You know by now, you’re either going to go to prison or win the Nobel Prize.

l

twitter.com/themysticmark

February 2013

THE SKINNY 63

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New DOUBLe aLBUm Features 20 tracks including ‘Black Chandelier’, ‘Stingin Belle’ and ‘Making of ’ DVD "Hear tfelt and brilliantly executed, it’s a creative peak” * * ** Mojo “O p p o s it e s sets Biffy on course to become the biggest band on the planet” 9 / 10 Rock Sound “Thundering… most deserved British rock success story in the last 20 years’” Q “Early Contender for album of the year’” FHM “An epic game changer of an album’” Xfm “Rock album of the decade” Fake DIY w w w. b i f f y c l y r o . c o m