The Skinny Scotland January 2015 by The Skinny

.CO.UK

INDEPENDENT FREE

CULT U R A L

J O U R N A L I S M

Scotland Issue 112 January 2015

MUSIC Belle and Sebastian Panda Bear Alvvays BC Camplight Korn FILM Beyond Clueless Whiplash Kit Harington ART Ponte City 2015 Exhibition Highlights Tine Bek BOOKS Gothenburg Book Fair THEATRE National Theatre Scotland Manipulate FASHION Kelly Dawn Riot

Food & Drink Survey 2015 Your favourite bars, beers, cafes, restaurants and shops in Edinburgh and Glasgow

MACY GRAY

WE GO HOME TOUR 2015

Friday 13th February SOLD OUT Friday 20th February

PLUS SPECIAL GUESTS

FINAL NIGHT ADDED DUE TO PHENOMENAL DEMAND

WED 28 JANUARY EDINBURGH VOODOO ROOMS IN ASSOCIATION WITH CAA

plus special guests

HOLLOWAY ROAD

Sunday 8 February

O2 ABC GLASGOW

Mon 23rd Feb

Glasgow Concert Hall

GAVIN JAMES plus special guests

P.25 Ponte City Exhibition

P.31 KellyDawn Riot

Credit: Gabriela Silveira

PLUS SPECIAL GUESTS

Credit: Mikhael Subotzky & Patrick Waterhouse& Patrick Waterhouse

ADAM COHEN

Thursday 5th February

GLASGOW Stereo

Saturday 7 March

Thurs 26th Feb Glasgow Stereo

GLASGOW

Stereo

IN ASSOCIATION WITH CAA

PLU S S P E C IA L GU ESTS

THURSDAY 12TH FEBRUARY

O2ABC GLASGOW

Friday 17th April

GLASGOW Oran Mor P.21 Panda Bear

P.33 Tine Bek

Credit: Tine Bek

plus special guests

Photo: Tom Cockram

ALBUM LAUNCH TOUR

January 2015 PUBLIC SERVICE BROADCASTING

24TH ANNUAL ST PATRICKS DAY CONCERT

THE RACE FOR SPACE UK AND IRELAND TOUR 2015

TUES 17th MARCH

SATURDAY 02 MAY

GLASGOW BARROWLAND

0 2A B C G L A S G O W

I N DEPEN DENT

CULTU R AL

JOU R NALI S M

Issue 112, January 2015 © Radge Media Ltd. Get in touch: E: hello@theskinny.co.uk T: 0131 467 4630 P: The Skinny, 3 Coates Place, Edinburgh, EH3 7AA The Skinny is Scotland's largest independent entertainment & listings magazine, and offers a wide range of advertising packages and affordable ways to promote your business. Get in touch to find out more.

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Contents

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Rosamund West Dave Kerr Adam Benmakhlouf Alan Bett Ronan Martin Tasha Lee Anna Docherty Alexandra Fiddes Jamie Dunn Peter Simpson Darren Carle Emma Ainley-Walker Paul Mitchell Kate Pasola

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Editorial Editor-in-Chief Music & Deputy Editor Art Editor Books Editor Clubs Editor Deviance Editor Events Editor Fashion Editor Film & DVD Editor Food Editor Games Editor Theatre Editor Travel Editor Intern

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regularmusicuk THE SKINNY

Contents 06 Chat & Opinion: Play a game of Spot the Difference; allow Crystal Baws to predict your horrifying January; gaze upon our Shot of the Month.

08 Heads Up: So, you’re either a) hungover from Christmas and New Year or b) still drunk. Don’t worry, we’ve taken the liberty of planning your entire cultural month for you with this handy calendar.

LIFESTYLE

30 Deviance: One of our writers considers

life after lesbianism while another asks, Is marriage equal?

Fashion: We take a closer look at Scotland RE:Designed award winner KellyDawn Riot’s designs.

Showcase: Glasgow-based photographer Tine Bek shares some of her explorations of colour. Travel: In the spirit of January self improvement and dreams of sunnier climes, we consider the pains and pleasures of solo travel.

FEATURES

Food and Drink Survey 2015: You voted, we counted, now here are all your favourite scran and bevvy haunts across Edinburgh and Glasgow.

We sit down to breakfast with (almost all of) Belle and Sebastian to discuss their new, disco-tinged record, Girls in Peacetime Want To Dance.

REVIEW

Music: New records from The Phantom Band, Sleater-Kinney, Pond, Disappears and many more; Run the Jewels mark their triumphant Scottish debut and the Manics resurrect The Holy Bible live; BC Camplight returns like a grizzled wrestler; plus Korn’s James Shaffer goes under the influence.

DVD: In DVD we’ve something for the kids – ace stop motion animation Boxtrolls – and something very much for the adults – David Cronenberg’s killer armpit chiller Rabid. Books: A quartet of reviews, with new books from Chris Killen, S. J. Naudé, Cecila Ekbäck and Harri Nykänen.

CLUBS: Our highlights of January clubbing, plus a DJ Chart from D-Ribeiro.

Film: As award season approaches the cinema calendar gets choked with quality from the likes of Paul Thomas Anderson (Inherent Vice), Bennett Miller (Foxcatcher) and documentary master Frederick Wiseman (National Gallery).

20 We head to Gothenburg Book Fair and

find that there’s a lot more on offer than Nordic Noir.

Experimental magpie Noah Lennox AKA Panda Bear taunts the reaper on his dub-inspired fourth solo LP and ponders the future for Animal Collective. Do bargain basement teen movies like EuroTrip and Idle Hands deserve to be discussed with the kind of reverence reserved for Citizen Kane? Charlie Lyne certainly thinks so: he celebrates the teen movie sub-genre with his new documentary Beyond Clueless.

A new photography exhibition at the Portrait Gallery explores the architecture of apartheid through the crumbling Ponte City residential development.

Our Art editor looks forward to the best exhibitions coming up in 2015

National Theatre of Scotland Artistic Director Laurie Sansom previews the company’s 2015 programme.

Art: Our now monthly exhibition highlights round-up, plus reviews of Victoria Morton and Alasdair Gray.

Returning to Glasgow this month, Alvvays’ vocalist Molly Rankin shares her thoughts on travel, identity and the genius of Magnetic Fields’ genius Stephin Merritt.

Theatre: Looking forward to Manipulate festival, returning to these shores at the end of the month, plus a review of A Christmas Carol.

Does Kit Harington really know nothing? We find out by speaking to him about new wartime drama Testament of Youth. We also chat to Damien Chazelle, the writer-director of Oscars dark horse Whiplash.

Competitions: WIN! Game Masters and Belle & Sebastian tickets.

January 2015

50 Listings: Has two weeks of sitting in your

pants watching Christmas movies and Only Fools and Horses reruns left you thirsty for some culture? This lot should sort you out.

Contents

Editorial

Crystal Baws With Mystic Mark

appy New Year! She says, in mid December, over the strains of the Boney M Christmas album. Yes, due to the intricacies of our publishing schedule and communal desire for a Christmas break, this edition of The Skinny was created for you way back in darkest mid-December, before our lives were all changed by [insert major news story here] and [insert celebrity name here] did that totally scandalous thing, and before the Queen rocked the nation by announcing [insert thing here]. Crazy eh? As is traditional, we kick off the New Year with the results of that Food and Drink Survey we’ve been badgering you to vote in since way back in that long-lost summer. Thankfully for us, you heeded our calls in your droves. The thousands of votes have now been counted and tallied, and we present a special food and boozy supplement celebrating the best that Edinburgh and Glasgow have to offer, from p10. As well as learning all about your favourite beers, bars, restaurants and food shops, this year’s survey also reveals our Food editor’s deep and abiding hatred for sharing his meals. So that’s interesting. In Music, we managed to round up nearly a full complement of Belle and Sebastian band members for breakfast and a chat about their latest opus Girls in Peacetime Want to Dance, which reveals an as yet unexplored house influence for the tweecore originators. Former cover star Panda Bear is also back with fifth solo album Panda Bear Meets the Grim Reaper, for which he gave us some time to discuss death and Suzanne Vega. In a similarly uplifting vein, Philadelphian musician BC Camplight releases the cheerily titled How To Die In The North this month. He tells us about depression, substance abuse and musical redemption in Manchester on p21. We also have some words with Alvvays singer Molly Rankin, who is remarkably positive about life on the road, and Korn’s James ‘Munky’ Shaffer, who shares ten of the albums that have most influenced him.

Film has some words with Jon Snow, I mean actor Kit Harington, in town in his non-Game of Thrones capacity to promote new WW1 film Testament of Youth. He breaks from the usual actorly tradition of claiming it’s all only about ‘the craft’ to openly admit he craves film stardom, which is refreshing at least. We also find out all about Kickstarter-funded release Beyond Clueless, a teen movie which is a homage to teen movies and includes bits of more than 200 teen movies (although the fact that its 90s start date means Heathers isn’t one of them is, frankly, a travesty). We’re all very excited about it, and the Cameo screening with a Q&A with startlingly young (23!) director Charlie Lyne, who was also kind enough to tell our writer all about his inspirations. In Art, our section editor has interrogated gallerists and curators across the land to glean the information required to look forward to the exhibitions planned for Scotland in the coming year. We also take a closer look at a Portrait Gallery exhibition exploring degrading apartheid-era Johannesburg tower block Ponte City, a symbol of segregation, inequality and changing economics. In Books, we take a trip to Gothenburg Book Fair to find out what the next trend in Nordic literature is going to be – ‘feelgood,’ apparently. In Theatre, we look forward to two exciting programmes for the new year, with a tour through the National Theatre Scotland’s plans for 2015 plus an in-depth exploration into acclaimed annual puppetry and visual theatre festival Manipulate, returning at the end of the month. Finally (not really finally, but finally for this introduction), we celebrate the spirit of January self-improvement with a thesis on the transformative effect of solitary travel. Loneliness and boredom could improve your life – you heard it here first. [Rosamund West]

d e

ARIES Your dog does a giant turd in the park. It’s so big that people walk over to comment on it, joggers stop to take photos on their phones. It is, without question, the most exciting thing that will ever happen in your life. TAURUS The one thing that makes life worth living is knowing that someone out there cares about you. You’d love that, just once. GEMINI In many ways you’re like an egg. You make a mess when thrown from a window. CANCER What do you get the person who has everything? Shelves. LEO Spiritually, the proper way to love another being is to lightly run your finger over the person’s soul until you find their crack, then jam your thumb in it. VIRGO Despite the doctors only giving you a month to live you shock and disappoint everybody by surviving much longer. LIBRA You’re like a precious flower; you attract wasps.

i j

SCORPIO Believing in the afterlife is rather like smashing your computer to bits and imagining it’s still doing spreadsheets in another realm. SAGITTARIUS You’ve got locked-in syndrome. You can never find your keys. CAPRICORN This month Nuts magazine gives you the award for ‘Most Fuckable Human Body.’

AQUARIUS The fetus in your womb never stops growing and won’t come out, eventually growing so large its hands fit inside your arms like gloves, and it wears your legs like a pair of trousers, walking you around like an illfitting suit and shitting inside your arse like a flesh-nappy.

PISCES Men only feel the need to use things like Ball-Sac Anti-Aging Cream because they are bombarded with unrealistic images of the perfect ball-sac everyday on TV and in magazines. The shiny, creaseless, digitally retouched ball-sacs we see plastered all over the media tell men that their shrivelled, walnutlike sacs are hideous and should be hidden from sight behind a thick layer of jeans.

twitter.com/themysticmark facebook.com/themysticmark

Spot the Difference

Shot Of The Month

Fatherson supporting We Were Promised Jetpacks at QMU, 13 December by Elliott Hatherley

TWO DRAGONS These two dragons look very similar. But there are some subtle differences between them – can you spot them? If you think you know the answer and fancy a chance at winning a copy of Peanuts Guide to Love by Charles Schulz, courtesy of our good friends at Canongate, head along to theskinny.co.uk/about/competitions and let us know.

THIS MONTHS' COVER ARTIST Caroline Dowsett is an illustrator who works with small brushes, ink, gouache and a sprinkling of digital. She works from her shared studio at Islington Mill. She is influenced by life's simple pleasures and mid-century children's books. carolinedowsett.co.uk | @carolinedowsett

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THE SKINNY

January 2015

Compiled by: Anna Docherty

Our first Heads Up of the year – oh, hey, Happy New Year! – takes in a whole bunch of cultural goodness, including annual folkie celebration Celtic Connections, an Edinburgh outing for Warpaint, a new showcase of work from Romany Dear, the start of Manipulate Festival, and oodles more...

Sat 3 Jan

E'er relied upon to provide the first proper blowout of the year, Sub Club hand over the reins to the Rinse FM troops for the evening, who in turn entrust deck duties to their newest recruit, talented Glasgow DJ/producer Jasper James (aka son of Subbie's very own Harri), dipping into his eclectic collection for the full four hours. Sub Club, Glasgow, 11pm, £7

Kicking off the new year in its usual merry musical way, King Tut's host its annual January blues beater – New Year's Revolution – with 30-odd bands playing over multiple nights, amongst 'em headline sets from Divides (who open proceedings), June Bug, Halo Tora, Jakil, and more. See listings for full schedule. King Tut's, Glasgow, 3-17 Jan, various times and prices Jasper James

Jakil

Sat 10 Jan

Sun 11 Jan

King Tut's New Year's Revolution schedule continues with a headline set from Comets & Cartwheels-signed dream pop quintet Kill The Waves, built on a gentle musical patchwork of electronic loops, guitars, strings, and (former math's teacher) Tim Kwant's emotive vocals. Support comes from Amatrart, Static Future, and Woodwife. King Tut's, Glasgow, 8.30pm, £6.50

Infrequent but always welcome visitors on the live circuit, Bis relive their finest hyper-pop moments with a special hometown show at Stereo, out and celebrating 20 years of tune-making ahead of their upcoming Anthology LP and string of re-releases. So, aye, expect a set of classics interspersed with some promised new material. Stereo, Glasgow, 7pm, £8

Members of The Phantom Band (Andy Wake & Duncan Marquiss) and Mogwai (Stuart Braithwaite and Martin Bullochand) unveil the fruits of their Krautrock-worshipping collab project with Faust's Hans Joachim Irmler – Musik / Reise – kicking off with a solo set from Irmler, before all five musicians perform a batch of specially-created material. Platform, Glasgow, 7pm, £10

DCA's showcase of American new media artist and light engineer Jim Campbell continues into January – marking his first solo exhibition in the UK, no less – setting the gallery a-twinkle with his room-sized light installations, including Tilted Plane, made up of hundreds of suspended lightbulbs replaced by LED technology. DCA, Dundee, until 25 Jan, free

Bis

Kill The Waves

The Phantom Band's Andy Wake

Credit: Heidi Kuisma

Fri 9 Jan

Credit: Gemma Burke

Thu 8 Jan

Jim Campbell, Tilted Plane

Fri 16 Jan

Sat 17 Jan

Kicking off this year's festival on a reflectively celebratory note, Celtic Connections opens with the world premiere of Martyn Bennett's final piece, Grit, on the 10th anniversary of the musician's passing – with violinist/composer Greg Lawson reconstructing the piece for a cast of 80+ musicians and singers. Glasgow Royal Concert Hall, Glasgow, 7.30pm, from £21

So far marking 2015 with a bounty of special guests (see also their Medlar and Friends outing, 9 January), the In Deep troops make merry for a Firecracker Records special – soundtracked by label boss Lindsay Todd (aka House of Traps), alongside the luxuriant house swells of yer man Fudge Fingas, both playing all-vinyl selections. Sneaky Pete's, Edinburgh, 11pm, £5

Joining forces for twice the party, Sub Club's resident Subculture night (aka the eclectic house sounds of longstanding locals Harri & Domenic, on't go for 20+ years) unite with M8-straddling monthly merrymakers Thunder Disco Club, well kent for their love of 90s house, techno, and disco hits, for a night of enforced dancin'. Sub Club, Glasgow, 11pm, £tbc

Martyn Bennett

Fudge Fingas

Wed 21 Jan

Thu 22 Jan

Fri 23 Jan

Drawn by the shining lights o' the big city, Highland boutique label Middle of Nowhere Recordings journey Glasgow-way for a showcase special as part of Celtic Connections, taking in sets from muchlauded young Scottish folkstress Rachel Sermanni, plus Roddy Hart, Colin MacLeod, and new signings Sorren Maclean and Miss Irenie Rose. Òran Mór, Glasgow, 7.30pm, £14

Award-winning director Virginia Heath's archive footage-compiled From Scotland With Love enjoys a bells'n'whistles airing as part of Celtic Connections, with folkie Fifer King Creosote on hand to perform his transportive score, this time augmented by a ten-piece band. Support comes from New Zealand trio Tiny Ruin. Glasgow Royal Concert Hall, Glasgow, 7.30pm, £20

Bristol-based DJ/blogging collective Eton Messy join forces with genre-hopping teenage DJ duo Bondax for a night of messiness down't The Arches – with Eton Messy manning the Back Arch with guests Blonde, Karma Kid, and Just Kiddin, while Bondax hole up in the Front Arch with TCTS and Kidnap Kid. The Arches, Glasgow, 10pm, from £10

Rachel Sermanni

Credit: Rene Passet

Thu 15 Jan

Thunder Disco Club

From Scotland With Love

Bondax

Tue 27 Jan

Wed 28 Jan

Thu 29 Jan

Following a run in Singapore, Scottish/ Singaporean artist Ramesh Meyyappan takes his multidisciplinary adaptation of Madame Butterfly – Butterfly – on tour, featuring puppetry by Gavin Glover, music by David Paul Jones, and a stage stint from Ramesh himself. Also at Edinburgh's Festival Theatre (as part of Manipulate), 5 Feb. The Arches, Glasgow, 7.30pm, £14 (£10)

Reworked for 2014 with new 3D imaging and cast, Park arrives in Glasgow for a one-night-only date, with the talented bunch at Jasmin Vardimon Company telling the story of a decaying urban park under threat of development, told via an ensemble cast of eight contemporary dancers who flit between human and creature-like forms. Theatre Royal, Glasgow, 7.30pm, from £12

Scottish Opera hit the road for the annual Opera Highlights tour of remote Scottish venues, where – armed only with a piano, some props, and four singers – they'll perform a selection of popular operas and lesser-kent treats, including a world premiere from new composer in residence, Lliam Paterson. Kicking off in Rutherglen Town Hall. Various venues, Scotland, 29 Jan-7 Mar, £11 (£5)

Butterfly

Chat

Park

Opera Highlights

THE SKINNY

Credit: Nick Bojdo

Heads Up

Fri 2 Jan

Mon 5 Jan

Tue 6 Jan

Wed 7 Jan

Dipping a few years back into the archive, the Filmhouse dig out Sylvain Chomet's 2010 animated gem, The Illusionist, for a one-off airing – conjuring a romantic vision of the capital city to tell its tale of an over-the-hill magician in search of work, who along the way acquires a young companion who believes in him. D'aww. Filmhouse, Edinburgh, 1pm, £8.20 (£6)

Self proclaimed 'improv warlord' Billy Kirkwood returns to brighten yer Mondays with his anything goes comedy sketch show, Improv Wars – for which he'll be joined by team captains Gary Dobson and Stu Murphy, leading a select team of guests who'll dutifully do their best to sculpt laughs from whatever suggestions the audience throw at 'em. The Stand, Glasgow, 8.30pm, £4 (£2)

Funnyman Richard Melvin holes up for another of his Richard Melvin Presents... nights, this time introducing a new batch of live radio recordings, with Phill Jupitus performing a couple of his poems for the new series of 4 Extra Stands Up, John Moloney recording some segments for Gospel, and Julia Sutherland performing an extract of Fat Chance. The Stand, Edinburgh, 8.30pm, free (but ticketed)

Keeping the festive season alive a little longer, Scottish Ballet stage their sparkly retelling of The Nutcracker, crafted by the company's founding artistic director Peter Durrell, and bolstered by the talents of Olivier Award-winning designer Lez Brotherstona, plus The Scottish Ballet Orchestra performing Tchaikovsky's magical score. Theatre Royal, Glasgow, 7-10 Jan, from £8.50

The Illusionist

Billy Kirkwood

Mon 12 Jan

Phill Jupitus

Tue 13 Jan

Wed 14 Jan

Having mused on particle physics and evolutionary biology, comic-cum-science enthusiast Robin Ince tours his new show – Blooming Buzzing Confusion – this time dissecting the human brain in an attempt to discover how much conscious free will we have, y'know what with the majority of our brain not even knowing we exist. Also at Glasgow's The Stand on 28 January. The Stand, Edinburgh, 8.30pm, £14 (£12)

Showcasing new work from the final year pups on the BA Contemporary Performance Practice course at Royal Conservatoire of Scotland, Into The New kicks off with a symposium inviting guest artists to consider whether the body in performance can be a site for the resolution of dualism, bolstered by a key-note speech from Guillermo Gómez-Peña. The Arches, Glasgow, 12-15 Jan, £tbc Into The New

Mon 19 Jan

Returning for more in the way of lazy nu-folk with a campfire glow, Hazy Recollections returns for its Celtic Connections Sunday afternoon residency – kicking off with sets from Chrissy Barnacle, Loki with Becci Wallace, Tommy Reilly, and The Hazey Janes. Also on 25 January and 1 February. O2 ABC, Glasgow, 2.30pm, £12

Having graced our 100 issue cover back in January last year, Warpaint return to our shores as part of their biggest UK tour to date – with the marriage of Emily Kokal's plaintive vocals and Theresa Wayman's spidery arpeggios navigating the indie-rock template with grit and grace, backed by bassist Jenny Lee Lindberg and drummer Stella Mozgawa. Usher Hall, Edinburgh, 7pm, £22 Warpaint

Credit: Daniel Harris

Credit: The Hazey Janes

Die Antwoord

Robin Ince

Helping Citizens mark the start of its 70th birthday year, young UK theatre company Filter return with another of their fresh approaches to Shakespeare – this time taking on Macbeth, embroidering the Bard's psychological thriller of ambition, power and witchcraft with their own innovative sound and music. Citizens Theatre, Glasgow, 20-31 Jan, various times, from £12.50 Filter's Macbeth

Sat 24 Jan

Sun 25 Jan

Mon 26 Jan

As part of a partnership with Sheffield's S1 Artspace, Glasgow Sculpture Studios host Till The Stars Turn Cold, featuring new works by six contemporary artists – Tyler Coburn, Michael Dean, Kathryn Elkin, Josh Kline, Megan Rooney, and Cally Spooner – all with an interest in objects and bodies that carry speech. Glasgow Sculpture Studios,

Following an Edinburgh outing at the start o' the weekend (23 January, The Counting House, 7.30pm), the Rally & Broad literary merrymakers skip across to Glasgow for round two of their apology-themed specials, with guests Liz Lochhead, Loki and The Kartel, Kirsty Logan, Shambles Miller, and Kevin Gilday confessing all. Stereo, Glasgow, 2.30pm, £5

Embarking on a UK tour following a sell-out run at London's Hyde Park, Cirque Berserk hits the road with a batch of its loopiest stunt acts, including Globe of Death (ach, y'know, just three motorcyclists speeding at 60mph inside a steel cage which splits open as they ride), plus a world record-holding strong man, 30+ jugglers, aerial artists, and more. The King's Theatre, Glasgow, 26-28 Jan, from £19

Till The Stars Turn Cold

With news that they'll take the lead roles (as themselves) in District 9 director Neill Blomkamp's new sci-fi comedy, Chappie, fingers in many pies lot Die Antwoord – aka South African rap-meets-rave trio Ninja, Yo-Landi, Vi$$er, and DJ Hi-Tek (birth names, natch) – hit our shores for a live set of their distinct musical mayhem. O2 Academy, Glasgow, 7pm, £19.50

Tue 20 Jan

Sun 18 Jan

The Hazey Janes

The Nutcracker

Rally & Broad

Cirque Berserk

Mon 1 Feb

Tues 2 Feb

Warranting a jaunt to the wilds of Aberdeen, Manipulate Festival kicks off its eighth year with a double bill at The Lemon Tree – taking in the UK premiere of CEC's modern take of Tristan and Isolde's tragedy, Tristissimo; and the world premiere of Spotted Stripes Circus' Frankensteinthemed solo piece, Welcome My Son. The Lemon Tree, Aberdeen, 7pm, £11

Winner of our RSA New Contemporaries 2012 award, artist and choreographer Romany Dear takes to Glasgow's CCA to showcase a new body of work – Dancing In A Circle Is A Reminder That We Are Part Of The Whole – offering an early overview of her collaborative and individual practice, bolstered by a programme of live performance. CCA, Glasgow, 31 Jan-15 Mar, free

In celebratory mode for its 25th anniversary shenanigans, King Tut's kicks off a month of special giggage with a set from American singer/songwriter Ryan Bingham, before welcoming the likes of We Were Promised Jetpacks (5 February), The Twilight Sad (6 February), Fatherson (19 February), and more. King Tut's, Glasgow, 8.30pm, £13.50

Unveiling the fruits of five months of work spent squirreled away with animator Thomas Hicks, a batch of third year Digital Media students from Gray's School of Art present a new series of six short films – under the banner Elegies and Inspirations – each responding to the songs of a local musician/band. Part of Manipulate Festival. Traverse Theatre, Edinburgh, 9pm, £8

January 2015

Romany Dear, When I Move, You Move

Credit: Simon Worthington

Sat 31 Jan

Credit: Alice Guazzotti

Fri 30 Jan

Tristissimo

Credit: Andrew Ross

Sun 4 Jan

We Were Promised Jetpacks

Thomas Hicks

Chat

The Skinny Food and Drink Survey 2015

Pubs! What are they good for? Here are your Favourite Pubs and Bars in Glasgow and Edinburgh, each of them special in their own way Words: Peter Simpson

Words: Peter Simpson

ere at The Skinny Food and Drink Survey, we have some bad news – we're officially over the hill. This is our fourth iteration, you see, and as we all know it's very rare for an idea to survive beyond an initial trilogy with its dignity still intact. We're firmly into Phantom Menace territory, and it's only the prohibitive cost of licensing images of Jar Jar Binks that's keeping this survey from going in a radical new direction. Only kidding, we're as lively as ever, and it's all thanks to you lovely people. That's the beauty of this survey – it's powered by good food, and switched-on readers, and we have lots of both of those. As 2015 starts, Edinburgh and Glasgow's culinary scenes remain in pretty good health, with new blood and exciting venues springing up from Leith to Finnieston, and a host of new faces joining some of your established favourites in this year's results. You've responded admirably, casting more votes in the survey than ever before,

so thanks – this would all be literally pointless if it wasn't for you lot, so cheers for your input. Across the next eight pages, we profile your favourite breweries, add some fuel to the interM8 rivalry while highlighting your top cafes, and acquire some intel on what to do if you get all ‘inspired’ and decide to set up your own place. Your favourite on-the-go venues and food shops get the Phagomania treatment (sorry about that), and we look at your favourite world food spots and venues for all that dating you lot get up to. You'll find the full list of winners at the end, along with a round-up of the results from those whipper-snappers in our Northwest edition. So grab your knives and forks, clear your schedules, alert your friends and lock up your pets – it's time to eat, drink and make merry in your favourite food and drink venues, no irritating sidekicks required. theskinny.co.uk/food

Nobles

here are hundreds of bars across Scotland, each with their own unique twists and little foibles that make them special, so choosing which one to head to for a drink can be a bit tricky. Let's look, in no particular order, at your top seven from this year's Survey (there was a three-way tie for fifth place) to see just what makes them stand out, and help cut down on the time spent deliberating over where to spend your evening. Let's keep it simple at first, and deal with those of you who want a ‘proper pub.’ Well, The Belle on Glasgow's Great Western Road fits the bill for that – there's a genuine fire, a great range of beers, the occasional live band, and non-outrageous prices. That's the kind of combination that wins you votes. If you're after good beer but fancy heading ‘outside’ to drink it, look no further than Inn Deep, just down the road on the banks of the Kelvin. The leafiest outpost of the burgeoning Williams Bros. empire, Inn Deep makes the most of its location by laying on a huge range of guest beers as well as Williams’ brews, and the interior is cosy and comfy for the 51 weeks of the year when going al fresco isn't really an option. For those of you who like their bars quirky and unpredictable, Hillhead Bookclub's splitlevel wood-clad space is the place for be. The former cinema off Byres Road is a great place to spend the evening getting distracted by the architectural details and weird stuff on show, and if that doesn't sound like your kind of thing, the Bookclub also features a table tennis cage. ‘Something for everyone’ is the expression, we believe.

Over in Edinburgh, the lovingly-restored Victorian features of Nobles on Constitution Street would be worth a visit under any circumstances, but the great beer range and nice modern touches inside mean that your trip may well extend a bit longer than planned (always a sign of a good bar, we find). For those who believe a trip to the pub isn't complete without some topnotch food, The Vintage are glad to be of assistance. The Vintage menu ranges from the usual burgers and platters through to gastro fare such as slow-roasted hare and braised ox cheeks; throw in one of the best beer lists in the city and your self-appointed task of getting through dinner and drinks while moving as little as possible just became a lot easier. If you reckon a pub should be a place to lay back and relax, then the Leith outpost of the Brass Monkey is the survey winner for you. A larger and more spacious version of its Drummond Street namesake, the Monkey melds a good drinks range and a solid soundtrack with the kind of laid-back atmosphere that makes the place feel like a giant living room. Granted, it's a living room filled with strangers, but you'll still feel right at home. And for those of you who like a bit of variety in your evenings out, The Hanging Bat on Lothian Road is a good place to start. The Bat have dozens of great beers on the go at any one time, drawn from brewers and producers from across the UK and beyond, as well as a big range of artisan spirits and a thoroughly meaty food menu. Well, as we've seen from this year's survey, you lot do like variety in your bars... Full results on p.17

The Hanging Bat

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FOOD AND DRINK SURVEY

THE SKINNY

The Not-so-Far East Your winners in this year's International Food category hail from across Asia – grab your culinary passports as we take a closer look at each

Best beers We run the rule over your Favourite Scottish breweries from this year's Food and Drink survey Words: Peter Simpson

Words: Peter Simpson

Williams Bros Appearance: Williams are like a great rock band – it feels like they've been around forever, but they're still more than able to take a risk and fire out something new and exciting. Heritage: Established in Alloa in 1988, Williams came in on the ground floor of Scotland's craft beer revolution. In fact, Williams are from a time before we called nice beer ‘craft beer,’ and just called it ‘nice beer.’ Strictly speaking, they're from a time before many of us were calling anything anything – we were still in the ‘chewing on our own hands and watching Teenage Mutant Hero Turtles’ phase. They've got history, is our point. Style: A true mix of beers from across the main styles. Their famous Fraoch heather ale remains a favourite, and Williams also do a fine line in session beers such as Birds & Bees and Grozet. Their broad output is perhaps best summed up in the brilliant IPA/lager hybrid Caesar Augustus, which confuses then delights the palate no matter how many times you look at the label.

WEST

The Hanoi Bike Shop

Mother India's Cafe A mainstay of the food scenes in both Edinburgh and Glasgow, the tapas style of Mother India's Cafe combines the flavours of India with the communal vibes of Spain. Sure, that results in the occasional ‘heated debate’ around the dinner table when stand-out dishes like the spiced haddock emerge and everyone else decides that they want to share after all, but it's a small problem to have. The menu is full of well-prepared and beautifully balanced dishes for both veggies and carnivores alike, and the format means that – providing you can work as a team – a single meal can contain a huge range of flavours and styles. Just play nice and you'll be fine.

The Hanoi Bike Shop Step in the door at Hanoi Bike Shop in Glasgow's West End and you're immediately transported to a Vietnamese cafe. Not literally of course, that would be pretty inconvenient, but the exciting dishes and omnipresent odour of fish sauce certainly make an immediate impression. The stars of the show are the Bike Shop's bowls of pho, packed with flavour and served with a garden's worth of herbs and leaves to customise your noodle soup to your liking, while the lunchtime Banh Mi sandwiches are a great way to convince more skeptical friends to get on board with Vietnamese cuisine.

Ting Thai Caravan Forget travelling around the world, Edinburgh residents entering Ting Thai Caravan must think they've stepped into a magical portal to Glasgow. Exciting, modern food in a stripped-back setting

with great prices and a cool atmosphere? West coast witchcraft, surely. Judging by the constant flow of satisfied diners through its doors at all times of day and night, the people of the capital are keen to keep the Caravan in situ, and you can't blame them – expect exciting seafood, fragrant curries, and an incredible drinks list including a surprisingly sharp Thai rum daiquiri and a super-syrupy lemongrass and ginger juice.

Nanakusa The many forms and facets that make up Japanese cuisine each get a solid airing at Nanakusa in the heart of Glasgow, starting with the interior. The austere but stylish decor echoes the traditional sushi bar look, and the food goes a long way to obscuring the fact that we're still in Scotland. A huge range of sushi, noodles, tempura, bento and much more are on offer, so whichever taste of Japan it is that you desire, Nanakusa should be able to help.

Babu Bombay Street Kitchen

Appearance: Slick, efficient, crisp; WEST are smooth operators who aren't for showy displays of humour or trying too hard to be cool. They make tasty beer, and you drink it because it's really tasty. Heritage: They've been on the go since 2006, and earn high marks for their insistence on brewing all of their beers in strict adherence to the German Purity Laws of 1516. Sticking to a 500-year-old set of rules – that's respecting the past, and then some. Style: WEST make some top notch lagers, from the lighter 4 through to their near-ale Munich Red, via the ubiquitous and local-history-riffing St. Mungo. They also gain style points for their prime location at the Templeton Buildings right on Glasgow Green, with a bar and restaurant alongside the brewery. Well, there's no point in making great beer and serving it from a shed, is there?

Pilot Appearance: Cool design, an interesting location and a host of exciting and innovative brews, Pilot's beers are about fun. Well, fun and puns, but we'll get to that in a couple of paragraphs. Heritage: The Pilot duo of Patrick Jones and Matt Johnson launched their first beer as 2013 came to a close, and in doing so revived the dormant tradition of brewing in Leith. They're young and historic at the same time – good work!

The second of our winners to fly the flag for Indian cuisine, Babu are keen to see their food go as far and wide as possible. Their regular appearances at farmers’ markets in both Glasgow and Edinburgh see Babu dishing out their street food take on Indian classics come rain or… well, probably more rain, while their West Regent Street space is an option at any time of day thanks to their takeaway tiffin boxes and brilliant range of breakfast and lunch wraps. How they can be in so many places at once is beyond us, but we're impressed.

Style: Expect the unexpected. From their brilliant signature Iced Tea Ale to regular one-offs and collaborations with breweries and brewpubs from across the city and beyond, Pilot like to bring interesting flavours into the mix. They also like a pun, and displayed both qualities in their sweet-infused brew Parma Violence earlier this year. Yep. Parma Violence.

Brewdog Appearance: They'll drive a tank down the street to prove a point, and aren't above sticking a double-digit ABV inside a dead animal. Brewdog have always been agent provocateurs in Scotland's beer scene, but as we all learned a long time ago, they back it up with some great beers. Heritage: They may have moved up the road from their Fraserburgh home, but as they enter their 9th year the Brewdog crew still stick to their now time-honoured traditions – fan shareholding in the company, a constantly evolving beer slate, and a ceaseless appetite for expansion and new ideas. Style: Hops. Lots of hops. Brewdog pride themselves on starting a party in your mouth where everyone's invited, and while some of their experiments can prove to be for the discerning palate, the likes of ‘Dead Pony’ and the classic ‘Punk IPA’ can bring anyone on board. From there, expect a huge range of collabs and limited-run beers at your local Brewdog bar (and there will be one nearby).

Drygate Appearance: Quirky, but in a good way. From the beardy label art to the Nathan Coley-esque allcaps signage above the door, Drygate have a distinctive feel and an obvious sense of ambition. In the words of fellow facial hair enthusiast Freddie Mercury, they want it all, and they want it now. Heritage: The newest of our winners, Drygate opened this year in the shadow of Tennent's Wellpark Brewery having been founded in a tie-up between Tennent's and Williams. That said, Drygate are keen to bust out on their own, and make their own way in the world. Good for them. Style: Experimental. Beyond their core range, which includes an apple ale and a lager entitled Bearface, the Drygate set-up is designed to allow brewers to collaborate and come up with new beer ideas. It's also ‘experiential,’ with the whole brewing process on site for us all to gawp at in wide-eyed bemusement, and a studio brewing kit for groups of the public to use in much the same way. Full results on p.17

Brewdog

January 2015

FOOD AND DRINK SURVEY

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Restaurant & Bar

Join us for some fabulous fresh food and locally sourced produce, enjoy a seasonal malt from the largest whisky selection in the New Town or try a tipple from our new Scottish craft beer selection. 43 Rose Street Edinburgh EH2 2NH tel: 0131 225 8028 www.therosehipedinburgh.com

THE SKINNY

Phagomania: Take It Away

A Brave New World

When we asked our resident Phagomaniac to come up with a way of combining the winners in the Best Shop and On-The-Go categories, we didn't think he'd take it literally…

For those of you feeling inspired by all this food talk, we ask a few of your Favourite Newcomers for their tips on getting a venue off the ground Words: Peter Simpson

Words: Lewis MacDonald

Drygate

he results of this year's survey tell us a few things, but one key thing is clear – the sandwich is back, baby. Tired of burgers, pulled pork and other US imports? The good old British sandwich has a lot to offer, even if in this case nothing entirely British is inside the thing. Sandwiches are featuring highly on the menus of this year's on-the-go winners (and before you start bombarding us with irate emails, a burrito counts as a sandwich, at least according to New York City law). To honour the winners in our categories for best food on the move and best food shop, we've been ensconced in the kitchen to create this beautiful tribute which accidentally looks a bit like a rag doll. Let's try and un-see that, and take a closer look at this Scooby Doo-esque creation from the bottom up:

The first layer Fresh deli hummus sets the foundation, with sweet potato wedges and red pepper, courtesy of Glasgow's Roots and Fruits – making decadence healthy. We also found an amazing Bavarian Bakery spelt and honey loaf in there, which houses this madness.

The second layer We mix things up with curried chicken breast pieces from Waitrose and fiery hot sauce from Lupe Pintos deli. It may not be an authentic recipe we're working to, but we're in Mexico and India in both spirit and spice.

January 2015

The third layer Just in case there wasn't already enough meat, cue a whole German Fleischwurst and gherkins from, where else, Lidl.

The fourth layer We're getting somewhere now, and we know what you're thinking – where's the cheese at? Some Monterey Jack and jalapeños from Lupe's will do it, setting the scene for our headliner...

The final layer A burrito – that's right, this is a sandwich within a sandwich. You can make your own using ingredients from right across your winning shops, or just do what we did and cheat by getting it from Taco Mazama. It's packed with our personal favourite slow roasted pork and the extra hot salsa. You know, the one with the sweetcorn in it.

The garnish/ dessert After all that savoury, we need a dessert, hence the Lidl caramel wafer. Oh, and for a touch of refinement, an olive garnish from Waitrose. Come on, we're not monsters.

To drink You'll be in need of something to wash all that down. We recommend some organic beetroot juice from Real Foods – after all, you do have to watch what you eat. theskinny.co.uk/food/phagomania

hile there’s something reassuring about that old haunt whose every nook and cranny you know inside out, you can’t deny the appeal of a shiny, exciting new place to check out. After all, this year’s hip new place is next year’s established hangout, and it’s always good to become ‘one of the regulars’ before all those johnny-come-latelys try to muscle in. This year’s crop of favourite new venues run the full gamut of Scottish food and drink, from neo-cuisine and cool cafes to edgy pubs and hip breweries. It’s enough to make anyone fancy setting up their own venue. Just think – you could bring your unique culinary ideas to the attention of the wider world, or at very least make sure that there’s at least one pub where you’re guaranteed a seat. To help you on your way, we got in touch with Stuart Ralston at Edinburgh neo-bistro Aizle, Kenny Grieve of Glasgow cafe No Way Back, and the team at Glasgow’s experiential brewery Drygate for their top tips on what to do, and what not to do, when starting your own venue. First thing’s first – know what it is that you want to do, and resolve to… well, do it. Properly. It’s a trait that all of this year’s newcomers have in spades – from The Lioness of Leith’s punk murals and Aizle’s totally seasonal menu to Ox and Finch’s sharing plates and No Way Back’s cool cafe vibe, each of your selections has a real feeling of purpose. As Ralston puts it: “Have a clear vision that you want to do well, don’t try to cater to every single type of diner. Do one thing well – if you believe in what you’re doing hard enough, you will be OK.” That vision and belief are also key down the other end of the M8 for Drygate, who say the key is to let their adoring public go on the same journey that the team find themselves on. “We’re passionate about brewing fearlessly,” say the Drygate team, “creating exceptional craft beer and helping other people experience that adventure – from watching the brewery in action to having a go at brewing your own.” So with your vision defined and your overarching aims clarified and written down somewhere for safe keeping, the Drygate crew suggest aiming to make a splash by offering something that can’t be found elsewhere, or a twist that

no-one else has thought of yet. They tell us that it’s about “having the courage to push beyond convention – what’s adventurous? What’s innovative?” That said, there’s no reason to make a martyr of yourself at the altar of food, or to soldier on without assistance. As No Way Back’s Kenny Grieve succinctly puts it: “Don’t be proud, take all help that’s offered.” Also remember that there’s a fine line between boundary-pushing and annoying people, and it’s one you’ll have to keep your eye on. “Don’t stick with something – be it an idea or a product – if it’s not working,” says Ralston. “Change and adaptability is essential to finding the right balance.”

“Do one thing well – if you believe in what you're doing hard enough, you will be OK” Stuart Ralston, Aizle

Of course, if you do decide to take this year’s survey as a cue to get into the world of food, the simple fact is you’re going to hit some rough patches. Positivity in the early days is key; when it comes to the thorny issue of money, Ralston recommends making “pessimistic estimations that you can achieve and possibly beat, rather than struggle to get anywhere near them.” No Way Back’s Greive has some fairly straightforward advice when it comes to money: “Set a budget (then double it).” Oh, and don’t flip out if someone doesn’t fawn over you, instead “take the constructive sides of feedback” (Ralston) and “listen to your customers” (Grieve). So, to recap – for a great new venue you’ll need one fully-formed vision, a hefty amount of passion, a splash of innovation, a pinch of restraint, a dose of realism and an ear for feedback. Work the mixture for approximately one year, and who knows what you might come up with... Full results on p.17

FOOD AND DRINK SURVEY

Feature

Save the Date

A Tale of Two Cities

Here are your Favourite Food Venues for a Date – we've worked out which romantic scenario they suit best

We stir things up a bit to take a look at this year's Best Cafe Winners

Words: Peter Simpson

Timberyard

For a first date… Hillhead Bookclub Any first date needs an icebreaker, and Hillhead Bookclub has plenty of them. An exciting interior, a great drinks list filled with interesting cocktails at date-friendly prices, a regular rotation of DJs and events to help you through any lulls in conversation, and a ping-pong table in case you feel like injecting a bit of energy into proceedings. You can learn a lot about someone by their willingness to let you win a meaningless competition; be sure to make a mental note of the outcome.

For a holi-date… Inn Deep When the stars align and two people who want to meet up on a sunny weekday both have the time off work, it's important that they capitalise on that. Inn Deep's Kelvinbridge location is perfect – go for a jolly stroll through the park, look out onto the river, have a good old laugh at all the unhappy working people roundabout, then head down to the bar's riverside beer garden for a pint and a chat.

For a night out with a well-trained partner… Ox and Finch A stable relationship is in no way required to enjoy Ox and Finch, the tapas-style restaurant from Street Food Cartel co-founder Jonathan MacDonald, but we reckon it might be advisable to get past the first few dates before visiting the Finnieston spot. Why? Sharing plates, that's why. Nobody wants to lose a perfectly good companion over a piece of steak or a delicate ox cheek, but this stuff is so good that it'd be

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a bright idea to clarify your rules on sharing before heading down. Visit this one to celebrate great Scottish cooking, and your tolerance for your partner's love of taking huge chunks out of your dinner.

For when time is no object… The Vintage Situated down by the shore in Leith, the location and concept of The Vintage really does lend itself to the kind of meetup that vastly overruns its initial timeslot. The food menu packs a real punch, the laid-back ambience of the place is infectious, and the constantly-rotating craft beers provide a talking point and reason to stay for another drink. Clear your schedule, arrange a two-hour lunch date, and watch the time fly by.

