The Skinny Northwest July 2014

P.28 Jade Collin – The calm that never comes (2014)

P.30 Jessica Campbell

July 2014

I N D E P E N D E N T

C U LT U R A L

J O U R N A L I S M

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Contents

Editorial Northwest Editor Film & Deputy Editor Events Editor Music Editor Art Editor Books Editor Clubs Editor Deviance Editor Fashion Editor Food Editor Theatre Editor Travel Editor

Lauren Strain Jamie Dunn Laura Howarth Dave Kerr Sacha Waldron Alan Bett Daniel Jones Tasha Lee Alexandra Fiddes Jamie Faulkner Alecia Marshall Paul Mitchell

Intern

Charlotte Casey

Production Production Manager Designer Sub Editor

Amy Minto Thom Isom Kristian Doyle

Sales/Accounts Northwest Sales & Marketing Manager Sales Executives

Caroline Harleaux Issy Patience John Stansfield

Lead Designer

Maeve Redmond

Company PA

Kyla Hall

Editor-in-Chief Sales Director Publisher

Rosamund West Lara Moloney Sophie Kyle

THE SKINNY

Photo: Kim Hiorthoy

P.40 Neneh Cherry at Beacons Festival

Photo: Steven Ramage

P.11 Judith Hopf - Untitled (2013)

Contents

Up Front 06 You know the drill by now, huh? Win

stuff! See what’s on the website! Catch the last-minute news that just made it in before the presses had their way with these pages! And behold some BALLS.

08 Heads Up: You will never do all of these

Lifestyle 26

27

Travel: One writer gets off his tits on shrooms in Amsterdam. Here is his sorry tale.

28

Showcase: Meet artist Jade Collin, whose precision laser cutting and light-play caught our eye at this year’s Liverpool School of Art & Design degree show.

things. But you can try.

10

Liverpool Biennial is here! And it’s hanging around for four whole months.

We kick off our commentary with Judith Hopf and an overview of the programme – and, most importantly, details of where you can see some jellyfish in a window.

12

The Pixies react to criticism of Indie Cindy, and espouse the lowlights of life on the road.

15

Remember Remember recall recall rendering rendering their new record record, Forgetting the Present.

16

David Gordon Green likes weirdos. He also likes Nic Cage, the star of his new feature, Joe. Are these two facts connected? Read our interview with the genial director to find out.

18

It’s been ten years of 24:7, and this year the theatre festival features ten plays.

We asked each of the plays’ writers a question. Here are the ten answers. Are you following?

19

Festival and fringe madness continues with a look at Liverpool’s Hope Street Emerging Artists Programme, and another edition of the fledgling Shiny New Festival.

20 Comedian Phill Jupitus responds in

rhyme / give it a read if you have the time.

21

We hear how Chorley Little Theatre has been punching above its weight, while animator Dean DeBlois explains how he approached the sequel to How to Train Your Dragon, the kickass kids’ film that everybody loves.

23

Watch Dogs OST maestro Brian Reitzell on the art of the videogame soundtrack.

24

At long last, an analogue synth fetishist!

We thought we’d never find one. We jest – rather than fetishising them, Hamburg producer and Smallville label co-founder Julius Steinhoff sees his machines as merely tools to craft his warm, playful music.

25

Visionary writer Mark Z. Danielewski on stitching narrative threads and forming his own atelier.

30

31

Fashion: Stuff for men to wear! Imagine!

Jessica Campbell’s dreamy denims have been causing a stir at Graduate Fashion Week; she tells us her story.

Food and Drink: The best of the summer wine (not to be confused with that programme with the old blokes rolling down a hill in a bathtub) and all this month’s news. Plus, we sample a brace of recently opened restaurants.