For a special occasion… Timberyard The super-cool decor, the Nordic-inflected menu, and the sheer friendliness of the Radford family behind Timberyard marks this place the one for that ‘big event.’ Mention the name in polite company and you're met with mentions of weddings, anniversaries and engagements, all celebrated within Timberyard's stark but striking interior in a former timber warehouse in the West Port. If you're invited on a date to Timberyard, expect something interesting to happen, and some incredible food to boot. Full results on p17

Papercup

ivalries of any size are exciting, but it's the lasting ones, like light versus darkness, or dogs versus cats, that provide the best entertainment. Add to that list of eternal struggles the rivalry between Edinburgh and Glasgow – the tweedy, touristy capital city up against its gritty, edgy bigger brother, the two locked in a constant battle to be considered ‘the cool one.’ We like them both, and so do you – but which is better, eh? Let's find out, as we look at your favourite cafes in this year's voting. Let's face it, Glasgow's great, isn't it? It's a city that does the nebulous very well, in that almost every venue seems to have multiple uses. The Glad Cafe in Shawlands is a great example – one of your favourite cafes for the second year in a row, it provides a hub for the artistic community in the Southside, while also making a splash with its great menu and locally-sourced ingredients. It's a cafe-slash-venue-slash-bar-slash-gallery, and should the need arise it can probably fill in for any other type of venue you require. Even Glasgow's out-and-out coffee shops have a number of different functions – Papercup on Great Western Road is a great little cafe, with a whole host of blends and varieties on the go at any one time, and a pretty interesting food menu as well. But more than that, Papercup is also a coffee wholesaler, with their beans spread far and wide across the city and beyond. Papercup roast those beans themselves, you see, as well as selling them to other cafes, plus finding the time to actually make coffees themselves. Having said all that, Edinburgh's great too, isn't it? And far from being an architectural theme park with a couple of pandas thrown in, it actually houses a bunch of exciting and interesting venues

FOOD AND DRINK SURVEY

that don't involve waiting for a glimpse of nature's stupidest animal. You named Lovecrumbs as one of your Edinburgh favourites this year, and with good reason – anyone who fills an antique wardrobe with cakes is getting off to a good start, and when those cakes take in flavour combinations like sweet potato and toasted marshmallow, almond and bramble and white chocolate and pink peppercorn then you're on to a winner. Oh, and fans of the aforementioned history will be pleased to hear that the castle is just round the corner. In fact, even the tweedier suburbs of Edinburgh have plenty going for them cafe-wise, a statement that The Blue Bear in Canonmills attests to with some style. The Blue Bear combines its leafy location with a laid-back vibe, straightforward aesthetic and a frankly ludicrous breakfast and brunch menu that features the dish you always want, the one you would order if they didn't have the first one, and then loads more options you hadn't previously considered. Of course there are some things that we can all agree on, with the brilliance of Artisan Roast being one of them. Readers at both ends of the M8 voted in their droves for the coffee supremos, who source and roast their own beans, adorn the walls of their three cafes with complex coffeerelated diagrams, and make a flat white that'll get your day off to a flying start in that you'll feel like you might actually fly out the door. Edinburghers like their Broughton Street den and their spot in Bruntsfield, Glaswegians get to smell the magic happening at the roaster in the Gibson Street cafe, and we all get something to agree on for once. Full results on p17

THE SKINNY

ADVERTISING FEATURE

Cocktail Column

he good old days, eh? What were they like? Not all that good, to be honest – shorn of many of the advances we take for granted today, things were pretty tough back in ‘the past.’ Take the humble sailor, who not only had to find land without the aid of a GPS and keep himself entertained without Netflix, but had to deal with the possibility of developing scurvy and watching all his hair fall out. The diet wasn't great and it's tough to stay healthy when your days are spent bobbing around in the middle of the ocean. The solution to the sailors' health problems? Gin. Well, gin mixed with lime juice, which provided the vitamin C needed for healthy seafaring. This mix, known as a Gimlet, is a cocktail classic, and the Alternative Gimlet – designed by Emma Andrew of Edinburgh gin bar Heads and Tails – takes the drink firmly onto dry land. The Alternative Gimlet makes use of orange oleo, a favourite of bartenders for the past two centuries. It's straightforward to make at home, with orange peel, sugar and time the three key ingredients you'll need. Once your oleo is ready, mix it with some Cannonball Gin from Edinburgh Gin for a slightly nautical vibe, then shake, strain and serve. A simple but elegant cocktail with a nice citrus twang, it's one that your seafaring forebears would be proud of.

Authentic, traditional, Japanese family recipes, using fresh ingredients. Open 7 days for lunch and dinner at 10 Gillespie Place, Edinburgh. Outside catering for any occasion always available. Call us on 0131 281 0526 for reservations or enquiries, or check out our menu online at www.harajukukitchen.co.uk

THE ALTERNATIVE GIMLET

10 Gillespie Place

INGREDIENTS: 50ml Cannonball Gin from Edinburgh Gin 25ml Orange Oleo METHOD: To make orange oleo, place the peel of two oranges in a jar, then add the same weight of sugar and leave the mixture at room temperature. The sugar will extract the orange oils from the orange peel and create a liquid. Once most of the sugar has gone, strain the liquid from the peel – that liquid is Orange Oleo. Combine the Oleo and Cannonball Gin in a cocktail shaker. Shake & double strain. SERVING GLASS: Serve the Alternative Gimlet in a cocktail glass TO GARNISH: Orange Twist

0131 281 0526

Edinburgh

www.harajukukitchen.co.uk

Rutland Street, Edinburgh EH1 2AE www.headsandtalesbar.com

January 2015

THE SKINNY

The Winners The full list of winners from The Skinny's 2015 Food and Drink Survey in Glasgow and Edinburgh, as well as all the details you'll need to track them down and try their wares

Northwest: The Winners

Illustration: Caroline Dowsett Best Pub The Castle, 66 Oldham St, Manchester @thecastlehotel; Evil Eye, 208 Smithdown Rd, Liverpool | @evileyeburritos; Fallow Cafe, 2A Landcross Rd, Manchester | @fallowcafe; The Grapes, 60 Roscoe St, Liverpool; Marble Arch, 73 Rochdale Rd, Manchester | @TheMarbleArch

Best Cafe Best Pub

Best International Cuisine

Favourite Local Beer

Best Place On-The-Go

The Belle 617 Great Western Rd, Glasgow | 0141 339 2299

Babu Bombay Street Kitchen 186 W Regent St, Glasgow; various markets in Edinburgh and Glasgow 0141 204 4042 | @BabuKitchen

Brewdog Ellon | @brewdog

Babu Bombay Street Kitchen 186 W Regent St, Glasgow; various markets in Edinburgh and Glasgow 0141 204 4042 | @BabuKitchen

Brass Monkey 362 Leith Walk, Edinburgh 0131 554 5286 | @MonkeyLeith The Hanging Bat 133 Lothian Rd, Edinburgh 0131 229 0759 | @thehangingbat Hillhead Bookclub 17 Vinicombe, Glasgow 0141 576 1700 | @hhbookclub Inn Deep 445 Great Western Rd, Glasgow 0141 357 1075 | @inndeepbar Nobles 44a Constitution St, Edinburgh 0131 629 7215 | @noblescafebar

The Hanoi Bike Shop Ruthven Ln, Glasgow 0141 334 7165 | @HanoiBikeShop Mother India's Cafe 3-5 Infirmary St, Edinburgh; 1355 Argyle St, Glasgow | 0131 524 9801, 0141 339 9145 | @motherindiagla Nanakusa 441 Sauchiehall St, Glasgow 0141 332 6303

Drygate Brewing Co. Glasgow | @drygate Pilot Beer Edinburgh | @pilotbeeruk WEST Brewery Glasgow | @Westbeer Williams Bros Alloa | @williamsbrewery

Ting Thai Caravan 8 Teviot Pl, Edinburgh 0131 225 9801

Piece 1056 Argyle St, Glasgow 0141 221 7975 | @pieceglasgow Pinto 5 Gordon St, 115 Hope St, Glasgow; 119 Lothian Rd, Edinburgh | @iLovePinto Taco Mazama 6 Renfield St, 261 Byres Rd, Glasgow; 38 Hanover St, Edinburgh | @TacoMazama Where the Monkey Sleeps 182 W Regent St, Glasgow 0141 226 3406 | @monkeysleeps

The Vintage 60 Henderson St, Edinburgh 0131 563 5293 | @thevintageleith

Aubergine Café, Blenheim Building, The Crescent Walk, West Kirby; Bold Street Coffee, 89 Bold St, Liverpool | @boldstcoffee; Fallow Cafe, 2A Landcross Rd, Manchester | @fallowcafe; Home Sweet Home, 49-51 Edge St, Manchester | @HomeSweetHomeNQ; Leaf, 65-67 Bold St, Liverpool | @leafteashop

Best New Place El Capo, 12 Tariff St, Manchester | @ElCapoNQ; Evil Eye, 208 Smithdown Rd, Liverpool | @evileyeburritos; Maray, 91 Bold St, Liverpool | @MarayLiverpool; Splendid Sausage Co, 11 St James Sq, John Dalton St, Manchester; Superstore, G18, Smithfield Building, Tib St, Manchester | @SuperstoreNQ

Best Date Place Berry & Rye, 48 Berry St, Liverpool @berry_and_rye; Evil Eye, 208 Smithdown Rd, Liverpool | @evileyeburritos; Fallow Cafe, 2A Landcross Rd, Manchester | @fallowcafe; Mr Cooper's House & Garden, The Midland Hotel, Peter St, Manchester | @MrCoopersHouse; Panoramic 34, West Tower, 34th Tower, Brook Street, Liverpool, L3 9PJ | @Panoramic34

Best Place On-The-Go Aubergine Café, Blenheim Building, The Crescent Walk, West Kirby; Evil Eye, 208 Smithdown Rd, Liverpool | @evileyeburritos; Fallow Cafe, 2A Landcross Rd, Manchester | @fallowcafe; Slice, 1A Stevenson Sq, Manchester | @SlicePizzaMCR; Viet Shack, 49 High St, Manchester | @vietshack

Favourite Local Beer Favourite Food Shop

Best New Place

Best Date Place

Best Cafe

Lidl Various branches in Edinburgh, Dundee and Glasgow | @lidlUK

Aizle 107 St. Leonard's St, Edinburgh 0131 662 9349 | @Aizle_Edinburgh

Hillhead Bookclub 17 Vinicombe, Glasgow 0141 576 1700 | @hhbookclub

Lupe Pintos 24 Leven St, Edinburgh; 313 Great Western Rd, Glasgow 0131 228 6241, 0141 334 5444

Drygate Brewing Co. 85 Drygate, Glasgow 0141 212 8815 | @Drygate

Inn Deep 445 Great Western Rd, Glasgow 0141 357 1075 | @inndeepbar

Artisan Roast 57 Broughton St & 138 Bruntsfield Pl, Edinburgh; 15 Gibson St, Glasgow | @artisanroast

The Lioness of Leith 21 Duke St, Edinburgh 0131 629 0580 | @lionessofleith

Ox and Finch 920 Sauchiehall St, Glasgow 0141 339 8627 | @oxandfinch

No Way Back 38 Nithsdale Rd, Glasgow 0141 423 6506

Timberyard 10 Lady Lawson St 0131 221 1222 | @Timberyard10

Ox and Finch 920 Sauchiehall St, Glasgow 0141 339 8627 | @oxandfinch

The Vintage 60 Henderson St, Edinburgh 0131 563 5293 | @thevintageleith

Real Foods 37 Broughton St & 8 Brougham St, Edinburgh | 0131 557 1911, 0131 228 1201 | @realfoods_uk Roots and Fruits 1137 Argyle St, Glasgow 0141 229 0838 | @rootsfruits Waitrose 145 Morningside Rd, 38 Comely Bank Rd, Edinburgh; 373 Byres Rd, Glasgow | @waitrose

January 2015

Blue Bear Cafe 9 Brandon Tce, Edinburgh 0131 629 0229 | @cafebluebear The Glad Cafe 1006A Pollokshaws Rd, Glasgow 0141 636 6119 | @thegladcafe Lovecrumbs 155 West Port, Edinburgh 0131 629 0626 | @hellolovecrumbs Papercup 603 Great Western Rd, Glasgow 07719 454376 | @pccoffeeuk

FOOD AND DRINK SURVEY

First Chop, @firstchopale; Liverpool Organic, @LivOrganicBrew; Mad Hatter, @MadHatBrew; Marble, @marblebrewers; Privateer, @Privateerbeers

Favourite Food Shop ALDI, @AldiUK; 8th Day Co-op, 111 Oxford Rd, Manchester | @EighthDayVeg; Epicerie Ludo, 46 Beech Rd, Manchester | @EpicerieLudo; Matta's international Food, 51 Bold St, Liverpool @MattasLiverpool; Unicorn Grocery, 89 Albany Rd, Manchester | @UnicornGrocery

Best International Cuisine Aubergine Café (Thai menu), Blenheim Building, The Crescent Walk, West Kirby; Etsu, 25 The Strand, Central, Liverpool | @EtsuRestaurant; Lucha Libre, 96 Wood St, Liverpool | @luchaliverpool; Mughli, 30 Wilmslow Rd, Manchester | @mughli; Ning, 92-94 Oldham St, Manchester | @NingMcr; This & That, 3 Soap St, Manchester; Try Thai, 52-54 Faulkner St, Manchester

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THE SKINNY

Electronic Renaissance The inimitable Belle and Sebastian talk shop about their disco-flecked new album, recording in Atlanta, song-based infographics and existential epiphanies

Interview: Katie Hawthorne Photography: Ross Gilmore

Belle and Sebastian

t's a sunny morning in Glasgow, and almost all of hometown indie icons Belle & Sebastian are present and correct for breakfast. Stuart Murdoch, Sarah Martin, Stevie Jackson, Chris Geddes and Richard Colburn obligingly squeeze themselves around a coffee table as Stuart remarks that, although we're lacking a bassist – Bobby Kildea – it's a rarity: “I don't think we've ever sat for an interview when we've all been there.” The honour of this near-full-band interview is largely due to the group's ninth studio album, Girls In Peacetime Want To Dance. Marked by a decisively disco turn, lengthy, vivacious floor fillers and, according to the band's press kit, Murdoch's “most personal” material yet, it's an unexpected but massively enjoyable record that sees Belle & Sebastian set out a bold mission statement for 2015. Given their lengthy career since 1996's Tigermilk, featuring line-up shake-ups and various creative sabbaticals, it would be very easy – and it is very tempting – to try and craft a kind of Where Are They Now retrospective. However, the band are far too excited about the future to be at all nostalgic: the five are boisterous, cackling and correcting answers, voices blending together as they dissect their latest work and merrily take the piss out of each other. A recent interview with The Quietus positioned the band as having become a comple-tely different entity, especially after the five-year gap since last album Belle and Sebastian Write About Love. Do they really feel changed? The question results in a barrage of disparate answers: a resounding yes from Sarah, a fifty-fifty from Richard, a tentative yes from Chris. “Essentially, it is the same noise.” Richard elaborates, “It's the same chemistry that we've had from the word go. It doesn't take long to get back to that point, if you haven't played for four years or four minutes.” Stuart volunteers, drily, “We usually learn what kind of band we are when we read about it.” The table erupts with laughter. “No, no… I don't mean to be… I don't even read about us that often, but when I do, I'm like “Oh, alright, we're that now.” Because we get in the room and we're all different people, so every time it's a different salad; you end up with a different sort of mixture, a different taste. The worst thing you can

January 2015

do is to sit there and decide to be something.” Stevie explains that, while doing press for Girls In Peacetime, he “kept getting asked the same question all the time” – to discover, after interrogating “the poor girl from Belgium,” that it was based upon material within their latest press release. Have they not seen it then? There's a resounding no, and Stevie, speculating, concludes that “I guess we've got a press agent now who tells people who we are?” Stuart pauses. “Hey, wait, Bob Stanley wrote our press release. From the band St Etienne?” “Well,” says Stevie, sternly. “He called this album ‘the most personal yet.’” “If I were doing your job,” says Stuart, gesturing to The Skinny, “I don't even know if I'd read it. It's nice that you actually bothered, you're trying to get informed…” “But you were complaining about it yesterday!” interrupts Stevie. “Yes, well... no… I'm just saying it's good that you've read it. If I were you, I'd ignore it and just say, ‘well, what's your favourite colour?’” Wait, so now is not the time that Stuart's decided to release his most personal material ever? “Oh no, that's bullshit. Of course that's bullshit. I can tell you this because you're not The Guardian, or Rolling Stone magazine – and I don't mean that condescendingly, I mean that the other way. The press love big concepts, big conceits, they like to make up the story themselves. But I must have said that to Bob? You know, don't believe anything I say, it changes from moment to moment. On a whim.” Onwards to Girls In Peacetime. As far as ninth albums go, this one feels almost like a debut. Or, at the very least, a definite, marked turning point. Deciding that it's as “out-there” as Belle and Sebastian are ever likely to go, the record has a discernible house influence (especially on lead single The Party Line) and a driving, propulsive beat that might come as a shock for long-serving fans of The Boy With The Arab Strap. “I said it for a joke,” says Stevie. “Like, let's do a disco album. But it was just in the air, I think we all felt it.” “There was definitely something in the water,” says Stuart. “Because a song could go in any direction; it could become church music, it could become reggae, believe me, we can do

these things. You have to find, you have to feel what the right thing for a song is. If you listen to Play for Today, or even Nobody's Empire, it's based on that kick drum – and what the bass is doing. That's what's making it move.” Although drawn up by classic Belle & Sebastian measurements, Girls In Peacetime carries a decisive identity. These songs (with perhaps one exception) wouldn't really fit anywhere else in their catalogue – there's a definite sense of change: it's the album the band have been on the brink of making for quite some time. Chris explains, “I mean, you don't want to say that this is a line in the sand… but you do hope that there's going to be something about it that you couldn't have done in 2001.”

“A song could go in any direction; it could become church music, it could become reggae, believe me – we can do these things” Stuart Murdoch

Stevie nods, “I think it is one of our best. Genuinely. I love hearing something I've done, like, what is that? I've not had that since our first album. That surprise, that magic, I'm getting a real kick out of it.” The album was recorded in Atlanta with famed producer Ben Allen (Animal Collective, Deerhunter, Gnarls Barkley), and the process was a notable departure from the band's usual methods. “Ben could really handle this material,” explains Stuart. “There was a real strain when we made this record, between the songwriter and the producer… because believe me, I was straining.”

The rest of the band agree, somewhat diplomatically. Allen works spontaneously, erratic yet decisive, a manner Richard credits to his background in the formidable world of hip-hop production. Sarah describes the process: “He was improvising with us, he turned us into building blocks. It was a little unnerving at first until you realised that when he says he's got what he needs, he's got what he needs.” As a writer Stuart found the lack of control difficult, confessing, “you could probably set your watch to the time when I would lose it. Every eight working days I'd just fucking lose it!” Chris teases, “Yeah, and then you'd turn one monitor down, and everything would be okay.” The result is an enormous-sounding album, deeply layered and textured with the kind of slowburning treats that unfurl after many listens – and it feels the same way to the band, too. Sarah sighs, “There's been lots of going through, like, so there are horns in there! Sneaky bastard.” There's also been a necessary re-learning of the material ahead of their looming worldwide tour: “All songs now come in infographic form,” says Chris, showing off photos of detailed step-by-step grids made from highlighter and biro, creating a player's guide to each of the songs. One date in particular stands out on Belle & Sebastian's tour schedule: in May, the band will play their biggest indoor show to date at Glasgow's Hydro, supported by the Scottish Festival Orchestra. It's a monumental undertaking, and one that's already been causing a few sleepless nights. “Ah. I had a Hydro dream last night.” says Stuart, “It was disastrous. Instead of there being a lot of people, it was like being at an Ayr United away game.” Cue laughter. “I know it sounds corny, but… it's huge. Fucking huge. We're not in the Halt Bar any more, this is the big time.” Balancing the expectations of such a dedicated army of fans sounds a stressful task, but Chris disagrees. “I think we're lucky in that we have an audience that puts up with us.” “Yeah, we've got some hardcore bigots, people that…” Stuart is interrupted as the table explodes with laughter. “Murdoch calls his fans bigots?” “It's his Gordon Brown moment!” “No, people should learn the meaning of the word,” scolds Stuart. “People who are bigoted towards the band. You know, in a good way. People who are for the band. And that's a great thing.” It's true. Since 1996, this very special sixpiece has amassed a wildly dedicated following, toured laps round the globe, and been affectionately labelled “twee” more times than Chris could possibly set down in an infographic. And, better still, they have a hundred and one ideas yet to explore. Stevie reflects, “When we started, we were almost an anti-band… a band that didn't do things that other bands did, like play gigs or… We kind of started backwards and it certainly took us a long time to become a band. We were rehearsing the other day, and I… I had this existential moment.” Sarah jumps in, teasing, “Was it an epiphany?!” Unruffled, Stevie continues, “I was just like… I can't believe I'm here, this is amazing.” There's a slight pause, before Sarah finishes, “Ooooh, I'm in my forties, I'm playing a keytar!” Girls in Peacetime Want to Dance is released via Matador on 19 Jan Playing Glasgow Hydro with the Scottish Festival Orchestra on 22 May belleandsebastian.com

Feature

Looking for the next big thing Can we expect a 'feelgood' future post Nordic noir? Everyone is attempting to predict literary trends at Gothenburg Book Fair, the largest in Scandinavia, where gangster rap memoirs, long lost leftist tomes and feminist comics vie to be the next big hit

Words: Dominic Hinde Illustration: Heather More

no more than garage businesses, pushing out books that the big export giants don't deem worth the bother. Likewise, fan-circles and societies celebrating the work of long-gone greats get their own block. The stall for fans of veteran leftist heavyweight Jan Myrdal is manned by Jan Myrdal himself as if the Berlin Wall were barely cracked. Among the crime writers and promo stands for digital publishing he cuts a lonely, anachronistic figure. There will be few international agents sniffing out his latest novel, written in 1955 and lost in an East German library for half a century. By the middle of the afternoon everyone has had too much Swedish coffee and the cinnamon buns are running low. People drift toward seminars with spare chairs. At one of them an academic, a translator and a journalist are doing a Q&A on trends. Given the last word, the journalist comes back to the feelgood factor. Later that night, half of Gothenburg pack into a supposedly secret party at a hotel on Avenyn, the city's main street. Ken Ring is there again, standing on the street corner. Inside, a successful thriller writer nervously texts on his phone by the men's toilets, abandoned by his publisher. Being big in Sweden is no guarantee of international success, but Gothenburg is a shop window for a particularly marketable version of the country. If you can talk a good game here then there is a lot of money to be made, but when selling Sweden is about the spreadsheets as much as the reviews, don't think what the world sees is the best the country has to offer.

Five to look up The Engelsfors Trilogy – Sara B. Elfgren and Mats Strandberg Mixing pop horror, shades of Buffy and Twin Peaks, these tales of smalltown Sweden beset by demons and creatures of the night are now appearing in full in English. They are currently being re-written as graphic novels, with a film perhaps also on the cards.

t's 2014, a Thursday morning in late September and people are dodging trams to get to the entrance of the Swedish Exhibition Centre in Gothenburg. They have come for the Gothenburg Book Fair, the largest in Northern Europe. The Swedish version of the SECC is a touch more glamorous, attached to a skyscraper with a fine dining restaurant at the top that must have seemed the height of mid-90s luxury. It is a transient space occupied by a captive market of business travellers and salespeople drinking overpriced, overbrewed coffee. The general public are not allowed in until the Friday afternoon, so an exclusive crowd of publishers, writers, translators and librarians mingle around the hundreds of stalls. Sweden is not even twice the size of Scotland, yet has a book scene to rival far bigger countries. Each year Stockholm's cultural, political and publishing elite decamp to the west coast to eat canapés, close deals, be seen and market themselves to the world. One of the big stories this year is the Swedish rapper Ken Ring, whose autobiography Life is about to hit the shelves. Ken is the bad boy of the Swedish music scene – he was once arrested for performing a track in which he said he would storm the Royal Palace in Stockholm and have his way with one of the princesses. Life is supposedly a brutal and honest insight

Feature

into his upbringing and his route to localised rap stardom, but being Sweden you cannot get rich or die trying once the top tax rate kicks in. Over at the Swedish tabloid Aftonbladet's stand, the feminist comic book writer Liv Strömqvist sits chatting with two journalists. There are not enough seats for the crowd as they spill out into the adjacent stalls. International publishers stand about, with no idea what is going on. At their sides, agents and marketing people try and catch their ear in strange Swedish approximations of LA English. Strömqvist produces some of the most hilarious, thought provoking and unashamedly laconic graphic work around. Her brilliant Prince Charles' Feeling was released in French, but so far no English publishers have taken the gamble on her unique brand of darkly humorous feminist comics. Her contemporary Lina Neidestam has suffered the same fate – a gifted graphic artist with a killer eye for pseuds and self-analysis, Neidestam deserves a bigger audience. The real business, though, takes place upstairs in the international rights centre. A series of tables set up like a speed dating event look out onto the trams humming past in the rain. For twenty minutes at a time, Nordic publishers fire names and titles at international reps, all sounding convinced they have the next

international hit on their hands. People are still pushing crime heavily, with books being sold before the Swedish versions have even gone to print on a wave of buzz and hype. Now though there is another word on everyone's lips: feelgood. After the success of The Hundred Year Old Man Who Climbed Out The Window And Disappeared and The Little Old Lady Who Broke All The Rules , feelgood is where it's at. Everyone is feeling feelgood, and the publishers are feeling good about feelgood's export potential. Crime is a steady banker, but stories about quirky Scandinavians that fit nicely onto suburban IKEA bookshelves are a growth market. This makes it harder for non-genre novels to make the jump into English. After a four year break, John Ajvide Lindqvist's Heaven's Beach will be a departure from the usual when it arrives next year. Similarly, the Twin Peaks-inspired pop horror of the Engelsfors trilogy by Mats Strandberg and Sara Bergmark Elfgren has been a slow burner, the final book appearing this February. Crime may be losing its sheen, but it still sells by the truckload to audiences eager for maverick policemen and a touch of the exotic. Over at the stall of a small publisher, the Scottish-Swedish illustrator Josefin Sundqvist signs copies of her new book, The Paper Tree. The hall is dotted with small publishers, some

BOOKS

Jogo Bonito – Henrik Brandao Jönsson Brazilian football is world famous for being both beautiful and tragic. Henrik Brandao Jönsson's football travelogue is a trip through the history of the beautiful game in Brazil, but also an eloquent description of the changing state of the country itself. Me on the Floor, Bleeding – Jenny Jägerfeld More than your average teenage novel, Jägerfeld's story of a troubled girl carrying real and psychological injuries is darker than crises of boys and exam results. A big hit among older readers, it is as disturbing as it is good. The Winter War – Philip Teir Finnish/Swedish writer Teir's tale of a successful middle class man in the midst of crisis cuts straight through the tradition of the Nordic fairytale. In a stagnant marriage with children who have moved away, The Winter War is a cold analysis of the material comforts of success. Heaven's Beach – John Ajvide Lindqvist Just out in Swedish and certain to be picked up by a UK publisher, Lindqvist's first novel in four years is a dark fantasy in which a camping trip turns into an absurd journey across an endless landscape of clipped green grass and blue sky, when reality suddenly vanishes. The author of Let The Right One In has written a truly directionless book. The 2014 Gothenburg Book Fair took place on 25-28 Sep

THE SKINNY

The Grinning Reaper Panda Bear aka Noah Lennox meets The Skinny to chat about death, creativity and the influence of Suzanne Vega and 90s hip-hop on his wonderfully adventurous fifth solo release Interview: Colm McAuliffe Photography: Tom Cockram

n deciding to title his fifth solo album Panda Previous Panda Bear albums were typically Bear Meets the Grim Reaper, Noah Lennox – aka recorded in a secluded environment but Lennox the eponymous Panda – invites us to suppose he found himself repeatedly moving house around is facing up to mortality and engaging with some his adopted city of Lisbon during the recording consider able existential burdens, a not-unlikely process, an upheaval which is reflected in the turn of events from any artist following up a record's strikingly diverse and mobile array of highly acclaimed and universally praised album, as sounds and extemporisations. The self-referencing is the case with Lennox and his previous solo lead single Mr Noah refuses to settle in any one release, 2011's Tomboy. And while Lennox does singular style, the only recurring motif a nearacknow-ledge the presence of death in his lyrics, stuttering vocal line which appears to be at once the conflict posed by the album's title emerges joyful and uncertain within its own wind tunnel from a much brighter, more spacious realm: the of unidentifiable noises and bleeps. Meanwhile, classic collaborations of 1970s dub such as Tropic of Cancer samples Tchaikovsky's The Augustus Pablo Meets Lee Perry and the Wailers Nutcracker Suite, the exquisite harp sample on a Band, or King Tubby Meets Rockers Uptown. repeating loop through the ever-present breeze Accordingly, rather than muscling up to the pale and Lennox's most affecting solo vocal to date. rider, Lennox sounds in cahoots with death, an “I'm a big believer that as a creative person, you unlikely collaboration which has resulted in can't help the thing you make be a reflection of possibly the most fully realised album in the yourself,” he says. “I always assume that the music Panda Bear canon to date. has some sort of crumbs of where I'm at and in “I feel like since I really got into dub music, it's that sense, the diversity of the songs seem to been the most consistently influential sonic setreflect that sort of connection. The collection up in my life,” reflects Lennox. “I always find myself of styles is due to that changing around.” wanting to push into that wet, watery, big empty Aside from the overt references to dub, space feeling. It's just the type of music I find the sonic template for the album derives from really powerful, it really resonates with me. I like Lennox's youth in his hometown of Baltimore, that the title gave a nod to the dub elements, Maryland and, specifically, East Coast radio playI like that it was presenting something serious lists in the early-to-mid 1990s. “There's a remix by and intense in a light-hearted way, like putting DNA of Suzanne Vega's Tom's Diner and I remember a funny costume on something scary because hearing that set-up of just a vocal and a 90sI think a lot of the songs do that too. I feel like sounding drum break, and thinking ‘I wanna make literal death is never spoken about in the songs. music that sounds just like that.’ A lot of stuff that I like that the title suggested something really was on the radio in the 90s was a major influence intense and dark, in a casual context. The reaper, on this record, especially R’n’B hip-hop stations or death, is more a symbol of something changing, along with bands and people like A Tribe Called particularly with regards to identity: when we go Quest, DJ Premier, Pete Rock. The East Coast through some dramatic change in our life, some stuff that was happening around that time had part dies or goes away.” a more jazzy, and very specific swing to the Did this desire to present something more rhythms and, if I had to pin it down, that's what intense emerge from Lennox's own personal life? the influence is more than anything.” “It was more reflections about previous stuff. It was a mission for me this time around with the words to feel like I was singing about something bigger than myself, more outward than inward. My modus operandi in the past has been to look inwards and dig deeper to try and talk about something, like writing a diary, to glean something positive. Even though introspection can be a good exercise for us, past that threshold is narcissism and it just becomes a self-obsessive enterprise. Being wary of that, I wanted to flip the script, expand the gaze.” Panda Bear Meets the Grim Reaper certainly has more in common with 2007's Person Pitch more so than any other album in his increasingly prolific canon. The album is typically drenched in reverb and teeming with endless, multitracked vocal hooks, something we've come to expect from Lennox, but also underpinned with Noah Lennox a loose, hip-hop sensibility albeit one warped How did these elements find their way on to and contorted by Lennox and co-producer Pete the record? “When I started playing around with ‘Sonic Boom’ Ember's staggeringly intricate prothe drum breaks, that sort of dictated everything. duction tricks, along with some rather unusual There's like a very distinctive quality to the stuff adornments. “The recording of this album was I was making with those breaks. It felt like being more deliberate as far as it was trial and error,” in the same house but finding a new little room. Lennox admits. “Lots of throwing things at the There was a character in the music which I was wall to see what stuck and I got really into wind ready to go to in the past, or didn't know how noises. I found this CD called Blow-Tools which to use that style in a way that felt genuine. It's a is all just ‘whooshing’ noises. All the mixes I've hip-hop set-up production wise. Once I started been doing lately have this sound on it. But I just making the stuff and had five or six different find stuff sleuthing around on the internet and pieces, I felt there was a quality about them, see how it works. Although not every mistake a personal touch which I never had before.” is worthwhile.”

“As a teenager, I was nowhere, just in the middle of this hurricane of sound. All of the Animal Collective were a little like that”

December 2014

Considering the seemingly ubiquitous nature of grunge and American alternative music in the 90s, it seems Lennox had an unusually wide and Catholic array of influences. Did this set him apart from his peers at the time? “Growing up, radio was the way I interacted with music, almost exclusively,” he affirms. “Hip-hop, R’n’B and even the top 40 stations in Baltimore and classical music at home because that's all my parents would listen to. I feel like it's pretty common today to have that basis. People used be more defined by their music back then, wearing badges on their jackets which were a real stamp saying ‘I'm this type of person and I listen to this type of music.’ And it just seems like that doesn't exist anymore. As a teenager, I was nowhere, just in the middle of this hurricane of sound. All of the Animal Collective were a little like that, which helped us gel together.” Speaking of which, is Lennox's flourishing career as Panda Bear threatening to overshadow his Animal Collective membership? “I'd be upset if it was just one or the other. I'm glad not to be forced to make that choice. Creatively, I find it more refreshing and fun to skip around and do various things but also it's kinda the only way I get to see those guys now. It would be a bummer not to be able to do that anymore.” This propensity for skipping from project to project has been a hallmark of seemingly anyone even remotely affiliated to the Animal Collective and while Lennox is more than happy to speak about his current album, his mind is already firmly fixed on the next project. “Yeah, creatively I'm on to the next thing although I enjoy the process of talking about all these little instinctual decisions you make when recording an

MUSIC

album, as I have to re-trace my steps, which I find interesting. But the creative impulse is focused on the next Animal Collective album and trying to see what pieces fit together and which don't. I haven't written any songs for it yet but it's imminent: the train has left the station.” Back in the here and now, Noah Lennox is certainly satiating his teenage self, hitting what he terms “the psychedelic sweet spot” with this new album and having sung on Daft Punk's Random Access Memories album last year. The French duo have long been idols to Lennox since their Homework album and, despite turning down an offer to remix Animal Collective's My Girls track and Panda Bear's Last Night At The Jetty, a friendship was forged. “In the spring of 2012, Thomas [Bangalter] alerted me to a song Daft Punk had made which he thought I could sing on; they took me to Paris to work on it and that was that.” However, Lennox is wary of wearing his influences in too obvious a fashion. “Anytime there's any sort of obvious influence, my impulse will be to abstract it or lose it completely or combine other elements to the point where that one original influence is difficult to trace,” he says. “Just because: what's the point of doing a copy? The frequency spectrum available to us is pretty much the same as it's ever been but the way that we package music, combine sounds – or don't – and the speed of things, all those combinations give us opportunities to present something new. And that's the basis of it: I'm always looking to cook something new.” Panda Bear Meets the Grim Reaper is released on 12 Jan via Domino pbvsgr.com

Not Another Teen Movie Ever wish your favourite teen movie got the same critical cred afforded to worthy art films? Charlie Lyne – the voice behind irreverent film blog Ultra Culture – celebrates this most maligned of sub-genres with his debut feature Beyond Clueless

find myself in an unusual position when I meet when they revisit films that meant a lot to them Central to Lyne's thesis is this idea that, Charlie Lyne in a Soho coffee shop. The young as teenagers: that simultaneous feeling of nostal- whatever the genre's obvious surface flaws, they director is busily promoting his debut feature gia and joy and affection – plus the unnerving inspire an “intense following” from the young Beyond Clueless, a unique and fascinating visual realisation of things missed, first time around. target audience, a following that should not be so essay about teen movies. It's a film funded entiI was trying to think how best to condense that easily dismissed. Teen movies, he claims, almost rely through crowdfunding website Kickstarter, feeling into some sort of statement. And that's become an echo chamber between the audiences with donations from over 500 backers. Full diswhen it struck me that it might work best to do and the filmmakers – where teenage life imitates closure: your correspondent, as it happens, is it as a teen movie in and of itself.” art, and vice versa. “They massively inform the way one of those backers. So it is, then. Beyond Clueless is effectively that the people who watch them then approach “Oh shit, amazing! Thank you!” says Lyne when a teen movie about teen movies, faithfully follotheir own adolescent lives. That was certainly I admit to him that I am both a backer and an wing the familiar formula and structure of the true of me. I remember filtering so much of my entirely objective journalist. “It's weird. There's films it seeks to analyse, from the yellow school teenage experiences through these films.” only 500 or so backers. The odds are, I probably bus prologues to the red-cupped beer pong It's evident, in fact, that Lyne's own love for should not have met many of you. But I've bumped parties, told in a dizzying patchwork quilt of clips the genre is entirely earnest – there's no hipster's into backers halfway across the world.” that form a unique story in and of themselves. irony here. “One of the things you always risk if Does a fiver on a crowdfunding website you want to talk analytically about something equate to a conflict of interest? I hope not. But thought of as fluffy and stupid,” Lyne explains, such is the new reality. The democratisation of “is that it can seem quite condescending. And the arts means anyone is now a potential investor. we really didn't want that. We wanted to be clear Indie films were pledged one hundred million that we loved these movies, in spite of, and dollars through Kickstarter last year, and Lyne, embracing all, their flaws and weirdness, and whose project smashed its modest £9,500 tarwe thought what better way to do that than get (“I wouldn't say smashed,” he says. “We just make a teen movie that could itself celebrate started to overfill the cup. Minor spillage“) is and critique this genre.” one of the many success stories. What could have only amounted to a trite Effusive and articulate (Lyne is 23 but could fanboyish gush, then, actually becomes an engrosbe mistaken for a teenager himself), the bornsing odyssey into the adolescent experience itself. and-raised Londoner speaks happily and grateThemes such as alienation, anti-authoritarianism, Charlie Lyne fully of his Kickstarter experience: “I'm always and factionalism are all explored through this cautious talking about it in too exaggeratedly glossy Hollywood prism. A hypnotic voiceover flattering terms – it's not right for every project – Over 200 movies are featured, culled from 400 by teen star Fairuza Balk, and a mesmerisingly but I think for what we were doing, it was kind hours of footage, the result of a gruelling six-month cool Summer Camp soundtrack ties the whole of perfect.” edit session. thing together. Even as someone directly responIt's a niche enterprise, certainly. In both But why teen movies? Nonfiction cinema tends sible for its existence, I can still say with some subject matter and format, Beyond Clueless is to lean towards the weighty, and films about films distance that it works. too much of a pre-ordained cult movie to ever tend to square in on the masterpieces or the trailBefore Beyond Clueless, Lyne wrote and hope for big studio backing. But it has that cult blazers. By contrast, the films included in Beyond edited the frequently hilarious film blog Ultra audience inbuilt. It's an affectionate love letter Clueless are light and goofy. Many of the titles Culture, which provided an early soap box for to a specific generation of high school romps, included are no strangers to bargain bins, or the his teen movie devotion – many posts, in partiroughly covering the timespan between seminal deepest recesses of Netflix. Most are critically cular, waxed lyrical on the virtues of EuroTrip; sleepover favourites Clueless (1995) and Mean Girls maligned. Are the likes of Slap Her, She's French! a sincere 2500-word review called it “one of (2004), with everything from EuroTrip to Bubble really due a critical revaluation? the greatest comedy movies ever made”. Boy in between. Comprised entirely of archival Lyne is unapologetic about his choices. But the blog was also ruthless and caustic, footage, it has a thoughtful, analytical approach: “That's kind of what fascinates me about them: firing deliciously irreverent missives on everya film essay in the Mark Cousins mould. they're not perfect. They are, for the most part, thing from the BBFC to Derek Jacobi. Lyne is Lyne, a longtime outspoken fan of the teen deeply flawed films – which is why they inevitably a rare example of a successful leap from film genre, first had the idea when putting together get torn apart by critics. But why would you not critic to filmmaker, even if, in making a film a one-day teen movie festival, and found himself want to scrutinise films that are having a masbased around critical analysis, it is a relatively “captivated” while rewatching old favourites. sive impact on people at the most vulnerable short jump. Now he's on the other side of the “I think a lot of people get that same feeling point in their lives?” curtain, is he ready for an Ultra Culture-style

“A few blogs have torn it apart, but they've been undermined by poor grammar”

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FILM

Interview: John Nugent

blog to eviscerate his film, as he himself might have done once? “I'm looking forward to the first proper takedown, actually. A few blogs have torn it apart, but they've been undermined by poor grammar.” Reviews, in fact, have been largely positive; it's a different sort of judgement that stings. “The most biting criticism I tend to get is not ‘Why did you waste an hour of my life?’ but more along the lines of: ‘How dare you misrepresent 13 Going On 30!’” Teen movie fans, he notes, “get really fucking defensive of films they hold dear.” At documentary festival Q&As – sharing the bill with all manner of ponderous political polemicists – Lyne found that “audiences were just as opinionated and pent up about teen movies as they were about major geopolitical conflicts. As well they should!” If ever he needed vindication, surely, there it was. Beyond Clueless is released in key cities from 23 Jan The Cameo in Edinburgh is holding a preview of Beyond Clueless on 22 Jan – Charlie Lyne will be in attendance for a Q&A following the film beyondclueless.co.uk

THE SKINNY

January 2015

Take on gamingâ&#x20AC;&#x2122;s greatest icons An exhibition created by the Australian Centre for the Moving Image, Melbourne, supported by the Victorian Government. Media Partner

Until 20 April 2015 Chambers Street, Edinburgh EH1 1JF Book now at www.nms.ac.uk/gamemasters National Museums Scotland Scottish Charity, No. SC011130

THE SKINNY

Towering Ambitions Mikhael Subotzky and Patrick Waterhouse explain how they directly address the architecture of apartheid and its appropriation in their Deutsche Börse Prize nominate exhibition, Ponte City

onte City dominates the Johannesburg skyline, a constant reminder of the utopian ideals of the 1970s created during an economic boom and representing an apartheid-era dream. Originally built for white sophisticates, the building has developed a multi-dimensional history as represented in the exhibition, which explores not only photography, but found objects as well. “We always wanted to overlay narratives, a way of representing the fact that the building was a crucible for story telling,” says Patrick Waterhouse

“Ponte City remains a focal point of dreams and nightmares, seen as refuge or monstrosity, dreamland or dystopia, a lightning rod for a society's hopes and fears” Patrick Waterhouse

Like the apartheid itself, the obscure utopian dreams of Ponte City were eroded and the building itself fell into infamy, not for its modernist architecture but for its name becoming synonymous with squatters, drug dealers and prostitution. It remains one of the tallest sky scrapers in South Africa and a “focal point of dreams and nightmares, seen as refuge or monstrosity, dreamland or dystopia, a lightning rod for a society's hopes and fears...” In the late 2000s, Subotzky and Waterhouse were drawn to investigate this historical and culturally ambiguous structure, as well as its inhabitants, which led to a six-year project utilising photo-graphy as well as found objects to explore the meaning of this building within the makeup of South Africa. They did not limit themselves to just exploring photographic portraits of the residents, but instead explored the multi-cultural,

narrative rich space through a series of images exploring the architecture, the spaces within spaces, discarded possessions, interviews and promotional material from the building's first opening in the 1970s. It is this overarching narrative which gives the exhibition its story-like feel. Inanimate found objects are given a voice, they are reclaimed as small moments in history. “Sometimes precious objects were divorced from the people who had left them there, but the fact that they had been left there said something about the lives of the people who lived there; we were really trying to piece together what those narratives meant. It is a continuum of documentation, found objects have a certain truth to them, but the narrative and how we piece them together are often us imposing something on these documents.” The exhibition itself, on first entering, seems to imitate the nature of a tower block. Small and large photographs appear like windows, offering the viewer hints as to what is inside, whether it be people or the slow decay of modernist architecture, and yet the artists do not miss representing the idea of chaos behind these windows as the exhibition develops into a crescendo of chaotic imagery. “In relationship to the Portrait Gallery, there is something very systematic, done door by door when you first enter, and then a separate space almost, where there are objects you pick up and almost have to rifle through… one of the challenges is bringing together different ways of thinking together.” This notion of collecting together ideas provides a mirror into which we, as viewers, feel like we are uncovering small parts of history through the artists' efforts. We are given the tools to reevaluate the space in order to create a new narrative, a voice separate and yet in acknowledgement of Ponte City's history, unique to every person who steps into the gallery space itself. The exhibition acts almost as an open-ended story, in which we the viewers fill in the blanks. This exhibition combines the extensive research of two dedicated artists, with the overwhelmingly humanistic power of photographic portraits. Although no one could ever fully understand the legacy of Ponte City's history, hopes, dreams, and future, Subotzky and Waterhouse's exploration goes some way in creating a dialogue between a dystopian myth and reality. Ponte City is in the Scottish National Portrait Gallery until 26 Apr

Rachel Levine

January 2015

Ponte City from Yeoville Ridge, 2008

CCA Event Highlights Words: Kate Pasola

eeling a stitch overwhelmed by the hurricane of arts and culture hitting Scotland this month and unsure where exactly to begin? Fret not ye post-festive mess, we’ve had a flick through Glasgow CCA’s first programme of 2015 and are going to pluck you right out of that cerebral lethargy by circling all the bits of their January and February line-up we think you’ll appreciate most. Just like a thoughtful pal with a crush on you. Aren’t we lovely? A first mention goes to Dancing in a Circle is a Reminder We are Part of a Whole; an exhibition summarising the individual and collaborative processes underpinning the work of artist and choreographer Romany Dear. Culminating from a series of dance workshops which make up Glasgow Open Dance School, the interactive, three-part exhibition uses participant interaction, rehearsal and shared dialogue to experiment with notions of gender, athleticism, democracy and community, framed within a narrative which demonstrates the fragility of these circular themes. Get involved in one of the sessions running from 31 Jan-5 Mar, at 1pm and 5pm from Tuesday through to Saturday. If gigging’s your thing, might we suggest heading down on 9 Feb for a night with The Picture Waves? The Neo-Brit-Pop band are fresh from a collaboration with Billy Childish on their new LP Great Big Flamingo Burning Moon, the first single of which was released on 1 Dec last year (Pea Green Coat). Have a listen to them waxing some wittiness and squealing out guitar solos in the CCA Theatre next month (18+). Scotland’s first queer film collective Lock Up Your Daughters will be continuing its workshops on 15 Jan and 12 Feb, grating all the celluloid zest of the Glasgow cinematographer scene. The monthly meetings are aimed at all levels of expertise and age-groups, so novice or know-itall, you’re welcome to get amongst it.