JULY 21 THE JAYHAWKS THE KAZIMIER

AUGUST 18 FAT WHITE FAMILY + THE GROWLERS + THE WYTCHES THE KAZIMIER

28 ST. VINCENT 02 ACADEMY

W/ DHP

SEPTEMBER 26 - L’POOL INTERNATIONAL - 27 FESTIVAL OF PSYCHEDELIA CAMP AND FURNACE

OCTOBER 02 STURGILL SIMPSON LEAF

07 THE PHANTOM BAND THE KAZIMIER W/ EVOL

21 REAL ESTATE THE KAZIMIER

NOVEMBER 04 THE WAR ON DRUGS O2 ACADEMY

W/ LIVERPOOL MUSIC WEEK 2014

08 TAMIKREST

THE KAZIMIER

TICKETS AVAILABLE ONLINE: SEETICKETS / EVENTIM / TICKETLINE IN PERSON: PROBE RECORDS (SCHOOL LN) & THE BRINK (PARR ST) FOLLOW ON TWITTER: @HARVEST_SUN @LPOOLPSYCHFEST

Review 35

Music: Horribly young Kiran Leonard embraces the open-ended exploration of musical history, genre and experimentation afforded us by the digital age.

What’s the 18-year-old from Oldham’s story? Plus yer albums and gig highlights for the month.

40

Clubs: A chart from Lazare Hoche, a chilled chat with Ruf Dug, and Beacons festival programmer and co-director Ash Kollakowski on the importance of curation.

43

Art: Who knew the humble stroll could yield such riches? We’re impressed

by Walk On: 40 Years of Art-Walking at Southport’s Atkinson gallery.

44

Film: There’s something for everyone this month, with animated dragons (How to Train Your Dragon 2), a lyrical comingof-age drama (Boyhood) and a 300lb drag queen who liked to eat dog shit (I Am Divine).

45

Books/DVD: Classic Harold and Maude rubs shoulders with underseen classic Boy Meets Girl and future classic We Are the Best!

46

Theatre: We join seven other audience members on a tour of Ancoats’ dark underbelly in Angel Meadow, although its red-eyed scuttling gangs have nothing on the kids from Lord of the Flies.

47

48 July 2014

Deviance: Matthew Bobbu discusses the integrity of his condom collection, while Tasha Lee ponders the etiquette of pregnancy.

Comedy/Competitions: This month’s Spotlight talks gorilla genocide and his influences, which include all of humanity; plus, win tickets to the show of your choice at this year’s 24:7 festival.

The UK Biennial of Contemporary Art 5 July – 26 October www.biennial.com #biennial2014 liverpoolbiennial @biennial

A RT FI LM TALKS M US IC TOU R S DEBATE EVENTS DRINKS PARTIES LECTURES PA I N TI N G SYM PHONY WORKSHOPS E X H I B ITI O N S DISCUSSIONS PU B LICS PACE S A R C H ITE C T U R E PE R FOR M A NCE S

Funded and supported by

Founding Supporter James Moores

Listings: Eight pages of ’em. Hold tight.

Contents

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Editorial

Online Only Eyes to the website As festival season cranks into gear, so does The Skinny’s chopper as we mooch around Barcelona’s Primavera Sound, Birmingham’s returning Supersonic Festival and Ireland’s boutique Body & Soul event. theskinny.co.uk/music

W

e’re pretty spoilt in the Northwest to have two major international festivals on rotation – for every year there isn’t a Manchester International Festival, there’s a Liverpool Biennial. This year, the four month long event adopts the phrase ‘A Needle Walks into a Haystack’ as its catch-all, and offers an appropriately tightly thatched programme – your best bet is to just jump in and scrabble around. We were torn between which of Berlin-based artist Judith Hopf’s simple but characterful creatures to use on the cover – but you can catch her flock of concrete sheep on twiggy legs and more as part of the festival’s main group show at the repurposed Trade Union Centre (The Old Blind School) from 5 July, and read our interview with her just as she was starting to hatch plans for the exhibition on page 11. Our Art editor will be steering continued coverage throughout the duration of the festival, with more online – so why not make theskinny. co.uk/art your homepage for the summer?

As the season finally comes into bloom around us, so does the fringe scene, with theatre, comedy and more galore. We’ve dedicated a good chunk of the middle of the mag to many of the self-starting events and fests that are helping make the region’s name as a place for innovation and individuality within the arts – Liverpool’s Shiny New Festival organisers are explicit about their desire to inspire others in the city to set up similarly energetic, eccentric events, while Manchester’s 24:7 theatre festival has gone from the ultimate in lo-fi to a nationally recognised platform for new writing in its ten-year history.

The Greater Manchester Fringe, meanwhile, is its usual, sprawling and frankly baffling self (though that’s part of its charm) – ahead of his appearance as Porky the Poet, and before he heads on up to Edinburgh, Phill Jupitus has done us the kindness of answering one extra-dedicated interviewer’s questions in rhyming couplets.

With quite literally hundreds upon hundreds of shows in most of the available spaces IRL and online, maybe there’s some sort of fantasy fringe league to be devised for a) overly committed bloggers and b) those who keep reading tweets about how this is the most exciting and

unpredictable World Cup ever but never actually get around to watching it, instead glancing quizzically at their little paper slips reading ‘Honduras’ and ‘Iran.’ For those who give neither a hoot for the footie nor for a raw script run-through in the back of a pub – we think there might be a small demographic somewhere in the middle there – other things are happening. Like tennis.

Just kidding: in Music, Joey Santiago of The Pixies has a lot to say in defence of the band’s latest, variably received album Indie Cindy, which to be fair to Black Francis and co is a lot better than that Hadouken! track from 2007. The pointillist pastorals of Glasgow’s Remember Remember get a fresh airing on new record Forgetting the Present, elevating them to the gorgeously illustrated cover of our sister edition (go have a ganders on Issuu); meanwhile, soundtrack composer Brian Reitzell, of Lost in Translation fame, gives us an impression of what it’s like to compose for a videogame (Watch Dogs). Elsewhere, House of Leaves visionary Mark Z. Danielewski checks in midway through writing a long-form serial, his exacting style turning the idea that e-reading is the future of fiction on its head: in fact, “the reality is that... electronic forms... are not really up to speed with what I’m doing.” Clubs takes in the welcoming shapes of Julius Steinhoff’s first full-length, Flocking Behaviour; Fashion finds Manchester School of Art grad Jessica Campbell receiving rave reviews for her double-denim menswear at Graduate Fashion Week in London; and if you’ve just gotten back from Glastonbury and never want to see a three-quid litre carton of thin maroon liquid sapped from the ‘Red’ grape (region: Booze) ever again, our Food dude has hired someone who like, deals in wine and stuff, to select some affordable bottles that pack oomph without the ooh-la-la.

Speaking of; we’d better crack one of ´em open and finish putting together this magazine.

Until next time...

Jupiter & Okwess International at Africa Oyé, Sun 22 Jun, by Michael Sheerin

Chat

With the overdue vinyl reissue of The Cocteau Twins’ Blue Bell Knoll and Heaven or Las Vegas, bassist Simon Raymonde looks back on the band’s fertile creative period during the making of those albums theskinny.co.uk/music Glitterbug (aka Till Rohmann) tells us how he shaped his own parallel universe and took inspiration from labelmate Gold Panda on new record Dust. theskinny.co.uk/clubs

Our sister paper has produced a massive and proper well decent guide to all the goings on at Unbound, the late-night strand of Edinburgh International Book Festival. If you’re planning to curl up in Charlotte Square gardens, check out highlights, previews and interviews online at theskinny.co.uk/books We survey the picks of the Greater Manchester Fringe, while Agony uncle Fred tackles ‘THE ENVIRONMENT’. Comedy (?) ensues. theskinny.co.uk/comedy

Snowpiercer

The Skinny on Tour

ON THE COVER: Judith Hopf, From Up & In Between (2013) Courtesy of the artist and Deborah Schamoni, Munich

Shot of the Month 6

Similarly, our film writers have been living on haggis vol-au-vents and no sleep while covering this year’s Edinburgh International Film Festival.