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If you’d prefer to be in front of the bigscreen, we’ve got our eye on Ken Loach’s critically acclaimed Land and Freedom, showing at GMB Glasgow Central (12 Feb). Released in 1995 and set against the historical context of the Spanish Civil War – a bookmark in the history of socialism – the film follows an unemployed young man, driven by disenchantment to leave his homecity Liverpool. Straddling issues from political infighting to love, loss to the leaving of legacies, it’s a historical adventure and quite the stunner for a range of audiences. If Valentine fever lands you in the mood for something headier, maybe try Absurdistan, screening on 14 Feb. A tea-stained picture book of Constantinople and constellations, Mongols and warriors, the original Silk Road and sexual empowerment, Veit Helmer’s latest filmic tapestry is as timely as it is timeless, and an original fairytale with grade-A smarts. If you like your flicks to fuzz the line between reality and fantasy, this one will probably win you over. And to close, moving swiftly to sculpture, we’ve picked out the work of Rachel Levine as one not to be missed in Feb. Levine is interested in the differing significances laced within various materials, and manipulates these associations to create textured and jarring ‘narrative environments.’ Her demonstration of power structures and historical perspectives sinks a certain hook into a public climate increasingly prickled with political and economic complaint. Concerning the medium of sculpture both as a medium and method of research, she elegantly exploits an art-form well suited to illustrating economic and political structures. If that doesn’t convince you (it is baltic outside, after all), consider her victory in January as this year’s winner of The Skinny and Glasgow CCA Award at RSA New Contemporaries. Get your cardie on and head down between 21 Feb and 14 Mar to check it out. Sorted!

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Credit: Mikhael Subotzky & Patrick Waterhouse

Interview: Adam Benmakhlouf

New Year News

Credit: Scottish National Gallery of Modern Art

It's all set to be a happy New Year in Scottish art, with exhibitions of works by major international and Scottish artists, as well as emerging artists

Words: Adam Benmakhlouf

Credit: Lorna McIntyre

Lichtenstein - In the Car, 1963

Jessie Ram - Tramway

here's always more art than time. So, in the name of that basic demand of every New Year's resolution: let's plan ahead. In Dundee Contemporary Arts, three large exhibitions are planned between February and September. In the first instance, next month will see the work of Florian and Michael Quistrebert exhibited in DCA. These brothers are based across Paris and Amsterdam, and were recently nominated for the French equivalent of the Turner prize: the Prix Marcel Duchamp. Known primarily for their optically complicated, often tessellating work, their exhibition Visions of Void (Sat 7 FebSun 22 Mar) promises “an atmospheric chamber of flickering fire, shadowy space and gleaming canvases.” The work of iconic Polaroid photographer Maripol is also coming to DCA from Sat 4 AprSun 21 Jun, as well as responses to the work by younger artists Claire Stephenson and Zoe Williams. Later in the year, from 4 Jul-20 Sep, there will be a new presentation of work by major Swiss artist Roman Signer, whose playful installations and videos draw comparisons with Peter Fischli and David Weiss. Staying in Dundee, Generator, now hitting 18 years old, are celebrating with the opening of their new members' space in the new year. Amongst their programme of exhibitions, there is now an annual fixture on the Generator calendar: TH4Y. For those who struggle with the sheer scale of degree shows, this May exhibition (full title: They Had 4 Years) presents the committee's selection of recent graduates from three of Scotland's art schools. Across Scotland next year, there will also be the Artist Rooms initiative, which seeks to make more accessible the biggest names in contemporary art of the previous decades. Throughout the year, there will be work on show from Robert Mapplethorpe, Joseph Beuys, Diane Arbus, Roy Lichtenstein, Damien Hirst and Don McCullin.

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Lorna McIntyre

Most importantly, these exhibitions will take place the length and breadth of the country, all the way to Shetland and back to Edinburgh. For details of the UK wide series of events, visit tate.org.uk/artist-rooms. Artist Rooms is partly administered by the National Galleries, whose three sites in Edinburgh will host a diverse range of exhibitions throughout 2015. We've already mentioned the Roy Lichtenstein exhibition which will take place in the Scottish National Gallery of Modern Art Modern One across three rooms from 14 Mar-10 Jan 2016. In Modern Two, after what will likely be a strange retrospective of the work of MC Escher (27 Jun-27 Sep), there will be what the National Galleries tout as a “revelatory exhibition of work by Scottish women artists” from 7 Nov-1 Jul 2016. The show will contain over 70 works from the National Galleries collection, as well as other public and private collections. From the celebrities of the 20th century, it's back to the latest emerging artists with Embassy's programme for the months ahead. See this month's events column (p47) for details of their show opening on 23 Jan. Into February, Self-Storage will open on the 13th with work from four artists that enquires into the “quantified self” as calculated by profiling on social media sites and “self-tracking.” Embassy will then present Driving this Road Until Death Sets You Free, whose theme will be the notion of possible futures as variously presented in utopian and dystopian sci-fi. In June, there will be Embassy's 12th Annuale which is structured around an open call for proposals and emphasises grassroots artistic activity within Edinburgh and beyond. Staying in Edinburgh, Stills continues its exciting programme of exhibitions with four main presentations. As their first exhibition opening in 2015, from 7 Feb-5 Apr, Leap in Time will showcase the work of two German photographers,

Erich Salomon (1886-1944) and Barbara Klemm (born 1939). Within both of these artists' works feature many important figures and places of the 20th and 21st centuries. For April into July, Stills have planned an exhibition that provides the rare opportunity to see some works from Anna Atkins and Margaret Watkins, two innovative, significant female photographers of the 19th and 20th centuries. Then for August into October Stills has co-commissioned – along with London gallery a/ political – new photomontage and installation work by kennardphillipps to be shown within the Edinburgh gallery. Rounding off a promising 2015 schedule, Stills will provide the venue for the Jill Todd Photography Award for the first time. Fruitmarket Gallery in Edinburgh has also structured the coming year around a small number of strong exhibitions, focusing on three tightly curated presentations. Beginning in March and curated by Paulo Venancio Filho, there is Possibilities of the Object: Experiments in Modern and Contemporary Brazilian Art. With most of the details of the show seeming to be contained in the title, it may suffice to clarify the works span from the 1960s in order to put to inspection the international impact of Brazilian Art within recent decades. As well as oft-referenced artists like Hélio Oiticica, lesser-known contemporaries and younger generations will also be included. Later in the year, Fruitmarket have scheduled two further exhibitions. Coinciding with the Edinburgh Art Festival, influential artist and educator Phyllida Barlow will bring her materiallyfocused and immersive sculptural installations to the Fruitmarket from 12 Jun-18 Oct. Taking the gallery into 2016 is Another Minimalism: Art After California Light and Space, curated by Seattlebased Melissa E. Feldman. Coming to Glasgow, Mary Mary are looking forward to presenting the work of Lorna Macintyre from 21 Feb-4 Apr. Following her solo show in Mount Stuart as part of GENERATION during

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Lorna McIntyre

summer 2014, Macintyre will present in Mary Mary a large group of photographic prints from her personal archive which spans more than 10 years. The exhibition is expected to be purely black and white, bringing together images which she has used in past works as well as negatives that will be printed for the first time for this exhibition. In Tramway, as well as the two exhibitions mentioned in this month's What's On column, in March Jessica Ramm will be in Tramway 5. Ramm is best known for her ‘highly elaborated and laboriously constructed sculptural mechanisms.' In past works, for example, Ramm has pulled at a rock and documented this process with video that moves between only the rock with the rope tied around it and her feet making deeper and deeper impressions in the earth. For the Modern Institute it's another busy year at home and internationally. From the end of March (though the dates are still provisional) in the main space of the Modern Institute, Los Angeles-based Liz Larner will show works from her primarily minimalist and geometrically formal sculpture practice. Around the same time, Miamibased sculptor Mark Handforth (primarily known for large-scale site-specific work) will be exhibiting in Aird's Lane. A key highlight in the upcoming Modern Institute exhibitions comes in June with the Urs Fischer show. Fischer's oeuvre is diverse, across installations, sculpture and gestural paintings. He is best known for his experimental approach to ephemeral materials and quoting in sculpture and large scale installations genres more commonly associated with painting – the reclining nude and the still life, for example. Specific details may be subject to change

THE SKINNY

A Season to Belong Artistic Director of the National Theatre of Scotland, Laurie Sansom sits down with The Skinny to discuss the 2015 season Belong, political engagement in theatre and directing Muriel Spark

Credit: James Glossop

aurie Sansom, now beginning his second season as artistic director of the National Theatre of Scotland wants to “harness some of the creative energy that was released in Scotland last year, not just around the referendum but around the Commonwealth Games and everything that put the spotlight on Scotland.” It is with this in mind that he introduces the programme for the first six months of NTS shows this year, all centred around the theme Belong. “There are often challenges involved in who you belong to,” Sansom tells The Skinny, but it is community and belonging that is at the heart of Scotland and at the heart of theatre, regardless of where you approach it from: “Each show is of a very different scale and theme, but somehow all reflect upon the groups, the ethnic groups, the families, the tribes that we belong to, for good and ill. Sometimes those groups can be quite suffocating things to be part of, and other times they're full of joy and support, and love, and often both.” Scotland's identity, and the identity of Scottish theatre, is not a unique bubble of its own and must be informed by its place in the world and its interactions outwith its own community. It is for this reason, Sansom tells us, that NTS is working with “a whole range of artists from Scotland and beyond who have different heritage – something we thought really worth separating. Scotland has always been quite outward facing, and in some ways very welcoming to voices and influences from outside, but every nation also struggles with that sometimes as well, and how to accommodate different viewpoints and cultures.” Take, for example, Rites, which will be touring in May 2015. This production tackles the highly important issue of female genital mutilation, and it was with extreme care that NTS and Contact Theatre in Manchester have approached the topic. Sansom tells us: “It's a look at something

January 2015

that the Scottish Refugee Council brought to Cora Bissett's attention as being a real issue in Scotland, particularly Glasgow. So there's a very specific example where the piece itself is about a practice that exists within certain communities and outside of Scotland. It's an attempt to understand it better and to bring lots of different voices into that exploration of why it happens, how we can prevent it, how we can support people who are either challenging it or affected by it, but also how it reflects on other practices that might be seen as much more Western in terms of body modification, looking at what the differences are there.”

“We're at our best when we're a company that's in conversation with our audiences.” Laurie Sansom

This interplay of international and national issues, and of different communities within Scotland is what Belong is all about, and staying engaged politically is what NTS is all about. Talking of the political focuses of Rites, and the Ukranian/Russian season planned for A Play, A Pie and A Pint, Sansom emphasises the need to create “work that is relevant, resonant and urgent to now.” He, his associate directors, and the artists involved with NTS all, he says, desire to produce plays that are “socially reactive, trying to reflect some of the things that people are talking about, thinking about, that are affecting their lives.” While he is aware of the difficulty

Laurie Sansom, Artistic Director of National Theatre Scotland

Graham McLaren, Iain Finlay Macleod, Cora Bissett, Simon Sharkey (Associate Directors) and Laurie Sansom (Artistic Director)

sometimes found in balancing politics with the theatre's other main desire: to entertain, Sansom sees in Scotland “right now there are so many things that people want to debate and talk about,” and it is part of the National Theatre's job to answer that. “We're at our best when we’re a company that's in conversation with our audiences, that's actually providing stepping off points for wider debates online, in the papers and in the pubs and bars and theatres where we play. I think that's when we're most reflecting all of Scotland, which is one thing we take really seriously as a national theatre.” One of the ways in which NTS most uphold their national status is through touring to all areas of Scotland. Sansom is well aware that, as a Government funded organisation, NTS is “owned by all the Scottish people. Because there are particular geographic challenges in reaching all of Scotland it also means there's challenges for people coming to us if we existed in a particular building.” It is because of this that the ethos of “a theatre without walls” has built up within NTS, rising out of a desire to “break down the barriers between people getting to experience culture and live performance.” When asked how this new season will continue to uphold this tradition, Sansom talks about wishing they could do more in an apparent desire to be everywhere at once. However, given that that sadly isn't possible, this year they're bringing the focus to the Western Isles, with a new, Gaelic adaption of Compton Mackenzie's Whisky Galore. “It's a very specific bit of programming to be made by Gaelic speaking artists for Gaelic speaking audiences,” Sansom says of the production that is also marking the launch of new Gaelic theatre company, Robhanis, whose artistic director Iain Finlay Macleod has adapted this production. The play will be touring to arts centres and village halls around Scotland in April.

THEATRE

For Sansom, “it's essential that we use the fact that we haven't got an iconic building in Glasgow or Edinburgh to our advantage, and also it's a fantastic opportunity to get around the country, which I think is such a gift for all of us to feel that the company is present in all of Scotland.” On the opposite side of the scale, NTS is starting the year with two of its biggest productions – Dunsinane and Let The Right One In – heading to North America. Sansom talks about being a “cultural ambassador” for Scottish artists, but also how the strength of their work speaks for them. The interest is there, waiting to hear what Scottish artists are trying to say. And what does Sansom himself have to say? He's stepping up to direct Muriel Spark's The Driver's Seat this June. “It's my favourite Muriel Spark novel, and it was her favourite too, which is a ringing endorsement.” It's not the first time Sansom has tackled Spark, having directed The Prime of Miss Jean Brodie and discovered the greatness in the rest of Spark's work at that time. “I think that if you see Jean Brodie as the gateway drug, I really want to get people hooked,” he jokes. “Spark has created a lead character who's so enigmatic, so colourful, so mysterious and in the end quite disturbing that it rivals Jean Brodie easily as far as I'm concerned. You auteur it at your peril, but I've been working on it for years so I'm really excited to get the opportunity to finally stage it.” To end a season of belonging with a character who is running away from herself is a bold choice, and it seems that these are choices that can be expected to colour NTS's programming under Sansom, to keep Scotland talking. nationaltheatrescotland.com

Feature

Credit: James Glossop

Interview: Emma Ainley-Walker

Alvvays And Forever Interview: Will Fitzpatrick

Credit: Jess Baumung

Alvvays’ debut album may have dropped in summer, but it swiftly became a favourite for all seasons. With another UK tour on the horizon, singer Molly Rankin shares her thoughts on travel, identity and the genius of Stephin Merritt

ome years you barely notice the onset of And how has the band adapted to the winter. The drab, grey wetness of a disaproutine of life on the road? “We're usually just pointing summer merely continues its slow fade running around with all of our gear, hopping on into lower temperatures and greyer skies. trains and stuff, but it's pretty fun. We're able Suddenly, before you even have a chance to to appreciate that we're young and travelling, register the change, Big Coat Weather strikes. and we should enjoy it rather than get stressed You find The Skinny silently bemoaning these out about it.” altered conditions as our shivering fingers dial Indeed, so enamoured do the band seem Alvvays singer Molly Rankin's number, only to find to be of the touring lifestyle that they manage to that the Canadian noisepoppers seem to be squeeze some more leisurely pursuits into their experiencing the changing seasons rather difschedule. “We had a really nice time in Ireland: ferently. “We're in Los Angeles,” Rankin explains we had a day where we could rent a car and go from the band's tour van, “and it's very warm – up the coast. Barcelona too – that was like a little like tropical weather!” Bemused, we remark vacation. We got a little apartment and the boys that such end-of-year calescence repre-sents got bikes, and we went to the beach… pretty something of an alien concept on this side of the spoiled. Such a nice place.” pond. “I know, I feel the same way. We were in This doesn't quite sound like the spiritAtlanta two weeks ago and I was wearing my coat sapping experience of indie rock as we knew it – on stage. And we get a lot more snow in Toronto certainly, it's somewhat removed from the [the band's adopted city] than you guys, I imagine – exhausted tour psychosis that so comprehenit's a hard winter.” sively divided, say, Dinosaur Jr. But then this isn't Still, it's entirely appropriate that Molly's the 80s and Alvvays aren't trudging around the band should be where the rays are. When their punk circuit, trying to bend hardcore kids’ ears self-titled debut dropped in July, it seemed to more melodic sounds. When comparisons do tailor-made to the summer months; all fuzzedcrop up, they usually refer to the fragile grace out melody and delirious pop haze. The musical of indiepoppers like Camera Obscura, rendering equivalent of a beautifully sun-blurred horizon, Rankin puzzled but flattered. “I think that we're in fact. Around that time, the majestic choruses into a little bit more scrappy stuff,” she muses. of Archie, Marry Me started to make waves across “Camera Obscura's production is so pristine and both press and blogosphere alike, and the band epic and full, whereas everything with us is pretty swiftly became one of the summer's fondest sparse, and there's a lot of tape hiss on everynames to drop. By the time of their Autumn tour thing. We're a little bit skronkier, but I mean, supporting Brooklyn janglists Real Estate, they'd it's a really nice reference.” amassed quite an adoring fanbase, which the If the two bands share anything at all, it's 26-year-old admits was something of a surprise. the way they pit their natural melodic geniality “Everything in the UK has been really good for against a lyrical tendency towards the melanchous, for whatever reason. Maybe it's our ‘literary lically droll, which Rankin admits is an automatic pop’, or something? But it's been really cool. facet of her songwriting. “I'm pretty mopey, A lot of the time when you're the opening band, but a lot of the lyrics are meant to be taken lightyou're sort of along for the ride – people are heartedly; I was just striking a balance between just discovering you. But on our UK tour, people funny and sad for the most part. But I don't knew who we were. That's a nice feeling – that really write any autobiographical stuff. It's all you're not just deadweight.” made-up trash,” she chuckles.

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So are there any songwriters that she aspires Phil MacIsaac, the fledgling quintet moved to their current home town from the Maritime towards? “Stephin Merritt – I love 69 Love Songs provinces of Nova Scotia and Prince Edward and Holiday, and how ornate everything is. It's Island, collectively forging their sound along the just so overwhelming.” The Magnetic Fields’ curway. Our questions about influences are met with mudgeonly leader is similarly unmoved to write from an autobiographical standpoint, we remark, understated declarations of love for Scotland's revered indie giants of yore – particularly Orange and Molly laughs again. “I know! But I wouldn't Juice and Teenage Fanclub – but Molly seems say that's rubbed off on me at all. I just like his perspective of the solitary character, at all times reticent to discuss her own music in particularly great depth (“I don't know how I could reasonably, being very pathetic but able to see the beauty in objectively describe it”). This hesitancy contrasts things. He's never victimised, which I really like; neatly with an anecdote from the Real Estate it's never like ‘you've done me wrong,’ it's more tour, where she enthuses energetically about like ‘here I am, how did I get here?’” Perceptive. Still, it's only natural that some- performing songs written by others: “We did a bunch of karaoke one night… I think I did a Carly one so steeped in musical tradition should pay such close attention to the minutiae of her favou- Rae Jepsen song. Karaoke is such a mortifying experience, but once you leave all your insecuririte songs – Rankin's father John Morris was part ties behind, it's probably the most fun thing you of Canada's remarkably successful country sibcould ever do.” lings The Rankin Family before his tragic death It would appear that fun remains the band's in 2000, but she notably opted to avoid playing on overall aim, rather than the nebulous clichés the family name for her own ventures. Following of world domination or artistic enlightenment: a well-received but low-key solo EP in 2010, she eventually joined forces with guitarist Alec O'Hanley to write the material that would eventually make up Alvvays’ aforementioned fulllength. Forming a band rather than continuing to go it alone suggests she favours a certain anonymity. “The Canadian music scene is very small,” she says by way of explanation, “so people can draw a lot of conclusions before hearing what things actually are. It wasn't like I wanted to Molly Rankin escape; I felt really good about my own solo EP. I just thought [a band] might be fun to try.” “The more travelling we do, the more exciting Regardless, it's helped her deflect the weight this all becomes for us. If we can just continue of expectation that comes with being part of a to do that, I think we'll be totally happy.” So there well-known musical bloodline. “It's given me a you have it. A band of modest ambition, but a bit of a blank slate, which I didn't realise that I remarkable knack for irresistible pop. They'll necessarily wanted, but now that it exists, I'm radiate all the warmth we need this winter. pretty excited about it. I'm dodging a lot of enquiries and connotations.” Playing Manchester Deaf Institute on 21 Jan and Glasgow With the addition of keyboardist Kerri King Tut's on 24 Jan MacLellan, bassist Brian Murphy and drummer alvvays.com

MUSIC

“The more travelling we do, the more exciting this all becomes for us”

THE SKINNY

Snow is Coming, Hollywood

Bad Teacher Nicknamed ‘Full Metal Juilliard,’ Whiplash tells the story of a young drummer dragged to the brink of insanity by his brutal music teacher. Its director, Damien Chazelle, explains how he brought this thrilling movie to the screen

You probably know Kit Harington as the brooding hero of TV’s Game of Thrones, but you’ll be seeing a lot more of him on the big screen in the future. The rising star chats to us ahead of his new film, wartime romantic drama Testament of Youth

Interview: Jamie Dunn

Interview: Ben Nicholson

Testament of Youth

it Harington would seem to have been catapulted to star status by his lead heartthrob role in the wildly successful Game of Thrones. It's not been quite as meteoric as one might imagine, though, he says when we meet with him in a London hotel to discuss his latest film, Testament of Youth. “Some people think it went ‘bang’ but it wasn't like that,” he says, dressed in familiar black and sipping an equally dark coffee. “It was little surprises along the way.” A cover for a magazine here (“that's quite exciting”) and a red carpet there, it seems. “I try not to look at it in terms of posters and magazine covers at the moment. It was about that for a while, but that clouded why I wanted to act.” Despite adopting his chosen profession at a youthful age, he didn't always want to become an actor. “No, for the longest time I wanted to be a journalist. Then I just found myself doing more and more performance at school, and when I came to university level I was putting loads of time into extra-curricular acting, and not enough into academia; that spelled it out for me, really.” From there he landed a dream role as the lead in War Horse at the National Theatre. “You don't get that kind of opportunity other than for War Horse – as a drama school grad – so I jumped at it.” From there, Game of Thrones beckoned. Since then, his stock has risen considerably, making the role of the popular Jon Snow his very own. “It's strange even being directed now in Thrones. The directors who come in have definitely been briefed that the actors know what the characters are doing – to let us do our thing.” Was the desire to appear in a sumptuous wartime romance a conscious attempt to break from the bloody carnage of his television show? “Yeah, I think it was a reflex against the type of drama that Thrones is. Being in a big epic fantasy can, in some ways, be a harder craft than something more minimal like Testament of Youth. With Testament everything was free-flowing: the camera

January 2015

could work around you; you could do take after take without having to worry about effects in the background, or whether you're hitting marks exactly. What was lovely about Testament was that it was so much about the performance.” That performance is as Roland, a bright young thing who falls deeply in love with the film's protagonist, Vera (Alicia Vikander), before the outbreak of the First World War. “[Roland] goes through the most intensive of journeys. You can't get something more life-changing than the First World War for the soldiers who fought in it, and the women who were left at home. To throw myself into that depth of an emotional journey was exciting. I have a real fascination with the Great War and when Testament of Youth came up, it immediately piqued my interest because I knew the book, and it was so well adapted, and a chance to play this real guy. I've never played a historical figure before, especially with the reams of research material available with the book and the letters.” Weighty themes and the portrayal of a scarred veteran weren't the most concerning aspects for Harington, though: “The harder bit was trying to get the lightness of the start, y'know; all the love,” he says. “I was quite confident in the change, but when we got to production I thought, ‘fuck, I've got to show him as a boy first.’” Fortunately that proved manageable opposite Vikander. “She's beautiful to work with, and incredibly emotionally astute. I just hope I get to work with her again. I think she chooses her roles very wisely and this was a great movie for her; she nailed it. She's about to go off and become this huge movie star – hopefully I will too.” A recent blockbuster lead in Pompeii (playing “a physical beast, so it meant going to the gym all the time”), a turn in a high-octane Spooks film on the way, and a fifth season of Game of Thrones imminent would all suggest he's well on the way. Testament of Youth is released 16 Jan by Lionsgate

hiplash should come with a stringent warning to overprotective parents. Not for sexual content or violence, not even for its bad language (which is so creatively crude that Malcolm Tucker should be taking notes), but for its suggestion that for someone to be the best in their chosen field, they have to be separated from a lot of losers. In a world where every kid gets a medal on sports day, it's a daring notion – but it is the bold theme at the heart of Damien Chazelle's mesmerising new movie, which follows Andrew (Miles Teller), an ambitious 19-year-old drummer, and his tutelage/torture at the hands Fletcher (JK Simmons), his music instructor. Fletcher's method for nurturing talent is simple: he pushes them to the limit (physically and mentally) to weed out mediocrity. What makes the film uneasy is that his brutal methods seem to work: the film asks the audience, might Fletcher's ends justify his means? This kind of question often comes up when considering artwork forged in hardship, and The Skinny puts it to Chazelle when we meet ahead of the film's UK premiere at the London Film Festival. “A lot of art, maybe most art, is not borne in that way,” says the 29-year-old filmmaker, “but certainly there's a lot of art that's come into the world through a lot of suffering, whether it's a Van Gogh painting or a Charlie Parker solo or the Pyramids. In those cases, are we OK with the result? That was the question that I wanted to pose through this very specific story.” The story's been brewing for a while. In high school, Chazelle too was a prodigious musician with a teacher who, like Fletcher, would humiliate students who dared to be any less than perfect. “It was ten years out of the band that it occurred to me that it could be something,” he explains. “I think it was that basic emotion of feeling fear as a musician that made me realise that there was something to be done there that was different to a lot of music movies.” Opening these old wounds ended in a triumph. Since its premiere at Sundance, Whiplash has received raves wherever it's screened, from Cannes to Toronto. What makes it all the more remarkable is that Chazelle has created such a towering movie on such a small budget: shot in only 19 days, the film's relentless pace was matched by its intense shooting schedule. “This was not an easy movie to make,” he says. “For anyone!” Chazelle admits to being a perfectionist and an obsessive, but there does come a point where his and Fletcher's methods diverge. “I think you can achieve those sorts of things Fletcher strives for while still treating people with respect, and treating them like human beings,” he says. “If anything that's usually better for the art: a better movie will result from a compassionate set.” Even more daring than the film's ambiguity towards Fletcher's methods is its approach to character. The teacher may be a monster, but his star pupil is no prince either. Andrew's vulnerability is paired by an arrogant swagger. He wants to be the best jazz drummer in the world and he's not shy about telling people – or stepping on his peers to get to his dream. “Everyone was telling me, ‘There's no one to root for here, these are two despicable characters.’” Chazelle had little patience for this type of note, however. “A movie's not a soccer game, it's such a reductive way of looking at cinema.”

FILM

Damien Chazelle on the Whiplesh set

What helps the audience get behind such loathsome characters is the glee with which they're both performed – particularly JK Simmons as Fletcher. Like all great movie villains, he's seductive and charismatic. Chazelle sees him as a showman. “He kind of performs for his band in the same way that they perform for him. He's constantly doing stuff that's ultimately going to keep them coming back to him for more – more abuse, more abuse. And JK is just great at playing those muscles.”

“Everyone was telling me, ‘There's no one to root for here, these are two despicable characters’... a movie's not a soccer game” Damien Chazelle

Thanks to Simmons’ pugnacious character, Whiplash has been dubbed Full Metal Jacket at Juilliard. It's not Kubrick's bracing war movie that most comes to mind during the snarling headto-heads between Fletcher and Andrew, though. It's Rocky or The Fighter. “For sure,” says Chazelle when we mention boxing movies. “The brute physicality of boxing is not that far from the physicality of drumming. You know, your hands bleed as a drummer; you're beating stuff for a living. Obviously it can be extremely subtle and gentle as well, but I wanted to showcase the more violent side of drumming.” In this he succeeds. Whiplash is a film to make your heart race and your head spin. It leaves you punch drunk and reeling in the aisles. Whiplash is released 16 Jan by Sony Pictures Releasing whiplashmovie.co.uk

Feature

Life After Lesbianism Words: Tasha Lee Illustration: Jayde Perkin

may never sleep with a woman again. Not because I'm no longer attracted to other women, but because my current monogamous relationship is starting to get serious. I might marry this guy. I might have a child with him. I might make a commitment. Of course, modern marriage can be flexible and customisable. There are open marriages, polyamourous partnerships, even acknowledged affairs. Realistically there's a good chance we won't stay together forever. But sometimes my boyfriend talks about growing old with me and, just for a second, I imagine a future where another woman's lips never touch mine. I imagine a future where the lesbian feminist movement goes on without me. My feelings are mixed, because part of me worries that I'm abandoning something I used to believe in – that life without men is possible. Bisexuality can be cruel. Although I never wish my boyfriend was a woman, sometimes I do wonder what life would be like if he were. Would our domestic habits be more equal, because we'd both have been socialised to care about dirty kitchen floors and forgotten coffee cups growing mould? Would I feel this broody if I knew children were years of IVF (or years of wading through the adoption process) away? Would both our parents be so immediately supportive if ours was not a straight relationship?

Straight privilege is definitely a ‘thing.' While we are unmarried at the moment there seems to be no prejudice, shame or stigma about our lack of rings. Instead people smile at us everywhere we go. Neighbours, cashiers, bouncers, waiters… all seem to give off an air of approval. I've started taking him to restaurants just because it's so easy. I have accessed the privilege. But I remember sitting at a restaurant with a girlfriend or a date and seeing waiting staff whisper with suspicious eyes, experiencing ruder service because another girl's hand was in mine. I remember kissing girls on the street in different cities and being heckled. Feeling the fear of men. Now I drive past lesbian couples and see the unconscious defensiveness of their bodies. The tight grip with which they hold each other's hands. It makes me sad, because I was them once. The guilt I feel about loving my boyfriend, about being with my boyfriend, is a low level constant. I am no longer visible. Although I am public about my bisexuality, and refuse to stand by passively to homophobia or misogyny, my love life is no longer a battlefield. And that makes me feel as if I'm not pulling my weight. But, as gay rights argues, we can't help who we love. So I may never sleep with another woman again – as long as I love him I'm an ex-lesbian. But, really, that's okay.

Equal Marriage? Words: Ana Hine Illustration: Jayde Perkin

ver the past few years, my friends have been getting married. Educated women, self-proclaimed feminists, are taking new surnames and wearing white dresses as their fathers walk them down the aisle. Engagement rings have started appearing on female fingers, with no mention of whether the boys should be wearing them too. Diamonds, after all, are only a girl's best friend. Personally, I plan to propose to my boyfriend. In our relationship the onus is on me to reassure him of my intended long-term fidelity and affection. Although I'd hope most couples talk about marriage extensively before the big proposal, in this age of gender-equality it seems strange for the ‘question' to be so one-sided. Aren't we all capable of gestures of love? And surnames. While my surname, like many other women's, is my dad's surname and his dad's surname – it's still been used to refer to me throughout my life. Of course, changing names legally is a personal choice – but it's also a huge hassle and can potentially put your career back years if you've built up a professional reputation. For me it would feel like the years before marriage didn't matter, that my qualifications and work experience were irrelevant – and that's not how I want to start what should, in theory, be an equal partnership.

Lifestyle

DEVIANCE

Of course marriage makes sense in terms of a declaration of commitment – it literally involves signing a document that binds you together as a legal entity. Being married gives you automatic inheritance, pension access in cases of death, and status as next-of-kin. Children are assumed to belong to the both of you, as are assets and joint debts. It's an official way of sharing your life with someone. But why the inequality? Certain tax benefits apply to married couples and civil partners, with up to £314 being taken from your joint annual tax bill just for tying the knot. But until Dec 2005 the husband's income was used to calculate the necessary reduction. Up until last year, marriage certificates in England and Wales asked for the details of the fathers of the happy couple but not the mothers. Gender equality hasn't appeared out of nowhere and if it's something we value in our workplaces and our education systems we need to protect it in our personal relationships too. Marriage isn't about one fairytale day; it's about an adult legal partnership that can last a lifetime. And as adults we should be looking at marriage like we would any other life-changing decision – critically. So, let's stop carrying on traditions for their own sake and start working towards equal marriages. Or at least equal proposals and weddings.

THE SKINNY

Style Riot Menswear designed and Scotland RE:Designed New Talent Award winner Kelly McGrath introduces KellyDawn Riot Interview: Morgan McTiernan

January 2015

silhouette of a phlegmatic youth of times gone by.” McGrath is a fine artist in her own right, whose designs can be described as art on fabric, where her illustrations and prints allow her to have her own individual aesthetic. Describing her design process, McGrath notes that she is very traditional. “I never really know what I'm going to make. I just start visiting galleries, museums and picking up stacks and stacks of magazines and I photograph everything. Once I have stacks and stacks of research I filter it right down into two folders: print and silhouette.” Her work is all hand drawn and therefore can be very time consuming, however, “it makes my work slightly more unique in a way, as most things are created digitally. Silhouette wise, I usually know what I want straight away so I create the looks and filter them down so they are cohesive.” McGrath “likes to produce as much as possible by hand” and while her prints are all also hand painted, in order to achieve a high-end and articulate finish she uses Photoshop and Illustrator to arrange her patterns. “I did placement prints so once my pattern pieces were scanned in, I arranged my prints on top of them in Photoshop. I use the entire Adobe suite really, because alongside arranging prints etc in PS and IL I make research books and cookbooks.” She describes her work space as “organised chaos” where her studio contains “textiles, ceramic animal heads and wood carvings” that she collected throughout her travels. McGrath has created her own “little creative thrift store” which allows for the perfect creative environment. McGrath has big plans for the brand in 2015, is being mentored by artist Orsola De Castro, and is in discussion with a high-street fashion brand who want a line of prints exclusive to them. So far, her work has already been published in GUM Magazine, on the Scotland RE:Designed website and her designs have also been featured in The New Dystopia shoot for WeCrave.It. Planning to take a break in January following a hectic two moths with shoots, shows and exhibitions, KellyDawn Riot will be showing at Glasgow University Charity Fashion Show on 21 February and at the ZWS Textiles Chiasma 18-20 March. McGrath's feminine drawings embrace masculinity through the paradox of artful silk prints cut into masculine shapes. Her eccentric style and rejection of conventional masculine prints is one of the ways that sets KellyDawn Riot apart from other menswear brands – and we think it's beautiful.

Credit: Gabriela Silveira

rish born fashion designer Kelly McGrath's menswear label KellyDawn Riot is the newest on the Glasgow fashion scene after the designer won the New Talent Award at last year's Scotland RE:Designed. Her dream client is “anyone who wants to have fun and be daring without caring about masculinity or femininity.” Detailed, eccentric and eclectic, her designs are a combination of beautiful illustrations printed on silk fabrics against masculine silhouettes. Originally interested in studying sculpture, after recommendations by her tutors McGrath completed a BA (Hons) in Printed Textiles in Galway, Ireland where she designed a collection of screen prints for menswear. She later undertook an MA in Fashion and Textiles at Glasgow School of Art where she developed her printing and garment making skills into her iconic eccentric style. McGrath originally thought textiles was more restrictive than fine art, however as she discovered artists like Yinka Shonibare and Sarah Devey and saw past the façade she was hooked. Currently based in Glasgow, McGrath is inspired by the city, which holds an influence on her most recent collection. She comments, “I sourced all my imagery from aquariums, museums and galleries in Glasgow. One of the birds I drew from a glass case in the Kelvingrove Museum. The jellyfish I photographed at the Loch Lomond Aquarium. The prints are kind of like an amalgamation of the curiosities I saw in Glasgow in my first few months of moving here.” Her most recent collection, Every Blooming Thing, is inspired by naturalist illustrators, where McGrath draws on nineteenth century artists such as Swainson and Haeckel. She says, “I developed a scientific/ analytical approach to my illustrations. I visited aquariums and museums and photographed the creatures I saw in order to create a personal body of work.” McGrath has an unusual approach to fabrics where she will use cheap bedding for samples, and paints like “a tin of watercolours my Nan bought me when I was 8 or 9.” She says, “I'm kind of like that, I'll have all these brand new paints and I'll root in an old box of art supplies and use something else instead.” Her naturalistic and vibrant illustrations are then printed onto male silhouettes where McGrath's fascination with the Blitz Kids influenced her cuts. “This fascination took centre stage as I began to build a silhouette based on iconic pieces from that period, such as the high waisted tapered leg trouser, the oversized shirt and the overcoat. “This body of work collided immediately with my illustrations as the bright array of colours reflected the bold prints of that era. The Blitz Kids celebrated anything and everything as long as it was glamorous. This ethos rang true in my prints. The result is a collection of hand drawn and hand painted illustrations digitally printed onto the

kellydawnriot.wordpress.com Photography: Gabriela Silveira Model: Bejoy Sanjeev Clothing: Every Blooming' by Thing KellyDawn Riot

Credit: Gabriela Silveira

FASHION

Tine Bek O

ften working with a small handheld analogue point and shoot, much of Tine Bek's work comes from a constant scanning of her environment, a relentless evaluative sensitivity to her immediate surroundings. Out of this prolific approach came a need to impose some order on the huge mass of proof sheets from images taken across South America, Denmark and Glasgow – so Bek began to cut them up and order her images by colour. Colour is one of the biggest draws in her photographic practice which is founded upon, as she puts it, “looking, looking, looking, looking.” More generally, Bek considers her practice as an investigation into sophistication and class. There is frequently an attention to interior decors, combined with a richness that at times becomes baroque. A visual richness also recurs through Bek's interest in photographing food, crafting still life compositions that flirt with an attraction to excess. With her enquiries into class and sophistication, through an examination of the settings in which we place our selves, Bek also enquires into how individuals respond to these habitats and objects. More specifically, she tries to expose the man-made constraints that we put on, not just ourselves as individuals but also our artefacts and objects of the everyday. One term that she finds useful is ‘taming,’ how an urge to keep order and control is expressed at the level of the individual as well as wider society. Perhaps this is one of the reasons for the weight that is perceptible in much on Bek's work. An otherwise innocuous orange may become ‘forbidden fruit.’ For Bek, the images tell a story of something unfulfilled, suppressed and held down. Out of the everyday comes, ‘the fall.’ Even on the back of man's white shirt or a dark green plant are inscribed the grandest narratives. Tine Bek graduated from Glasgow School of Art in 2013 and currently lives and works in Glasgow

SHOWCASE

THE SKINNY

January 2015

SHOWCASE

The Tests and Rewards of Lonesome Travelling A manifesto for self-discovery

ften it is spoken of in today's world of noise and clutter with which we fill our minds. A phone has become an extension of self. A quiet second is but an empty cup to be filled with the waters of a scroll through Facebook, a check of emails or, if you are feeling in an exceptionally self-developing type of mood, a check on the news headlines (perhaps even a read of an article!). People speak of taking time to themselves to combat this clutter. But a five-minutes here, an afternoon there, acts as a small shield against the tsunami of external activity. Perhaps, it will allow you to think about your thoughts, but it will not quieten them. It will not give your mind the clear mental landscape with which to view yourself, perhaps the world, in fresh perspective. Nay, would the modern person even want that? As wrote that preposterously intelligent German, Frederick Nietzsche, ‘you cannot endure being by yourself and do not love yourselves enough.’ This was over one hundred years ago, where without phones, television or internet, solitude must have been forced upon people more regularly than today. So, nowadays, with such easily accessible escapist objects at hand, we must spend even less time truly ‘alone with our thoughts,’ and probably love ourselves less because of it.

“The escape of the phone, the friends, the communal reservoir of common things to discuss are abandoned, as you are whipped like a spinning top off the edge of the precipice of comfort” So what to do? How to stay away long enough from the constant intrusions into personal psyche to find enough time and space for you to learn to love yourself? Well, one option is to travel. Though, most crucially, to travel alone. ‘But travel is the ultimate escape from yourself and your reality,’ an objector might argue. Quite the opposite. It confronts the traveler with their reality. The escape of the phone, the friends, the communal reservoir of common things to discuss are abandoned, as you are whipped like a spinning top off the edge of the precipice of comfort.

Lifestyle

TRAVEL

Words: Duncan Stirling Illustration: Joren Joshua

The immediate emotions, without crutches or company, are of disorientation. What the hell is someone supposed to do alone with no internet, no phone, no company with which to whittle away hours playing cards? Where should I go? Why did I not make more plans? Let's set out and explore. How has it only been six hours since I landed? How long is this trip going to last? The emotions of one in withdrawal are strong. You feel at sea. The mind that you thought was so calm, tranquil and ordered begins to knot its internal currents, while trying external experiences batter these currents with whipped up winds. So why bother? Well, the addictions that technology breeds begin to lessen their holds. The seas become settled as you become used to time alone. Indeed, this time is transformed. Imagine dipping your toes into the cold sea. You retract and shiver. Yet, once you have submerged yourself and swum in its waters, it no longer feels so cold. Your body warms itself. It is getting out of the water that now appears the less appealing of the two. Following this submergence, the trip can truly begin for the convalesced. Days may be long and uneventful, but with no one else to please this is only as much of a problem as you choose to make of it. A calmness prevails that a slow day or a long day's travel cannot touch. Then, when the excitement does come, in whatever form this may be, it is wholly yours. The activities that you get up to were conceived and followed through all by yourself. The scares, the beauty, the ridiculous, all uniquely yours. Such solo experiences are important for selfdevelopment, but also hold you in good stead for your return in other ways. Much of conversation is based around what it is that people have done. This is discussed with other people, who also talk about what they have done. It is one of the things that bonds people together. However, if your time is mostly spent in similar circles then most of what you will have to discuss is what you have done with those people in question. But they've already heard it all, as they were there when most it happened! This is the blessing of travelling alone. Though it may be tough at times with long days and lonely hours, take comfort in your loneliness from the tale of literature's greatest traveler, Odysseus. He was loved by deities, even offered immortality if he would but live in paradise with the beautiful goddess, Calypso. And how did he woo such a figure? Yes, he was an exceptionally handsome fellow, a wise king and militarily renowned, but all Greek heroes were. What it was that Odysseus had, above perhaps any man in history, was a library of personal stories to tell. He was the man of a thousand tales, most of which were unique to him and owed their inception to his insatiable curiosity for the world. So, this will be your reward for the long struggle. The gift of varied and wide-ranging stories, quite apart from ones that others may have heard before. A gift, of course, to be used appropriately.

THE SKINNY

Gig Highlights

ight, enough's enough. If you insist on validating the passing of yet another twelve months by making a resolution to be less of a shithead this year, at least do it properly. Close the paleodiet and yoga pants tabs you've got open (seriously, who're you fooling), and start flexing your eardrums instead. Here's the January roll call: First up, Bad Luck at King Tut's – appearing as part of the venue's annual New Year's Revolution, for which you can find full listings at the back of the mag – on 15 Jan. All loose-lipped vocal overlaps and sullen guitar solos, they're a glowering guilty pleasure who'll catapult you back to the days of scribbling love hearts on physics folders and being unjustly detained for wearing converse to school. Supporting are fellow gorgeous noise-makers ShnarffShnarff, Pinact and Twin Mirrors, so you'll get a crosssection of stompy alt-rock, psych-punk and resplendently shouty stuff. Y'welcome! A few days later, Glasgow Art School welcomes J Mascis, a man of mythically flaxen hair and divine tuneful musings to match. Tied to a Star, released last summer, is a sparkling, rotating bundle of smoky vocals, flurrying acoustic guitar and lonely but lovely lyricism. Have a deek for yourself on 19 Jan. Those comfiest with country can also look forward to First Aid Kit – AKA Johanna and Klara Söderberg – this month. Folkier than ceilidh

J Mascis

Credit: Gemma Burke

Mark Lanegan

Credit: Crimson Glow

Words: Kate Pasola

in a cornfield, the sisters will be breezing into Edinburgh Usher Hall on 19 Jan and bringing with them the dusty delights of their 2014 release Stay Gold. Catch them before they steal away for the Swedish chapter of their tour in February. Mark Lanegan's earthquake-inducing rasp will be filling O2 ABC on 20 Jan, when he's joined by a full band to perform tracks from a discography which spirals down to his stripped back 1990 Sub Pop solo debut, The Winding Sheet. A Krautrock-inspired rusty-electro influence resurfaced this year when the band dropped Phantom Radio in October. Sampling most of the drums for the record on a mobile app, Lanegan is intent on exploiting the evolution of music technology in his prolific creation of soul-searching treasures – and we're quite happy to sit tight and watch that unfold. Another jackpot-hitting LP from autumn 2014, just two years after her stratospherically popular debut Devotion, Jessie Ware's rested and ready to explore the globe's stages once more. Her latest album Tough Love was the product of post-tour exhaustion, unravelling from a single track written in New York about heartpains of the past. With strikingly arranged new material which succeeds in shrugging off the SBTRKT sidekick visage, Ware is not one to be overlooked. Edinburgh Queen's Hall is the place to witness her evolution live on 23 Jan.

Do Not Miss Neneh Cherry, the soul-simmering sass merchant who's held rule of the funk-rap throne with the likes of Salt-N-Pepa and successors like Missy Elliot pays us a rare visit, and good grief is it a welcome return. Featuring viciously fresh production from Kieran Hebden (Four Tet), last April's comeback LP Blank Project is a chromium alchemy of genres; trickling between trappy and funky, tribal and ambient. Cherry's definitely back, and still so cool there's a chill-blains hazard attached. Get re-initiated as she makes her first onstage appearance in these parts since 2005.

January 2015

Neneh Cherry

Credit: Sam Huddleston

NENEH CHERRY WITH ROCKETNUMBERNINE, SWG3, 30 JAN

MUSIC

Preview

THE SKINNY

Photo: Elliott Hatherley

Photo: JayJay Roberts

Run The Jewels

The Garage, 10 Dec

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We Were Promised Jetpacks / Fatherson QMU, 13 Dec

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The fizzy atmosphere in QM Union cannonballs as soon as Fatherson get stuck in – immediately satiating a crowd peckish for decibels and kickdrums. Drummer Greg Walkinshaw seems acutely aware of this apparent craving, and hams up his portion of their glossy, heavy sound to the extent that he suffers from a zeal-induced stitch, giddily reported after the show. Ailments aside, the band look thrilled, and that enthusiasm waterfalls into the cockpit in preparation for We Were Promised Jetpacks. Warm-up accomplished, the Jetpacks lunge easily into a tight performance of tracks from their 2014 LP Unravelling. These newer nuggets are eagerly received by fans whose unconditional attentiveness indicate the likelihood that they’ve been around since the early days of These Four Walls. This is confirmed when robust

performances of Quiet Little Voices and It’s Thunder and It’s Lightning result in the centralmost punters thrashing blissfully to the sound of their lives five years ago. But it’s doesn’t feel like WWPJ share such ecstatic nostalgia. It’s surely difficult to declaim lyrics like “I’ll die for you” every night of a tour and emulate those originally recorded haunts and tremors, but the generous dose of well-worn material just feels a bit tidy, with screams and thuds sometimes too easily anticipated. That said, the show is peppered with plenty of exhilarating moments, where all five members (including recently instated multi-instrumentalist Stuart McGachan) thrive upon opportunities to paint a renewed, controlled sound. Seeing the band tonight, on the heels of an extensive North American tour, you gather that something astonishing might be in store when they return to Glasgow, rested, this February. [Kate Pasola] We Were Promised Jetpacks play King Tut’s 25th Anniversary celebration on 5 Feb wewerepromisedjetpacks.com

Manic Street Preachers play The Holy Bible Barrowlands, 8 Dec

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Despite initial trepidation towards a full-blown anniversary tour for fear of rendering The Holy Bible ‘a museum piece’ as James Dean Bradfield put it, tonight – at the end of a prolific year, already bookended by two revered and stylistically opposed records – they’re clad in the thrift shop army surplus regalia of old. The Barras’ floor springs are put to use for a mass pogo during Revol’s stomping roll call of fallen dictators, while 4st7lb demands the masses chant back its bittersweet chorus about grappling with an eating disorder. “Happy fucking Christmas, eh?” Nicky Wive acknowledges the absurdity and the symmetry of the gig’s timing before offering a poignant salute to his old comrade during the opening bars of This Is Yesterday.

January 2015

“It goes without saying; this is for Richey James Edwards.” An immediate change of mood sweeps the venue when Bradfield resurfaces – suited and booted like he’s ready for a night on the piss with The Rat Pack – for the ‘Futurology, Hits & Curios’ half of the evening They blaze through Motorcycle Emptiness, deliver the first live play of 1985 in seven years and a surprise outing for swaying Gold Against the Soul B-side Donkeys (containing “two of the greatest lines ever written in rock and roll,“ Wire boasts in a fresh blazer he could have stolen from Rick James. “Put your lipstick on, at least your lies will be pretty”). Within minutes Bradfield’s caked by a flying pint, the carnival atmosphere in full swing as they give Dreaming A City (Hugheskova) – the soaring, unashamedly euro-disco fetishizing instrumental from their latest record – its glorious live premiere. A solid victory. [Dave Kerr] manicstreetpreachers.com

Photo: JohnGraham

Photo: Beth Chalmers

A cancelled flight throws the fate of tonight's sold out show into jeopardy, but a panicked tweet from the duo's co-pilot / production-handler El-P confirms that Run the Jewels are only 15 precious minutes away from the venue – following a nine hour drive up to Glasgow through the treacherous winter weather. Nerves of uncertainty firmly settled, El and Killer Mike triumphantly take to the stage, clutching the bottles from which their pre-gig drinks were supposed to be poured. Wasting no time, they kick into the eponymous track from last year's self-titled debut, prompting most in attendance to throw the RTJ gang sign (that's a thing already), but it's the ferocious bombast of new tune Oh My Darling Don't Cry that really sets people off – especially in its Mike-led, beatfrenzied final minute. Save for the missing guest verses, most of the spoils from their two nearflawless records under this guise are truly let

loose: Close Your Eyes (And Count to Fuck) sees the pair effortlessly trade off verses at breakneck speed, and the similarly vicious DDFH (Do Dope Fuck Hope) has Mike spit gritty underclass poetry backed by El-P's sci-fi beats. The more ferocious cuts are balanced out by the moodier, more serious material; a wave of raised hands sways across the room during Sea Legs, and the (relatively) lowered tempos of Blockbuster Night Part 1 and Early serve as well-sequenced ebbs to the rest of the set's relentless flow. The encore presents a coda of sorts; the sombre closers from both records cap off an astoundingly energetic set. Simply put, RTJ need to be experienced live. Everything that makes this tag-team so appealing becomes four-dimensional in the flesh; the tonguein-cheek arrogance, reflective social commentary and intelligent, rapid-fire wordplay. What comes through most, however, is an undying devotion to these rabid fans. With RTJ3 under way this January, you gather this furious alliance can only keep giving. [Ross Watson]

Deathcats

Stereo, Glasgow, 5 Dec

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This might not be Deathcats' last ever show. It's not even their final gig of the year. But it has the feeling of a farewell party all the same; people are having a good time, but there's a slightly sad edge to proceedings, a tacit acknowledgement that an era, no matter how short, is coming to an end. The fuzz pop trio from Cumbernauld are going on indefinite hiatus, and tonight has been billed as a chance to say goodbye. The group might never have troubled the headline bookers at major festivals or found themselves packing out arenas, but they've created their own niche in Scotland's live scene over the last couple of years through a mixture of hard work and streetsmart attitude. Incessant gigging can only ever get you so far – what has really pushed them up the ladder is a solid debut album,

MUSIC

All Hail Deathcats, and a likeable frontman in James McGarragle. “Are youse all McGarragle's pals?” asks Martyn Kellighan of fellow Fuzzkill Records residents Secret Motorbikes, following on from throwback garage rock brethren Pinact and The Rockalls as tonight's main support act. You can tell many of them are. The Glasgow outfit prefer a more psychedelic approach than Deathcats, but the buzzsaw guitars and sharp turns are all present, which keeps most of the crowd satisfied. The jagged pop hooks of Solid kicks off Deathcats' own set, an upbeat number given weight by its sombre lyric. All the highlights of their debut album are present; DREAMZ, Melted, Jaguar – as well as contributions to their recent split EP with Ottawa's New Swears. The group provide the required level of excitement – a moshpit dutifully breaks out – but the finality of the occasion hangs in the air. [Chris McCall] deathcats.bandcamp.com

Review

Album of the Month Sleater-Kinney

No Cities To Love [Sub Pop, 19 Jan]

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Recorded in secret in early 2014, seven years after they began their ‘extended hiatus,’ No Cities to Love is as daring and playful as its head-spinning provenance, and offers sweet relief to the fingers-crossed hardcore. That they managed to regroup under cover is one thing; that they return in this kind of shape is something else entirely. In an era of cheap-shot reformations, SleaterKinney pull the plug on the past and flick the switch on the future. “It’s 9am, we must clock in / The system waits for us,” sings Carrie Brownstein on opener Price Tag, but No Cities to Love has scope beyond mere state-of-the-nation politicking. Album number eight models breadth both lyrical and sonic. Those who

Playing Glasgow O2 ABC on 25 Mar | sleater-kinney.com

Pond

BC Camplight

The Phantom Band

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Man It Feels Like Space Again [Caroline, 26 Jan] After the… ooh, approximately five seconds it takes to notice the similarities between Perth popsters Pond and the all-conquering Tame Impala (in both style and personnel), this album stakes its own claim for immortality. It opens magnificently, as the sticky-eyed lullaby that introduces Waiting Around for Grace soon develops jet heels, leaping purposefully into glitterball disco and glowing among kaleidoscopic colours, adeptly underscoring a Phoenix-esque funk. The oft-attached descriptor ‘psych’ doesn’t quite do justice to their neon rock classicism; this is vivid rather than ethereal; commanding rather than hypnotic. You might even be tempted to utter words like ‘futuristic’ when Elvis’ Flaming Star’s magnificent coda drenches itself under bleeping, shimmering waterfalls. Even at their most narcotic, however – certain woozy moments recall Mercury Rev’s stargazing wonder – it’s clear that Pond’s shining brilliance stems from the hips rather than the subconscious: simply perfect pop. [Will Fitzpatrick] pondband.com

How To Die In The North [Bella Union, 19 Jan] It’s too lazy to call How To Die In The North a catharsis for BC Camplight. True, a descent from critical acclaim to alcoholism, drug use and homelessness in Philadelphia did lead to a Leaving Las Vegas-style move to Manchester, to prove his ability and destroy himself in the process; but the New Jersey-born songwriter’s third record feels more like a starting point than a purge. Themes of loss, relationship failure and distrust of love are sent on beguiling journeys that pull in everything from neopsychedelia, on opener You Should Have Gone To School, to string-laden surf pop on Thieves In Antigua and Nilsson-esque balladry on Why Doesn’t Anybody Fall In Love? It suggests a man’s mind running riot with possibilities rather than pain, as horn sections, shimmering Beach Boys-style backing harmonies and electronically mutated loops are flung at the canvas, held together by crisp, unforgettable melodies. [Simon Jay Catling] Playing Glasgow’s Old Fruitmarket (supporting Calexico as part of Celtic Connections) on 1 Feb | soundcloud.com/bc-camplight

Funeral for a Friend

Chapter and Verse [Distiller, 19 Jan]

Fears Trending [Chemikal Underground, 26 Jan] Comprised mainly of offcuts from last year’s Strange Friend (five of the seven tracks here were recorded during those sessions), it’s tempting to approach the fourth full Phantom Band release as an exercise in guessing why the material didn’t pass muster the first time around. We’d wager that much of what has become Fears Trending was deemed a little too dark, too weird and, perhaps, too experimental for its lighter of touch predecessor. But far from feeling like an afterthought for hardcore fans only, Fears Trending is as essential as anything the venerable sextet have done to this point. Tender Castle sets a tone of structure and production that is unhinged by just the right amount, The Phantoms clearly embellishing their wayward tendencies. The brooding and ominous Black Tape sounds more like a forgotten shadowy gem from 2011’s The Wants than anything else and if tears weren’t shed at the initial shelving of gorgeous bluegrass finale Olden Golden then these boys are made of pretty stern stuff. [Darren Carle] phantomband.co.uk

Panda Bear

Siskiyou

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Panda Bear Meets the Grim Reaper [Domino, 12 Jan]

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Difficult to believe it’s been more than ten years since Funeral for a Friend first broke through, but Chapter and Verse provides a handy opportunity to catch up. On first listen, Pencil Pusher and You Should Be Ashamed of Yourself seem to plough the same post-hardcore furrow as the excitable twentysomethings behind 2003’s debut Casually Dressed and Deep In Conversation. Closer inspection reveals some minor developments, however: gone are the extraneous nods to Iron Maiden, with a punkier riffology in their place. Matt Davies-Kreye’s vocal has changed too, with his once-melodious whine disintegrated to a guttural bark. This doesn’t explain why a man from Bridgend should still affect a painfully transparent sub-American accent in his mid-30s (most awkwardly exposed on the acoustic Brother), nor the tricky question of how a band can fail so spectacularly to progress – even by accident – over the course of a decade. Still, ‘more of the same’ should be enough for their ever-rabid fanbase. [Will Fitzpatrick]

Noah Lennox’s fifth outing may have a rather portentous title but the content within is so much more than a simple dialogue with death. Then again, nothing is simple in Panda Bear’s sonic toolbox; if anything, the album is teeming more than ever with off-piste diversions and excursions, contrary sampling and a firm 90s hip-hop pulse. Lennox has a remarkable ability to craft wonderful vocal hooks from the air and build them like blocks of Lego, sustaining the stunning spatial awareness elsewhere. Lead single Mr Noah has a strut and swagger previously absent from Lennox’s oeuvre, while other standout track Boys Latin has a glorious synth bassline held underwater and peppered by startlingly effective panning vocal harmonies. His only other album that really sounds like this is 2007 effort Person Pitch, but Panda Bear Meets the Grim Reaper takes that template and pushes and drags it into all manner of magnificently genre-defying perambulations. [Colm McAuliffe]

ffaf.myshopify.com

pbvsgr.com

Nervous [Constellation, 20 Jan] This third album from the Canadian ensemble led by Colin Huebert continues largely where 2011’s Keep Away the Dead left off. Its feather-light constituents (brushed percussion, acoustic guitar, distant piano) feel somehow passé: at times, as verses give way not so much to choruses or hooks, but to a swell and a rise in volume, Siskiyou recall the dynamics employed similarly by fellow Canadians Arcade Fire. Huebert’s barely-there vocals only add to the overall tone: chill, and oddly uninvolving. If it had other cards to play, if it was stuffed with melody, if it had a mordant wit or dared to be wry, even, it might connect. But Nervous is a deliberate, studied work: it shrinks in the shadow of its name. It flickers into life when it plays it a little more trad, most notably on Wasted Genius and Oval Window. But overall, it’s a self-regarding work, one whose undoubted artistry struggles to conceal its selfish heart. [Gary Kaill] siskiyouband.com

Belle and Sebastian

Enter Shikhari

Viet Cong

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Girls in Peacetime Want to Dance [Matador, 19 Jan]

Girls in Peacetime Want to Dance might come as a surprise for some. It’s tough and brave and witty and warm-hearted – perhaps inevitable characteristics for a Belles album. But this, their ninth studio record, is the work of a band challenging themselves – it’s just as ambitious as any freshfaced debut. Lead single The Party Line is a perfectly placed calling card. Combining classic Stuart Murdoch lyrics of hearsay and anticipation with what is, in essence, a dance track, it’s a perfect reintroduction to the band come 2015. There’s a touch of house mixed up in there somewhere too, and lovingly crafted, laced with embellishment and detail, and full of unexpected twists: longer tracks like Enter Sylvia Plath and Play for Today are swelling and expansive, unfurling on to waxed, glitter-balled dance floors. [Katie Hawthorne] Playing Glasgow Hydro with the Scottish Festival Orchestra on 22 May belleandsebastian.com

found 2006’s The Woods ultimately too bruising can rest easy. Wave goodbye to overdrive overload and crushing power chords. A cleaner mix showcases Janet Weiss’s drums and Corin Tucker’s savage vibrato: both as distinct and exceptional as ever. Much of the album’s sinewy melodics come via a re-jig of the Brownstein/Tucker dynamic, the latter’s guitar tuned down and making space for Brownstein’s snaggy riffs. Charged with a vitality akin to their early recordings, each of these ten songs erupts: the epic, tempo-switching Fade; the nervy title track (“I’ve grown afraid of everything I love”); Hey Darling and its irresistible, monster hook. Electrifying throughout, Sleater-Kinney bristle with an energy that threatens to drain the grid. [Gary Kaill]

Review

The Mindsweep [Ambush Reality / PIAS, 19 Jan]

Viet Cong [Jagjaguwar / Flemish Eye, 19 Jan]

Once upon a time, a successful fusion of rock with ‘dance music’ was the great unattainable dream of modern pop, a quest which largely resulted in damp squibs farting pathetically at every turn. No such problems befall Enter Shikari, whose fourth album blends hardcore-drenched hooks with cacophonous trance and the gut-punching thud of dubstep, as Rou Reynolds’ impressive vocal dynamics alternate between honeyed croons and lung-busting screams. From the top-heavy breakdown of Myopia to Torn Apart’s seamless drum’n’bass assault, The Mindsweep’s sonic extremes feel carefully calculated to punish as much as enthral. Similarly, Reynolds’ anti-establishment rhetoric comes poised on the balance beam between education and inspiration, recalling the incendiary passion of Swedish leftists Refused. The unrelenting nature of this potent cocktail can be exhausting, but such concerns will seem utterly irrelevant in the sweaty hedonism of the moshpit. [Will Fitzpatrick]

The kind of piss and vinegar that brought a band like Women together was unlikely to just evaporate, despite guitarist Christopher Reimer’s untimely death in 2012. Happily, Canadian no wave battering ram Viet Cong features two thirds of the remaining members on vigorous form. In a fatuous era such as ours, with Urban Outfitters and its cavernous bowels of aspirational lifestyle-retail ranked no.1 for UK vinyl sales, it’s not uncommon to hear kitsch, lacklustre bursts of faux-90s alternarock minced through ProTools plug-ins, attempting to sound like teenagers recording J Mascis riffs on a walkman. Mercifully, while Viet Cong break little fresh ground with this debut their caustic post-punk does manage to reference the better acts of that era, like Unwound and Arcwelder, throwing in whiffs of Liars and some compelling lo-fi electronica. Viet Cong is a solid, admirable distillation of early 90s US indie that dares to throw in some rewarding ideas of its own, proving that “retro” need not always be a cuss word. [Chris Cusack]

Playing Glasgow Barrowland on 21 Feb | entershikari.com

Playing Glasgow Broadcast on 6 Feb | vietcong.bandcamp.com

RECORDS

THE SKINNY

Redder

Jo Bartlett

Dan Mangan + Blacksmith

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Walk Long Play [Cocoa Music, 26 Jan] Sombre Finnish duo Redder pull back the curtain on debut LP Walk Long Play, the follow-up to 2013’s sparse EP Border/Lines, and the stage is pretty bare. Cloaked in Vesa Hoikka’s austere electronics and Frans Saraste’s dark, folk-inspired arrangements, the pair’s vocals (mostly Saraste, occasionally Hoikka) whisper like a detached, nordic RY X. Compositionally, WLP is spectral and fragmented. Fifteen More Minutes feels weighed down by its own honking bass refrain, while the disconsolate Tunnels aches for nine minutes, lost at sea amid languid guitar, brushing pulses and softened drum patterns. Kolumba Museum is almost hymn-like in solemnity, and with closing track Alarm’s reverberating piano and vocals, there’s more than a little of the same desolation brandished by Manchester’s MONEY. These Finns produce a blend of trip-hop that sits with a weight in your gut and a fog in your brain. Lights off and headphones on, WLP is transportive; just don’t stick it on at a party. [George Sully]

9 x 7 [Strike Back, 12 Jan] It’s difficult now to imagine just how marginalised the UK alt-folk scene was at the turn of the century. Plaid shirts, boutique festivals and Laura Marling records are the cultural mainstream in 2014. Jo Bartlett pre-dated them all; as one-half of It’s Jo and Danny and a co-founder of the Green Man festival, her singular role in the wider folktronica movement – which also spawned the likes of the Beta Band – produced several stand-out records and helped an entire genre gain wider recognition. Now, when not playing with The Yellow Moon Band or promoting shows, she also finds the time to release solo records – 9 x 7 being her second in four years. Bartlett fans will love Highway Found, which perfectly captures the autumnal, warm feeling that she does so well, and Rising to the Bait is a sharp, well-arranged reflection on the passing of time. There’s nothing radically advanced here, but Bartlett has struck a winning blueprint nonetheless. [Chris McCall]

danmanganmusic.com

Southern Tenant Folk Union

Fantastic Planet [Fire, 26 Jan]

The Chuck Norris Project [Johnny Rock, 19 Jan]

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noveller.bandcamp.com

For someone whose award-winning solo efforts were already full of charming heft, Dan Mangan’s first ostensible outing with the full band Blacksmith (they played alongside him on 2011’s Oh Fortune) is a tidal, engrossing record. Club Meds might not be as fun as say, Mangan’s 2009 debut LP Nice, Nice, Very Nice, but it explores more nuanced, adventurous corners, and is very much the product of Blacksmith’s roster of Vancouverite experimental musicians. His vocal is still front and centre; rich but not too husky, a bit like Paul Banks on Kitsch and the dolorous War Spoils, a bit like Mark Oliver Everett on the catchy Vessel, but always with its own distinctive warmth, like coals from a sauna. We’re treated to piano, dusky country (Mouthpiece), and forlorn jazz (XVI, New Skies), with the net result much deeper and more textured than Mangan’s prior work. It’s a confident stride in the right direction, at ease in its cosy darkness. [George Sully]

soundcloud.com/jobartlett

Noveller

Filmmaker Sarah Lipstate has a cineaste’s ear for tension, drama and enigma. This latest album under her Noveller guise is blurred at the edges and tastefully frazzled, doffing caps and blowing kisses towards post-punk drone and no wave. That she’s previously worked with Glenn Branca and Rhys Chatham should come as no surprise, and especially not to anyone under the spell cast by opener Into the Dunes – a woozilystrummed chord alternates between major and minor keys. Halfway through, the bottom falls out entirely, giving way to thrillingly crunching noise while remaining utterly hypnotic. Turning deftly to ambient soundscapes (Pulse Point) and claustrophobic battles between undulating synths (Sisters), Lipstate proves herself a dab hand at creating impressionistic wonder, adroitly prompting a visceral response to the most delicate of structures. Lovely stuff. [Will Fitzpatrick]

Club Meds [Stereo Sanctity, 12 Jan]

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The best concept albums reveal a loose theme that binds songs, but a rigid template can as easily suffocate creativity as inspire it. On their sixth album, Southern Tenant Folk Union have chosen to dress up their most political collection of songs to date in the cloak of Chuck Norris; a man famously so tough that he never calls the wrong number, you answer the wrong phone. Inspired by a 2012 campaign video by the actor imploring Americans to vote for Mitt Romney. It’s a strange framing device. Two years on from the event, Romney is yesterday’s man and Norris remains little more than the butt of very old internet jokes. It doesn’t sit right with Slaughter in San Francisco, a touching reflection on senseless school shootings. The skill of the group’s multiinstrumentalists is apparent throughout, but the Norris factor often overshadows rather than elevates these songs. [Chris McCall] Playing Edinburgh Storytelling Tour on 17 January and Glasgow Òran Mór (as part of Celtic Connections) on 18 January | southerntenantfolkunion.com

Etienne Jaumet

La Visite [Versatile Records, 26 Jan]

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Etienne Jaumet has found himself increasingly drawn into the world of film scores – whether covering the greats, as on Zombie Zombie Plays John Carpenter, or creating new accompaniments. However his first solo record, Night Music, was produced by Carl Craig, and for this long-awaited successor Jaumet eschews Zombie Zombie’s cinematically-minded expanse for a streamlined, techno-influenced sound. Opener Metallik Cages places a marker early doors, Jaumet murmuring over a handful of quivering spacey constructs. There’s something of Kraftwerk in how Anatomy Of A Synthesizer sees Jaumet methodically uttering the functions of his own machine over a scribble of robotic transmissions; but the record really unfurls when, on Moderne Jungle, he revisits the full-blooded saxophone that’s recently appeared as part of James Holden’s live band, to unshackle the track from the rest of the album’s foundations – towards an ultimately boundary-free space where Jaumet has always been his most comfortable. [Simon Jay Catling] versatilerecords.com

Disappears

Flug 8

Wray

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Irreal [Kranky, 19 Jan] The fifth album from Chicago quartet Disappears is so massive, so spatially aware that it appears to descend from an unattainable height without ever touching down. The band have transcended their hitherto naked Spacemen 3 influences to create something altogether more modern, even extroverted sounding. Key to this is producer John Congleton, who hones and shapes every single sinew of this fine album with extreme levels of finesse. OUD is driven by a simple hi-hat figure, albeit one severely flanged and foregrounded, reducing the surrounding guitar fragments to mere accompanying noise, inverting the typical rock setup. The title track meanwhile similarly deconstructs itself before being resurrected in a glorious, near-atonal blowout. Frontman Brian Case’s lyrics are suitably opaque and rendered almost superfluous in the face of this sonic barrage but perhaps that’s the point; Disappears have a suspect relationship with notions of time and form and Irreal flourishes when these uncertainties take over. [Colm McAuliffe]

Trans Atlantik [Disko B, 5 Jan] “Krautey-housey-techno” is how producer and DJ Daniel Herrmann (here in his on-off Flug 8 guise) describes his uncompromising, minimal beats. Now there’s a premise nigh on impossible to resist; the Frankfurt-based maverick sculpts sparse electronica into hypnotic, shadowy soundscapes. Trans Atlantik is an appealingly Catholic set, vaulting from stripped beats (the pulsing title track and Musik Aus Metall) to the haunting Watch Me Grow where Mono Girl’s vocals provide warmth amid the chill. Android recalls prime John Carpenter and his 70s synth masterworks: you can almost see that ice cream van pulling up from here. It doesn’t quite fulfil all of its cinematic aspirations, but at its best, Trans Atlantik paints a convincing picture of man and machine as one. Fans of of electro classicists like Carpenter or (early) Jean Michel Jarre should look in, as should those in thrall to the recent adventures of Aphex Twin and Daniel Avery. [Gary Kaill] wp.diskob.com

disappearsmusic.com

The Decemberists

What a Terrible World, What a Beautiful World [Rough Trade, 19 Jan]

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The illusion of continuity: that’s the way Wray choose to bring up the curtain on this debut effort. Blood Moon’s nagging two-note jangle fades in slowly, introducing the punkish pace that sees us through the album’s first half, and surreptitiously suggesting the band have already been powering through its mesmerising riff over tireless hours. The watchword is energy: feet are rarely removed from the accelerator, even with sumptuous, Slowdive-refracted chords draping dreampop wooziness across their sinewy alterna-rock. Vocals, naturally, come buried in mist and reverb. If at times it feels like they’re ticking boxes on the zeitgeist checklist (psychedelia, krautrock and shoegaze seem broadly well represented), then it’s worth acknowledging the way their influences feel organically assimilated rather than awkwardly tacked on. Seven-minute centrepiece May 15 sees Wray striving for the transcendent, but the relatively sombre Graved is where they really deliver, with an arctic splendour that’s both morose and moreish. [Will Fitzpatrick] facebook.com/wraymusic

EP Review

Mamuthones & Evil Blizzard

Collisions Vol. 4 [Rocket Recordings, 19 Jan]

The Decemberists have long since ascended to indie rock royalty despite a history of prog influences and obtuse lyrics. That changed with the more linear approach of 2011’s The King is Dead, and What a Terrible World... is a further step into the middle of the road. You could take this move one of two ways. The first is to enjoy it for what it is – a coherent, mostly engaging, albeit slightly overlong piece of work. Colin Meloy’s harmonising with Jenny Conlee on Make You Better ranks with the band’s most captivating work, while liberal dashes of brass and strings see to it that the likes of Cavalry Captain soars. The second is to lament the smoothing of the edges of one of America’s finest bands of the last 20 years. There’s much to be said for growing old gracefully, but beyond the exuberant charm of Better Not Wake the Baby, true thrills are often in short supply. [Stu Lewis]

Volume 4 in Rocket Recordings’ Collisions series pits Italian psyche stalwarts Mamuthones against Brit space rock revivalists Evil Blizzard. It’s a case of tune in, turn on, drop everything: blissed-out beats and the type of melodious drone that powered early Hawkwind make this a collision worth buckling up for. Mamuthones contribute four cuts. The highlight, The Holy Ghost People, is a feverish wah-wah wigout, a deep, spiralling groove: beside it, Fools Good is suddenly a stiff toe-tapper. Head over to Evil Blizzard’s place, though, if it’s trouble you’re after. The epic Sacrifice is here twice but the original, with its merciless guitar attack, trumps Teeth of the Sea’s twitchy remix. What’s not to like? [Gary Kaill]

Playing Glasgow O2 Academy on 13 Feb | decemberists.com

rocketrecordings.blogspot.com

January 2015

Wray [Communicating Vessels, 26 Jan]

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RECORDS

The Top Five 1 2 3 4 5

Sleater-Kinney

No Cities To Love

The Phantom Band

Fears Trending

Panda Bear

Panda Bear Meets the Grim Reaper

Belle and Sebastian

Girls in Peacetime Want to Dance

BC Camplight

How To Die In The North

Review

Heart of a Wrestler Depressed and losing a battle against drugs and alcohol, BC Camplight left Philadelphia to die in the North. But now he's never felt so alive Interview: Simon Jay Catling Photography: Lucy Ridges

icky Rourke's ‘Ram Jam’ Robinson was many things in 2008 film The Wrestler, but as he lurched from mounting debts, to painkiller addiction and heart problems, one thing he never lost was an ultimate belief in his ability to perform. Even in its final scene, with Ram Jam's heart heaving, he grits his teeth, ignores his opponent's pleas to finish the match, and clambers the turnbuckle to execute his trademark move that the crowd had paid to see. Happily for BC Camplight, his story is heading towards a more positive coda, but within the New Jersey-born songwriter lies a similarly unshakeable belief in his craft. Take a clip from an early 2013 session shot by Manchester Scenewipe as an example. Sitting in a freezing gallery space, he sits bleary-eyed, with matted hair jutting out at odds and ends around his face from under a woollen hat. With his thick winter jacket on, he looks like he's staggered in from the abandoned church in Philadelphia he'd spent time squatting at just two years previously, when a record deal and critical acclaim had given way to depression, alcohol and drug dependency as well as his retirement from music. And yet all that changes in an instant, as he softly but surely mutters “I think music needs me again.” Oscar Wilde would be proud. And yet, BC Camplight – real name Brian Christinzio – is brilliant. His first two albums, 2005's Hide, Run Away and 2007 follow-up Blink of a Nihilist possessed the sort of eat-away-atyour-brain melodic hookery to prompt an instant skip back after every song. His new one's even better – How To Die In The North is in parts a longlost cousin to the pioneering skewed pop of the Beach Boys or Harry Nilsson, but for the most it's a wholly singular piece of work, captured within a heady, swirling atmosphere that fluctuates between tickling warmth and doleful melancholy. “It's the only record that's come out exactly as it was in my head,” he tells The Skinny emphatically as we meet up at Soup Kitchen, nearly two years on since the Scenewipe session – nearly four since first moving to Manchester – looking smarter and undeniably happier. “So at least it's the best I can do, so if people don't get it, they don't get it.” It wasn't necessarily that people didn't “get” his first two records, it's just that few got a chance to even listen to them. “I was really naïve back then,” he recalls of his three year relationship with previous label One Little Indian (home at various times to the likes of Sigur Rós and Björk). “I assumed that because I had a record deal I'd be handed this gift of being famous and that was it. But the campaign for those albums was so dis-organised that neither ever came out in America, then after my last tour I wasn't doing so great mentally; I became disenchanted. I felt like I'd blown it and that music owed it to me to make things right.” Shows dwindled to the odd couple a month in Philadelphia just to pay the rent, before he simply stopped playing completely. Two of his band members left to join the ascendant War On Drugs, while he himself grappled what it was to even be a musician. “It became surreal to me,” he says. “Like, you did something and then had to wait for someone to say whether it was good or bad... and then playing live, singing these words over and over and just feeling really flat.” The depression Christinzio had suffered

Review

since he was a child had returned, allied by the one-two combo of heavy alcohol and drug abuse. Eventually he ran out of money and found himself squatting in an abandoned church, with only a publicist convinced of his talent and a long-time fan thousands of miles away in Manchester to convince him to pull back from the brink. “It was either make a go of it one more time or give up,” he says. “All my best shows had been in Manchester when I'd toured my first couple of records, and this one fan from here promised to find me a place to stay if I showed up. So I did it, and somehow…” He's still here, with a new set of songs to put out and a career to re-boot, having flown to England with just a suitcase in 2011. “The title How To Die In The North is quite literal,” he smiles ruefully. “Originally I had this semi-stupid romantic idea that I was doing the whole Nick Cage thing in Leaving Las Vegas: “I'm going to go to this place, show these motherfuckers what I can do and I'm going to destroy myself while I'm there.’ And to be honest, the three years of making the record was like a master class in how not to treat your body.” Introduced to producer Martin King, down near Stockport (“a huge old vicarage with old tape recorders and analogue synths,”) the pair recorded a blossoming string-touched surf pop track called Thieves of Antigua which garnered some attention. Subsequently striking a series of deals effectively amounting to a bundle of IOUs, Christinzio then set about forming a band drawn from the Northern Quarter's drinking dens that he'd quickly established himself as a regular at. “It feels like Philly here. I want to say it's unpretentious, but…” he gestures at the surroundings. “But it's sort of working class, blue collar. In fact some of the bleakness of the city has perhaps crept into the record subconsciously – I don't remember one fucking nice day of weather during recording,” he laughs. Despite not writing for three years, the creative fire was soon lit. “I'm not one of these guys with a four track who's always out in the woods going ‘this could be my new song, man!’” he says. “I only write when I've records coming out, it's not some sort of catharsis, or purging of feelings.

“It was either make a go of it one more time or give up” Brian Christinzio

Between 2008 and 2011 when I wrote nothing, there was no reason to. Writing doesn't make me feel good, in many senses it makes me feel terrible… because it usually means there's something big in my life coming up and having that stress on me doesn't do good things. Life becomes “real” again when I'm putting out something. Let's see if I can handle it this time.” On an album that he states is “nine songs that try nine different styles and attempt to do each better than anyone has before,” How To Die In The North's overriding sense is of anti-love, songs like the twinkling balladry of Love Isn't Anybody's Fault and Just Because I Love You's sepia murmurs acting as denouncements of its importance and those blindly pursuing it. “My

whole love life up until recently has been a fucking Titanic,” he sighs. “One song – Grand Cinema – is about the time I managed to date a lesbian who'd never dated a guy before. I fell madly in love with her and convinced myself for two years that she'd somehow not be a lesbian anymore. Someone else I dated ended up being in my band until we went on tour and that was a disaster, and it's just followed that pattern. I did get to that point where I was like ‘is love a helpful thing?’ And then even when it works out one of you dies... I guess [final track] Why Doesn't Anybody Fall In Love Anymore? talks about it. And so I tried other things to get the same things out of them that I would have if I'd been in a loving relationship.” However, his confidence in his own songwriting ability remains. “I really don't get 98% of the shit that comes out on the bigger indie labels these days,” he says. “The general lack of individualism is so worrying; but I think that's what I've got going for me, because every now

MUSIC

and then I'll come out with something that'll be completely different and people'll be like ‘Oh yeah! That's good.’” Bella Union head honcho Simon Raymonde certainly did, writing a six-page email detailing everything great about the copy of How to Die in the North he'd been sent. “But even then,” Christinzio grins with self-awareness, “when he didn't reply to me that same night I was like ‘That fucking asshole, this is why this dude doesn't get it... then he sent me an offer two days later to release it… and any other album I wished to release in my life.” Even he looks disbelieving, momentarily lost for words as he recounts the final piece in his resurrection jigsaw. “So I was like, ‘Oh. OK then.’” Playing Glasgow's Old Fruitmarket (supporting Calexico as part of Celtic Connections) on 1 Feb. How To Die In The North is released on 19 Jan via Bella Union soundcloud.com/bc-camplight

THE SKINNY

January 2015

Under the Influence Korn six-stringer James ‘Munky’ Shaffer recalls some of the most potent records in his collection, from West Coast classics to a band of fellow malcontents they're currently on the road

2. N.W.A – Straight Outta Compton (1988) Head and I really enjoyed N.W.A when we first started – still do – and followed all of the solo careers they embarked upon in the aftermath, like when Dr Dre made The Chronic. He was using a lot of samples and we were really trying to emulate that with our guitars. Straight Outta Compton is a street smart record, this was so real and had no boundaries. I loved that they were free to express themselves and talk about this illegal gang activity which they may or may not have partaken in. I was just out of high school and had gone through a bit of a hair metal phase where I was tired of it. I can still enjoy some of that stuff, but at the time, musically, I think I was looking for something a little angrier. I think that's where NWA came in – that's where 90s hip-hop was at. It really struck a chord with me; so Head and I started getting into the way they produced the drums with the 808. Much later on down the line, Cube came in and gave us a few verses for Children of the Korn and we toured with him on our Family Values tour too – what an honour. 3. Faith No More – The Real Thing (1989) Fieldy and I were big Faith No More fans. In the late 80s they were playing a kind of funk rock; so were the Red Hot Chili Peppers, but we tended to lean more towards the minor progressions. When Patton joined in '89 they dropped a single called From Out of Nowhere and we were sold all the way. At that point we became real fanatics – started researching the guy and going up to San Francisco to see them play. Every song on this record was super inspiring to us. The song structures and Patton's sense of melody – it was alternative metal at its best. You don't have any wailing solos – there tended to be a bridge where things got crazy and they'd feature each artist, rather than just the one guy. It was much more of a band effort than the norm. Now, I love guitar solos and Randy Rhoads, but Faith No More steered us in the direction where we ultimately ended up. Back in 2000, David [Silveria, original Korn drummer] had an issue with his arm for a while and had to miss a few shows, so Mike Bordin sat in and we toured Europe. It was a lot of fun to jam with him – he's punk rock at heart and just a great drummer. So for a while there you had Korn with this Faith No More groove – it was crazy. I'm really happy to hear that they're coming back with some new material.

Preview

4. Mr. Bungle – Mr. Bungle (1991) A big influence before Korn got signed or even started to experiment were Mr Bungle. When we realised that Patton had this other band, we started trying to find out more about who they were and when they were playing – tracking down VHS tapes of their gigs. I loved their last album, California, but their self-titled debut had the biggest impact on me. There's a song on there called Love Is A Fist that's fucking crushing. That set the tone for us and what we went on to do creatively. They were completely outside the box and just didn't care – they satisfied only themselves. It wasn't about record sales, it was just about creating a band. 5. The Pharcyde – Bizarre Ride II The Pharcyde (1992) The Pharcyde were a group we always used to listen to when we were taking a break from writing music in the studio. This was when we were writing our first album – we'd take a step back and listen to something that had a lighter vibe. The Pharcyde came with that ‘let's have a barbecue’ feel. We ended up touring with them – we enjoyed that band so much we invited them to open up for us. A lot of people didn't seem to know what to think – it was just such a weird and unusual combination. To us it wasn't. We had Tre [‘Slimkid3’ Hardson] appear on a track from Follow the Leader called Cameltosis, which was a dream. 6. Rage Against the Machine – Evil Empire (1996) On Evil Empire, Tom Morello was basically a DJ armed with a guitar. This record is just perfection – one of those where you have to listen to the whole thing once you've put it on. From People of the Sun, through Bulls on Parade to Year of Tha Boomerang, it just takes you on a journey. Korn was up and running by the time this came out and we were happy to see that these guys were really breaking the mould. I think Rage Against the Machine kind of glued together a nation of metal; Zack de la Rocha's politicised rap reached across cultural boundaries, which I don't believe many other bands were doing at the time. 7. Nine Inch Nails – The Fragile (1999) Trent Reznor is brilliant in what he does – what he's been doing for the past 25 years. He keeps reinventing himself, keeps challenging himself creatively. That goes for what he does in the live arena as well as his records with his ever-evolving band. A friend of mine, Danny Lohner, used to be in the band so I know a lot of the stories behind some of the recordings, and it's really cool to hear that from somebody who was actually there. The Fragile is one of the most brilliant records ever made in the genre of rock or metal. It's epic not only in that it's a journey or a double album, but also in the sheer number of instruments Reznor uses. Not only are you getting drones, acoustic guitars, piano and drums, but you're getting a saxophone, string sections – there's a lot going on. What he's doing today has given me inspiration. He's going into movie scores and giving a guy

Photo: Sebastian Paquet

1. Van Halen – Van Halen (1978) This record changed the way I perceived music altogether. At the time I was 12 years old, and although I'd heard Jimi Hendrix play I thought Eddie Van Halen took another step, as far as the tone of the guitar went; I didn't understand what he was doing to the instrument to make it wail and scream like that, but I had to know. This gave me the desire to play; like, what is that? How is he doing that? How can I do that? Songs like Runnin’ with the Devil and Atomic Punk – which is just fuckin’ brilliant – I can still appreciate today. I think a lot of Eddie Van Halen's percussive techniques were well ahead of their time – I could hear Tom Morello using a lot of those tricks much later on. Awe inspiring stuff.

like me vision – the inspiration to reach beyond just being in a band. It's given me a new sense of ‘Where do I want to be in 5 or 10 years? Why can't I do that?’ He's opening doors. 8. Deftones – White Pony (2000) I love this record, this is when they really stepped up their game as far as writing and production go. I think Terry Date did a great job; he's done some mixing on a couple of our albums, but we've never had him produce… I'd like to see that happen someday. That track Change in the House of Flies – so dynamic and graceful, absolutely one of my favourite Deftones songs. They're from Sacramento and we were living in Huntington Beach at the time we were first starting out – before us or Deftones had a record deal – so we would exchange opening slots. We came up at the same time and have always remained close friends. 9. Queens of the Stone Age – Rated R (2000) That song – Feel Good Hit of the Summer – and the way it just kicks in: ‘Nicotine, Valium, Vicodin, marijuana, ecstasy and alcohol…’ This record is so raw and real, the melodies are super strong throughout. I love Josh Homme's voice. It's like honey, man. ‘Restricted to everyone, all the time.’ Absolutely one of my all-time favourite records.