Head over to theskinny.co.uk/film to read first look reviews of the best movies coming to UK shores over the next 12 months, including stone cold gems like Snowpiercer, Stray Dogs, Skeleton Twins and other films not beginning with S.

Liverpool Biennial is here! And it’s hanging around for four whole months. On pp10-11, we kick off our commentary with Judith Hopf and an overview of the programme – and, most importantly, details of where you can see some jellyfish in a window – but we also went on a field trip to Paris! And interviewed Dazzle Ship artist Carlos Cruz-Diez in his studio. You can read our report online at theskinny.co.uk/art

This month, our reader visits the UK’s poshest council house. The crowd you can see in the picture are there to catch a glimpse of the little old lady who lives there with her Greek husband and their rodent-like dogs.

For your chance to win The Awakening by Kate Chopin (courtesy of those lovely folk over at

Canongate), just pop along to theskinny.co.uk/about/competitions and tell us where you think this is.

Competition closes midnight Sun 27 Jul. Winners will be notified via email within two working days of closing and will be required to respond within 48 hours or the prize will be offered to another entrant. Full Ts&Cs can be found at www.theskinny.co.uk/about/terms

THE SKINNY

Inside Story: Dazzle Ship

bar, and live music venue. To be one of the first through the door, check their website for details of their launch in July: constellations-liv.com Award-winning theatre company 20 Stories High are keeping busy through the summer months with three productions created and performed by young people from across Liverpool. Catch Headz at the Liverpool Playhouse Studio (3-5 Jul) and Manchester’s Contact Theatre (10 Jul), Standard at The Bluecoat (16-17 Jul), and Tales from the MP3 at the Everyman Theatre (1-2 Aug).

With the Biennial taking our cover spread, we thought we’d take a close look at its first commission, Dazzle Ship,

by Carlos Cruz-Diez; the story of this dazzling form of camouflage, and its place in the maritime history of Liverpool Words: Sacha Waldron

Carlos Cruz-Diez - Dazzle Ship

L

iverpool Biennial’s launch commission in partnership with Tate Liverpool and WWI art commissioning organisation 14-18 NOW comes from Venezuelan artist Carlos Cruz-Diez. Unveiled in June, Dazzle Ship works with ‘dazzling,’ an abstraction technique that uses geometric patterns, colours and shapes as a form of camouflage. Dazzling was used extensively during WWI and the idea was that, rather than hiding your position, you would confuse your enemy instead.

Due to the ship’s form appearing to be broken up and distorted by the painted exterior, it would be difficult to identify the ship’s main features or the direction in which it was sailing. “They were artworks created for war and to avoid death,� says Cruz-Diez. The artist has conceived a composition in vibrant greens, yellows and reds (not entirely un-World-Cup-ish), which was then painted on to historic pilot ship the Edmund Gardner by a team from Cammell Laird’s shipyard.

Artist Norman Wilkinson is credited with inventing the technique while serving in the Royal Naval Reserve onboard submarines. After the periscope would break through the surface of the water, there would be only seconds to locate and aim at the chosen ship target. His idea was that if the submarine was confused about what or where it was aiming for in those few seconds, it would be liable to miss and lives would be saved.

After the British Admiralty took up the technique, Wilkinson was put in charge of the naval camouflage unit based in studios at the Royal Academy of Art in London, where he worked with art students and fellow naval experts to perfect the techniques.

BALLS.

TAURUS No matter what anyone says, always believe in your nightmares. You are living proof that nightmares can come true!

July 2014

Liverpool’s HAUS Warehouse finds itself in new hands this month, re-launching as Constellations: a multi-use venue encompassing an outdoor garden space, creative studios,

And finally, Congratulations To Tabitha Jussa For winning this year’s Liverpool Art Prize and the people’s choice award.