MUSIC

“I was looking for something a little angrier than hair metal...” James Shaffer

10. Slipknot – Vol. 3: (The Subliminal Verses) (2004) This is the moment these guys really brought all of the elements, every guy together – the original members and all – and reached full strength. I think this record is so diverse – melodic but heavy. There are a lot of spooky moments on here too, with the interludes they brought in. It's their most brilliant work; I can appreciate the new one, for example, but here they were a band on fire. Korn's Prepare for Hell tour with Slipknot takes in Glasgow The Hydro on 18 Jan. Their latest album The Paradigm Shift is out now via Caroline korn.com

THE SKINNY

The Alphabet of Birds

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Out 8 Jan, published by And Other Stories, RRP £10

In Real Life

Behind God's Back

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By Cecila Ekbäck

By S. J. Naudé

S J Naudé's short story collection The Alphabet of Birds tells tales of the South African diaspora, of people hurled from home and scattered across the earth. Its characters turn up in London, Berlin and Vietnam, finding fellow countrymen and other wanderers wherever they travel in a world so globalised that the boundaries between nations and cultures have become porous to the point of near collapse. As the stories progress, identities of gender and sexuality also begin to blur as Naudé skilfully evokes a brave new world where everywhere is everywhere and nothing is as certain as it might once have been. Tenses shift just as easily in Naudé's stories, tales of the past flow into those of the present with waves of narrative reaching back and rolling forward in one unbroken motion. It's this reaching back that drives each story: a death in the family or some other dramatic twitch upon the thread that sends the hero hurtling back to where they've come from. It's a uniquely South African spin on a universal battle: the fight to understand who you are and what your place in the world might be. For the characters of The Alphabet of Birds, the answers lie behind them. [Ross McIndoe]

Wolf Winter

By Chris Killen

Rather than a translation, Cecila Ekbäck's debut In Real Life opens with a pro-con list devoid of was written in English straight off, but the rhythm positives. Killen's second novel quickly starts to can feel as if someone has Tippexed out the resemble something similar. Here's Paul, a lazily Swedish and typed her second language straight assembled meta-author type. He's a bet-hedge, a over the top. vehicle for Killen's writerly inadequacies. The pair This hybrid character is typical of the book name check Jonathan Franzen throughout. Paul as a whole, part murder mystery and part gothic and his fellow protagonists, Ian and Lauren, make novel set in the snowy wilderness of Northern Franzen characters seem like the sort people Sweden in the early 1700s. In the shadow of a you'd want to get midweek cocktails with. Paul in foreboding mountain, bodies with strange marparticular is so loathsome you start to side with kings start turning up and a settler woman, Maija, him against the in-real-life author who so callously confronts the dark forces within her own remote birthed him. community to try and get to the bottom of what Whereas Killen's central trio are cloying has happened. and insipid, his bit parts represent something As an introduction to early 18th century sub- more malign. First there's Jamaal, an angry arctic Sweden the book paints an accurate picsecond-generation Somali youth with a bad ture, including the domination of the church work ethic and a dodgy record. Lauren wonand the harsh conditions in which the majority ders whether he might be pissed off, what with of people live. In the background lurk the Sami, ‘the shitty state of his country.’ She Wikipedias always referred to with the outdated and quesSomalia then, like Killen, quickly loses interest. tionable term “Lapps,” with their traditions and Then there's the largely mute, alluring, noodle customs unfamiliar to the incomers from the eating Dalisay. She's dispatched back to the south. Whether a book set in such an a typical time Philippines before you can wipe the grimace and place can carry itself and the interest of the from your face. Oh, and there's a cancer reveal reader is another matter. Some of the descrip30 pages from the end. Then two characters tions of the winter landscape are perfect in this are in love because they exchanged a handful promising debut, but is undone by a language of emails ten years ago. The last six words will that frequently lapses into clunky Swedo-English make you squirm. By that point it'll be a familiar when attempting to be literary. [Dominic Hinde] reflex. [Angus Sutherland] Out 12 Feb, published by Hodder & Stoughton, RRP £14.99

Draft Day

Director: Ivan Reitman Starring: Kevin Costner, Jennifer Garner, Denis Leary, Frank Langella, Released: 26 Jan Certificate: 15

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Sonny Weaver (Costner), general manager of the Cleveland Browns, is having a tough time in this Ivan Reitman comic drama. He's recently fired the team's coach (his newly deceased father) and got his colleague and girlfriend (Garner) pregnant. If that wasn't enough to deal with, it's NFL draft day – think transfer deadline day with higher production values – and Sonny must rely on his gut instincts to save his job under the glare of team owner (Langella) and ire of the new head coach (Leary). As court cases from ex-players mount up at the NFL, it would be easy to throw a yellow flag at this marketing-exercise-cum-film. And yet, though much of the dialogue is wordy exposition, the storytelling is tighter that a tight end's tights and Costner delivers one of his vintage underdog performances. Sports film fans will lap it up but others may struggle to keep their heads in the game. [Danny Scott]

Les Misérables

Director: Raymond Bernard Starring: Charles Vanel, Harry Baur, Paul Azaïs, Émile Genevois, Henry Krauss, Out now Certificate: PG

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So popular is Victor Hugo's tale of Jean Valjean, a good-natured criminal prevented from escaping his past due to the intrusions of obsessive police inspector Javert, that adaptations have spanned a variety of mediums and almost become a genre in their own right. This 1934 offering from Raymond Bernard suffers from neglect in favour of the following year’s Hollywood production, but is generally regarded as the most faithful take on the novel. Running over four hours, the feature can certainly afford to spend time concentrating on character development and is to be admired for its Gallic sophistication and mounting sense of tragedy. Its compassionate depiction of the lost and poverty-stricken, meanwhile, places it on a par with Jean Renoir's humanistic The Lower Depths and the classic works of poetic realism helmed by Marcel Carné. There's no getting around the somewhat overwrought nature of its narrative, but this stands as a vital distillation of early 20th-century filmmaking techniques. [Lewis Porteous]

January 2015

By Harri Nykänen

A businessman gets shot on his doorstep in Helsinki one morning, and this apparently simple homicide lights up a web of connections and corruption that leads all the way to Israel. Ariel Kafka, of Helsinki's violent crime unit, leads the investigation despite his conflicting position in the Finnish Jewish community. Not only does he know everybody, but he also shagged the dead guy's daughter a while back. This is Nordic crime fiction at its understated end – there's none of the gory violence you'll find elsewhere in the genre. Nykänen is more interested in picking at the intersections of politics, religion and business, and how the lines of power all lead back to the same place. The pace is swift, and Helsinki makes for a beautiful backdrop, but there is a little too much reliance on the characters telling the plot to each other in perfunctory fashion. Kristian London's translation captures Nykänen's subtle humour well – in response to his brother saying “what a boring funeral,” Kafka thinks “Eli was right though. I had attended funerals that were more fun.” The book is at its best like this: looking askance at the idioms and machinations of the genre. [Galen O'Hanlon] Out 15 Jan, published by Bitter Lemon Press, RRP £8.99

Out 15 Jan, published by Canongate, RRP £12.99

The Grand Seduction

The Boxtrolls

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Director: Don McKellar Starring: Brendan Gleeson, Taylor Kitsch, Liane Balaban, Gordon Pinsent Released: 5 Jan Certificate: 12 Even if you've not seen French-Canadian film La Grande Seduction, this English-language remake will give you déjà vu. Its sentimental plot – a fishing community hatch a plan to entice an oil company to set up shop in their village that hinges on the residents convincing a city slicker plastic surgeon to take on the position of town doctor – is essentially a crude cut-and-shut of Local Hero and Doc Hollywood. Thankfully director Don McKellar keeps the mood the right side of cloying, with the film's gentle rhythms matched by the languorous charms of Brendan Gleeson, who plays the town's scurrilous mayor. Even the seemingly cursed Kitsch, as the credulous MD, finds a vehicle for the easy-going charisma he showcased on Friday Night Lights. If McKellar could have just injected some of the eccentricity of his brilliant debut, Last Night, into proceedings we might have had an Ealing-esque social farce. Instead we're left with a comedy that's wry but prosaic. [Jamie Dunn]

Rabid

Director: David Cronenberg Starring: Joe Silver, Marilyn Chambers, Terence Ross, Gary McKeehan Released: 2 Feb Certificate: 18

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After the shock tactics of Shivers, Cronenberg's next venture into body horror is more subdued, but holds up surprisingly well. When experimental surgery endows a young woman with a vampiric phallus in her armpit, she unwittingly spreads a deadly form of rabies across Montreal, turning its victims into savage rage zombies. Porn star Marilyn Chambers is terrific value as the reluctant predator, a role Cronenberg intended for Sissy Spacek, and her casting fits a pleasingly subversive undertone. While the story ultimately resists a feminist reading, many of her victims are slimeballs who get what they deserve. Despite some very dated make-up, the rabid attacks produce some memorable and shocking moments, notably when a mall Santa is machine-gunned down in front of screaming children. With that and an unforgettably grim ending, this welcome release from Arrow could be just what you need after Christmas. [Scott McKellar]

BOOKS / DVD

Director: Graham Annable, Anthony Stacchi Starring: Ben Kingsley, Elle Fanning, Isaac Hempstead-Wright, Jared Harris Released: 26 Jan Certificate: PG An adaptation of Alan Snow's novel Here Be Monsters!, stop-motion animation The Boxtrolls is a comedic fable set in and under a Victorian-era town whose misguided residents have obsessions concerning wealth, class and cheese. One power-hungry opportunist, pest exterminator Archibald Snatcher (Kingsley, clearly having fun), sees his ticket to high society in eradicating a group of subterranean creatures he promotes as threats to the town. In reality, these Boxtrolls (who wear cardboard boxes like turtle shells) are kind-hearted, harmless scavengers, who've actually been raising an orphaned human boy who begins to suspect he's not quite like his adopted brethren. The Boxtrolls maintains the prickly charm of the Laika studio's predecessors (Coraline, ParaNorman) and is a cute exploration of scapegoating, though it often feels like it's been cobbled together from spare parts. Still, when those parts are dashes of Roald Dahl, Monty Python, and LucasArts adventure games it's not much of a complaint. [Josh Slater-Williams]

Wish I Was Here

Director: Zach Braff Starring: Zach Braff, Kate Hudson, Mandy Patinkin, Josh Gad, Jim Parsons, Out now Certificate: 15

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How do you know when it's time to stop chasing your dreams? In Zach Braff's second directorial feature, this dilemma weighs heavily on Aidan (played by Braff), an out-of-work actor who relies on his wife (Hudson) to pay the bills. After learning that his father is dying of cancer, Aidan begins to seriously re-evaluate his life, while financial problems force him to home-school the kids for the rest of the semester. The biggest problem with Wish I Was Here is that it tries to do too much. Braff's ambitions are admirable, and it's great that he gives everyone their own arc, but there are so many themes and plot threads that the film lacks focus. Still, the former Scrubs star produces some lovely moments, and while certain elements of the picture don't work – such as its fantasy daydream sequences – the supporting cast are always engaging. [Stephen Carty]

Review

THE SKINNY

DJ Chart Rotterdam producer Ranie Ribeiro Fortes donates a clutch of tracks, past and present, that informed the sound of his prodigious Meda Fury EP Idris Muhammad – Piece of Mind [Kudu] One of my favourite jazz pieces by Idris Muhammad. A nine-minute trip by one of the best drummers, and arranged by Bob James. It puts me in the right mood every time and makes me wish that it was longer! I learned so much from this piece just by listening to it, from arrangements to solos and even the mixdown of this track is insane. Sun Ra – When There Is No Sun [Horo] Meet the real master of the universe! Sun Ra was one of those people who was always thinking ahead of his time. This is one of my favourites, it always calms me down and makes me think about everything. Things that make me happy or the things that really bother me. Bob Marley – Rainbow Country Dub [Daddy Kool] As a kid I was a real big fan of reggae. I always wanted to find new reggae songs to play loud in my room. I don't even remember how I found this track, it was such a long time ago but this is by far my favourite. This whole track has something divine which is hard to explain but for me it is almost perfect; the A-side is definitely worth listening to as well. Funkadelic – Maggot Brain [Westbound] A few years ago I was hanging out with some friends of mine and someone decided to put this on. It was fascinating to see how all of my friends stopped talking and kept silent while the song was playing. I was blown away by this song, especially when I read the story about how George and Eddie came up with it. It's genuinely brilliant. It even inspired me to play the guitar.

Clubbing Highlights

Herbie Hancock – Rain Dance [Columbia] There are at least ten Herbie Hancocks tracks I could pick out but this one always blows my

Words: Ronan Martin Illustration: Tom Crowe

irst up Glasgow, where Sub Club rolls into 2015 with an all night party helmed by one of the most hotly tipped homegrown DJs to have emerged in recent years. Jasper James, son of veteran Subculture DJ Harri, has been around turntables his whole life and took up the family trade at an early age. Since then he has found many an admirer for his full on DJ sets, with Rinse FM awarding him a regular slot and guest slots on Radio 1's Essential Mix cementing his growing notoriety (Fri 2 Jan, £7/10). On 17 Jan La Cheetah is where you want to be if you have a hankering for stripped back, heads down techno, as CODE kick off their year with the visit of Mexican artist Luis Flores. Now based in Berlin, the producer has seen his music released on labels such as CLR, Droid Recordings and Blank Code. Performing live using a combination of hardware and software, Flores explores a range of sounds and textures in his music, always retaining a clear dancefloor focus. Expect deep, hypnotic vibes and intense bursts of raw power. Support comes from resident Nick Morrow (£6 early bird, £10 thereafter). Over at Stereo on Renfield Lane, Turfed present an evening of instrumental grime, headed up by Gobstopper head honcho Mr Mitch. Over the last four years the Londoner has impressed with releases for the likes of Subdepth and the esteemed Planet Mu as well as his own label. Although most often tagged as a grime producer, Miles Mitchell has more than a few strings to his bow. This is clearly exemplified on this year's debut LP, Parallel Memories, which ties together

January 2015

mind. Even ‘til this day I am still wondering what Herbie was thinking when he made this track?! I am always getting fascinated by artists who can think so far ahead, already in ‘73! Heatwave – Star of the Story [GTO] I have always been a sucker for harmonies, especially when it comes to soul music. This song hits me exactly in the right place especially with the breakdown of the guitar solo. Jan Akkerman – Streetwalker [Atlantic] A colleague of mine and I had a discussion one day about music from Holland back in the 70s, some typical Dutch music and he showed me this legendary guitar player called Jan Akkerman. I never thought that Dutch music could be this great, it usually ends up with some happy Dutch people singing about women and beer but Jan does it all differently. Pharoah Sanders – Upper Egypt [Impulse!] Pharoah Sanders sits on the same astral plane as Sun Ra for me, being free to create whatever he wants with weird melodies that keep on going ‘til they're stuck in your mind. I especially love this song towards the ending with the weird singing. Madvillain – Shadows of Tomorrow feat. Quasimoto [PIAS] I have always seen pictures of MF Doom but I never knew who he was or what he did, he had something mysterious for me and one day I checked out Madvillainy, with one of my favorite producers Madlib, and it was one of the best hip-hop albums I've heard. Teamed up with Quasimoto (also Madlib) this song has a beat with a raw attitude and lyrics that goes far out... all about the future, son! D-Ribeiro's Meda Fury EP is out now on R&S Records www.soundcloud.com/d-ribeiro

varying strands of bass music alongside more reflective downtempo material. His selection of Peace Edits – a mellow counterpoint to the series of War Dubs which emerged last year – exhibit Mitch's dedication to constantly reinterpreting the grime sound. Also on the bill is increasingly hyped local player Inkke (Fri 30 Jan, £6). In Edinburgh, Sneaky Pete's offer up silky, homegrown house music when they showcase influential local label Firecracker on Fri 16 Jan. The night is headed up by one of the outlet's key contributors Gavin Sutherland aka Fudge Fingas. Plying his trade as a producer since the turn of the millennium, Sutherland's productions ooze sophistication, whether he's dabbling in deep dancefloor vibes or more restrained funk and soul. Finding a home for his productions on the likes of Prime Numbers and Rush Hour, Fudge Fingas has built a reputation far beyond the Edinburgh scene and he continues to reflect the quality which Firecracker has had in abundance since emerging in 2004 (£5). Finally, we're Aberdeen bound as Mvmnts welcome the considerable talent that is Neville Watson to The Tunnels. One of the most well renowned names in UK house music, Watson has been producing deeply engrossing tracks for a host of esteemed labels since the mid 90s. Perhaps most acclaimed now for his excellent live collaborations with Bulgarian producer KiNK, Watson also happens to be a brilliant selector, serving up everything from jacking party starters, to acid brain melters and deeper, cerebral cuts (Fri 30 Jan, £8-10).

CLUBS

Preview

January Film Events T Inherent Vice

Inherent Vice

Director: Paul Thomas Anderson Starring: Joaquin Phoenix, Josh Brolin, Katherine Waterston, Owen Wilson, Reese Witherspoon Released: 30 Jan Certificate: 15

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As we watch Joaquin Phoenix's shambling, stoned detective saunter aimlessly through a labyrinthine plot in 1970s LA, it's easy to see why Robert Altman's The Long Goodbye has been mentioned so frequently in relation to Inherent Vice; but this is uniquely a Paul Thomas Anderson picture, another expression of his formidable artistry and singular vision. His adaptation of Thomas Pynchon's novel boasts numerous immediate pleasures, from the sensational comic performances by Phoenix, Brolin and others, to Robert Elswit's seductively hazy cinematography and Joanna Newsom's perfectly pitched narration; it is a film so rich and deep that one imagines subsequent viewings will yield many more gems. Anderson's command of tone is also astonishing. While much of Inherent Vice feels like a goof – with plenty of priceless knockabout humour – it ultimately reveals a wounded, romantic heart, with a sequence set to Neil Young's Journey Through the Past being just one of the many moments that will linger in your thoughts long after this entrancing film has ended. [Philip Concannon]

Whiplash

Director: Damien Chazelle Starring: Miles Teller, JK Simmons, Melissa Benoist, Paul Reiser Released: 16 Jan Certificate: 15

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It's rare in cinema to have an experience that's equally physically exhausting and intellectually nourishing; to walk away drained, dumbstruck, by the sheer visceral intensity of what has been seen and heard, but also thinking about – questioning – the themes and dilemmas at the film's core. Whiplash is one such rarity. Shot in just 19 days by writer-director Damien Chazelle, this, his brilliantly edited, ferociously played second feature, trails the development of a talented, withdrawn yet obnoxious jazz drummer (Teller) under the guidance of his virtuoso, abusive and terrifying music teacher (Simmons). But this is no ordinary slice of triumphalism. Chazelle presents, unflinchingly, the dedication required to attain greatness, the grave emotional, physical and social cost to these two men, and both revels in and rejects their obsession. That sort of contradiction permeates the film; this is funny, horrifying, brutal, exhilarating, and builds to a finale that's somehow fist-pumpingly fantastic and utterly tragic at the same time. You'll want back for more as soon as it's over. [Chris Fyvie]

Foxcatcher

Wild

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Director: Bennett Miller Starring: Channing Tatum, Steve Carell, Mark Ruffalo, Vanessa Redgrave, Sienna Miller, Anthony Michael Hall Released: 9 Jan Certificate: 15

Director: Jean-Marc Vallée Starring: Reese Witherspoon, Laura Dern, Thomas Sadowski, Gaby Hoffmann Released: 16 Jan Certificate: 15

With Foxcatcher, director Bennett Miller (Capote, Moneyball) explores the odd, tense relationship between brothers and Olympic champion wrestlers Mark and Dave Schultz (Tatum and Ruffalo) and eccentric multimillionaire John du Pont (Carell), in the years preceding a notorious 1996 crime involving two of the parties. Living in seclusion at Pennsylvania's Foxcatcher Farms, philanthropist du Pont decided, in the late 1980s, to get involved in the US wrestling programme, so that he might be responsible for training future gold winners and giving America ‘hope.’ Primarily focused on the emotional dislocation of du Pont and Mark Schultz, Foxcatcher brings out very strong performances from its three leads, but is burdened by its too laboured stabs at gravitas, hitting one preordained character beat after another but never managing to transform its petty rivalries into the grandiose American tragedy Miller seems to want. Sticking to the same airless tonal register throughout proves a detriment; every chilly, meticulously composed frame looks like a crime scene from the start. Sometimes unnerving, it's too often inert. [Josh Slater-Williams]

Jean-Marc Vallée has certainly been keeping busy, with this adaptation of Cheryl Strayed's bestselling memoir sandwiched between last year's Dallas Buyers Club and the now in post-production Demolition. But he doesn't appear to be spreading himself too thin; though Wild shares a lot of themes with his McConaissance-defining AIDS drama, it has an added artfulness and subtlety that serves the material well. Strayed, superbly played by Witherspoon, is a fascinating protagonist: complex and flawed, she attempts to discover herself on a mammoth hike across the treacherous Pacific Crest Trail from the US's southernmost to northernmost border. Vallée intercuts this trip with visions of Strayed's past in fractured, non-linear snippets as she's prompted by the present to think back to the moments that shaped her, both good and bad. The elegant result is that we come to know Strayed almost in step with her own realisation of self; the physical element of her journey, though never less than dauntingly rendered and featuring some surprising encounters, playing second fiddle to the spiritual. An honest and insightful work. [Chris Fyvie]

National Gallery

Enemy

Director: Frederick Wiseman Released: 9 Jan Certificate: 12A

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Frederick Wiseman spent months editing the reams of footage he shot on location, but what's remarkable about the finished product is how effortless it feels. National Gallery is one of the director's most fluid and elegant works, securing our attention quickly and keeping us engrossed on its journey behind the scenes of the iconic London landmark. We see people painstakingly restoring and cleaning art, we sit in on budget meetings (Wiseman's knack for making such scenes fascinating is uncanny), we hear lectures contextualising and illuminating various artworks, and often we simply watch members of the public as they stroll around the building and gaze upon masterpieces. National Gallery is a celebration of art and of anyone who loves it, shares it and protects it, and one can't help feeling inspired by being in such company. The film is made with Wiseman's customary perceptiveness and unfussy grace, but in its final moments it achieves a sense of transcendence that lifts it into the top tier of this great documentarian's work. [Philip Concannon]

Review

he Adventure Film Festival returns to Scotland this year, with eleven action and adventure documentaries screening across the country. Now in its tenth edition, the festival boasts a range of adrenaline-fuelled tales of human endeavour, filmed in some of the most rugged, wild, and beautiful locations. Among the excellent selection of shorts and features is Higher, which includes vertigo-inducing footage of the filmmakers' attempts to snowboard down Shangri La in the Himalayas (Glasgow Fort, 20 Jan; Filmhouse, 26 Jan), and award-winning documentary Valley Uprising (Glasgow Fort, 22 Jan; Filmhouse 2 Feb), a light-hearted account of American counterculture and the enduring appeal of rock climbing in Yosemite from the 1950s to the present day. See the festival's website for the full programme: adventurefest.co.uk Fans of teen and high school movies should head to the Cameo in Edinburgh for a special screening of Beyond Clueless (22 Jan). Narrated by Fairuza Balk (The Craft), this debut film from British critic Charlie Lyne draws on over two hundred coming-of-age movies – including horror, comedy, art films, drama and dance films – to provide an engaging examination of adolescence in cinema. Lyne will be attending for a special Q&A session following the screening.

Director: Denis Villeneuve Starring: Jake Gyllenhaal, Mélanie Laurent, Sarah Gadon, Isabella Rossellini Released: 2 Jan Certificate: 15

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Very much a mood piece, this enigmatic offering from Denis Villeneuve is set beneath a canopy of tangled streetcar lines in an oppressively foggy Toronto. Its characters are portrayed as insect-like, joylessly scurrying from one concrete tower to the next, driven solely by unexplainable instinct. Actions unfold at an uncertain, lethargic pace, while what little dialogue there is competes with a deep, droning ambience that more or less engulfs the entire movie. Think Jonathan Glazer's Under the Skin, but without that director's mercurial touch or his film's jeopardous improvisation. The Enemy is to be admired for its consistency of tone and willingness to explore emotional darkness. As far as depictions of urban alienation go, it's pretty much unrivalled. Unfortunately, for all its allusions to totalitarianism and the concept of selfhood, this tale of a lecturer who encounters his exact double lacks depth and meaning. Audiences are unlikely to enjoy the movie, but there's no denying its power to make them feel authentically unhappy. [Lewis Porteous]

FILM

Alasdair Gray: A Life in Progress

While the fascinating celebration of Alasdair Gray's considerable contribution to Scottish culture continues at various locations in Glasgow, the DCA in Dundee is screening Alasdair Gray: A Life in Progress (4 Jan). First shown at GFF 2014, this affectionate portrait of the artist-author is essential viewing for anyone interested in the man who, amongst other things, painted the stunning mural on the ceiling in the Oràn Mór, and is responsible for one of the finest works of contemporary Scottish literature, Lanark, a book of four parts that took almost thirty years to complete. The CCA, in association with the Goethe Institute and Alliance Français, is continuing its programme of Franco-German films, currently exploring themes surrounding modern fairytales and fables. This month's offering is the awardwinning Absurdistan, a romantic, surreal comedy (14 Jan) in which a water shortage leads to a sex strike that threatens to disrupt the first-night nuptials of a couple of childhood sweethearts. The Institut Français in Edinburgh is screening Pauline Détective (20-21 Jan), a crime-comedy film in which an investigative journalist tries, and fails, to forget about work and enjoy a holiday on the Italian Riviera after breaking up with her boyfriend. If you're broke after Christmas, this free event is the perfect way to spend an afternoon. [Becky Bartlett]

THE SKINNY

Menthol Refreshment, Hasty Hanging, IKEA Across Edinburgh and Glasgow, there are blockbuster art shows ending soon and showcases of emerging artists – as well as a performance about the importance of oral hygiene Words: Adam Benmakhlouf

Airds Lane Installation

Victoria Morton

The Modern Institute

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Seeing the small flyer for Victoria Morton's show in Aird's Lane, without any sense of scale the shiny reproduction gives the sense that the work is precious: refracting light in glassy layers. On the wall though, they're huge. With so many shapes, colours, forms, the works can't be consumed in a single glance. There's a sense of domestic disorder in the work Photosynthesis. Yellows, reds, purples, blues, pinks, greens, a collection of different forms feel forced into cramped coexistence. Think of a cupboard under the stairs where all of the items categorised ‘Misc.’ are kept; so full, closing the door is a precarious struggle of forces. Compositionally, the different elements feel close – bold streaks of paint don't leave many illusions of space. Though listed first in the counter-clockwise sequence of listed works, this is not the painting

encountered first. On the wall opposite the entrance is Delay Dispersion, the same painting from the promo flyer. Without thinking, it comes across at first glance expected, just a lot larger. But a closer approach gives away the detail of the pattern of faint flesh toned purple pinks that complicate the surface, then again the same in a light yellow and a school of dark blue dots. As what appeared whole disintegrates, the title thrashes poetically: Delay Dispersion. Between the works, there's a variety of densities of markmaking and saturation of colour: at points pastel and translucent, but can also be vibrant and thickly brushed on. Forms shift and settle into an endless series of different configurations as details become apparent (a speckling of black dots, for example) each one as persuasive as its predecessor. Struggling to perceive all the picture's complicated contents at once, any hierarchy is only provisional as no one mode of seeing is prescribed. [Adam Benmakhlouf] James Rigler – Belvedere

Alasdair Gray: Sphere of Influence II

As part of the Alasdair Gray season, Glasgow School of Art have mounted in their Reid gallery a small selection of works by Alasdair Gray, which is then literally surrounded by prints and drawings by ten other artists. In its objective the exhibition is simple enough – to encourage new readings of Gray's work. To do so, the conditions are set up for juxtapositions with his artistic predecessors and contemporaries, as well as younger graduates of GSA, where Gray's legacy is definitely, if subtly present. At the very back of the exhibition, Stuart Murray's Gateway to Work continues the beginnings of a trend for Glasgow artists making work about being on the dole – see also Michael White's recent exhibition You're Studying that Reality… We'll Act Again. Murray's work shares with Gray a stylisation of faces that makes the different characters seem at the same time very similar, yet with great subtlety Murray relays a sense of distinctive personalities. There's also a wry chiding of Gray's screen print Corruption, bombastically gendering political iniquity as ‘the Roman Whore... who sucks all semen back into her womb.' While Corruption faces out the window, out of sight of passers-by and in small writing around decisively rendered line drawings of strong shouldered and coolly staring nude females, Gray contemporary Dorothy Iannone states: ‘It's not necessary to seduce – self-respect is enough to inspire love isn't it?’ So often seen, it is easy to overlook Gray's work as straightforward on the basis of familiarity. This edition of Spheres of Influence (which continues in the Gallery of Modern Art) is

January 2015

The Fall of Kelvin Walker

effective in making manifest the specificities of Gray's work, and setting in motion conversations about Gray that go beyond lazy fondness. [Adam Benmakhlouf] Alasdair Gray, Spheres of Influence II, in the Reid Gallery until 25 Jan

Credit: Alasdair Gray

The Reid Gallery rrrrr

irst off, let's start with Kathryn Ashill's window installation and performance at the CCA. Glasgow-based Ashill will present work that takes as a loose starting point George Orwell's novel Coming Up for Air, whose character is fat, middle-aged and struggles to come to terms with his new false teeth. Regarding the performance on Saturday 10 January 6-8pm, ‘Menthol and teeth related refreshment’ will be provided. Open since June, but now into the last month of its run, Lucy Skaer's exhibition in the Hunterian Art Gallery in Glasgow will end on 25 January. One of the last remaining shows of 2014's GENERATION festival, the emphasis is on key works by this Turner Prize-nominated artist. Amongst the work on display are two wooden sculptures that emerged from Skaer's encounter with Leonara Carrington in 2006, and have previously been displayed in Basel under the title Leonara and in 2007 as part of the Scotland+Venice programme in the Venice Biennale. Also on until 25 January is the blockbuster GENERATION show in Scottish Gallery of Modern Art in Edinburgh. The show has taken over the entirety of Modern One with 21 of the most important artists of the last 25 years of Scottish contemporary art. There's a rapid-fire style of showing the work that feels like a scaled-up degree show, with each of the artists being given roughly similar spaces and being shown cheek-to-cheek. Nevertheless, it's an opportunity to see all at once the big names bandied around in conversation about the recent history of Scottish art. In Edinburgh again, it's the Embassy members' group show, Salontology. There will be a rapid turnaround from 15-18 January when work is to be handed in, and the 23rd when the show will open. All members, current and new, are welcome to submit work as Embassy promise a salon style

ART

show curated by the Embassy Committee. Back in Glasgow, also on 23 January, the Modern Institute will open two new exhibitions across its Osborne Street and Aird's Lane spaces. In the main Osborne Street space, Jack Smith's theatre and performance works are given attention. From the 1950s until 1989, Smith worked in New York where he created experimental and transgressive work, and has become known for his important role in underground cinema. In Aird's Lane, again on 23 January, there will be the opening of Alex Dordoy's Model T. In previous exhibitions, Dordoy has worked across two and three dimensional media. Incorporating plaster freestanding objects amongst wall-based paintings, Dordoy takes a fluid approach to media. He also subtly incorporates digital media into his painting practice as he uses Photoshop as a means of working out compositions. Tramway at the very end of the month will unveil two new exhibitons by artists Laura Aldridge and James Rigler. Rigler will present in Tramway 5 At Every Fading of the Stars. In this new body of work, he explores “ruins, architectural salvage and IKEA.” Generally, Rigler works with ceramics that in their inspiration bound between architecture and domestic objects. Also from 30 January, but in Tramway 2, Laura Aldrige will present an installation that will present opportunities for viewers to become participants. In doing so, Aldrige's work is forecasted to become a site of discussion and exchange. Materially, the exhibition will draw together sculpture, textile, print and ceramics, in order to establish “a vivid and tactile environment… [that] will operate as a backdrop for dialogue about craft and contemporary art, creative processes, connections and collaborations.”

Review

Manipulate 2015 Some of the most exciting international puppetry and animation artists descend on Scotland at the end of January. Here's what you can expect to find at Manipulate 2015

Cliff Burnett as Scrooge in Citizens Theatre A Christmas Carol

A Christmas Carol Citizens Theatre

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Manipulate 2015, The Traverse, Edinburgh; The Lemon Tree, Aberdeen; Norwich Puppet Theatre, 31 Jan–7 Feb

A Christmas Carol, Citizens Theatre, until 3 Jan 2015, various prices

manipulatefestival.org

citz.co.uk/whatson/info/a_christmas_carol/

Madame Butterfly

he theatre and arts scene in Scotland is saturated. From the weird to the wonderful, if you can think of a genre then it's probably represented somewhere. Niche genres could be lost among the many, but for puppetry and animation, Manipulate festival, now in its eighth year, are making sure that doesn’t happen. Manipulate's focus is on innovation, and on bringing exciting new works from all around the world to Scotland. It's the sort of festival that once a year becomes a hive for experimental artists, pushing boundaries and, most importantly, creating discussion. Alongside the performance programme, Manipulate are running a series of masterclasses into the types of theatre they present, including Beyond the Screen: Contemporary Shadow Theatre with Italian artist Fabrizio Montecchi of Teatro Gioco Vita, who have been working in the medium for the past 30 years. Bodies & Objects: Explorations & Experiments, a masterclass run by Polina Borisova, plans to introduce a new style of puppeteering to professionals and students alike, based on movement. She draws on contemporary physical theatre to inform the puppetry, and create a stronger relationship between the physicality of practitioners with their puppets. These explorations into new techniques alongside years of experience carry through into the programme of performance. The combination of plays offer everything from physical theatre, dance and circus to traditional puppetry, hand crafted puppets and the avant-garde. It's this ability to combine the established, known, more classic work with the boundary pushing and challenging pieces that keeps Manipulate festival engaged with the form, relevant to its history and its future.

Review

The festival begins on 31 January with two very different performances. Maria Addolorata, presented as part of both Manipulate and The Big Burns Supper, is a two-person dance exploration into suffering, fresh off a successful run at Summerhall during the 2014 Edinburgh Fringe. Meanwhile, over at the Traverse, Scottish aerial dance theatre All or Nothing present the world premiere of Three's a Crowd. Using harness flying and acrobatics to explore human relationships, and the number three, the piece focuses on human physicality as expression, a theme that naturally can be seen in much of Manipulate's programme. French company Velo Theatre continue this theme in the UK premiere of their piece And Then He Ate Me. Championing ‘le Théâtre d'Objet,’ a wordless theatre that unravels emotional connection between actor and object, this piece is incredibly image-based, giving the effect of onstage illustration. This style lends itself well to the production's roots in fairytale, using the visual to create an unnerving world in a style of which Lewis Carroll would likely approve. It will show at The Lemon Tree on 1 February and Traverse on the 3rd. Similarly visual is Ramesh Meyyappan's Butterfly, a multi-disciplinary adaptation of Madame Butterfly, using handcrafted puppets created by Gavin Glover, whose work has previously been seen as part of NTS's A Christmas Carol. Butterfly will show as part of Manipulate on 31 January at The Lemon Tree, 5 February at Traverse and the 7 February at Norwich Puppet Theatre, after showing at both The Arches and the Macrobert theatre from the 27-29 January. With so many opportunities to take in this modern adaption of a classic tale, Butterfly is a great entry into the world of puppet theatre for newcomers and fans alike.

THEATRE

Credit: Ross Gilmore

Closing the festival at Traverse on 7 February, after Norwich Puppet Theatre on the 4th, are Russian cult icons Theatre AKHA with Mr Carmen, a show which has been performed since 2003. This company is a perfect example of the ways in which Manipulate festival plays with the avant garde and the experimental. The text is in written form as opposed to text which is read, and the performance takes the format of a duel between theatrical reality and everyday reality in this eccentric version of Mérimée's Carmen. In the festival's expanding animation strand, this year Manipulate are running a Music and Moving Image series that sees artists present their own work alongside animations that have inspired them, in order to open discussion about animation as a whole. Artists we can see featured this way are award-winning filmmaker Thomas Hicks, whose work has often been visually striking animations created to complement music. Experiments and Explorations will take place at the Traverse on 31 January. As part of the same series, Scottish animator Neil Kempsell will present his two short films under Elegies & Inspirations, 31 January at The Lemon Tree and Monday 2 February at the Traverse. His work was created to commemorate renowned musician Martyn Bennett. Manipulate's programme is packed with more theatre, puppetry and animation that you're likely to find elsewhere in Scotland at any other time of year. From 31 January to 7 February, this is the culture you need.

It wouldn't be Christmas without A Christmas Carol. Adapted for The Citizens by Neil Bartlett, Dominic Hill directs, creating a unique production that blends together modern and traditional elements. A small band sing carols and encourage the audience to sing along to get everyone into the festive spirit. However, the starlit city landscape set, while pretty, seems made to be viewed from a specific angle leaving those on the outskirts with a slightly jarring, layered scene. The performances vary from competent to exaggerated. Cliff Burnett's Ebenezer Scrooge is quite monotonous, there's little shift between his enjoyment of being miserable, his fear of the spirits, and his joy of being alive. Sadly, this dampens the vivaciousness that is felt just below the surface of the performance. The saving grace of the piece is the object manipulation. Marley's ghost is particularly remarkable, captivating attention and creating an unnerving air. Rachael Canning must receive high praise for designing and creating the puppets by hand. They add much needed atmosphere, preventing the performance from being just another run of the mill adaptation given a modern twist. There are a few questionable directorial decisions that seem to jar with the theme of the Christmas Carol that is universally known and loved – the use of sound is occasionally too heavy and overbearing while at other times creates a bareness that does not always fit the scene. The element of panto that raises its festive head places a comedy in Scrooge that does not sit comfortably through cheap gags and the outdated joke of men in dresses. Neil Bartlett's A Christmas Carol is enjoyable, but a disappointment to fans of Dickens' tale that has survived centuries. [Christine Lawler]

THE SKINNY

Credit: Tim Morozzo

Words: Emma Ainley-Walker

Win a Game Masters experience!

Win Belle and Sebastian tickets!

o celebrate the launch of Game Masters at the National Museum of Scotland, The Skinny can offer one lucky reader a pair of tickets to the exhibition, lunch for two in the Museum Brasserie and two Game Masters t-shirts. Featuring over 100 playable games, including the likes of Pac-Man, Mario Kart, Minecraft and Singstar, the exhibition showcases the work of more than 30 leading video game designers. The exhibition explores the development of video games through interviews with game designers, rare original game artwork and interactives, as well as looking forward to how independently produced games are leading the way in design, aesthetics and game play. For your chance to win this game-tastic prize head along to theskinny.co.uk/about/competitions and answer this very simple question: Dundonian video game developer DMA Design were responsible for which three of these five titles? a) Mario Kart b) Lemmings c) Asteroids d) Grand Theft Auto e) Walker

Competition closes midnight Sun 1 Feb. Winners will be notified via email within two working days of closing and will be required to respond within 48 hours or the prize will be offered to another entrant. Our Ts&Cs can be found at www.theskinny.co.uk/about/terms Game Masters runs until 20 Apr 2015 at the National Museum of Scotland, Chambers Street, Edinburgh. For more information or to book tickets visit www.nms.ac.uk/ gamemasters Prize must be redeemed in full by 20 Apr 2015 The prize does not include any travel expenses, any other meals or related expenses. All elements of prize package are non-transferrable and prize must be taken in full. The prize is as stated and no cash or other alternative prize is available, except that in the event of circumstances outside of its control, the promoter reserves the right to provide a similar prize of equal or greater value.

elle and Sebastian are heading out on tour in 2015 and will play a very special one-off show at The SSE Hydro in Glasgow on Friday 22 May. Teaming up with the Scottish Festival Orchestra, the band will play tracks from their ninth studio album Girls In Peacetime Want To Dance (released 19 Jan 2015) as well as an array of Belle and Sebastian classics. You can read an interview with (nearly) the full band on p19, and perhaps even win one of two pairs

to this unmissable night if you head along to theskinny.co.uk/about/competitions and answer this simple question: In what year did Belle & Sebastian release their debut studio album Tigermilk? a) 1994 b) 1996 c) 1998

Competition closes midnight Sun 1 Feb. Entrants must be 16 or over. Winners will be notified via email within two working days of closing and will be required to respond within 48 hours or the prize will be offered to another entrant. Our Ts&Cs can be found at theskinny.co.uk/about/terms For more information and other concerts head over to the Gigs In Scotland website now gigsinscotland.com

January 2015

COMPETITIONS

Glasgow Music Sat 03 Jan DEATHKILL 4000

BLOC+, 23:00–03:00, FREE

Industro-rock noise party with live players and bespoke visuals to boot.

KING TUT’S NEW YEAR’S REVOLUTION: DIVIDES (START STATIC + THE BLACK ART + PICNIC BASKET NOSEDIVE)

KING TUT’S, 20:30–23:00, £6.50

King Tut’s New Year’s Revolution schedule (3-17 January) kicks off with a headline set from allrockin’ Glasgow five-piece Divides, composed of former members of various Scottish bands.

Wed 07 Jan CIVIL ELEGIES

BLOC+, 21:00–01:00, FREE

Newly arisen punk-rock supergroup of sorts, sprouting from the ashes of the likes of Thin Privilege and As In Bear.

Thu 08 Jan STRUGGLE

BLOC+, 21:00–01:00, FREE

Monthly punk and post hardcore selection of bands from DIY collective Struggletown.

KING TUT’S NEW YEAR’S REVOLUTION: KILL THE WAVES (AMATRART + STATIC FUTURE + WOODWIFE) KING TUT’S, 20:30–23:00, £6.50

King Tut’s New Year’s Revolution schedule (3-17 January) continues with a headline set from Comets & Cartwheels-signed dream pop Glasgow quintet, Kill The Waves.

Fri 09 Jan

PAOLO NUTINI (VAULTS)

THE SSE HYDRO, 18:30–22:00, FROM £35

The Paisley-born singer/songwriter continues to ride the wave of 2014 LP, Caustic Love. Rescheduled date.

KING TUT’S NEW YEAR’S REVOLUTION: WEEKEND WARS (INDIGO VELVET + FOREIGNFOX + THE VAN T’S) KING TUT’S, 20:30–23:00, £6.50

King Tut’s New Year’s Revolution schedule (3-17 January) continues with a headline set from fledgling Glasgow popsters, Weekend Wars. DAWSON BATEURR + ALGERNON DOLL + OP (ALGERNON DOLL)

NICE ‘N’ SLEAZY, 20:00–23:00, £TBC

Showcase night of noisy musical merriment, moving from art rock to skewed hardcore oddball pop.

BIS (GHOSTS OF DEAD AIRPLANES + PENNYCRESS)

STEREO, 19:00–22:00, £8

Infrequent but welcome visitors on the live circuit, Manda Rin and her Bis conhorts play a special set of classics spliced with some promised new material, celebrating 20 years of tune-making ahead of their upcoming Anthology LP and string of re-releases.

Sat 10 Jan

PAOLO NUTINI (VAULTS)

THE SSE HYDRO, 18:30–22:00, FROM £35

The Paisley-born singer/songwriter continues to ride the wave of 2014 LP, Caustic Love. Rescheduled date.

KING TUT’S NEW YEAR’S REVOLUTION: JUNEBUG (PARIAH SOUL + JUSTHOPE + DELGETTI)

KING TUT’S, 20:30–23:00, £6.50

King Tut’s New Year’s Revolution schedule (3-17 January) continues with a headline set from Glasgow rockers Junebug, blending their usual merry mix of distortion and acoustic harmonies. MUSIK / REISE

PLATFORM, 19:00–22:00, £10

Members of The Phantom Band (Andy Wake and Duncan Marquiss) and Mogwai (Stuart Braithwaite and Martin Bullochand) unveil the fruits of their krautrock-worshipping collab project with Faust’s Hans Joachim Irmler.

Mon 12 Jan STARS

KING TUT’S, 20:30–23:00, £12

The Montreal indie-popsters return to showcase a more upbeat and mature sound.

Listings

Tue 13 Jan

HERBERT POWELL (BATTERY FACE + BRITNEY + KAPIL SESHASAYEE)

BLOC+, 21:00–01:00, FREE

Glasgow-based purveyors of their own uniquely eclectic sound, summat they’re calling ‘troutrock’.

Wed 14 Jan DIE ANTWOORD

O2 ACADEMY, 19:00–22:00, £19.50

South African zef rap-meets-rave group consisting of Ninja, Yo-Landi Vi$$er and DJ Hi-Tek (birth names, natch). TARIBOWEST (WE CAME FROM WOLVES + A SUDDEN BURST OF COLOUR)

BLOC+, 21:00–01:00, FREE

KING TUT’S NEW YEAR’S REVOLUTION: THE LONELY TOGETHER (DEAD ELECTRIC + MODEL JET PILOT + THE SEA KINGS) KING TUT’S, 20:30–23:00, £6.50

King Tut’s New Year’s Revolution schedule (3-17 January) enjoys one last swansong, with fledgling locals The Lonely Together on headlining duties. JUSTIN TOWNES EARLE (LINDSEY BLACK)

ORAN MOR, 19:30–22:00, £15

Nashville singer/songwriter (and, yes, son of Steve Earle) infusing his songs with a Memphis-soul sound. LIFE MODEL (YELLOW CREATURES + LUNA WEBSTER)

NICE ‘N’ SLEAZY, 20:00–23:00, FREE

A selection of super-heavy live band sounds curated by Vasa’s J Niblock and Detour’s Ally McCrae.

Glasgow-based dream pop fivesome mixing classic shoegaze with their own sonic fingerprint.

THE SSE HYDRO, 18:30–22:00, FROM £59

BROADCAST, 19:00–22:00, £10

QUEEN + ADAM LAMBERT

Brian May and Roger Taylor continue to fly the Queen banner, with former reality singing contest bloke Adam Lambert in on vocal duties reminding us all why they probably shouldn’t have carried on without Freddie Mercury.

Thu 15 Jan

KING TUT’S NEW YEAR’S REVOLUTION: BAD LUCK (SCHNARFFSCHNARFF + PINACT + TWIN MIRRORS) KING TUT’S, 20:30–23:00, £6.50

King Tut’s New Year’s Revolution schedule (3-17 January) continues with a headline set from indiepunk lot Bad Luck, roadtesting a batch of new tunes. CELTIC CONNECTIONS’ OPENING CONCERT: NAE REGRETS

GLASGOW ROYAL CONCERT HALL, 19:30–22:00, FROM £21

Kicking off on a reflective note, Celtic Connections opens with the world premiere of Martyn Bennett’s final piece, Grit, on the 10th anniversary of his passing – with violinist/composer Greg Lawson reconstructing the piece for a cast of 80+ musicians.

Fri 16 Jan

FAIRPORT CONVENTION (KEVIN DEMPSEY + ROSIE CARSON)

GLASGOW ROYAL CONCERT HALL, 19:30–22:00, FROM £20

The longtime British folk-rockers draw on classic songs old and new. 7 OF 7

NICE ‘N’ SLEAZY, 20:00–23:00, £TBC

Glasgow-based progressive rock unit built on a diet of drums and a trio of guitars. THE LOST BROTHERS (THE MOUNTAIN FIREWORK COMPANY)

ORAN MOR, 19:30–22:00, £14

Irish duo built on a mix of emotive harmonies and vintage rock’n’roll. And – shocker – they’re not even brothers. Part of Celtic Connections.

KING TUT’S NEW YEAR’S REVOLUTION: JAKIL (THE MOON KIDS + THE ALTER-NATIVES + LIONEL) KING TUT’S, 20:30–23:00, £7

King Tut’s New Year’s Revolution schedule (3-17 January) continues with a headline set from Edinburgh-born, London-living pop-rockers Jakil.

QRISTINA AND QUINN BACHAND (THE RAMBLING BOYS) GLASGOW ROYAL CONCERT HALL, 20:00–22:00, £14

Canadian siblings drawing on both familial and geographic roots for their contemporary Celtic cocktail. Part of Celtic Connections.

Sat 17 Jan

FEDERATION OF THE DISCO PIMP (DUMB INSTRUMENT) THE ARCHES, 19:30–22:00, £14

High-energy disco-pop from the bouncy Glasgwegian seven-piece, providing unstoppable grooves since 2010. Part of Celtic Connections. CHASTITY BROWN (DEAN OWENS AND THE WHISKY HEARTS)

O2 ABC, 19:00–22:00, £16

Minneapolis-based banjo-playin’ soul singer, melding bits of soul, jazz and rootsy Americana into her mix. Part of Celtic Connections.

JAMES VECK-GILODI

The Deaf Havana man goes it alone with new solo material on the way. VIKINGS (NEW YEAR MEMORIAL + ROBIN ADAMS)

THE GLAD CAFE, 19:30–22:00, £5 ADV. (£6 DOOR)

Debut show from the fledgling indie-folk locals.

Sun 18 Jan

FUNERAL FOR A FRIEND

KING TUT’S, 20:30–23:00, £16.50

The Welsh emo stalwarts take to the road armed with their new album, Chapter and Verse, which finds ‘em on particularly fine form. HAZY RECOLLECTIONS (CHRISSY BARNACLE + LOKI AND BECCI WALLACE + TOMMY REILLY + THE HAZEY JANES)

O2 ABC, 14:30–17:00, £12

Reliably lovely afternoon sesh of handpicked acts from the flourishing Scottish indie, folk and roots scene. Part of Celtic Connections. MERRYMOUTH

ORAN MOR, 19:30–22:00, £16

Contemporary folk-rock unit formed in 2012 by Ocean Colour Scene’s Simon Fowler, joined by John McCusker, Dan Sealey and Adam Barry. Part of Celtic Connections. SLIPKNOT (KORN)

THE SSE HYDRO, 18:30–22:00, FROM £39.50

It’s the tour nu-metal nostalgists have all been waiting for – Slipknot, supported by ruddy Korn! Get ready to burn portaloos like t’were the year 2000 (please don’t burn any portaloos).

Mon 19 Jan ALEX GOOT

KING TUT’S, 20:00–23:00, £10

Young NYC singer/songwriter known for his pop covers, who also plays piano, guitar and drums. TOMMY EMMANUEL (CHICO CÉSAR)

GLASGOW ROYAL CONCERT HALL, 19:30–22:00, FROM £20

Australian fingerstyle guitarist conjuring a whole band’s worth of sounds on just ten fingers. J. MASCIS (LULAC)

THE ART SCHOOL, 19:00–22:30, £17

The Dinosaur Jr frontman goes it alone in support of his acoustic solo album, Tied to a Star, out on Sub Pop and featuring appearances from Ken Maiuri, Pall Jenkins, Mark Mulcahy and Chan Marshall.

Tue 20 Jan

EDDI READER (KRIS DREVER)

GLASGOW ROYAL CONCERT HALL, 19:30–22:00, FROM £23

Reader weaves her velvety vocal palette around a selection of traditional and contemporary songs, joined by an array of musical guests including Boo Hewardine, John McCusker and Karen Matheson. Part of Celtic Connections. MARK LANEGAN BAND

POOR FRISCO (THE BELLYBUTTONS + VOODOO MIND CONTROL) BLOC+, 21:00–01:00, FREE

Fresh from a starring role on Bloc+’s 5th Ensemble compilation, Poor Frisco bring their dreamy, fuzzy alternative pop to the venue’s teenie tiny stage.

Wed 21 Jan

DICK GAUGHAN (LYNCHED)

GLASGOW ROYAL CONCERT HALL, 20:00–22:00, £15

The elder-statesman of folk plays a headline set, having notched up some 40+ years on the road in his time. Part of Celtic Connections. CARLOS NÚÑEZ (RURA)

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

The celebrated Spanish musician plays a specially-commissioned set on the gaita (aka the traditional Galician bagpipe). Part of Celtic Connections. JESSIE J

O2 ACADEMY, 19:00–22:00, £32.50

The feisty popstress (aka Jessica Ellen Cornish) continues on her quest for world domination. TINY RUINS (BLUE ROSE CODE)

TRON THEATRE, 20:00–22:00, £14

Delicate chamber-folk all the way from New Zealand. Part of Celtic Connections. CRIOLO (WITHERED HAND)

O2 ABC, 19:30–22:00, £16

Brazilian singer/songwriter and MC mixing hip-hop with samba, Afrobeat, soul and reggae, overlaid with poetic critiques of modern Brazil. Part of Celtic Connections. IN THE ROUND (RACHEL SERMANNI + RODDY HART + COLIN MACLEOD + SORREN MACLEAN + MISS IRENIE ROSE) ORAN MOR, 19:30–22:00, £14

Gig showcase from Highland boutique label Middle of Nowhere Recordings, taking in sets from Rachel Sermanni, Roddy Hart, Colin MacLeod, and new signings Sorren Maclean and Miss Irenie Rose. Part of Celtic Connections. FAIIDES + LADY JESUS + SEAS, STARRY

OLD FRUITMARKET, 21:30–00:00, £16.50

The ‘techno ceilidh’ innovators play a special set to mark their 25th anniversary, which sees them reunited with the Dhol Drummers of Rajasthan, after a joint performance during the Commonwealth Games. Part of Celtic Connections.

Sat 24 Jan HECTOR BIZERK

NICE ‘N’ SLEAZY, 20:00–23:00, £6 ADV. (£10 DOOR)

The much-lauded Glasgow-based alternative hip-hop duo – made up of Louie and Audrey, MC and drummer respectively – launch their new EP, The Bell That Never Rang. JD MCPHERSON (SHAKE SHAKE GO)

O2 ABC, 19:00–22:00, £16

The Oklahoma-based songsmith brings his raw and visceral brand of rockabilly and r’n’b to Scottish shores. ALVVAYS

KING TUT’S, 20:30–23:00, £8

Canadian indie-pop darlings still riding high on the release of their self-titled debut LP.

MARY HAMPTON + MIKE HERON & GEORGIA SEDDON + LOUIS BAKER + THOMAS OLIVER

PLATFORM, 19:30–22:00, £12

Eclectic bill ranging from gothic English nu-folk to Kiwi guitar mastery. Part of Celtic Connections. ORLANDO JULIUS + THE HELIOCENTRICS (TRINITY ROOTS)

THE ARCHES, 19:30–22:00, £15

Nigerian singer, songwriter and saxophonist Orlando Julius plays a special set alongside psychedelic jazz collective The Heliocentrics. Part of Celtic Connections. JAMIE SMITH’S MABON (MOXIE)

ORAN MOR, 19:00–22:00, £14

Thu 22 Jan

Sun 25 Jan

EMMY THE GREAT

KING TUT’S, 20:30–23:00, £12.50

More kitchen sink-style melodic storytelling from the Londonbased singer/songwriter, out celebrating the release of her new EP.

BAND OF FRIENDS (ANDY FAIRWEATHER LOW AND THE LOW RIDERS)

O2 ABC, 19:30–22:00, £16

A selection of former band members and friends celebrate the musical output of Rory Gallagher. Part of Celtic Connections. REPEATER (ALGERNON DOLL + LENIN DEATH MASK + GET WELL)

BLOC+, 21:00–01:00, FREE

Post-hardcore DIY gig/club effort, with a selection of live acts dropping by.

FROM SCOTLAND WITH LOVE (SCORED BY KING CREOSOTE) (TINY RUINS) GLASGOW ROYAL CONCERT HALL, 19:30–22:00, FROM £20

The archive footage-compiled From Scotland With Love enjoys a bells’n’whistles airing, with King Creosote on hand to perform his transportive score, this time augmented by a ten-piece band. Part of Celtic Connections.

Fri 23 Jan

NITEWORKS (MACANTA)

ORAN MOR, 19:30–22:00, £14

Young Scottish folk fusion outfit, mixing Celtic and electronic sounds in live Gaelic vocals, pipes and whistles. Part of Celtic Connections.

THE PICTISH TRAIL + SWEET BABOO

Italian ensemble performing a traditional mix of southern Italy’s Pizzica music and dance.

The Lost Map label boss (aka Johnny Lynch) reunites with his Moshi Moshi labelmate Sweet Baboo following their recent co-headline tour. Part of Celtic Connections.

SHOOGLENIFTY + DHOL DRUMMERS OF RAJASTHAN (MOTU: OILÉAIN)

Welsh purveyors of original ‘InterCeltic’ tunes, know for their reliably spirited live sound. Part of Celtic Connections.

O2 ABC, 19:00–22:00, £17.50

THE GLASGOW ART CLUB, 19:30–22:00, £12

Dublin-based singer/songwriter and Chemikal Underground signee Adrian Crowley plays a special set, accompanied by the 12-stringed wonder that is James Blackshaw. Part of Celtic Connections.

Trio of stellar shoegaze and fuzz pop acts for your midweek pleasure.

BLOC+, 21:00–01:00, FREE

CANZONIERE GRECANICO SALENTINO (COMPLETE)

Mr Lanegan brings his soulful baritone to bear, touring in celebration of his eighth LP, Phantom Radio.

ADRIAN CROWLEY + JAMES BLACKSHAW PLATFORM, 19:30–22:00, £12

O2 ABC, 19:00–22:00, £16

HAZY RECOLLECTIONS (GORDY DUNCAN JR + HENRY AND FLEETWOOD + FINDLAY NAPIER)

O2 ABC, 14:30–17:00, £12

Tue 27 Jan

EMILIO LARGO (DOPPELGANGER + 7 OF 7) BLOC+, 21:00–01:00, FREE

Alternative rock trio with hints of hardcore energy, made up of three ex-aspiring fisherman (so say they, anyway). LIGHTS

KING TUT’S, 20:00–23:00, £11.50

Canadian electro-pop songstress dirtying up her melodies with analog synths and retro electronics. KARINE POLWART (SAM AMIDON)

THE MITCHELL LIBRARY, 19:30–22:00, £16

The Borders lass brings the loveliness with her provokingly poetic and bittersweet folk tunes, dipping into her impressive back catalogue of material. Part of Celtic Connections. AMON ARMATH (HUNTRESS + SAVAGE MESSIAH)

CLASSIC GRAND, 19:00–22:00, £15

Swedish death metallers of the long-haired and melodic variety.

Wed 28 Jan

FLUORESCENT HEARTS (TAKE TONIGHT + THE MACK)

KING TUT’S, 20:00–23:00, £7

Glasgow pop foursome built of guitars, bass, drums and Chris Ashton’s weighty vocals.

WORLD PARTY (GABRIEL KELLY)

ORAN MOR, 19:30–22:00, £16

Outlet for the pop infatuations of vocalist and multi-instrumentalist Karl Wallinger, previously best known for his tenure with the Waterboys. Part of Celtic Connections.

Following an Edinburgh outing a few days earlier, the Rally & Broad literary merrymakers skip across to Glasgow for round two of their apology-themed specials, with guests Liz Lochhead, Loki and The Kartel, Kirsty Logan, Shambles Miller and Kevin Gilday confessing all. MENACE BEACH

BROADCAST, 19:00–22:00, £7

The quite super Leeds grunge pop unit head out on their first headline tour for their debut LP, Ratworld, released on Memphis Industries. SONGHOY BLUES (ALDOC)

ORAN MOR, 19:00–22:00, £14

Young desert blues punk ensemble from Timbuktu, who featured on Damon Albarn’s latest Africa Express recording. Part of Celtic Connections.

Mon 26 Jan VAN MORRISON

GLASGOW ROYAL CONCERT HALL, 19:30–22:00, £50

The OBE-furnished Irish singer/ songwriter plays a set cherrypicked from his back catalogue. Part of Celtic Connections.

The latest incarnation of Neneh Cherry’s creative force, collaborating with the London-based RocketNumberNine on a set of glorious shapeshifting grooves.

ANTON AND THE COLTS (THE RISING SOULS + THE CRACKLIN’ VOID)

NICE ‘N’ SLEAZY, 19:30–23:00, £10

The Glasgow lot bring the countryfried soul-meets-bluegrass ruckus with the occasional thunderous edge.

Sat 31 Jan

MANRAN (HARALD HAUGAARD)

THE ARCHES, 19:30–22:00, £15

Traditional Scottish ensemble on driving accordion, fiddle, Highland pipes, Uilleann pipes and wooden flute. That do you? Part of Celtic Connections. LAMBCHOP (MAGGIE BJÖRKLUND)

OLD FRUITMARKET, 20:00–22:00, £20

Nashville-hailing alternative country types par excellence, armed with their collection of pleasingly peculiar and melancholy songwriting. Part of Celtic Connections. HUDSON TAYLOR

ORAN MOR, 19:00–22:00, £14

KING TUT’S, 20:30–23:00, £6.50

ZHORA (SUNSMASHER)

Doom-laden soundscapes for your midweek blues.

Thu 29 Jan

ADAM COHEN (SARAH HAYES)

ORAN MOR, 19:30–22:00, £15

Montreal-born singer-songwriter, and frontman of the band Low Millions. And, yes, Leonard Cohen’s son. Part of Celtic Connections. CHARLIE SIMPSON

KING TUT’S, 20:30–23:00, £15

The chap fae Busted, then Fightstar, braves it acoustically alone for your general, ahem, pleasure. NIPSEY HUSSLE

O2 ABC, 19:00–22:00, £13

O2 ABC, 19:00–22:00, £16

STEREO, 14:30–17:30, £5

SWG3, 19:00–22:00, £12.50

BLOC+, 21:00–01:00, FREE

KING TUT’S, 20:00–23:00, £8

RALLY & BROAD: THE APOLOGY SHOP (LIZ LOCHHEAD + LOKI AND THE KARTEL + KIRSTY LOGAN + SHAMBLES MILLER + AND KEVIN GILDAY)

NENEH CHERRY + ROCKETNUMBERNINE

The emotive American folk songstress plays tracks offa her latest LP, Museum of Appalachia Recordings. Part of Celtic Connections.

American rapper hailing from Los Angeles, a fully signed up member of the Rolling Sixty Crips.

Teen singer/songwriter and YouTube big hitter, out celebrating the release of her new EP.

The Wisconsin-born singer/ songwriter tours his latest LP, Salt As Wolves – another darkly poetic blend of vintage rock’n’roll and country noir. Part of Celtic Connections.

Dublin-based brother duo made up of Harry and Alfie Hudson-Taylor, who honed their craft at an early age busking the streets of their hometown. Part of Celtic Connections.

DIANA JONES

THE GLASGOW ART CLUB, 19:30–22:00, £12

Reliably lovely afternoon sesh of handpicked acts from the flourishing Scottish indie, folk and roots scene. Part of Celtic Connections. BETHAN LEADLEY

JEFFREY FOUCAULT (AMELIA CURRAN) TRON THEATRE, 20:00–22:00, £14

KONONO Nº1

Eclectic ensemble from Kinshasa, Democratic Republic of the Congo, combining three electric likembé with voices, dancers and percussion instruments made out of salvaged items.

Fri 30 Jan

HAYSEED DIXIE (THE RIPTIDE MOVEMENT + TOM COPSON)

O2 ABC, 19:00–22:00, £17

US novelty metal legends playing a mixture of hard rock cover versions and original compositions. SKERRYVORE (DÀIMH)

OLD FRUITMARKET, 21:30–00:00, £15

More blazing bagpipes, fiddle and accordions, lynch-pinned on Alec Dalglish’s soaring vocals, as the seven-piece folk-rock juggernaut celebrate their 10th anniversary. Part of Celtic Connections. THE WEEKS

KING TUT’S, 20:30–23:00, £10

Alternative sludge pop five-piece hailing from Nashville, ne’er happier than on the road gigging. FRANÇOIS AND THE ATLAS MOUNTAINS (KID CANAVERAL)

THE ARCHES, 19:30–22:00, £15

Saintes-born Francois Marry does his airy and understated thing under his François and the Atlas Mountains banner, all Afro-beat sway and sweet indie-pop melodies. Part of Celtic Connections.

HARALD HAUGAARD + HELENE BLUM (BARLUATH) ORAN MOR, 19:30–22:00, £14

Danish husband/wife duo of fiddler Harald Haugaard and singer Helene Blum.

NIEVES

Fledgling Glasgow duo of the alternative indie-folk variety, marking what will be their debut headline gig.

FOOD BANK FUNDRAISER (VELVETEEN SAINTS + ENEMIES OF THE STATE) NICE ‘N’ SLEAZY, 20:00–23:00, £TBC

A selection of local bands pitch up for the cause.

Sun 01 Feb

HAZY RECOLLECTIONS (ALICE BENTLEY + BEERJACKET + INGE THOMSON)

O2 ABC, 14:30–17:00, £12

Reliably lovely afternoon sesh of handpicked acts from the flourishing Scottish indie, folk and roots scene. Part of Celtic Connections. CALEXICO (BC CAMPLIGHT)

OLD FRUITMARKET, 20:00–22:00, £20

The Arizona-based indie-rock duo approach their 20th year, after first coming together as part of the band Giant Sand. Part of Celtic Connections. ELLA THE BIRD

GLASGOW ROYAL CONCERT HALL, 13:00–15:00, £12

Mellifluous chanteuse Siobhan Wilson in her new guise, playing a set of both existing and newlywritten songs. Part of Celtic Connections.

Edinburgh Sat 03 Jan

HENRY’S X-MESS PARTY (PAL + THE INCENDIARY BATS + JOE VITERBO + ACE ELEMENTARY + DICKIE LE VOY)

HENRY’S CELLAR BAR, 19:00–03:00, £4

Thu 15 Jan

BADLANDS + ORANGE VISION

SNEAKY PETE’S, 19:00–22:00, £5

A co-headline tour sadly not featuring the former Ozzy Osbourne-fronted rock band of the same name. CHASTITY BROWN

PLEASANCE THEATRE, 19:00–22:00, £16

Minneapolis-based banjo-playin’ soul singer, melding bits of soul, jazz and rootsy Americana into her mix.

Fri 16 Jan WRONGNOTE

BANNERMANS, 20:00–23:00, £5

Glaswegian alternative rock unit who self-describe their sound as ‘cathartic outsider-rock with splashings of extra-dimensional porn soundtrack’, which is nice.

Sat 17 Jan JAKIL

ELECTRIC CIRCUS, 19:00–22:00, £7

Edinburgh-born, London-living pop-rockers led by frontman Kieran O’Brien. TENZA

THE VOODOO ROOMS, 20:00–23:00, £7 (£4)

Jamaican-born reggae singer/ songwriter, also with her own recording label and clothing line. SKYCLAD (SKILTRON)

BANNERMANS, 20:00–23:00, £10 (£8)

Longstanding British metalheads with heavy folk influences.

Sun 18 Jan CZESLAW MOZIL

THE BONGO CLUB, 19:00–22:00, £18 ADV. (£22 DOOR)

The acclaimed Polish accordionist &ndash; and judge on Polish X Factor, no less – stops by Edinburgh as part of his current UK tour.

Fri 23 Jan

ATHENIA (LOST IN INSOMNIA)

BANNERMANS, 20:00–23:00, £5

The Dundee metal quintet cart their noisy wares to Bannermans.

RALLY & BROAD: THE APOLOGY SHOP (FRANCESCA BEARD + HECTOR BIZERK + EMILY DODD + CHRIS WILLATTS + JESS SMITH)

THE BONGO CLUB, 19:00–22:00, £5

The Rally & Broad literary merrymakers skip host round one of their apology-themed specials (also at Glasgow’s Stereo, 25 Jan), with guests Francesca Beard, Hector Bizerk, Emily Dodd, Chris Willatts and Jess Smith confessing all. THE LONELY TOGETHER (DEAD ELECTRIC + GREEK STREET BAND + JONI FULLER)

ELECTRIC CIRCUS, 19:00–22:00, £5

Fledgling Scottish locals riding along on a fuzzy wave of warm guitars and soaring melodies.

Sat 24 Jan

JAMIE AND SHOONY (INDIGO VELVET + MICKEY 9S) ELECTRIC CIRCUS, 19:00–22:00, £6

Edinburgh indie-rock trio imbued with catchy riffs and an unstoppable live energy.

THE FIEND (FROM THE GUT + HAPPY SPASTICS + DOWN TO KILL + SUBVISION)

BANNERMANS, 20:00–23:00, £6

The Newcastle-based hardcore punk unit descend. KERRIE LYNCH + MEGAN WEDGWOOD

SNEAKY PETE’S, 19:00–22:00, £5

A duo of young singer/songwriter talents join forces to raise funds for Cancer Research.

Sun 25 Jan

PHIL LEWIS (NIGHTHAWKES + ESTRELLA)

BANNERMANS, 20:00–23:00, £14 (£12)

Henry’s annual January Christmas Party (we’re sure it makes sense to them), featuring bands that the staff play in, plus a selection of guest bands handpicked for the occasion. Happy-not-Christmas!

The La Guns frontman stops by to perform a full band show of hits and rarities.

Fri 09 Jan

Montreal-born singer/songwriter, and frontman of the band Low Millions. And, yes, Leonard Cohen’s son.

GLASTINES

BANNERMANS, 22:00–23:00, £5

The alternative indie rock lot hit Bannermans for the first time.

Wed 28 Jan ADAM COHEN

THE VOODOO ROOMS, 19:30–23:00, £16.50

Mon 12 Jan HONNINGBARNA

ELECTRIC CIRCUS, 19:00–22:00, £5

Punk-rock ensemble from Norway – whose name literally translates as honey children – singing in their native language.

THE SKINNY

Thu 29 Jan

INDEPENDENT VENUE WEEK: THE SEXUAL OBJECTS + CASUAL SEX + SNIDE RHYTHMS

SNEAKY PETE’S, 19:00–22:00, £TBC

Ex-Fire Engines chappie Davey Henserson and his new outfit, The Sexual Objects, headlines an all-star cast to kick off the Independent Venue Week shenanigans – which will see a week of shows at 85 independent venues across the UK.

Fri 30 Jan SCHTICK OF ROCK

ELECTRIC CIRCUS, 19:00–22:00, £8

Hit-filled singalong rock from the tongue-in-cheek covers band. Fancy dress encouraged. EDINBURGH BLUES CLUB (MIKE WHELLANS + DAVE ARCARI)

THE VOODOO ROOMS, 19:30–23:00, £10

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

INDEPENDENT VENUE WEEK: WITHERED HAND + ADAM STAFFORD + ELLA THE BIRD SNEAKY PETE’S, 19:00–22:00, £10

Edinburgh DIY folk-rock troubadour Dan Willson (aka Withered Hand) leads up a suitably lush bill as part of Independent Venue Week.

Sat 31 Jan

HALF MAN HALF BISCUIT

THE LIQUID ROOM, 19:00–22:00, £22

The sardonic post punk veterans known for their relentless touring schedule and surrealist humour.

INDEPENDENT VENUE WEEK: BWANI & FRIENDS

Glasgow Clubs HARSH TUG

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

NICE ‘N’ SLEAZY, 23:30–03:00, £3

Hip-hop and gangsta rap brought to you by the Notorious B.A.G and pals. TEENAGE RIOT

BLOC+, 23:00–03:00, FREE

Members of Glasgow’s posthardcore noise-masters United Fruit curate their lively event of big-beat alternative indie and disco. YES!

THE FLYING DUCK, 23:00–03:00, £5 (£3)

New gay indie night on the block, with a playlist that mixes classic Bowie, The Smiths and Blondie et al alongside new kids like Django Djanjo and Grimes. FLASHBACK VS FRESHBEAT

THE GARAGE, 23:00–03:00

DJ Craig Guild holes up in in Main Hall playing fresh new tracks, with DJ Nicola down in G2 playing the best of 80s-00s. THE YELLOW DOOR

THE BERKELEY SUITE, 23:00–03:00, FREE (£3 AFTER 12)

New monthly night playing contemporary classics, unheard of gems and a few well-kent belters, all for your general dancing pleasure, natch. RINSE FM (JASPER JAMES)

SUB CLUB, 23:00–03:00, £7

FOR THE RECORD: 1ST BIRTHDAY (BOOM MERCHANT + QUEENY + SEAN STEWART) LA CHEETAH CLUB, 23:00–03:00, FREE (£5 AFTER 12)

The For The Record lot celebrate turing the grand old age of one, joined by Boom Merchant, Queeny, Sean Stewart and more.

Sun 04 Jan COUNTERFEIT

CATHOUSE, 23:00–03:00, £4 (£2)

Sunday-bothering night playing house, r’n’b and hip-hop tunes, with added LED frickin’ lazers, just cos. TRADING PLACES

SUB CLUB, 23:00–03:00, £5 (FREE ENTRY FOR TRADES)

Subbie’s very own ‘Santa’ Graeme Park heads up a special trades night for the strapped of cash. Free entry for trades.

Mon 05 Jan BURN

BUFF CLUB, 23:00–03:00, £5 (£3/FREE WITH TRADE WAGE SLIP)

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

NU SKOOL

Tue 06 Jan

BUFF CLUB, 23:00–03:00, £7 (£6)

BUFF CLUB, 23:00–03:00, £5 (£3)

SNEAKY PETE’S, 19:00–22:00, £10

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

Dundee Tue 13 Jan

JUBILEE STRING QUARTET

MARRYAT HALL, 19:30–22:00, £14

The young quartet ensemble perform one of Mozart’s last quartets, followed by an early work by Felix Mendelssohn, and more.

Glasgow Fri 02 Jan OLD SKOOL

BUFF CLUB, 23:00–03:00, £7 (£6)

Connoisseur’s mix of old-school jazz, funk and soul for your Friday jivin’ pleasure. DAMNATION

CLASSIC GRAND, 23:00–03:00, £6

Two floors of the best in rock, metal and industrial tunes picked out by DJs Barry and Tailz. PROPAGANDA

O2 ABC, 23:00–03:00, £5

Student-orientated night playing the best in new and classic indie music. CATHOUSE FRIDAYS

CATHOUSE, 22:30–03:00, £6 (£4)

Residents fun night of rock, metal, punk and emo spread over three 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 at the helm. THE BIG CHEESE

SHED, 22:30–03:00, FREE (£6/£4 STUDENT AFTER 11)

Student-friendly Friday night party playing – as one might expect – cheesy classics of every hue.

ABSOLUTION

Alternative weekend blowout, taking in metal, industrial, pop-punk, rock, emo and ska over two floors. CATHOUSE SATURDAYS

CATHOUSE, 22:30–03:00, £6 (£4)

Punk, rock and metallic selection of beats spread across three rooms. 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, £5

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

THE FLYING DUCK, 23:00–03:00, £5 (£3)

Andy Divine and Chris Geddes’ gem of a night dedicated to 7-inch singles from every genre imaginable. STRANGE PARADISE

NICE ‘N’ SLEAZY, 23:30–03:00, £3

Party night from floral-shirted Wild Combination man David Barbarossa, specializing in leftfield disco, post-punk and far-out pop. DEATHKILL 4000

BLOC+, 23:00–03:00, FREE

BARE MONDAYS

THE GARAGE, 23:00–03:00

Gavin Somerville spins the finest chart, dance, house and hip-hop in the main hall, while David Lo Pan holes up in the bar playing rock and metal anthems. KILLER KITSCH

The Killer Kitsch residents take charge – eight years old and still offering up the best in house, techno and electronic. I AM

SUB CLUB, 23:00–03:00, £5 (FREE VIA IAMCLUB.CO.UK)

Resident young guns Beta & Kappa play the usual fine mix of electronica and bass, oft joined by a guest or two. UNICORN CHASER

NICE ‘N’ SLEAZY, 23:30–03:00, FREE

Fledgling night from Ewan Chambers and Konx-om-Pax, promising the best in party music. And all for gratis. #TAG

THE GARAGE, 23:00–03:00

Weekly party anthems with Jimmy 11, complete with a hot tub and giant inflatables, because that’s obvs a normal Tuesday night out.

Wed 07 Jan TAKE IT SLEAZY

NICE ‘N’ SLEAZY, 23:30–03:00, FREE

An unabashed mix of 80s pop, electro and nu-disco. They will play Phil Collins. SUB ROSA

SUB CLUB, 23:00–03:00, £5

Subbie’s regular student night with residents Spittal and Nowicki at the helm. DISCO RIOT

Industro-rock noise party with live players and bespoke visuals to boot.

Disco-styled party night bolstered by added karaoke fun.

SHED, 22:30–03:00, £7 (£5)

CATHOUSE, 23:00–03:00, £4 (£2)

GUILTY PLEASURE

THE GARAGE, 23:00–03:00

BEAST WEDNESDAYS

The Shed’s mainman Andy Robertson spins ‘charty poppy party classics’ for all your Saturday night dancing needs.

The midweek residents serve up their usual rammy of pop-punk and hardcore, whilst the bar doles out lethally alcoholic slushies. Slurp.

THE GARAGE, 23:00–03:00

Thu 08 Jan

I HEART SATURDAYS

Student superclub cramming in everything from hip-hop to dance, and funk to chart, with nine – yes nine – bars.

SUBCULTURE VS OPTIMO MELTDOWN

SUB CLUB, 23:00–03:00, £TBC

All whole lorra Sub Club residents (well, four, to be exact) take to the booth for a mighty versus night – with Subculture’s Harri & Domenic squaring up to Optimo’s JG Wilkes and JD Twitch.

NEVERLAND

THE GARAGE, 23:00–03:00

Themed fun night complete with a live Twitter feed and a bouncy castle for added LOLs. HIP HOP THURSDAYS

BUFF CLUB, 23:00–03:00, £5 (£3)

Early weekend party starter, with Euan Neilson playing the best in classic r’n’b and hip-hop. JELLY BABY

O2 ABC, 23:00–03:00, £4

Thursday nighter of chart, disco and party tunes. Can’t say fairer.

O2 ABC, 23:00–03:00, £5

FANTASTIC MAN

Thu 15 Jan NEVERLAND

Sat 17 Jan NU SKOOL

BUFF CLUB, 23:00–03:00, £7 (£6)

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

NICE ‘N’ SLEAZY, 23:30–03:00, £3

The cosmic-heavy Out Of Orbit residents man the decks, a guest or two oft in tow.

Messy Saturday night uberdisco armed with Erasure and Papa Roach discographies.

Themed fun night complete with a live Twitter feed and a bouncy castle for added LOLs.

CATHOUSE, 23:00–03:00, £4 (£2)

NICE ‘N’ SLEAZY, 23:30–03:00, £3

BUFF CLUB, 23:00–03:00, £5 (£3)

CLASSIC GRAND, 22:30–03:00, £6

CATHOUSE THURSDAYS

Two rooms of tunes with DJs David Lo Pan and RYRY, taking in rock anthems, pop-punk, screamo and requests.

Connoisseur’s mix of old-school jazz, funk and soul for your Friday jivin’ pleasure.

SUNDAY SCIENCE

LOVE MUSIC

The midweek residents serve up their usual rammy of pop-punk and hardcore, whilst the bar doles out lethally alcoholic slushies. Slurp.

Indie, electro and anything inbetween with Pauly (My Latest Novel) and Simin and Steev (Errors).

THE GARAGE, 23:00–03:00

Sat 03 Jan

CLASSIC GRAND, 22:30–03:00, £6

THE ART SCHOOL, 23:00–03:00, FREE (£2-£4 AFTER 12)

Fri 09 Jan

Sun 01 Feb

Scottish garage rock duo Honeyblood lead up a suitably starry cast as part of Independent Venue Week.

OUT OF ORBIT

Monthly mix of nu-metal and hard rockin’ tunes with DJ David Lo Pan.

Edinburgh quartet imbued with world-traipsing influences (formerly playing under the guise Bwani Junction). Playing as part of Independent Venue Week. INDEPENDENT VENUE WEEK: HONEYBLOOD + TUFF LOVE + C DUNCAN

BEAST WEDNESDAYS CATHOUSE, 23:00–03:00, £4 (£2)

Under 18s rock night playing, er, anything and everything rock.

Sub Club hand over the reins to Rinse FM, who in turn entrust deck duties to their newest recruit, Glasgow DJ/producer Jasper James (aka son of Subbie’s very own Harri), dipping into his eclectic collection for the full four hours.

SNEAKY PETE’S, 19:00–22:00, £10

VOODOO CATHOUSE, 17:00–21:00, £2 (£1)

OLD SKOOL

BUFF CLUB, 23:00–03:00, £7 (£6)

DAMNATION

CLASSIC GRAND, 23:00–03:00, £6

Two floors of the best in rock, metal and industrial tunes picked out by DJs Barry and Tailz. PROPAGANDA

O2 ABC, 23:00–03:00, £5

Student-orientated night playing the best in new and classic indie music. CATHOUSE FRIDAYS

CATHOUSE, 22:30–03:00, £6 (£4)

Residents fun night of rock, metal, punk and emo spread over three rooms. COMMON PEOPLE

THE FLYING DUCK, 21:00–03:00, £5 (£3)

Celebration of all things 90s, with hits a-plenty and a pre-club bingo session. 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 at the helm. THE BIG CHEESE

SHED, 22:30–03:00, FREE (£6/£4 STUDENT AFTER 11)

Student-friendly Friday night party playing – as one might expect – cheesy classics of every hue. RETURN TO MONO (CLOUDS)

SUB CLUB, 23:00–03:00, £TBC

Monthly night from Soma Records taking in popular techno offerings of all hues, this edition joined by bedroom-produced techno scamps Clouds. ENJOYABLE MOMENT

BLOC+, 23:00–03:00, FREE

The Cosmic Dead chaps trip out with an evening of rollin’ Krautrock DJing for your general aural pleasure. FLASHBACK VS FRESHBEAT

THE GARAGE, 23:00–03:00

DJ Craig Guild holes up in in Main Hall playing fresh new tracks, with DJ Nicola down in G2 playing the best of 80s-00s. HUNTLEYS AND PALMERS (GOLDEN TEACHER + HI + SABERHAGAN)

NICE ‘N’ SLEAZY, 23:30–03:00, £3

Special release launch for the H+P troops, with Golden Teacher playing a guest DJ set, alongside Hi and a Saberhagan live stint. MISSING PERSONS CLUB VS BIG FOOT’S TEA PARTY

LA CHEETAH CLUB, 23:00–03:00, FREE

Bumper residents night, with the Missing Persons Club troops joining forces with the chaps from Bigfoot’s Tea Party.

Sat 10 Jan NU SKOOL

BUFF CLUB, 23:00–03:00, £7 (£6)

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

CLASSIC GRAND, 22:30–03:00, £6

Alternative weekend blowout, taking in metal, industrial, pop-punk, rock, emo and ska over two floors. SUBCULTURE

SUB CLUB, 23:00–03:00, £8

Long-running house night with residents Harri & Domenic manning the decks. CATHOUSE SATURDAYS

CATHOUSE, 22:30–03:00, £6 (£4)

Punk, rock and metallic selection of beats spread across three rooms. THE ROCK SHOP

MAGGIE MAY’S, 22:00–03:00, FREE (£5/£3 STUDENT AFTER 12)

BLOC+, 23:00–03:00, FREE

WRONG ISLAND

The legendary Teamy and Dirty Larry spin some fresh electronics for your aural pleasure. GLITTERBANG

THE FLYING DUCK, 23:00–03:00, £3

THE GARAGE, 23:00–03:00

HIP HOP THURSDAYS

Early weekend party starter, with Euan Neilson playing the best in classic r’n’b and hip-hop. JELLY BABY

O2 ABC, 23:00–03:00, £4

ABSOLUTION

Alternative weekend blowout, taking in metal, industrial, pop-punk, rock, emo and ska over two floors. CATHOUSE SATURDAYS

CATHOUSE, 22:30–03:00, £6 (£4)

Sweatcore disco hits played out by James T and Ramo, with a Gina G tune or two on a promise.

Thursday nighter of chart, disco and party tunes. Can’t say fairer.

Punk, rock and metallic selection of beats spread across three rooms.

BLOC+, 21:00–01:00, FREE

SHED, 22:30–03:00, £7 (£5)

The DIY label and zine collective present their monthly clubmeets-gig outing and fresh zine launch combined.

MAGGIE MAY’S, 22:00–03:00, FREE (£5/£3 STUDENT AFTER 12)

GUILTY PLEASURE

The Shed’s mainman Andy Robertson spins ‘charty poppy party classics’ for all your Saturday night dancing needs. I HEART SATURDAYS

THE GARAGE, 23:00–03:00

Student superclub cramming in everything from hip-hop to dance, and funk to chart, with nine – yes nine – bars. MADE IN GLASGOW (BOSCO + REBECCA VASMANT)

LA CHEETAH CLUB, 23:00–03:00, £8 (£5)

A new venture from the Let’s Go Back... team, this edition welcoming local talents Bosco and Rebecca Vasmant.

Sun 11 Jan

GOOD GRIEF’S GOOP SHOP

OUT OF ORBIT

THE ART SCHOOL, 23:00–03:00, FREE (£2-£4 AFTER 12)

The cosmic-heavy Out Of Orbit residents man the decks, a guest or two oft in tow. CATHOUSE THURSDAYS

CATHOUSE, 23:00–03:00, £4 (£2)

Two rooms of tunes with DJs David Lo Pan and RYRY, taking in rock anthems, pop-punk, screamo and requests.

Fri 16 Jan OLD SKOOL

BUFF CLUB, 23:00–03:00, £7 (£6)

CATHOUSE, 23:00–03:00, £2 (£1)

Connoisseur’s mix of old-school jazz, funk and soul for your Friday jivin’ pleasure.

SUNDAY SCIENCE

CLASSIC GRAND, 23:00–03:00, £6

VERTIGO

DJ Kelmosh plays a mix of rock, dance and indie hits. THE GARAGE, 23:00–03:00

Sunday-bothering night playing house, r’n’b and hip-hop tunes, with added LED frickin’ lazers, just cos.

Mon 12 Jan BURN

BUFF CLUB, 23:00–03:00, £5 (£3/FREE WITH WAGE SLIP)

DAMNATION

Two floors of the best in rock, metal and industrial tunes picked out by DJs Barry and Tailz. PROPAGANDA

O2 ABC, 23:00–03:00, £5

Student-orientated night playing the best in new and classic indie music. CATHOUSE FRIDAYS

CATHOUSE, 22:30–03:00, £6 (£4)

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

Residents fun night of rock, metal, punk and emo spread over three rooms.

THE GARAGE, 23:00–03:00

MAGGIE MAY’S, 22:00–03:00, FREE (£5/£3 STUDENT AFTER 12)

BARE MONDAYS

Gavin Somerville spins the finest chart, dance, house and hip-hop in the main hall, while David Lo Pan holes up in the bar playing rock and metal anthems.

Tue 13 Jan KILLER KITSCH

BUFF CLUB, 23:00–03:00, £5 (£3)

The Killer Kitsch residents take charge – eight years old and still offering up the best in house, techno and electronic. I AM

SUB CLUB, 23:00–03:00, £5 (FREE VIA IAMCLUB.CO.UK)

Resident young guns Beta & Kappa play the usual fine mix of electronica and bass, oft joined by a guest or two. UNICORN CHASER

NICE ‘N’ SLEAZY, 23:30–03:00, FREE

JAMMING FRIDAYS

Indie rock’n’roll from the 60s to the 00s, with resident tune-picker DJ Jopez at the helm. THE BIG CHEESE

SHED, 22:30–03:00, FREE (£6/£4 STUDENT AFTER 11)

Student-friendly Friday night party playing – as one might expect – cheesy classics of every hue. KUNST

LA CHEETAH CLUB, 23:00–03:00, £TBC

The Kunst residents hole up for the evening, a guest or two likely in tow.

SUB ROSA

Subbie’s regular student night with residents Spittal and Nowicki at the helm. DISCO RIOT

THE GARAGE, 23:00–03:00

Disco-styled party night bolstered by added karaoke fun.

FLASHBACK VS FRESHBEAT

THE GARAGE, 23:00–03:00

SWEET STREAMS

THE FLYING DUCK, 22:00–03:00, £5 (£3)

New electronic music-packed clubber’s delight, with Michael Kasparis and Gareth Roberts at the reins. I AM (SIMIAN MOBILE DISCO)

SUB CLUB, 23:00–03:00, £TBC

Resident young guns Beta & Kappa play the usual fine mix of electronica and bass, joined for a special guest slot by electronic duo par excellence Simian Mobile Disco.

Fledgling night from Ewan Chambers and Konx-om-Pax, promising the best in party music. And all for gratis. #TAG

THE GARAGE, 23:00–03:00

Weekly party anthems with Jimmy 11, complete with a hot tub and giant inflatables, because that’s obvs a normal Tuesday night out.

Wed 21 Jan SUB ROSA

SUB CLUB, 23:00–03:00, £5

Subbie’s regular student night with residents Spittal and Nowicki at the helm. DISCO RIOT

THE GARAGE, 23:00–03:00

Disco-styled party night bolstered by added karaoke fun. BEAST WEDNESDAYS

CATHOUSE, 23:00–03:00, £4 (£2)

The midweek residents serve up their usual rammy of pop-punk and hardcore, whilst the bar doles out lethally alcoholic slushies. Slurp. NOT MOVING (LAURIE PITT)

NICE ‘N’ SLEAZY, 23:30–03:00, FREE

O2 ABC, 23:00–03:00, £5

South African house, grime, jungle, r’n’b and hauntology – a tropical mix, ayes – this edition with Laurie Pitt on guest duties.

GIMME SHELTER

Thu 22 Jan

LOVE MUSIC

Saturday night disco manned by your man Gerry Lyons and guests. THE FLYING DUCK, 23:00–03:00, £5 (£3)

Varied night moving from the 50s to present day, via selections of rock’n’roll, soul, garage, psych and r’n’b. GUILTY PLEASURE

SHED, 22:30–03:00, £7 (£5)

The Shed’s mainman Andy Robertson spins ‘charty poppy party classics’ for all your Saturday night dancing needs. I HEART SATURDAYS

THE GARAGE, 23:00–03:00

Student superclub cramming in everything from hip-hop to dance, and funk to chart, with nine – yes nine – bars. SUBCULTURE VS THUNDER DISCO CLUB

SUB CLUB, 23:00–03:00, £TBC

Joining forces for twice the party, Subculture (aka the eclectic house sounds of longstanding locals Harri & Domenic) unite with monthly disco merrymakers Thunder Disco Club for a night of enforced dancin’. CODE (LUIS FLORES)

LA CHEETAH CLUB, 23:00–03:00, £8 ADV. (£10 DOOR)

NEVERLAND

THE GARAGE, 23:00–03:00

Themed fun night complete with a live Twitter feed and a bouncy castle for added LOLs. HIP HOP THURSDAYS

BUFF CLUB, 23:00–03:00, £5 (£3)

Early weekend party starter, with Euan Neilson playing the best in classic r’n’b and hip-hop. JELLY BABY

O2 ABC, 23:00–03:00, £4

Thursday nighter of chart, disco and party tunes. Can’t say fairer. CATHOUSE THURSDAYS

CATHOUSE, 23:00–03:00, £4 (£2)

Two rooms of tunes with DJs David Lo Pan and RYRY, taking in rock anthems, pop-punk, screamo and requests.

Fri 23 Jan OLD SKOOL

BUFF CLUB, 23:00–03:00, £7 (£6)

Connoisseur’s mix of old-school jazz, funk and soul for your Friday jivin’ pleasure. DAMNATION

CLASSIC GRAND, 23:00–03:00, £6

The Code techno specialists welcome Guadalajara-born DJ Luis Flores for a live set, expertly traversing a rich spectrum of techno textures.

Two floors of the best in rock, metal and industrial tunes picked out by DJs Barry and Tailz.

Sun 18 Jan

Student-orientated night playing the best in new and classic indie music.

EASY

CATHOUSE, 23:00–03:00, £2 (£1)

DJ Jamie spins anything and everything your heart could possibly desire, with requests all night long. SUNDAY SCIENCE

THE GARAGE, 23:00–03:00

Mon 19 Jan

DJ Craig Guild holes up in in Main Hall playing fresh new tracks, with DJ Nicola down in G2 playing the best of 80s-00s.

SUB CLUB, 23:00–03:00, £5

Under 18s rock night playing, er, anything and everything rock.

NICE ‘N’ SLEAZY, 20:00–23:00, £TBC

7 OF 7

THE GARAGE, 23:00–03:00

Wed 14 Jan

VOODOO

CATHOUSE, 17:00–21:00, £2 (£1)

The Italian trashy disco returns for another night of carnage.

BLOC+, 23:00–03:00, FREE

Glasgow-based progressive rock unit built on a diet of drums and a trio of guitars.

Weekly party anthems with Jimmy 11, complete with a hot tub and giant inflatables, because that’s obvs a normal Tuesday night out.

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

Sunday-bothering night playing house, r’n’b and hip-hop tunes, with added LED frickin’ lazers, just cos.

SUGO

Fledgling night from Ewan Chambers and Konx-om-Pax, promising the best in party music. And all for gratis. #TAG

THE ROCK SHOP

UNICORN CHASER NICE ‘N’ SLEAZY, 23:30–03:00, FREE

BURN

BUFF CLUB, 23:00–03:00, £5 (£3/FREE WITH WAGE SLIP)

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

THE GARAGE, 23:00–03:00

Gavin Somerville spins the finest chart, dance, house and hip-hop in the main hall, while David Lo Pan holes up in the bar playing rock and metal anthems.

Tue 20 Jan KILLER KITSCH

BUFF CLUB, 23:00–03:00, £5 (£3)

The Killer Kitsch residents take charge – eight years old and still offering up the best in house, techno and electronic. I AM

SUB CLUB, 23:00–03:00, £5 (FREE VIA IAMCLUB.CO.UK)

Resident young guns Beta & Kappa play the usual fine mix of electronica and bass, oft joined by a guest or two.