CORRECTION: We credited our review of Phetpailin, Manchester, last issue to Jamie Faulkner – the writer was Jason Bailey. Apologies Jason!

We also incorrectly stated at the bottom of our interview with Natalie McCool that X&Y Festival takes place at O2 Academy – it is at the Liverpool Guild of Students (11 Jul, twitter.com/xyfestival).

One artist who worked on the painting of the original dazzle ships was Edward Wadsworth, one of the founders of Vorticism.

Growing out of Cubism, another form of abstraction, the movement is famous for its odd wonky geometic lines and wiggly modernism.

Abstraction is a big theme for Tate Liverpool this summer. “We are exploring the theme of abstraction through our exhibitions Mondrian and his Studios, and Nasreen Mohamedi, as well as our upcoming Biennial Claude Parent installation,� says Tate’s artistic director, Francesco Manacorda. “Dazzle Ship,� he says, “takes this theme outside of the gallery walls and explores and demonstrates how abstract art has a real-life application.�

The Biennial is, of course, a festival of art and culture in the city and is therefore naturally celebratory. Sometimes, however, the constant colourful jollity of the public artworks that appear in Liverpool can wear a little thin – it’s pleasing to see the more sinister-looking death-star building that houses the Open Eye Gallery lurking behind Dazzle Ship. A fitting sense of history and place, however, prevails, and the story of the birth of dazzle ships and the role of artists in the war is a fascinating one to look into.

Tabitha Jussa

You can see Dazzle Ship every day (and night) in the dock outside the Maritime Museum in the Albert Dock Read our report on our visit to Carlos Cruz-Diez’s studio in Paris at theskinny.co.uk/art www.biennial.com

with Mystic Mark ARIES Your problems with premature ejacula tion reach their peak this month when you blow your load the moment the tip of your penis enters the snake’s vagina. It looks at you wearily and seems to sigh with disappointment.

Photo: David Howarth

Award-winning urban gardening festival Dig the City returns to Manchester this summer (2-10 Aug) for nine days of horticultural delights, including: headline appearances from TV gardener Diarmuid Gavin and BBC gardening guru Rachel de Thame; pop-up picnics, and an urban take on the country fete. See digthecity.co.uk for more details

GEMINI You have to take a leave of absence from your stockbroking job after a malignant tumour sprouting teeth and hair is found growing out of your soul.

CANCER This month your balls get caught in the spokes of your penny-farthing.

LEO Never satisfied in the bedroom, you snaffle away dildos in your crotch like a hamster stores nuts in its cheeks.

VIRGO It can be very easy for us to flippantly diagnose people who annoy us with mental illnesses, and since you’re a qualified doctor it’s even easier to have them committed.

LIBRA This month you manage to convince your boss that you’re dead and only he can see you.

SCORPIO After months of listening to your nagging wife complain about how lumpy her side of the water bed is, you open it to find the bloated corpse of a scuba divingexpert pervert inside the fluid-filled mattress.

A baffled policeman explains the highly-trained deviant appears to have swum in there for a wank and got trapped like a lobster. Maybe next time the wife tells you she can hear the dull cries of a drowning man inside the bed, you’ll listen more carefully.

CAPRICORN Lonely and wanting a friend to play chess with, you place an ad in the lonely hearts section of your local paper: “Very, very hairy guy, no SOH, WLTM enormousjugged F for piping hot, no strings friendship.�

SAGITTARIUS You can’t teach an old dog new tricks in bed.

AQUARIUS Your an idiot.

PISCES Abseiling your way down into a cav ern on the lookout for archaeological treasure you discover the titanic stone vagina of Mother Earth herself.