PROPAGANDA

O2 ABC, 23:00–03:00, £5

CATHOUSE FRIDAYS

CATHOUSE, 22:30–03:00, £6 (£4)

Residents fun night of rock, metal, punk and emo spread over three 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 at the helm. THE BIG CHEESE

SHED, 22:30–03:00, FREE (£6/£4 STUDENT AFTER 11)

Student-friendly Friday night party playing – as one might expect – cheesy classics of every hue. BIGFOOT’S TEA PARTY

SUB CLUB, 23:00–03:00, £TBC

Following their 6th birthday shenanigans last month, Nomadic techno and tech-house crew Bigfoot’s Tea Party makes its regular trip to Subbie’s basement. EZUP

LA CHEETAH CLUB, 23:00–03:00, £8

The EzUp lot take to their now regular La Cheetah lair, a guest or two likely in tow. ROOT OF SOUND

BLOC+, 23:00–03:00, FREE

Friday night party starter of alternative indie and electro DJ patter. FLASHBACK VS FRESHBEAT

THE GARAGE, 23:00–03:00

DJ Craig Guild holes up in in Main Hall playing fresh new tracks, with DJ Nicola down in G2 playing the best of 80s-00s.

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

January 2015

Listings

ETON MESSY VS BONDAX

UNICORN CHASER

SHAKE APPEAL

THE ARCHES, 22:00–03:00, £10 EARLYBIRD (£12 THEREAFTER)

NICE ‘N’ SLEAZY, 23:30–03:00, FREE

BLOC+, 23:00–03:00, FREE

House collective Eton Messy join forces with genre-hopping teenage DJ duo Bondax – with Eton Messy manning the Back Arch with guests Blonde, Karma Kid, and Just Kiddin, while Bondax hole up in the Front Arch with TCTS and Kidnap Kid.

Sat 24 Jan NU SKOOL

BUFF CLUB, 23:00–03:00, £7 (£6)

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

CLASSIC GRAND, 22:30–03:00, £6

Alternative weekend blowout, taking in metal, industrial, pop-punk, rock, emo and ska over two floors. SUBCULTURE

SUB CLUB, 23:00–03:00, £8 EARLYBIRD (£10 THEREAFTER)

Long-running house night with residents Harri & Domenic manning the decks. CATHOUSE SATURDAYS

CATHOUSE, 22:30–03:00, £6 (£4)

Punk, rock and metallic selection of beats spread across three rooms. 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. VOODOO

Fledgling night from Ewan Chambers and Konx-om-Pax, promising the best in party music. And all for gratis.

Monthly evening of hip shakers and neck breakers, combining everything from Buddy Holly to Motorhead.

THE GARAGE, 23:00–03:00

THE ARCHES, 22:00–03:00, £20

#TAG

Weekly party anthems with Jimmy 11, complete with a hot tub and giant inflatables, because that’s obvs a normal Tuesday night out.

Wed 28 Jan SUB ROSA

SUB CLUB, 23:00–03:00, £5

Under 18s rock night playing, er, anything and everything rock. LOVE MUSIC

O2 ABC, 23:00–03:00, £5

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

NICE ‘N’ SLEAZY, 23:30–03:00, £3

Occasional gathering discoing down to a playlist of high energy disco tunes. GUILTY PLEASURE

SHED, 22:30–03:00, £7 (£5)

The Shed’s mainman Andy Robertson spins ‘charty poppy party classics’ for all your Saturday night dancing needs. I HEART SATURDAYS

THE GARAGE, 23:00–03:00

Student superclub cramming in everything from hip-hop to dance, and funk to chart, with nine – yes nine – bars.

PISTOLS AT DAWN: 2ND BIRTHDAY (BALEARIC MIKE) LA CHEETAH CLUB, 23:00–03:00, £8 ADV. (£10 DOOR)

House-oriented night with a Balearic lean, this edition welcoming Balearic Mike to help ‘em blow out the candles on their 2nd birthday.

Sun 25 Jan SLIDE IT IN

CATHOUSE, 23:00–03:00, £2 (£1)

Full-on mix of nu-metal and hard rockin’ tunes over two floors, with DJs Mythic, DJ Nicola and Div on decks. SUNDAY SCIENCE

THE GARAGE, 23:00–03:00

Sunday-bothering night playing house, r’n’b and hip-hop tunes, with added LED frickin’ lazers, just cos.

Mon 26 Jan BURN

BUFF CLUB, 23:00–03:00, £5 (£3/FREE WITH WAGE SLIP)

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

THE GARAGE, 23:00–03:00

NICE ‘N’ SLEAZY, 23:30–03:00, £3

STEREO, 23:00–03:00, £6

SO WEIT SO GUT

The party sounds of residents Fergus Clark, Gareth Roberts, Ruaidhri McGhee and their special guests. BEAST WEDNESDAYS

CATHOUSE, 23:00–03:00, £4 (£2)

The midweek residents serve up their usual rammy of pop-punk and hardcore, whilst the bar doles out lethally alcoholic slushies. Slurp. WEDNESDAY NIGHT RELAUNCH

THE GARAGE, 23:00–03:00

The Garage makes merry for the official launch of its new midweek party... Watch this space, as they say.

Thu 29 Jan NEVERLAND

Themed fun night complete with a live Twitter feed and a bouncy castle for added LOLs. HIP HOP THURSDAYS

BUFF CLUB, 23:00–03:00, £5 (£3)

Early weekend party starter, with Euan Neilson playing the best in classic r’n’b and hip-hop. HEX

LA CHEETAH CLUB, 23:00–03:00, £3

Residents takeover from the Hex lot, returning to La Cheetah for a full-on house and techno session. JELLY BABY

O2 ABC, 23:00–03:00, £4

Thursday nighter of chart, disco and party tunes. Can’t say fairer. STRETCHED

BLOC+, 21:00–01:00, FREE

Jazz-influenced sound sauna, moving through mathcore to postrock, with a few live acts thrown in for good measure. OUT OF ORBIT

THE ART SCHOOL, 23:00–03:00, FREE (£2-£4 AFTER 12)

The cosmic-heavy Out Of Orbit residents man the decks, a guest or two oft in tow. CATHOUSE THURSDAYS

CATHOUSE, 23:00–03:00, £4 (£2)

Two rooms of tunes with DJs David Lo Pan and RYRY, taking in rock anthems, pop-punk, screamo and requests. VICIOUS CREATURES (JOB JOBSE)

SUB CLUB, 23:00–03:00, £5

The VC party night returns, this edition welcoming Trouw resident, Life and Death label manager and talented DJ, Job Jobse, with support from Lárus.

Fri 30 Jan OLD SKOOL

BUFF CLUB, 23:00–03:00, £7 (£6)

Connoisseur’s mix of old-school jazz, funk and soul for your Friday jivin’ pleasure. DAMNATION

CLASSIC GRAND, 23:00–03:00, £6

Two floors of the best in rock, metal and industrial tunes picked out by DJs Barry and Tailz. PROPAGANDA

O2 ABC, 23:00–03:00, £5

Student-orientated night playing the best in new and classic indie music.

Tue 27 Jan

Residents fun night of rock, metal, punk and emo spread over three rooms.

KILLER KITSCH

BUFF CLUB, 23:00–03:00, £5 (£3)

I AM

SUB CLUB, 23:00–03:00, £5 (FREE VIA IAMCLUB.CO.UK)

Resident young guns Beta & Kappa play the usual fine mix of electronica and bass, oft joined by a guest or two.

Listings

FLASHBACK VS FRESHBEAT

THE GARAGE, 23:00–03:00

Subbie’s regular student night with residents Spittal and Nowicki at the helm.

Gavin Somerville spins the finest chart, dance, house and hip-hop in the main hall, while David Lo Pan holes up in the bar playing rock and metal anthems.

The Killer Kitsch residents take charge – eight years old and still offering up the best in house, techno and electronic.

Following its 16th birthday blowout in December, Pressure returns for 2015 with a special guest lineup they’re keeping under wraps for now. Dirty teases. DJ Craig Guild holes up in in Main Hall playing fresh new tracks, with DJ Nicola down in G2 playing the best of 80s-00s.

THE GARAGE, 23:00–03:00

CATHOUSE, 17:00–21:00, £2 (£1)

PRESSURE

CATHOUSE FRIDAYS

CATHOUSE, 22:30–03:00, £6 (£4)

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 at the helm. THE BIG CHEESE

SHED, 22:30–03:00, FREE (£6/£4 STUDENT AFTER 11)

Student-friendly Friday night party playing – as one might expect – cheesy classics of every hue.

TURFED 01 (MR. MITCH + INKKE)

All-new night for Glasgow showcasing a batch of current grime/FWD sounds, celebrating its inaugural outing with guests Mr. Mitch and Inkke. SO WEIT SO GUT VS DISSOLVING DANCEFLOOR

NICE ‘N’ SLEAZY, 23:30–03:00, £3

The So Weit So Gut lot join forces with Dissolving Dancefloor for twice the fun. MELTING POT (MOTOR CITY DRUM ENSEMBLE)

SUB CLUB, 23:00–03:00, £10 ADV. (£12 DOOR)

The Melting Pot crew welcome German artist Motor City Drum Ensemble for a night of Detroitinspired disco and house grooves.

Sat 31 Jan NU SKOOL

BUFF CLUB, 23:00–03:00, £7 (£6)

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

CLASSIC GRAND, 22:30–03:00, £6

Alternative weekend blowout, taking in metal, industrial, pop-punk, rock, emo and ska over two floors. SUBCULTURE

SUB CLUB, 23:00–03:00, £8 EARLYBIRD (£10 THEREAFTER)

Long-running house night with residents Harri & Domenic manning the decks. CATHOUSE SATURDAYS

CATHOUSE, 22:30–03:00, £6 (£4)

Punk, rock and metallic selection of beats spread across three rooms. 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. VOODOO

CATHOUSE, 17:00–21:00, £2 (£1)

Under 18s rock night playing, er, anything and everything rock. LOVE MUSIC

O2 ABC, 23:00–03:00, £5

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

BLOC+, 23:00–03:00, FREE

Glorious return for the legendary Glaswegian club institution, back and in its indie stride. NOTSOSILENT

LA CHEETAH CLUB, 23:00–03:00, £TBC

Belch and crew bring the best in underground house, celebrating January with a residents-only blowout. GUILTY PLEASURE

SHED, 22:30–03:00, £7 (£5)

The Shed’s mainman Andy Robertson spins ‘charty poppy party classics’ for all your Saturday night dancing needs. SPACE IBIZA: 25TH ANNIVERSARY TOUR

THE ARCHES, 22:00–03:00, £16 EARYBIRD (£19 THEREAFTER)

The longrunning electronic institution celebrates 25 years, heading out on a world tour to bring some of their favourite DJs to key cities around the globe. HARRY POTTER NIGHT

THE GARAGE, 23:00–03:00

The Garage collaborate with Harry Potter Societies to host a Harry Potter-themed special edition. Look suitably speccy, eh? LENA WILLIKENS

NICE ‘N’ SLEAZY, 23:30–03:00, £4

Cologne-based DJ/musician Lena Willikens makes her first headline appearance in Glasgow hot off the back of her debut release on Comeme.

Edinburgh Clubs Fri 02 Jan

Mon 05 Jan

THE HIVE, 21:00–03:00, FREE (£4 AFTER 10)

THE HIVE, 22:00–03:00, FREE

FUCK YEAH

Chart, electro, indie-pop and alternative anthems over two rooms. PLANET EARTH

CITRUS CLUB , 22:30–03:00, FREE (£6 AFTER 11)

Distinctly retro selections from 1960 to 1999, moving from Abba to ZZ Top. PROPAGANDA

THE LIQUID ROOM, 22:30–03:00, £5 (£3 MEMBERS)

Student-orientated night playing the best in new and classic indie music. FLY CLUB

CABARET VOLTAIRE, 23:00–03:00, £7 (£5)

Edinburgh and Glasgow-straddling night, with a powerhouse of local residents joined by a selection of guest talent.

IN DEEP: ONE NIGHT STAND (CHEAP PICASSO + EUAN CHAMBERS + EYEMEN THE ZOO + KIERAN APTER + KIPP$ + TELFORT)

SNEAKY PETE’S, 23:00–05:00, £5 (MEMBERS FREE)

Sneaky’s regular Friday nighter featuring guest DJs from across the UK, this edition buoyed by the joys of a bumper batch of guests and a 5am license.

Sat 03 Jan TEASE AGE

CITRUS CLUB , 22:30–03:00, FREE (£5 AFTER 11)

Long-running indie, rock and soul night, traversing the spectrum of classic and modern tunes. THE GO-GO

STUDIO 24, 23:00–05:00, £2 (£5/£4 STUDENT AFTER 11)

Long-running retro night with veteran DJs Tall Paul and Big Gus. MUMBO JUMBO

THE BONGO CLUB, 23:00–03:00, £3 (£7/£5 STUDENT AFTER 12)

Funk, soul, beats and mash-ups from the Mumbo Jumbo regulars and pals. BUBBLEGUM

THE HIVE, 21:00–03:00, FREE (£4 AFTER 10)

Handpicked weekend mix of chart and dance, with retro 80s classics thrown in for good measure. SPEAKER BITE ME (EVOL DJS)

ELECTRIC CIRCUS, 22:30–03:00, £5 (£6 AFTER 12)

The Evol DJs worship at the alter of all kinds of indie-pop, with their only rule being that it’s gotta have bite. REWIND

THE LIQUID ROOM, 22:00–03:00, £5 (£3 MEMBERS)

Journey back through the ages, with the residents digging out anthemic gems from the last 40 years. THUNDER DISCO CLUB

CABARET VOLTAIRE, 23:00–03:00, £7 (£5)

The Thunder Disco Club residents churn out the 90s house, techno and disco hits, as is their merry way. BORDELLO

STUDIO 24, 22:30–05:00, £2 (£5/£4 STUDENT AFTER 12)

Classic sleazy rock action, all the night long. HECTOR’S HOUSE

SNEAKY PETE’S, 23:00–03:00, £5 (MEMBERS FREE)

MIXED UP

Monday-brightener playing hip-hop, r’n’b and good ol’ chart classics, with requests in the back room. NU FIRE

SNEAKY PETE’S, 23:00–03:00, FREE

DJ Fusion and Beef move from hip-hop to bass with a plethora of live MCs.

TRASH

CITRUS CLUB , 22:30–03:00, FREE (£5 AFTER 11)

THE HIVE, 22:00–03:00, FREE

Alternative anthems cherrypicked from genres of rock, indie, punk, retro and more. HECTOR’S HOUSE

CABARET VOLTAIRE, 23:00–03:00, £4

The HH crew serve up their usual fine mix of electronic basslines allied with home-cooked house beats.

Wed 07 Jan COOKIE

THE HIVE, 22:00–03:00, FREE

Resident midweek student rammy of chart, club and electro hits. WITNESS

SNEAKY PETE’S, 23:00–03:00, FREE

TEASE AGE

Long-running indie, rock and soul night, traversing the spectrum of classic and modern tunes. BUBBLEGUM

THE HIVE, 21:00–03:00, FREE (£4 AFTER 10)

Handpicked weekend mix of chart and dance, with retro 80s classics thrown in for good measure. BIG ‘N’ BASHY

THE BONGO CLUB, 23:00–03:00, £4 (£6 AFTER 12)

Mighty mix of reggae, grime, dubstep and jungle played out by inimitable residents Brother Most Righteous, Skillis, Era and Deburgh. BEEP BEEP, YEAH!

ELECTRIC CIRCUS, 22:30–03:00, £5 (£6 AFTER 12)

Sneaky’s resident bass spectacular of house, garage and bass adventures with Blackwax and Faultlines.

Retro pop stylings from the 50s to the 70s, via a disco tune or ten.

THE LIQUID ROOM, 22:30–03:00, £5 (£4 MEMBERS)

Craig Smith hosts an array of experts in deep, soulful house, plus funk in the back room.

TRIBE

Weekly selection of dance bangers, played out by residents Khalid Count Clockwork and Craig Wilson. ROUTE 66

CABARET VOLTAIRE, 23:00–03:00, FREE (£1 AFTER 12)

Student fun night spinning motown, blues, hip-hop and funkstyled dancing tunes.

Thu 08 Jan I AM EDINBURGH

CABARET VOLTAIRE, 23:00–03:00, £4 (FREE VIA IAMCLUB.CO.UK)

Resident i AM 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

Pumped Thursday nighter playing a mighty mix of everything from Hud Mo to Fly Mo. HI-SOCIETY

THE HIVE, 22:00–03:00, FREE

Playlists of student-friendly chart anthems, bolstered by hip-hop, r’n’b and urban in the back room.

Fri 09 Jan FUCK YEAH

THE HIVE, 21:00–03:00, FREE (£4 AFTER 10)

Chart, electro, indie-pop and alternative anthems over two rooms. FOUR CORNERS

THE BONGO CLUB, 23:00–03:00, £3 (£5 AFTER 12)

Soulful dancing fodder, from deep funk to reggae beats with your regular DJ hosts. PLANET EARTH

CITRUS CLUB , 22:30–03:00, FREE (£6 AFTER 11)

PROPAGANDA

Student-orientated night playing the best in new and classic indie music.

THINK TWICE

CABARET VOLTAIRE, 23:00–03:00, £7 (£5)

TEESH

SNEAKY PETE’S, 23:00–03:00, £5 (MEMBERS FREE)

DJ Cheers – frequent flyer at many a Sneaky’s night – finally gets his own show on the road. ROLLER DISCO

STUDIO 24, 22:00–03:00, £5

DJ playlists of the best in 70s and 80s disco to accompany your falling over (sorry, we mean skating). KARNIVAL

THE LIQUID ROOM, 23:00–03:00, £13

COALITION

SNEAKY PETE’S, 23:00–03:00, FREE

Weekly cross-genre of bass from a cast of Edinburgh’s best underground DJs. THE CLUB

THE HIVE, 22:00–03:00, FREE

Two rooms of all the chart, cheese and indie-pop you can think of/ handle.

Mon 12 Jan MIXED UP

THE HIVE, 22:00–03:00, FREE

Monday-brightener playing hip-hop, r’n’b and good ol’ chart classics, with requests in the back room. NU FIRE

SNEAKY PETE’S, 23:00–03:00, FREE

DJ Fusion and Beef move from hip-hop to bass with a plethora of live MCs.

Tue 13 Jan SOUL JAM HOT

SNEAKY PETE’S, 23:00–03:00, FREE

Fresh mix of funk, soul and boogie from The Players Association team. I LOVE HIP HOP

THE BONGO CLUB, 23:00–03:00, £3

TRASH

THE HIVE, 22:00–03:00, FREE

Wed 14 Jan COOKIE

THE HIVE, 22:00–03:00, FREE

Resident midweek student rammy of chart, club and electro hits.

Art School institution with DJs Chris and Jake playing the finest in indie, garage, soul and punk – now taking up a monthly Saturday slot, in what is their 20-somethingth year. BUBBLEGUM

THE HIVE, 21:00–03:00, FREE (£4 AFTER 10)

Handpicked weekend mix of chart and dance, with retro 80s classics thrown in for good measure. 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. Job done. SOULSVILLE

THE BONGO CLUB, 23:00–03:00, £5

Swinging soul spanning a whole century, with DJs Tsatsu and Fryer. DR NO’S

HENRY’S CELLAR BAR, 23:00–03:00, £4 (£5 AFTER 12)

Danceable mix of the best in 60s ska, rocksteady, bluebeat and early reggae. GASOLINE DANCE MACHINE

CABARET VOLTAIRE, 23:00–03:00, £7 (£5)

THE LIQUID ROOM, 22:30–03:00, £5 (£4 MEMBERS)

More classic Italo and straight-up boogie allied with contemporary house and disco, as Edinburgh’s GDM crew do their thing.

HULLABALOO

STUDIO 24, 22:30–03:00, £2 (£5/£4 STUDENT AFTER 12)

The Stay Gold residents spin a mix of hip-hop, garage, house and disco for your general dancing pleasure. THE BONGO CLUB, 23:00–03:00, £3 (£2)

Mash-up mix of beats, breaks and hip-hop from Mumbo Jumbo’s Trendy Wendy and Steve Austin, bolstered by Tall Paul’s vintage selections. HI-SOCIETY

THE HIVE, 22:00–03:00, FREE

Playlists of student-friendly chart anthems, bolstered by hip-hop, r’n’b and urban in the back room.

Fri 16 Jan FUCK YEAH

THE HIVE, 21:00–03:00, FREE (£4 AFTER 10)

Chart, electro, indie-pop and alternative anthems over two rooms. PLANET EARTH

CITRUS CLUB , 22:30–03:00, FREE (£6 AFTER 11)

Distinctly retro selections from 1960 to 1999, moving from Abba to ZZ Top. PROPAGANDA

THE LIQUID ROOM, 22:00–03:00, £5 (£3 MEMBERS)

CABARET VOLTAIRE, 23:00–03:00, £7 (£5)

SURE SHOT

All-new night spanning 80s-00s hip-hop and r’n’b, manned by The Skinny’s own Peter Simpson and one half of Edinburgh’s Kitchen Disco, Malcolm Storey.

STAY GOLD

Sun 11 Jan

Alternative anthems cherrypicked from genres of rock, indie, punk, retro and more.

THE CLUB

JUICE

SNEAKY PETE’S, 23:00–03:00, FREE

Pumped Thursday nighter playing a mighty mix of everything from Hud Mo to Fly Mo.

The local house and techno legends host their first outing of 2015, a guest or two likely in tow.

CABARET VOLTAIRE, 23:00–03:00, £7 (£5)

FLY CLUB

I AM EDINBURGH

CABARET VOLTAIRE, 23:00–03:00, £4 (FREE VIA IAMCLUB.CO.UK)

Student-orientated night playing the best in new and classic indie music.

Weekly selection of hip-hop classics and brand-new classics to be, joined by a selection of guest performers and DJs.

ELECTRIC CIRCUS, 22:00–03:00, FREE (£3 AFTER 12)

Two rooms of all the chart, cheese and indie-pop you can think of/ handle.

Student fun night spinning motown, blues, hip-hop and funkstyled dancing tunes.

Sat 10 Jan

Fresh mix of funk, soul and boogie from The Players Association team.

SNEAKY PETE’S, 23:00–03:00, FREE

THE HIVE, 22:00–03:00, FREE

ROUTE 66

CABARET VOLTAIRE, 23:00–03:00, FREE (£1 AFTER 12)

Resident i AM young guns Beta & Kappa make their now regular trip east, playing the usual fine mix of electronica and bass.

SOUL JAM HOT

Edinburgh and Glasgow-straddling night, with a powerhouse of local residents joined by a selection of guest talent.

Weekly cross-genre of bass from a cast of Edinburgh’s best underground DJs.

Weekly selection of dance bangers, played out by residents Khalid Count Clockwork and Craig Wilson.

SNEAKY PETE’S, 23:00–03:00, FREE

THE LIQUID ROOM, 22:30–03:00, £5 (£3 MEMBERS)

COALITION

TRIBE

THE LIQUID ROOM, 22:30–03:00, £5 (£4 MEMBERS)

Tue 06 Jan

Sun 04 Jan Funky house and dirty electro playlists from the past and future, so they promise..

IN DEEP (MEDLAR)

SNEAKY PETE’S, 23:00–03:00, £5 (MEMBERS FREE)

Sneaky’s resident bass spectacular of house, garage and bass adventures with Blackwax and Faultlines.

Thu 15 Jan

Distinctly retro selections from 1960 to 1999, moving from Abba to ZZ Top.

EDEN

Charity night of house and techno soundscapes from a select batch of Scottish DJs – including the Karnival, Kapital and Confusion Is Sex troops – raising funds for Lattitude ICS.

THE EGG WEE RED BAR, 23:00–03:00, £3 (£5 AFTER 12)

The In Deep champs welcome UK-based DJ and producer Medlar, taking control of the decks for the full four hours.

The HH crew serve up their usual fine mix of electronic basslines allied with home-cooked house beats.

CABARET VOLTAIRE, 23:00–03:00, £3 (£5 AFTER 12)

UNITY THE MASH HOUSE, 22:30–03:00, £7

WITNESS SNEAKY PETE’S, 23:00–03:00, FREE

FLY CLUB

Edinburgh and Glasgow-straddling night, with a powerhouse of local residents joined by a selection of guest talent. CONFUSION

THE BONGO CLUB, 23:00–03:00, £3 (£5 AFTER 12)

All-new spin-off night from the Confusion is Sex peeps, placing its focus on bringing in guest DJs, MCs and live acts from outside Edinburgh. COCO LOCO

ELECTRIC CIRCUS, 23:00–03:00, £5 (£6 AFTER 12)

Electric new addition to the Edinburgh nightlife scene, with DJs Reuben Lowe and Dowzer playing funky house, electro swing, disco and anything else they damn well fancy. ORIENTATION

STUDIO 24, 22:00–03:00, FREE (£5 AFTER 11.30)

Anything goes night of music, exploring the very reaches of any and every genre they fancy. IN DEEP: FIRECRACKER RECORDS SPECIAL (FUDGE FINGAS + HOUSE OF TRAPS)

SNEAKY PETE’S, 23:00–03:00, £5 (MEMBERS FREE)

DECADE

Fresh playlists spanning metal, pop-punk and alternative soundscapes. WASABI DISCO

SNEAKY PETE’S, 23:00–03:00, £5 (MEMBERS FREE)

Heady bout of cosmic house, punk upside-down disco and, er, Fleetwood Mac with yer man Kris ‘Wasabi’ Walker. POP ROCKS!

ELECTRIC CIRCUS, 22:30–03:00, £5 (£6 AFTER 12)

Pop and rock gems, taking in motown, 80s classics and plenty danceable fare (well, the Beep Beep, Yeah! crew are on decks after all).

Sun 18 Jan COALITION

SNEAKY PETE’S, 23:00–03:00, FREE

Weekly cross-genre of bass from a cast of Edinburgh’s best underground DJs. THE CLUB

THE HIVE, 22:00–03:00, FREE

Two rooms of all the chart, cheese and indie-pop you can think of/ handle.

Mon 19 Jan MIXED UP

THE HIVE, 22:00–03:00, FREE

Monday-brightener playing hip-hop, r’n’b and good ol’ chart classics, with requests in the back room. NU FIRE

SNEAKY PETE’S, 23:00–03:00, FREE

DJ Fusion and Beef move from hip-hop to bass with a plethora of live MCs.

Tue 20 Jan SOUL JAM HOT

SNEAKY PETE’S, 23:00–03:00, FREE

Fresh mix of funk, soul and boogie from The Players Association team. I LOVE HIP HOP

THE BONGO CLUB, 23:00–03:00, £3

Weekly selection of hip-hop classics and brand-new classics to be, joined by a selection of guest performers and DJs. TRASH

THE HIVE, 22:00–03:00, FREE

Alternative anthems cherrypicked from genres of rock, indie, punk, retro and more. HECTOR’S HOUSE

CABARET VOLTAIRE, 23:00–03:00, £4

he In Deep troops make merry for a Firecracker Records special – soundtracked by label boss Lindsay Todd (aka House of Traps), alongside the luxuriant house swells of yer man Fudge Fingas, both playing all-vinyl selections.

The HH crew serve up their usual fine mix of electronic basslines allied with home-cooked house beats.

Sat 17 Jan

THE HIVE, 22:00–03:00, FREE

TEASE AGE

CITRUS CLUB , 22:30–03:00, FREE (£5 AFTER 11)

Long-running indie, rock and soul night, traversing the spectrum of classic and modern tunes.

Wed 21 Jan COOKIE

Resident midweek student rammy of chart, club and electro hits. WITNESS

SNEAKY PETE’S, 23:00–03:00, FREE

Sneaky’s resident bass spectacular of house, garage and bass adventures with Blackwax and Faultlines.

THE SKINNY

TRIBE

GIN ‘N’ JUICE

ITCHY FEETTT

STACKS

THE LIQUID ROOM, 22:30–03:00, £5 (£4 MEMBERS)

THE LIQUID ROOM, 23:00–03:00, £TBC

THE LIQUID ROOM, 22:00–03:00, £TBC

WEE RED BAR, 23:00–03:00, £3 (£5 AFTER 11.30)

Weekly selection of dance bangers, played out by residents Khalid Count Clockwork and Craig Wilson.

Occasional night traversing the gamut from classic hip-hop through to dirty south beats, via a whole lotta Run DMC.

Student-styled night taking in selections of retro and electro swing.

CABARET VOLTAIRE, 23:00–03:00, FREE (£1 AFTER 12)

THE BONGO CLUB, 23:00–03:00, £6 (£7 AFTER 12)

FUCK YEAH

ROUTE 66

Student fun night spinning motown, blues, hip-hop and funkstyled dancing tunes.

Thu 22 Jan I AM EDINBURGH

CABARET VOLTAIRE, 23:00–03:00, £4 (FREE VIA IAMCLUB.CO.UK)

Resident i AM 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

Pumped Thursday nighter playing a mighty mix of everything from Hud Mo to Fly Mo. HULLABALOO

THE BONGO CLUB, 23:00–03:00, £3 (£2)

Mash-up mix of beats, breaks and hip-hop from Mumbo Jumbo’s Trendy Wendy and Steve Austin, bolstered by Tall Paul’s vintage selections. HI-SOCIETY

THE HIVE, 22:00–03:00, FREE

Playlists of student-friendly chart anthems, bolstered by hip-hop, r’n’b and urban in the back room.

MESSENGER SOUND SYSTEM

Conscious roots and dub reggae rockin’ from the usual beefy Messenger soundsystem. KEEP IT STEEL

STUDIO 24, 23:00–03:00, £3 (£5 AFTER 12)

The Keep It Steel DJs play the best in heavy metal and hard rock.

Sun 25 Jan THE CLUB

THE HIVE, 22:00–03:00, FREE

Two rooms of all the chart, cheese and indie-pop you can think of/ handle. COALITION (DJ BARELY LEGAL)

SNEAKY PETE’S, 23:00–03:00, FREE

Weekly cross-genre of bass from a cast of Edinburgh’s best underground DJs – this edition joined by talented youngster Chrloe Robinson (aka DJ Barely Legal), mixing it up across selections of grime, dubstep and bass.

Mon 26 Jan MIXED UP

THE HIVE, 22:00–03:00, FREE

Fri 23 Jan

Monday-brightener playing hip-hop, r’n’b and good ol’ chart classics, with requests in the back room.

THE HIVE, 21:00–03:00, FREE (£4 AFTER 10)

SNEAKY PETE’S, 23:00–03:00, FREE

FUCK YEAH

Chart, electro, indie-pop and alternative anthems over two rooms. PLANET EARTH

CITRUS CLUB , 22:30–03:00, FREE (£6 AFTER 11)

Distinctly retro selections from 1960 to 1999, moving from Abba to ZZ Top. PROPAGANDA

THE LIQUID ROOM, 22:30–03:00, £5 (£3 MEMBERS)

Student-orientated night playing the best in new and classic indie music. FLY CLUB

CABARET VOLTAIRE, 23:00–03:00, £7 (£5)

Edinburgh and Glasgow-straddling night, with a powerhouse of local residents joined by a selection of guest talent. HEADSET

THE BONGO CLUB, 23:00–03:00, £3 (£5 AFTER 12)

All-new night mixed up by a selection of Edinburgh DJs, including the chaps behind the Witness, Coalition and Big ‘n’ Bashy nights. ETC 28: THE THIRD BIRTHDAY PARTY

THE MASH HOUSE, 23:00–03:00, £7 (£5)

Edinburgh Tekno Cartel bring the sleazy bass and techno beats once more, this time celebrating their 3rd birthday with an Acid 23 theme (aka bring yer glowsticks) – featuring a selection of residents and pals playing across the main floor and bar. FOURNYFOUR (PHIL KELMAN)

STUDIO 24, 23:00–03:00, £6 (£9 AFTER 11.30)

NU FIRE

DJ Fusion and Beef move from hip-hop to bass with a plethora of live MCs.

Tue 27 Jan SOUL JAM HOT

SNEAKY PETE’S, 23:00–03:00, FREE

Fresh mix of funk, soul and boogie from The Players Association team. I LOVE HIP HOP

THE BONGO CLUB, 23:00–03:00, £3

Weekly selection of hip-hop classics and brand-new classics to be, joined by a selection of guest performers and DJs. TRASH

THE HIVE, 22:00–03:00, FREE

Alternative anthems cherrypicked from genres of rock, indie, punk, retro and more. HECTOR’S HOUSE

CABARET VOLTAIRE, 23:00–03:00, £4

The HH crew serve up their usual fine mix of electronic basslines allied with home-cooked house beats.

Wed 28 Jan COOKIE

THE HIVE, 22:00–03:00, FREE

Resident midweek student rammy of chart, club and electro hits. WITNESS

SNEAKY PETE’S, 23:00–03:00, FREE

Sneaky’s resident bass spectacular of house, garage and bass adventures with Blackwax and Faultlines. TRIBE

THE LIQUID ROOM, 22:30–03:00, £5 (£4 MEMBERS)

The FourbyFour troops make merry with a guest set from Irish techno DJ favourite Phil Kieran.

Weekly selection of dance bangers, played out by residents Khalid Count Clockwork and Craig Wilson.

SNEAKY PETE’S, 23:00–03:00, £5 (MEMBERS FREE)

CABARET VOLTAIRE, 23:00–03:00, FREE (£1 AFTER 12)

IN DEEP (LIONOIL)

ROUTE 66

The In Deep crew hand over the decks to diverse underground party crew Lionoil.

Student fun night spinning motown, blues, hip-hop and funkstyled dancing tunes.

Sat 24 Jan

Thu 29 Jan

CITRUS CLUB , 22:30–03:00, FREE (£5 AFTER 11)

CABARET VOLTAIRE, 23:00–03:00, £4 (FREE VIA IAMCLUB.CO.UK)

TEASE AGE

Long-running indie, rock and soul night, traversing the spectrum of classic and modern tunes. BUBBLEGUM

I AM EDINBURGH

Resident i AM young guns Beta & Kappa make their now regular trip east, playing the usual fine mix of electronica and bass.

THE HIVE, 21:00–03:00, FREE (£4 AFTER 10)

JUICE

DEFINITION

Pumped Thursday nighter playing a mighty mix of everything from Hud Mo to Fly Mo.

Handpicked weekend mix of chart and dance, with retro 80s classics thrown in for good measure. SNEAKY PETE’S, 23:00–03:00, FREE (£3 AFTER 12)

Mark Balneaves and Martin Lightbody play some of the finest underground house and techno across four decks, fx units and laptops. POCKET ACES

CABARET VOLTAIRE, 23:00–03:00, £7 (£5)

Dance-inducing party with an anything goes attitude and rotating schedule of guest DJs.

January 2015

SNEAKY PETE’S, 23:00–03:00, FREE

HULLABALOO

THE BONGO CLUB, 23:00–03:00, £3 (£2)

Mash-up mix of beats, breaks and hip-hop from Mumbo Jumbo’s Trendy Wendy and Steve Austin, bolstered by Tall Paul’s vintage selections. HI-SOCIETY

THE HIVE, 22:00–03:00, FREE

Playlists of student-friendly chart anthems, bolstered by hip-hop, r’n’b and urban in the back room.

Fri 30 Jan THE HIVE, 21:00–03:00, FREE (£4 AFTER 10)

Chart, electro, indie-pop and alternative anthems over two rooms. PLANET EARTH

CITRUS CLUB , 22:30–03:00, FREE (£6 AFTER 11)

Distinctly retro selections from 1960 to 1999, moving from Abba to ZZ Top. PROPAGANDA

THE LIQUID ROOM, 22:30–03:00, £5 (£3 MEMBERS)

Student-orientated night playing the best in new and classic indie music. ELECTRIKAL (FLAVA D)

THE BONGO CLUB, 23:00–03:00, £TBC

Soundsystem party-starters, part of a music and art collective specializing in all things bass, this edition joined by Flava D. JACKHAMMER

THE CAVES, 23:00–03:00, £TBC

The Jackhammer crew up our dose of all things techno with their usual monthly outing, a guest of two likely in tow. MJÖLK

WEE RED BAR, 23:00–03:00, £3 (£5 AFTER 11.30)

Rip-roaring soul, funk, and 50s r’n’b, jollied along by free mix CDs on the door and bespoke visuals and decor. POCKET ACES

CABARET VOLTAIRE, 23:00–03:00, £7 (£5)

Dance-inducing party with an anything goes attitude and rotating schedule of guest DJs.

Dundee Clubs Fri 02 Jan WARPED

KAGE, 23:00–03:00, £4

Ska, screamo and pop-punk offerings now in a weekly Friday slot, moving from Alkaline Trio to Zebrahead as they go.

Sat 03 Jan ASYLUM

KAGE, 23:00–03:00, £4

Best of selection of rock, metal and alternative tunes to get your Saturday night movin’.

Thu 08 Jan ROOM THURSDAYS

READING ROOMS, 22:30–02:30, £4

Occasional night playing the finest in Swedish indie pop, plus 60s, 70s and independent tunes from near and far.

Thursday nighter – as the name would suggest – promising to play anything and everything ‘good’.

CABARET VOLTAIRE, 23:00–03:00, £7 (£5)

Fri 09 Jan

FLY CLUB

Edinburgh and Glasgow-straddling night, with a powerhouse of local residents joined by a selection of guest talent. CIRCUS LATES

ELECTRIC CIRCUS, 22:30–03:00, £TBC

Last Friday of the month venue takeover offering up a carnival of activities including cover bands, live DJs, karaoke, cocktail mixing and free popcorn! NOTSOSILENT

SNEAKY PETE’S, 23:00–03:00, £TBC

CONTOUR

READING ROOMS, 22:30–03:30, £TBC

More fresh beats and flashy visuals from the Contour crew. WARPED

KAGE, 23:00–03:00, £4

Ska, screamo and pop-punk offerings now in a weekly Friday slot, moving from Alkaline Trio to Zebrahead as they go.

Sat 10 Jan ASYLUM

KAGE, 23:00–03:00, £4

Belch and crew bring the best in underground house, celebrating January with a residents-only blowout.

Best of selection of rock, metal and alternative tunes to get your Saturday night movin’.

Sat 31 Jan

ROOM THURSDAYS

TEASE AGE

CITRUS CLUB , 22:30–03:00, FREE (£5 AFTER 11)

Long-running indie, rock and soul night, traversing the spectrum of classic and modern tunes. MUMBO JUMBO

THE BONGO CLUB, 23:00–03:00, £3 (£7/£5 STUDENT AFTER 12)

Thu 15 Jan READING ROOMS, 22:30–02:30, £4

Thursday nighter – as the name would suggest – promising to play anything and everything ‘good’.

Fri 16 Jan WARPED

KAGE, 23:00–03:00, £4

Funk, soul, beats and mash-ups from the Mumbo Jumbo regulars and pals.

Ska, screamo and pop-punk offerings now in a weekly Friday slot, moving from Alkaline Trio to Zebrahead as they go.

THE HIVE, 21:00–03:00, FREE (£4 AFTER 10)

Sat 17 Jan

BUBBLEGUM

Handpicked weekend mix of chart and dance, with retro 80s classics thrown in for good measure. MAGIC NOSTALGIC

ELECTRIC CIRCUS, 22:30–03:00, £7 (£8 AFTER 12)

ASYLUM

KAGE, 23:00–03:00, £4

Best of selection of rock, metal and alternative tunes to get your Saturday night movin’.

A hodgepodge of quality tracks chosen by JP’s spinning wheel – expect anything from 90s rave to power ballads, amidst a whole lotta one-hit wonders.

Thu 22 Jan

RIDE

Thursday nighter – as the name would suggest – promising to play anything and everything ‘good’.

SNEAKY PETE’S, 23:00–03:00, £5 (MEMBERS FREE)

Fri 23 Jan

The Ride girls play hip-hop and dance, all night long – now in their new party-ready Saturday night slot. MADCHESTER

THE LIQUID ROOM, 23:00–03:00, £TBC

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

STUDIO 24, 23:00–03:00, £2 (£5/£4 STUDENT AFTER 12)

Monthly offering of new wave, disco, post-punk and a bit o’ synthtastic 80s with your hosts Chris and Big Gus. VEGAS!

THE VOODOO ROOMS, 20:30–01:00, £6 ADV. (£7 DOOR)

50s-themed party fun night, with Frankie Sumatra, Bugsy Seagull, Dino Martini, Sam Jose and Nikki Nevada, plus Vegas showgirls ago-go, natch.

ROOM THURSDAYS

READING ROOMS, 22:30–02:30, £4

WARPED

KAGE, 23:00–03:00, £4

Ska, screamo and pop-punk offerings now in a weekly Friday slot, moving from Alkaline Trio to Zebrahead as they go.

Sat 24 Jan LOCARNO

READING ROOMS, 22:30–02:30, £7 (£5)

Rockabilly, doo-wop, soul and all things golden age and danceable with the Locarno regulars. ASYLUM

KAGE, 23:00–03:00, £4

Best of selection of rock, metal and alternative tunes to get your Saturday night movin’.

Thu 29 Jan ROOM THURSDAYS

READING ROOMS, 22:30–02:30, £4

Thursday nighter – as the name would suggest – promising to play anything and everything ‘good’.

Fri 30 Jan WARPED

KAGE, 23:00–03:00, £4

Ska, screamo and pop-punk offerings now in a weekly Friday slot, moving from Alkaline Trio to Zebrahead as they go.

Sat 31 Jan BOOK CLUB

READING ROOMS, 22:30–02:30

The Good Stuff DJs spin all genres of disco house and techno, alongside anything else they damn well fancy. ASYLUM

KAGE, 23:00–03:00, £4

Best of selection of rock, metal and alternative tunes to get your Saturday night movin’.

Glasgow CCA

MANUEL CHAVAJAY + REBECCA WILCOX: THIS MIGHT BE A PLACE FOR HUMMINGBIRDS

14 NOV – 18 JAN, TIMES VARY, FREE

Double headline exhibition from Guatemalan artist Manuel Chavajay and local artist Rebecca Wilcox, considering questions of community and approaching the translation of urgent issues that arise from societies in Scotland and Guatemala. JENNIFER BAILEY: FLATS

30 JAN – 14 FEB, TIMES VARY, FREE

Showcase exhibition consisting of photographs of the Glasgow-based artist’s sister, Sarah, displayed in custom supports, intended to comment on the politics of the occupation of space and surfaces and the mechanisms of subjectivity.

ROMANY DEAR: DANCING IN A CIRCLE IS A REMINDER THAT WE ARE PART OF THE WHOLE

31 JAN – 15 MAR, TIMES VARY, FREE

Art 21 NOV – 25 JAN, TIMES VARY, FREE

Platform

ALASDAIR GRAY: SPHERES OF INFLUENCE II

Part of a season of Alasdair Gray exhibitions, with this one providing an alternative reading of his visual work through the prism of others’ works, both historical and contemporary. In the Reid Gallery.

Glasgow Sculpture Studios

TILL THE STARS TURN COLD

VARIOUS DATES BETWEEN 24 JAN AND 14 MAR, 11:00AM – 5:00PM, FREE

Collective exhibition of new commissions and recent works by six contemporary artists – Tyler Coburn, Michael Dean, Kathryn Elkin, Josh Kline, Megan Rooney and Cally Spooner – all of whom display an interest in objects and bodies that carry speech.

Goethe-Institut

DICTATORSHIP AND DEMOCRACY IN THE AGE OF EXTREMES: SPOTLIGHTS ON THE HISTORY OF EUROPE IN THE TWENTIETH CENTURY

12 JAN – 27 FEB, WEEKDAYS ONLY, TIMES VARY, FREE

Exhibition presentation of 190 photographs and images from numerous European archives, inviting viewers to take a historical journey through various locations over the past century, commencing with WWI.

Hunterian Art Gallery MACKINTOSH ARCHITECTURE

VARIOUS DATES BETWEEN 18 JUL AND 4 JAN, TIMES VARY, FREE

Gallery of Modern Art

VARIOUS DATES BETWEEN 18 JUL AND 15 FEB, TIMES VARY, FREE

Interested in how people relate to architecture and what they choose to believe, Nathan Coley presents an installation featuring models of 286 ‘places of worship’ that he found in the 2004 edition of the Edinburgh Yellow Pages. Part of GENERATION. ALASDAIR GRAY: SPHERES OF INFLUENCE I

21 NOV – 25 MAY, TIMES VARY, FREE

Part of a season of Alasdair Gray exhibitions, with this one looking at his practice, influences and work – delving into the Glasgow Museums Collection to explore connections between them. ART FROM ELSEWHERE

24 OCT – 1 FEB, TIMES VARY, FREE

MACKINTOSH TRAVEL SKETCHES

Showcase exhibition of Charles Rennie Mackintosh’s watercolours, sketchbook pages and sketchbooks, demonstrating the range of his travels and his interest in Scottish tower houses, medieval English churches and vernacular architecture. WILLIAM DAVIDSON: ART COLLECTOR

VARIOUS DATES BETWEEN 18 JUL AND 4 JAN, TIMES VARY, FREE

Collected works from the late William Davidson’s collection, one of Charles Rennie Mackintosh’s most important patrons, taking in a selection of gifts, bequests and loans from the Davidson family archives illustrating the scope of his collection. LUCY SKAER

VARIOUS DATES BETWEEN 18 JUL AND 25 JAN, TIMES VARY, FREE

Touring exhibition set to take in various venues across the UK, and changing with each city it takes in – kicking off at GoMA with artists including Peter Hujar, Jenny Holzer, Paulo Bruscky, Ana Mendieta, Kara Walker and Amar Kanwar.