Unfortunately, brushing dust away from the boulder-sized clitoris causes a shuddering global earthquake, killing over 4 billion people. twitter.com/themysticmark facebook.com/themysticmark

Chat

7

The BRIT Award-winning English singer/songwriter Beth Orton takes her folktronica sound out on the road, celebrating the reissue of her 1999 sophomore release Central Reservation with a trio of dates across the country – including one at Manchester Cathedral.

Support comes from wiley folkster David Thomas Broughton. Manchester Cathedral, 7pm, £22.50

Sun 6 Jul

Mon 7 Jul

Tue 8 Jul

More than 50 local artists will make a splash this summer as the Victoria Baths Art and Craft Fair returns.

The fair will offer a range of traditional and contemporary crafts, vintage items, one-off commissions and craft demonstrations; with the benefit of knowing you're chipping in for the venue's restoration. Victoria Baths, Manchester, 12-4pm, £2.50

Artist and photographer Sara Davidmann delves into her family archives to discover how her family covered up the secret of her transgender uncle, Ken, depicted in all family photos as a man.

This will be your last chance to catch Ken. To be destroyed, an exhibition of altered family photos and personal letters.

Museum of Liverpool, until 7 Jul, Free

Following the release of album Complete Surrender, Slow Club hit the road to show it off proper. Formed in Sheffield in 2006, the indie-pop duo – made up of multi-instrumentalists Charles Watson and Rebecca Taylor – return to Liverpool following their appearance at The Kazimier back in 2011. Might want to not miss this one.

The Kazimier, Liverpool, 8pm, £12

Side by Side (2013)

Sun 13 Jul

Freeze are joining forces with Greg Wilson to host the return of the Summer Sessions, following sell-out success last year. Wilson will be joined

by Crazy P and Derek Kaye for the daytime activities, while Dan Ghenacia and Jemmy will soundtrack the afterparty down in The Williamson Tunnels.

St Luke's Bombed Out Church, Liverpool, 2pm, £21

Almost exactly one year since he was forced to cancel his last tour, Neil Young returns to our shores to perform alongside Crazy Horse, with rumours circulating that this will be their last tour together. The Rock and Roll Hall of Fame resident will likely be cherry-picking a set list from his five-decade career, as one does. Echo Arena, Liverpool, 7pm, from £39

Greg Wilson

Photo: Ian Tilton

Sat 12 Jul

Slow Club

Neil Young

Thu 17 Jul

Fri 18 Jul

Sat 19 Jul

Engineered by a group of bright young things, Flux Liverpool festival pitches up for a three-week celebration of creativity. The jam-packed programme includes music, art and theatre events; skills workshops; and a festival within a festival, as Blueprint takes over Tate. Various venues, Liverpool, 17 Jul–2 Aug, see fluxliverpool.com for more details

Reaching in and pulling out the still-beating heart of new theatre, 24:7 theatre festival returns with another knock-out run, promising to showcase the very best in emerging talent. The opening day will see Afterglow, Three Women, Pass and more take to the stage. New Century House, Manchester, 18-25 Jul. See listings for full details

Milk and No-Wave join forces to present Sun:Moon: a great big fuck-off party complete with bouncy castle, obviously. Broken Men, RAW CITY, Sugarmen and many more will provide the music, Trenchtown Truck will provide the gourmet street food, and No-Wave DJs will keep things going 'til the smaller hours. District, Liverpool, 6pm, £7

Blueprint at Tate

Afterglow

Fri 25 Jul

The National Theatre's touching production of War Horse returns, plucking at your heart's (puppet) strings with the harrowing tale of Albert and his beloved steed as both are caught up in WWI – giving audiences the chance to grow emotionally attached to a bluddy huge puppet and openly bawl. Enjoy! The Lowry, Salford, until 20 Sep, from £18

Shining a light on musicians and artists whose work occasionally slips between the cracks of genre and definition, Immix returns with a special ensemble performance from multi-instrumentalist Rachel Nicholas and songwriter Tom Cowcher, who perform a specially commissioned piece inspired by Japanese visual artist, Macoto Murayama. Metal, Liverpool, 7.30pm, £5 (£3)