Solo showcase from the contemporary Scottish artist, including the installation of four key pieces – a drawing, a 16mm film, and two wooden sculptures – inspired by surrealist artist Leonora Carrington, whom Skaer visited in 2006. Part of GENERATION.

1 DEC – 6 JAN, TIMES VARY, FREE

Kelvingrove Art Gallery and Museum

PENNY ANDERSON: SPEECH BAUBLES

Installation artist Penny Anderson shares a series of collected experiences of Christmas, literature and how we experience the written word, showcasing a selection of her hand-sewn text embroidered labels.

Glasgow Print Studio ACADEMICIANS III

VARIOUS DATES BETWEEN 22 NOV AND 25 JAN, TIMES VARY, FREE

Glasgow Print Studio present the third in their series of exhibitions featuring the work of four Royal and Royal Scottish Academicians: Marian Leven, Hughie O’Donoghue, Barbara Rae and Emma Stibbon.

VARIOUS DATES BETWEEN 15 NOV AND 17 JAN, 12:00PM – 6:00PM, FREE

Glasgow School of Art

First major exhibition devoted to Charles Rennie Mackintosh’s architectural work, featuring over 80 architectural drawings from The Hunterian and collections across the UK, many never before exhibited.

15 MAY – 1 MAR, TIMES VARY, FREE

JONATHAN GARDNER

Solo showcase of work from the contemporary painter, known for merging the subjects of his paintings so as to create an abstracted picture plain.

Winner of our RSA New Contemporaries 2012, artist/choreographer Romany Dear showcases a new body of work offering an early overview of her collaborative and individual practice, bolstered by a programme of live performance (1pm & 5pm, Tue/Thu/Sat/Sun).

NATHAN COLEY: THE LAMP OF SACRIFICE

Mary Mary

ALASDAIR GRAY: FROM THE PERSONAL TO THE UNIVERSAL

11 OCT – 15 FEB, TIMES VARY, £5 (£3)

Part of a season of Alasdair Gray exhibitions, with this one taking in a retrospective of around 100 works covering Gray’s student days at Glasgow School of Art right up to the present day.

HUGH HOOD: GLASGOW 1974-78

11 DEC – 25 JAN, TIMES VARY, FREE

Series of images by the Glasgow photographer – who began his photographic ‘career’ at the age of 10, helping his father develop black and white prints, before attending Glasgow College of Printing – taking in the streets of Glasgow between 1974 and 1978.

Street Level Photoworks FUTUREPROOF 2014

VARIOUS DATES BETWEEN 13 DEC AND 8 FEB, TIMES VARY, FREE

Annual showcase of new photographic talent selected from across Scotland’s Photography and Fine Art degree courses, including Edinburgh College of Art, Glasgow School of Art and Duncan of Jordanstone College of Art.

The Lighthouse POSTCODE 3000

1 NOV – 25 JAN, TIMES VARY, FREE

Architectural exhibition exploring the development of Melbourne, highlighting how recent regeneration focused on making better streets and increasing activities for people at street level has transformed the perception of the city centre.

ALICE DANSEY-WRIGHT: LEGITIMATE LIKENESSES

6 NOV – 11 JAN, TIMES VARY, FREE

Solo showcase of work from Glasgow-based illustrator Alice Dansey-Wright, inspired by her research trip to the American Museum in Britain, from which she’s developed new work based on their collections. EMPOWERMENT

27 NOV – 1 MAR, TIMES VARY, FREE

Thought-provoking exhibition documenting the characters/narratives surrounding the construction projects of humanitarian design organisation, Orkidstudio – a charity dedicated to developing the connection between architecture and humanitarian aid.

The Modern Institute

JACK SMITH: THEATRE AND PERFORMANCE WORKS

24 JAN – 6 MAR, NOT SUNDAYS, TIMES VARY, FREE

A key figure in the cultural history of downtown New York film, performance and art, The Modern Institute present a showcase of work by queer cinema pioneer and codifier of camp Jack Smith, taking in a mix of theatre and performance pieces.

The Modern Institute @ Airds Lane VICTORIA MORTON

VARIOUS DATES BETWEEN 8 NOV AND 17 JAN, 12:00PM – 5:00PM, FREE

LAURA ALDRIGE: CALIFORNIA WOW! 30 JAN – 22 MAR, TIMES VARY, FREE

New installation from Laura Aldridge made especially for Tramway’s main gallery, reflecting on her engagement with the relationship between art, craft and performance, and intended to act both as an exhibition and a site for collaboration and discussion.

Voidoid Archive LAUREN HALL: GIRL’S NAMES

22 DEC – 16 JAN, NOT SUNDAYS, 11:00AM – 5:00PM, FREE

The third in a series of exhibitions in the Jim Lambie-curated gallery and archive space, this time showcasing a new collection of solo work by Lauren Hall, who graduated from Glasgow School of Art’s MFA in 2014.

Edinburgh City Art Centre

PICTURING CONFLICT: ART OF THE FIRST WORLD WAR

8 NOV – 18 JAN, TIMES VARY, FREE

Showcase of paintings and other artworks offerings an insight into the events of WWI and its impact on those involved, drawn from the City Art Centre’s own collection.

YOU CHOOSE: FAVOURITES FROM THE CITY ART CENTRE

13 DEC – 24 MAY, TIMES VARY, FREE

Annual showcase exhibition drawing from the City Art Centre’s permanent collection of historic and contemporary Scottish art – this year opening it up to the public to select their favourite works to make up the display.

Collective Gallery

COLLETTE RAYNER: ACCESS AS IDIOT DISTRACTION

VARIOUS DATES BETWEEN 21 NOV AND 25 JAN, 10:00AM – 5:00PM, FREE

New film installation from the GSA graduate, based on her research into the Principality of Sealand – a sovereign principality established in 1967 in international waters, six miles off the coast of Britain. Part of Collective’s Satellites Programme.

Dovecot EDGE AND SHORE

30 JAN – 7 FEB, NOT SUNDAYS, 10:30AM – 5:30PM, FREE

Visual artist Helen Carnac and dance artist Laïla Diallo present an ever-evolving new work exploring the edges and boundaries of making and working, performance and installation – bringing together objects, images, film, writing and live making.

Ingleby Gallery BILLBOARD FOR EDINBURGH

6 DEC – 10 JAN, NOT SUNDAYS, 10:00AM – 6:00PM, FREE

Celebrating their public art project, Billboard for Edinburgh – which over the past 6+ years has seen 26 artists make large-scale billboards for the outside of the gallery – Ingleby showcase five full-size billboards alongside 26 original prints.

New body of work from the Glasgow artist, whose thoughtprovoking and experimental work has been self-labelled as ‘explicit abstract realism’.

Interview Room 11

Tramway

Double header exhibition analysing the relationship between architecture and art, with Alberto Condotta and Colin Lindsay offering their own vision about the meaning of architecture, playing with the concepts of body and sculpture.

MIKE NELSON

15 NOV – 11 JAN, TIMES VARY, FREE

New work from the labyrinthine British installation artist exploring landscape and the artistic traditions inherent within it, inspired by his friendship and collaboration with Erlend Williamson, and the work of anthropologist Dr. Wilson Duff.

JAMES RIGLER: AT EVERY FADING OF THE STARS

30 JAN – 8 MAR, TIMES VARY, FREE

New body of work from ceramic artist James Rigler, this time exploring ruins, architectural salvage and IKEA.

BUILDING ECHOES

VARIOUS DATES BETWEEN 16 JAN AND 31 JAN, TIMES VARY, FREE

Inverleith House TONY CONRAD: INVENTED ACOUSTICAL TOOLS 1966-2012

VARIOUS DATES BETWEEN 25 OCT AND 18 JAN, 10:00AM – 5:30PM, FREE

First UK showing of musical instruments developed by the highly influential American artist, filmmaker and musician Tony Conrad, exploring his relationship with improvisational sound and free invention.

Listings

National Museum of Scotland

BEAUTY BY DESIGN: FASHIONING THE RENAISSANCE 15 NOV – 3 MAY, TIMES VARY, FREE

GAME MASTERS

5 DEC – 20 APR, 10:00AM – 5:00PM, £10 (£8/£6.50 CHILDREN)

The Australian touring exhibit makes its first European stop, featuring 100+ playable games spanning 30+ designers – moving from early heroes like Sonic and Super Mario, to recent gems like Scottish graduates Space Budgie’s 2014 creation, Glitchspace.

Royal Scottish Academy (RSA) RSA OPEN 2014

29 NOV – 20 JAN, TIMES VARY, FREE

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 again seeing the addition of a room dedicated to architecture.

Scottish National Gallery TURNER IN JANUARY

VARIOUS DATES BETWEEN 1 JAN AND 31 JAN, TIMES VARY, FREE

Annual January showcase of watercolour works from JMW Turner, including pieces inspired by the artist’s time in Scotland and Switzerland, both of which featured in Mike Leigh’s recent film Mr. Turner. WILLIAM STRANG: FAIR FACES AND DARK PLACES

18 OCT – 15 FEB, TIMES VARY, FREE

Retrospective showcase of work from the Dumbarton-born printmaker, portraitist and painter, featuring around 30 prints and drawings spanning his career and drawn from the National Galleries of Scotland’s collection.

Scottish National Gallery of Modern Art

GENERATION @ SCOTTISH NATIONAL GALLERY OF MODERN ART

28 JUN – 25 JAN, 10:00AM – 5:00PM, FREE

Celebrating some of the best art to come out of Scotland in the last 25 years, the Scottish National Gallery of Modern Art’s GENERATION exhibition includes installations by Ross Sinclair, Graham Fagen and Simon Starling. Part of Edinburgh Art Festival. ROBERT COLQUHOUN AND ROBERT MACBRYDE: THE TWO ROBERTS

22 NOV – 24 MAY, 10:00AM – 5:00PM, £8 (£6)

Double-header showcase of the Scottish artists Robert MacBryde and Robert Colquhoun, or ‘The Two Roberts’, who took the London artworld by storm in the 40s, but had faded into obscurity by the 60s.

Scottish National Portrait Gallery MAKING HISTORY

12 OCT – 29 MAR, TIMES VARY, FREE

Solo exhibition of recent work by Sandy Stoddart (Sculptor In Ordinary to The Queen of Scotland), of which the main focus will be the creation of a new figurative statue of William Birnie Rhind commissioned by the Scottish National Portrait Gallery. REMEMBERING THE GREAT WAR

4 AUG – 5 JUL, TIMES VARY, FREE

Marking the centenary of the outbreak of the WWI, the Scottish National Portrait Gallery display various portraits and related works in various media - including work by artists Sir James Gunn and Sir William Gillies, who were wounded in action.

Showcase exhibition linking the renaissance art collections of the Scottish National Portrait Gallery and Scottish National Gallery to contemporary fashion design, practice and display. BP PORTRAIT AWARD 2014

29 NOV – 12 APR, TIMES VARY, FREE

Annual showcase of the best in contemporary portrait painting from around the world, now in its 33rd year and marking the fifth time the Scottish National Portrait Gallery has hosted the exhibition. MIKHAEL SUBOTZKY + PATRICK WATERHOUSE: PONTE CITY

6 DEC – 26 APR, TIMES VARY, FREE

South African photographer Mikhael Subotzky and British artist Patrick Waterhouse’s documentation of Ponte City, recording the half-occupied building through a series of photographs and a collection of documents and other debris from the abandoned units.

St Margaret’s House Art’s Complex

JAN BEE BROWN: THRIVE ARCHIVE PROJECT

VARIOUS DATES BETWEEN 10 DEC AND 11 JAN, 10:00AM – 6:00PM, FREE

St Margaret’s House resident artist Jan Bee Brown explores ideas of home and identity in her latest project, for which she’s inviting anyone to stop by and see the project being made, and contribute by decorating Air Mail envelopes.

Stills

CHLOE DEWE MATHEWS: SHOT AT DAWN

8 NOV – 25 JAN, 11:00AM – 6:00PM, FREE

New body of work produced over two years by British photographer Chloe Dewe Mathews, focusing on the sites at which British, French and Belgian troops were executed for cowardice and desertion between 1914 and 1918.

Talbot Rice Gallery

CHRISTOPHER ORR: THE BEGUILED EYE

VARIOUS DATES BETWEEN 15 NOV AND 14 FEB, TIMES VARY, FREE

Talbot Rice host the first solo show in Scotland for English artist and printmaker Christopher Orr, bringing together new and recent paintings and featuring, for the first time, his remarkable sketchbooks.

The Fruitmarket Gallery STAN DOUGLAS

7 NOV – 15 FEB, TIMES VARY, FREE

Solo showcase from the Canadian artist who came to prominence in the mid-90s when his film installation, Der Sandmann, was one of the highlights of Documenta X in 1997, being shown here alongside other film, video and photography work.

Whitespace

FOR REASONS UNKNOWN TO ME

23–30 JAN, 11:00AM – 5:30PM, FREE

Group exhibition from four artists from different corners of the UK, all currently living in Edinburgh, taking in photographic artworks by Sam Wood and Christina Webber, sculptures and videos by Michael Kay, and paintings by Beth Carey.

Dundee Art

University of Dundee

Centrespace

Inaugural exhibition in the new gallery in the College of Life Sciences, featuring works by Thomson & Craighead, Elaine Shemilt, Tabitha Moses and Helen Chadwick. In the Lifespace gallery (open Sat and by appointment).

WILLIAM LATHAM: MUTATOR 2

VARIOUS DATES BETWEEN 31 OCT AND 31 JAN, 12:00PM – 4:00PM, FREE

First solo exhibition in Scotland by pioneering computer artist William Latham, taking in interactive video works, drawings and prints that explore and embody evolutionary processes, physical and virtual space.

Cooper Gallery MEN GATHER, IN SPEECH...

23 JAN – 21 FEB, NOT SUNDAYS, 11:00AM – 5:00PM, FREE

Collective film exhibition from Emma Charles, Rose English and Abri de Sward, nodding to Hannah Arendt’s proposition of ‘the space of appearance’, offering a mediation upon speech, dialogue and the slow silencing of the political space.

DCA

JIM CAMPBELL: INDIRECT IMAGING

VARIOUS DATES BETWEEN 22 NOV AND 25 JAN, TIMES VARY, FREE

For their closing exhibition of 2014, DCA present a showcase of American new media artist Jim Campbell – marking his first solo exhibition in the UK, following inclusion in group shows at Cornerhouse, Manchester and The Hayward Gallery, London. WINTER PRINT EXHIBITION

VARIOUS DATES BETWEEN 18 NOV AND 18 JAN, TIMES VARY, FREE

Showcase of affordable limited edition prints made by local and visiting artists in DCA’s very own Print Studio.

Hannah Maclure Centre CODED AFTER LOVELACE

3 NOV – 6 MAR, WEEKDAYS ONLY, 9:30AM – 4:45PM, FREE

Showcase of work exploring the role of women, past and present, working at the forefront of art and technology, with the exhibition’s title referencing Ada Lovelace, who is credited as being the first computer programmer.

The McManus A SILVERED LIGHT

6 DEC – 4 JAN, TIMES VARY, FREE

Exhibition of Scottish art photography selected from Dundee City’s permanent collection, showcasing images from over 50 photographers collected in the 28 years following the purchase of two important early photographs by Thomas Joshua Cooper in 1985. A WORLD TO WIN: POSTERS OF PROTEST AND REVOLUTION

13 NOV – 4 JAN, TIMES VARY, FREE

Over 70 original works showing how posters have been used to mobilise, educate and organise many varied causes and campaigns around the world, ranging from the early 20th century to examples from recent protests in Turkey, Ukraine and Egypt. FRANK BRANGWYN: WWI PROPAGANDA POSTERS

22 NOV – 25 JAN, TIMES VARY, FREE

In commemoration of World War I, The McManus’s annual Winter Works on Paper is drawn from Dundee’s collection of sketches, posters and prints by late artist Frank Brangwyn (1867–1956).

CLASSICAL ART: THE LEGACY OF THE ANCIENTS

24 JAN – 10 MAY, TIMES VARY, FREE

Showcase of works with a taste of the antique, illustrating the enduring influence of ancient Greek and Roman culture through paintings, sculpture and ceramics from Dundee’s nationally significant collection of fine art.

SCALES OF LIFE

VARIOUS DATES BETWEEN 1 NOV AND 10 JAN, 11:00AM – 5:00PM, FREE

Glasgow Fri 02 Jan

THE FRIDAY SHOW (IAN COPPINGER + JANEY GODLEY + MARC JENNINGS + MC JOE HEENAN) THE STAND, 20:30–22:30, £12 (£10 STUDENTS/£6 MEMBERS)

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts. LAUGHTER EIGHT

VESPBAR, 20:00–21:30, £8

Regular Friday and Saturday comedy slot for Vespbar kicking off at, aye, 8pm &ndash; manned by a selection of hot talent form the local circuit.

Sat 03 Jan

THE SATURDAY SHOW (IAN COPPINGER + JANEY GODLEY + MARC JENNINGS + MC JOE HEENAN)

THE STAND, 21:00–23:00, £15

Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend. LAUGHTER EIGHT

VESPBAR, 20:00–21:30, £8

Regular Friday and Saturday comedy slot for Vespbar kicking off at, aye, 8pm &ndash; manned by a selection of hot talent form the local circuit.

Sun 04 Jan

MICHAEL REDMOND’S SUNDAY SERVICE

THE STAND, 20:30–22:30, £6 (£5 STUDENTS/£1 MEMBERS)

Chilled Sunday comedy showcase manned by resident Irish funnyman Michael Redmond and his guests. VESPBAR VIRGINS: COMEDY SUNDAY SCHOOL

VESPBAR, 20:00–22:00, £3

A selection of five fledgling comedians do their best to win over the audience and graduate Vespbar’s ‘Comedy Sunday School’.

Mon 05 Jan IMPROV WARS

THE STAND, 20:30–22:30, £6

More improvised comedy games and sketches, with an unpredictable anything-goes attitude – as indeed it should be.

Tue 06 Jan 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 07 Jan COMEDIAN RAP BATTLE

THE STAND, 20:30–22:30, £6 (£4)

Ro Cambell and The Wee Man’s comedian rap battle-off, where a select batch of comics compete to see who’s got the most swagger when it comes to hippity-hop wit. 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 08 Jan

THE THURSDAY SHOW (PIERRE HOLLINS + PAT CAHILL + ALLY HOUSTON + MC SUSAN MORRISON)

THE STAND, 20:30–22:30, £10 (£7 STUDENTS/£5 MEMBERS)

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.

Comedy VESPBAR VIRGINS VESPBAR, 21:00–22:30, £3

Graham Barrie introduces a selection of fledgling comedy talent handpicked fae Scotland.

Fri 09 Jan

THE FRIDAY SHOW (PIERRE HOLLINS + PAT CAHILL + ALLY HOUSTON + MC SUSAN MORRISON) THE STAND, 20:30–22:30, £12 (£10 STUDENTS/£6 MEMBERS)

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts. LAUGHTER EIGHT

VESPBAR, 20:00–21:30, £8

Regular Friday and Saturday comedy slot for Vespbar kicking off at, aye, 8pm &ndash; manned by a selection of hot talent form the local circuit.

GILDED BALLOON COMEDY @ DRYGATE (DYLAN MORAN + LARRY DEAN + KAI HUMPHRIES + MC RAYMOND MEARNS)

DRYGATE BREWING CO., 19:30–21:30, £15 (£14)

Longrunning comedy club the Gilded Balloon hit up Drygate for a new residency, combing the joys of a craft brewery setting with a rotating schedule of live comedy talent, enjoying a duo of outings on 9 Jan (7.30pm & 10pm). GILDED BALLOON COMEDY @ DRYGATE (DYLAN MORAN + LARRY DEAN + KAI HUMPHRIES + MC RAYMOND MEARNS)

DRYGATE BREWING CO., 22:00–00:00, £15 (£14)

Sat 10 Jan

THE SATURDAY SHOW (PIERRE HOLLINS + PAT CAHILL + ALLY HOUSTON + MC SUSAN MORRISON)

THE STAND, 21:00–23:00, £15

Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend. LAUGHTER EIGHT

VESPBAR, 20:00–21:30, £8

Regular Friday and Saturday comedy slot for Vespbar kicking off at, aye, 8pm &ndash; manned by a selection of hot talent form the local circuit.

Sun 11 Jan

MICHAEL REDMOND’S SUNDAY SERVICE (ELAINE MALCOLMSON)

THE STAND, 20:30–22:30, £6 (£5 STUDENTS/£1 MEMBERS)

Chilled Sunday comedy showcase manned by resident Irish funnyman Michael Redmond and his guests. VESPBAR VIRGINS: COMEDY SUNDAY SCHOOL

VESPBAR, 20:00–22:00, £3

A selection of five fledgling comedians do their best to win over the audience and graduate Vespbar’s ‘Comedy Sunday School’.

Mon 12 Jan

BENEFIT FOR BOBATH SCOTLAND (LOST VOICE GUY) THE STAND, 19:30–21:30, £10

Comedy benefit night in aid of Bobath Scotland, with Lost Voice Guy amongst the guest performers.

Tue 13 Jan 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 14 Jan 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 15 Jan

THE THURSDAY SHOW (STEVE HALL + PETE CAIN + ELAINE MALCOLMSON + MC RAYMOND MEARNS) THE STAND, 20:30–22:30, £10 (£7 STUDENTS/£5 MEMBERS)

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase. VESPBAR VIRGINS

VESPBAR, 21:00–22:30, £3

Graham Barrie introduces a selection of fledgling comedy talent handpicked fae Scotland.

Fri 16 Jan

THE FRIDAY SHOW (STEVE HALL + PETE CAIN + ELAINE MALCOLMSON + MC RAYMOND MEARNS)

THE STAND, 20:30–22:30, £12 (£10 STUDENTS/£6 MEMBERS)

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts.

VESPBAR VIRGINS VESPBAR, 21:00–22:30, £3

Graham Barrie introduces a selection of fledgling comedy talent handpicked fae Scotland.

Fri 23 Jan

THE FRIDAY SHOW (SEYMOUR MACE + PAUL THORNE + MC MARTIN MOR) THE STAND, 20:30–22:30, £12 (£10 STUDENTS/£6 MEMBERS)

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts. LAUGHTER EIGHT

VESPBAR, 20:00–21:30, £8

Regular Friday and Saturday comedy slot for Vespbar kicking off at, aye, 8pm &ndash; manned by a selection of hot talent form the local circuit.

Sat 24 Jan

THE SATURDAY SHOW (SEYMOUR MACE + PAUL THORNE + MC MARTIN MOR)

THE STAND, 21:00–23:00, £15

Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend.

LAUGHTER EIGHT

VESPBAR, 20:00–21:30, £8

Regular Friday and Saturday comedy slot for Vespbar kicking off at, aye, 8pm &ndash; manned by a selection of hot talent form the local circuit.

Thu 29 Jan

THE THURSDAY SHOW (JOSH HOWIE + CHRIS FORBES + JASON PATTERSON + MC JOJO SUTHERLAND)

THE STAND, 20:30–22:30, £10 (£7 STUDENTS/£5 MEMBERS)

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase. VESPBAR VIRGINS

VESPBAR, 21:00–22:30, £3

Graham Barrie introduces a selection of fledgling comedy talent handpicked fae Scotland.

Fri 30 Jan

THE FRIDAY SHOW (JOSH HOWIE + CHRIS FORBES + JASON PATTERSON + MC JOJO SUTHERLAND) THE STAND, 20:30–22:30, £12 (£10 STUDENTS/£6 MEMBERS)

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts. LAUGHTER EIGHT

VESPBAR, 20:00–21:30, £8

Regular Friday and Saturday comedy slot for Vespbar kicking off at, aye, 8pm &ndash; manned by a selection of hot talent form the local circuit.

Sat 17 Jan

THE SATURDAY SHOW (STEVE HALL + PETE CAIN + ELAINE MALCOLMSON + MC RAYMOND MEARNS) THE STAND, 21:00–23:00, £15

Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend. LAUGHTER EIGHT

VESPBAR, 20:00–21:30, £8

Regular Friday and Saturday comedy slot for Vespbar kicking off at, aye, 8pm &ndash; manned by a selection of hot talent form the local circuit.

Sun 18 Jan

MICHAEL REDMOND’S SUNDAY SERVICE (PETE CAIN + GARY MEIKLE)

THE STAND, 20:30–22:30, £6 (£5 STUDENTS/£1 MEMBERS)

Chilled Sunday comedy showcase manned by resident Irish funnyman Michael Redmond and his guests. VESPBAR VIRGINS: COMEDY SUNDAY SCHOOL

VESPBAR, 20:00–22:00, £3

A selection of five fledgling comedians do their best to win over the audience and graduate Vespbar’s ‘Comedy Sunday School’.

Tue 20 Jan 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 21 Jan

BENEFIT FOR MAGGIE’S (MARK NELSON + SUSIE MCCABE + SCOTT GIBSON + ASHLEY STORRIE + MC BRUCE DEVLIN)

THE STAND, 20:30–22:30, £8

Comedy benefit night in aid of Maggie’s Centre Glasgow, in honour of Maz Carruthers. 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 22 Jan

THE THURSDAY SHOW (SEYMOUR MACE + PAUL THORNE + MC MARTIN MOR)

THE STAND, 20:30–22:30, £10 (£7 STUDENTS/£5 MEMBERS)

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.

LAUGHTER EIGHT VESPBAR, 20:00–21:30, £8

Sat 31 Jan

Sun 25 Jan

Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend.

Regular Friday and Saturday comedy slot for Vespbar kicking off at, aye, 8pm &ndash; manned by a selection of hot talent form the local circuit. VESPBAR VIRGINS: COMEDY SUNDAY SCHOOL

VESPBAR, 20:00–22:00, £3

A selection of five fledgling comedians do their best to win over the audience and graduate Vespbar’s ‘Comedy Sunday School’.

Tue 27 Jan RED RAW

THE SATURDAY SHOW (JOSH HOWIE + CHRIS FORBES + JASON PATTERSON + MC JOJO SUTHERLAND)

THE STAND, 21:00–23:00, £15

LAUGHTER EIGHT

VESPBAR, 20:00–21:30, £8

Regular Friday and Saturday comedy slot for Vespbar kicking off at, aye, 8pm &ndash; manned by a selection of hot talent form the local circuit.

THE STAND, 20:30–22:30, £2

Open-mic style beginners showcase, plus some old hands dropping by to roadtest new material.

Wed 28 Jan

ROBIN INCE: BLOOMING BUZZING CONFUSION

THE STAND, 20:30–22:30, £14 (£12)

Edinburgh Fri 02 Jan

THE FRIDAY SHOW (VLADIMIR MCTAVISH + KAI HUMPHRIES + FERN BRADY + MC STUART MURPHY)

The comic-cum-science enthusiast continues to prod into our brains with a sharpened pencil, with his latest show attempting to work out just how much free will anyone can actually have.

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts.

VESPBAR, 20:00–22:00, £3

BEEHIVE INN, 20:30–22:30, £7

NEW MATERIAL NIGHT

Resident host Julia Sutherland introduces a variety of stand-up comedians from the Scottish circuit delivering, yes, all new material.

THE STAND, 21:00–23:00, £12 (£10 STUDENT/£6 MEMBERS)

THE BEEHIVE COMEDY CLUB

Regular weekend comedy showcase featuring a selection of up-and-coming acts from Scotland and beyond, topped with a guest headliner. Check their Facebook page on the day for line-ups.

Sat 03 Jan

THE SATURDAY SHOW (VLADIMIR MCTAVISH + KAI HUMPHRIES + FERN BRADY + MC STUART MURPHY)

THE STAND, 21:00–23:00, £15

Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend.

Get £10 tix if you’re under26.. Any seat. Any performance. 54

Listings

THE SKINNY

THE BEEHIVE COMEDY CLUB BEEHIVE INN, 20:30–22:30, £7

Regular weekend comedy showcase featuring a selection of up-and-coming acts from Scotland and beyond, topped with a guest headliner. Check their Facebook page on the day for line-ups.

Sun 04 Jan

THE SUNDAY NIGHT LAUGH-IN (FERN BRADY + MC THE REVEREND OBADIAH STEPPENWOLFE III) THE STAND, 20:30–22:30, £6 (£5 STUDENTS/£1 MEMBERS)

Chilled comedy showcase to cure your Sunday evening back-towork blues.

Mon 05 Jan 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 06 Jan

RICHARD MELVIN PRESENTS... MORE RADIO RECORDINGS! (PHILL JUPITUS + JOHN MOLONEY + JULIA SUTHERLAND)

THE STAND, 20:00–21:00, FREE (BUT TICKETED)

Funnyman Richard Melvin introduces Phill Jupitus, John Moloney and Julia Sutherland – all recording sections for upcoming radio shows.

Wed 07 Jan

THE BROKEN WINDOWS POLICY

THE STAND, 20:30–22:30, £5 (£4)

More fast-paced and anarchic skits and character comedy from The Stand’s resident sketch comedy troupe and their special guests.

Sat 10 Jan

THE SATURDAY SHOW (PAUL TONKINSON + JOHN KEARNS + STEPHEN BUCHANAN + MC JOJO SUTHERLAND)

THE STAND, 21:00–23:00, £15

Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend. THE BEEHIVE COMEDY CLUB

BEEHIVE INN, 20:30–22:30, £7

Regular weekend comedy showcase featuring a selection of up-and-coming acts from Scotland and beyond, topped with a guest headliner. Check their Facebook page on the day for line-ups. GILDED BALLOON COMEDY @ FESTIVAL THEATRE (DYLAN MORAN + LARRY DEAN + KAI HUMPHRIES + MC RAYMOND MEARNS)

FESTIVAL THEATRE, 20:00–22:00, £15 (£13)

Longrunning comedy club the Gilded Balloon hits up the Festival Theatre for the launch of an allnew residency, welcoming a trio of comedians and one cheeky MC. In The Studio space.

Fri 16 Jan

THE FRIDAY SHOW (ADDY VAN BORGH + JARLATH REGAN + JULIA SUTHERLAND + GARY MEIKLE + MC VLADIMIR MCTAVISH)

THE STAND, 21:00–23:00, £12 (£10 STUDENT/£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 from Scotland and beyond, topped with a guest headliner. Check their Facebook page on the day for line-ups. THE IMPROVERTS

BEDLAM THEATRE, 22:30–23:30, £5 (£4.50)

Long-standing improv comedy troupe made up of an everchanging line-up of local students, whose rather fine show is built entirely on (oft daft) audience suggestions.

Sat 17 Jan

Sun 11 Jan

THE SATURDAY SHOW (ADDY VAN BORGH + JARLATH REGAN + JULIA SUTHERLAND + GARY MEIKLE + MC VLADIMIR MCTAVISH)

THE STAND, 20:30–22:30, £6 (£5 STUDENTS/£1 MEMBERS)

THE STAND, 21:00–23:00, £15

THE SUNDAY NIGHT LAUGH-IN (WAYNE MAZADZA)

Chilled comedy showcase to cure your Sunday evening back-towork blues.

Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend. THE BEEHIVE COMEDY CLUB

Mon 12 Jan

BEEHIVE INN, 20:30–22:30, £7

RED RAW

THE STAND, 20:30–22:30, £2

Open-mic style beginners showcase, plus some old hands dropping by to roadtest new material.

Regular weekend comedy showcase featuring a selection of up-and-coming acts from Scotland and beyond, topped with a guest headliner. Check their Facebook page on the day for line-ups.

RED RAW

THE STAND, 20:30–22:30, £2

Tue 20 Jan

BENEFIT FOR AMIS AND ROWAN ALBA

THE STAND, 20:30–22:30, £7 (£5)

Comedy benefit night in aid of The Male Domestic Abuse Support Service (a joint project between AMIS and Rowan Alba Ltd).

THE STAND, 21:00–23:00, £10 (£7 STUDENTS/£5 MEMBERS)

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.

Fri 09 Jan

THE FRIDAY SHOW (PAUL TONKINSON + JOHN KEARNS + STEPHEN BUCHANAN + MC JOJO SUTHERLAND)

THE STAND, 21:00–23:00, £12 (£10 STUDENT/£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 from Scotland and beyond, topped with a guest headliner. Check their Facebook page on the day for line-ups.

Thu 22 Jan

THE STAND, 20:30–22:30, £14 (£12)

The comic-cum-science enthusiast continues to prod into our brains with a sharpened pencil, with his latest show attempting to work out just how much free will anyone can actually have.

Wed 14 Jan THE MELTING POT

THE STAND, 20:30–22:30, £5 (£4 STUDENTS/£2.50 MEMBERS)

Series of comedy sketches picked by the audience and performed by a varying troupe of actors and musicians. POETS AGAINST HUMANITY

THE BANSHEE LABYRINTH, 20:00–22:00, £DONATION

Three comedic contestants attempt to tear poetry a new one in a live panel show variation on Cards Against Humanity.

Thu 15 Jan

THE THURSDAY SHOW (ADDY VAN BORGH + JARLATH REGAN + JULIA SUTHERLAND + GARY MEIKLE + MC VLADIMIR MCTAVISH)

THE STAND, 21:00–23:00, £10 (£7 STUDENTS/£5 MEMBERS)

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.

season 2014 | 15 January 2015

THE SATURDAY SHOW (BRUCE MORTON + DOMINIC WOODWARD + MC SUSAN MORRISON)

THE STAND, 21:00–23:00, £15

Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend. THE BEEHIVE COMEDY CLUB

BEEHIVE INN, 20:30–22:30, £7

Regular weekend comedy showcase featuring a selection of up-and-coming acts from Scotland and beyond, topped with a guest headliner. Check their Facebook page on the day for line-ups.

Mon 26 Jan 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 27 Jan

BENEFIT FOR AULD REEKIE ROLLER GIRLS (DYLAN MORAN)

THE STAND, 20:30–22:30, £10

Comedy benefit night in aid of the Auld Reekie Roller Girls, with Dylan Moran taking on chief headline suties.

OMID DJALILI: IRANALAMADINGDONG

THE EDINBURGH PLAYHOUSE, 20:00–22:00, £24

British-Iranian stand-up comic with a knack for picking apart stereotypes, on tour with his latest show.

THE THURSDAY SHOW (BRUCE MORTON + DOMINIC WOODWARD + MC SUSAN MORRISON)

THE STAND, 21:00–23:00, £10 (£7 STUDENTS/£5 MEMBERS)

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.

Regular weekend comedy showcase featuring a selection of up-and-coming acts from Scotland and beyond, topped with a guest headliner. Check their Facebook page on the day for line-ups.

Dundee Fri 23 Jan

JONGLEURS COMEDY CLUB

DUNDEE REP, 20:00–22:00, £12

The famed comedy club hits Dundee for its monthly outing, joined by three comics, a compere and a whole lorra laughs.

Glasgow CCA

BRUSH ME, FLOSS ME OR LOSE ME

10 JAN, 7:00PM – 9:00PM, FREE

New performance-cuminstallation work created by Glasgow-based artist Kathryn Ashill, developed with the support of Welcome Home, and dealing with the difficulties of ageing and establishing a sense of belonging.

Reworked for 2014 with new 3D imaging and cast, the talented bunch at Jasmin Vardimon Company tell the story of a decaying urban park under threat of development, performed by an ensemble cast of eight contemporary dancers.

The Art School

Tramway

JAN, 8:00PM – 12:00AM, FREE

16–19 JAN, 7:30PM – 9:30PM, £20

SPANGLED CABARET

Eclectic salon-styled night of live performance, spoken word and poetry. In the Vic Bar.

The Glad Cafe

THIS ONE’S FOR YOU: A NIGHT OF NEW PERFORMANCE

27–28 JAN, 7:00PM – 9:00PM, FREE

Pretty much as it says on the tin – a handpicked night of exciting new performance works, including Kim Donohoe and Ellie Dubois’ riff on love and country music, I Hope You Never Love Anyone As Much As I Love You.

THE SECOND COMING

Unique dance/theatre/music fusion inspired by the poetry and plays of WB Yeats, featuring a seven-strong troupe of dancers, integrated with archive audio and film footage of Yeats himself, and a live score from Michael Rooney. Part of Celtic Connections.

Edinburgh Bedlam Theatre THE QUEST FOR SPYGOOD’S GOLD

Festival Theatre SCOTTISH BALLET: THE NUTCRACKER

3 JAN, TIMES VARY, FROM £13

Scottish Ballet’s retelling of the dance classic, ripe for the festive season with its dreamlike narrative and Tchaikovsky’s magical score. Matinee performance also available.

THE THURSDAY SHOW (PIERRE HOLLINS + SHELBY BOND + MC BRUCE DEVLIN)

THE STAND, 21:00–23:00, £10 (£7 STUDENTS/£5 MEMBERS)

New adaptation of Irish playwright Brian Friel’s undisputed masterpiece, about Francis Hardy (aka Faith Healer), who roams the small towns of Scotland and Wales healing the sick, whilst trying to find a way home. Matinee performances also available.

The Edinburgh Playhouse WICKED

VARIOUS DATES BETWEEN 19 SEP AND 10 JAN, 7:30PM – 10:00PM, FROM £20

The captivating and oft-sold out musical, telling the story of how the two witches of Oz came to be known as good and bad, told through song ‘n’ that. Matinee performances also available. CIRQUE BERSERK

1–3 FEB, TIMES VARY, FROM £19

Embarking on a nationwide tour following a sell-out run in London’s Hyde Park, the world’s most dangerous circus acts hit the road, including the Globe of Death motorcycle stunt and a world record-holding strong man.

Traverse Theatre THREE’S A CROWD

31 JAN, 7:30PM – 8:45PM, £16 (£12 STUDENT/£8 UNEMPLOYED)

Aerial dance theatre show set around a reunion of friends, involving a lively mix of harness flying, aerial acrobatics, circus, dance and theatre. Part of Manipulate Festival. THAT’S IT

2 FEB, 7:30PM – 8:20PM, £16 (£12 STUDENT/£8 UNEMPLOYED)

Sabine Molenaar’s award-winning first solo piece about a creature that claws its way through visions and nightmares best kept hidden in the darkest recesses of our minds. Part of Manipulate Festival.

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase. MEN WITH COCONUTS

CANONS’ GAIT, 20:30–22:30, £6 (£5)

Fringe favourites Improv FX – made up of West End actors, physical comedians and musicians – stage their fast-paced sketch show, inspired wholly by audience suggestions.

Fri 30 Jan

THE FRIDAY SHOW (PIERRE HOLLINS + SHELBY BOND + MC BRUCE DEVLIN) THE STAND, 21:00–23:00, £12 (£10 STUDENT/£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 from Scotland and beyond, topped with a guest headliner. Check their Facebook page on the day for line-ups. THE IMPROVERTS

BEDLAM THEATRE, 22:30–23:30, £5 (£4.50)

Citizens Theatre THE GARDEN

VARIOUS DATES BETWEEN 22–24 JAN, TIMES VARY, £12 (£8.50)

Short opera based on Zinnie Harris’ short play of the same name, telling the tale of a dysfunctional couple who discover a strange plant growing through the floor of their kitchen.

16 JAN, 7:30PM – 10:00PM, PRICES VARY

MACBETH

26–28 JAN, TIMES VARY, FROM £19

Young UK theatre company Filter return with another fresh approach to Shakespeare, embroidering the Bard’s corrosive, psychological thriller of ambition, power and witchcraft with their own innovative sound and music.

Eastwood Park Theatre FLASHDANCE: THE MUSICAL

20–24 JAN, TIMES VARY, FROM £13 (£10)

Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend.

THE STAND, 21:00–23:00, £15

VAMPIRES ROCK

20–31 JAN, NOT 25, 26, TIMES VARY, FROM £12.50

BEEHIVE INN, 20:30–22:30, £7

THE SATURDAY SHOW (PIERRE HOLLINS + SHELBY BOND + MC BRUCE DEVLIN)

The King’s Theatre Steve Steinman plays the undead Baron Von Rockula, owner of the Live and Let Die nightclub, as he searches for a bride and generally growls his way through some classic rock anthems.

BUTTERFLY

Regular weekend comedy showcase featuring a selection of up-and-coming acts from Scotland and beyond, topped with a guest headliner. Check their Facebook page on the day for line-ups.

Showcase from the final year pups on RCS’s BA Contemporary Performance Practice course (12-15 Jan), kicking off with a symposium inviting guest artists to consider whether the body in performance can be a site for the resolution of dualism.

THE BEST OF SCOTTISH COMEDY

Sat 31 Jan

THE BEEHIVE COMEDY CLUB

PARK 28 JAN, 7:30PM – 10:00PM, FROM £12

THE STAND, 20:30–22:30, £6 (£5 STUDENTS/£3 MEMBERS)

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 STUDENT/£6 MEMBERS)

INTO THE NEW 12–15 JAN, TIMES VARY, £TBC

Wed 28 Jan

All those unforgettable ‘anthems’ – What a Feeling, I Love Rock and Roll, etc. – performed by the talented young lads and lasses at Glasgow Music Theatre.

THE FRIDAY SHOW (BRUCE MORTON + DOMINIC WOODWARD + MC SUSAN MORRISON)

Theatre

23 JAN, 7:30PM – 9:30PM, £3 (£2.50 MEMBERS)

Long-standing improv comedy troupe made up of an everchanging line-up of local students, whose rather fine show is built entirely on (oft daft) audience suggestions.

Fri 23 Jan

FAITH HEALER VARIOUS DATES BETWEEN 14 JAN AND 7 FEB, 7:30PM – 10:00PM, FROM £15 (£12.50 MATINEE)

Chutney Exhibition follow up their debut, Titanic 2: Pig in the City, with a new rip-roaring adventure as two factions traverse the globe to find a hidden treasure.

Thu 29 Jan

Open-mic style beginners showcase, plus some old hands dropping by to roadtest new material.

ROBIN INCE: BLOOMING BUZZING CONFUSION

Sat 24 Jan

THE STAND, 20:30–22:30, £6 (£5 STUDENTS/£1 MEMBERS)

Mon 19 Jan

Tue 13 Jan

Long-standing improv comedy troupe made up of an everchanging line-up of local students, whose rather fine show is built entirely on (oft daft) audience suggestions.

A selection of top comics from the contemporary Scottish circuit do their thing, aye.

Chilled comedy showcase to cure your Sunday evening back-towork blues.

THE THURSDAY SHOW (PAUL TONKINSON + JOHN KEARNS + STEPHEN BUCHANAN + MC JOJO SUTHERLAND)

THE BEEHIVE COMEDY CLUB BEEHIVE INN, 20:30–22:30, £7

Sun 18 Jan

THE SUNDAY NIGHT LAUGH-IN (GABRIEL EBULUE)

Thu 08 Jan

THE IMPROVERTS BEDLAM THEATRE, 22:30–23:30, £5 (£4.50)

The Arches 27 JAN, 7:30PM – 8:30PM, £14 (£10)

Modern multi-disciplinary take on Madame Butterfly, with Ramesh Meyyappan reworking the piece using handcrafted puppetry and live music.

WE PREDICT A GREAT NIGHT OUT

CIRQUE BERSERK

Theatre Royal SCOTTISH BALLET: THE NUTCRACKER

7–10 JAN, TIMES VARY, FROM £8.50

Scottish Ballet’s retelling of the dance classic, ripe for the festive season with its dreamlike narrative and Tchaikovsky’s magical score.

SCOTTISH OPERA: INÉS DE CASTRO

22 JAN, 24 JAN, 7:15PM – 9:30PM, FROM £10

Originally commissioned by Scottish Opera in 1996, James MacMillan’s very first opera gets a fresh reworking, boldly encompassing everything from love, duty and betrayal to politics, torture and infanticide.

Inés de Castro | Orfeo ed Euridice | Jenůfa | Il trovatore

scottishopera.org.uk SCOTTISH OPERA: INÉS DE CASTRO 29 JAN, 31 JAN, 7:15PM – 9:30PM, FROM £18

King’s Theatre ALADDIN

VARIOUS DATES BETWEEN 29 NOV AND 18 JAN, TIMES VARY, FROM £14

Dundee Dundee Rep

SUNDAY MORNING ON DUNDEE LAW

VARIOUS DATES BETWEEN 22 JAN AND 24 JAN, 7:30PM – 9:30PM, £12 (£10)

The third part of Mike Gibb’s Dundee trilogy (following on from Five Pound & Twa Bairns and Mother of All the Peoples), set in December 1944 as the war is drawing to a close.

Your annual opportunity to boo Grant Stott, who returns in the King’s festive panto as the evil genie in Aladdin. Matinee performances also available.

Royal Lyceum Theatre THE BFG

VARIOUS DATES BETWEEN 28 NOV AND 3 JAN, TIMES VARY, FROM £19 (£15)

Roald Dahl’s classic story is brought to life in all its snozzcumber-y glory for kiddies (and adults) this festive season. Matinee performances also available.

scottishopera.org.uk Listings