Starting out as a massive pre-uni piss up, Blackthorn Music Festival has since grown into a fully fledged festival. As it returns for its second run, it comprises 'well-known artists with some not so well-known', top-notch food (including restorative breakfast options), and a cow-poo free camping ground. Whitebottom Farm, Stockport, 25-27 Jul, £40 weekend

War Horse

8

Chat

Immix

Photo: Nata Moraru

Thu 24 Jul

Illustration: Beth Crowley

Wed 23 Jul

Broken Men

Blackthorn Music Festival

THE SKINNY

Photo: Pegi Young

Victoria Baths

Beth Orton

Photo: David Howarth

Billy Liar

Photo: Sara Davidmann

Compiled by: Laura Howarth

Photo: Alessandro Simonetti

With Glasto out of the way we can officially call it festival season: let us guide you through July with our picks. While the Biennial sprawls out over Liverpool, Manchester revels in theatre and comedy for the Greater Manchester Fringe and 24:7. Eyes to listings for more pursuits worthy of your hard-earned pennies.

Billy Liar, Keith Waterhouse's tale of Northern life in the 60s, has made its way to the stage once more. Follow leading man Billy Fisher as he weaves a web of lies to spice up his life, splitting his time between a deadend job as an undertaker's clerk, and three smitten ladies. Royal Exchange Theatre, Manchester, until 12 Jul, 7.30pm (matinee performances available), £14.50

Photo: Jonathan Keenan

Wed 2 Jul

Illustration: Katie Craven

Heads Up

Tue 1 Jul

Jason Mewes and Kevin Smith, aka Jay and Silent Bob, are plotting to draw themselves back into the public's consciousness with their latest offering, Jay and Silent Bob's Super Groovy Cartoon Movie. This screening of the film will be accompanied by some relentless chatter, in the style of their ever-popular J&SB Get Old podcast.

O2 Apollo, Manchester, 7pm, from £20

Concluding a month-long exhibition, this Artists' Book Fair will offer an opportunity to meet the artists involved and purchase some of their work. Catch a glimpse of contemporary artists' practice in binding, fine press and sculpture, exhibited alongside rare books from the Library's collection. Central Library, Liverpool, 4-5 Jul, 11am-6pm and 10am-5pm, Free

A Needle Walks into a Haystack, and the joke stops there for the eighth Liverpool Biennial, curated by Mai Abu ElDahab and Anthony Huberman and inviting an international group of artists to explore setting and surroundings – from Sharon Lockhart's study of leisure time to Claude Parent's architectural feat at the Tate. See listings for full details of Biennial exhibitions

Jason Mewes

Claude Parent – Maison Drusch à Versailles (1963-1965)

Lizanne von Essen - Suspense

Fri 11 Jul

Polish theatre group Studio Matejka bring their production of Awkward Happiness, or Everything I Don't Remember About Meeting You to Liverpool – drawing on Milan Kundera's The Unbearable Lightness of Being, it explores the ideological quest for happiness in modern-day relationships.

The Bluecoat, Liverpool, 8-9 Jul, 8pm, £10 (£8)

Playwright Emily Chriscoli brings her gripping drama A Walk in the Park to Manchester, introducing a cast of complex characters. As Jack balances his relationship with Kate with the demands of his overenthusiastic mother, the cracks begin to show and revelations of a tragic incident come to light. Nexus Art Cafe, Manchester, 10-11 Jul, 8pm, £10 (£8)

Liverpool's multi-venue X&Y Festival returns, bringing with it an array of up-and-coming talent to the Liverpool Guild of Students stage. Canadian outfit Half Moon Run headline the night, appearing alongside Lauren Aquilina, Little Comets, Broken Men and last issue's New Blood artist, Natalie McCool. Liverpool Guild of Students, 4pm, £20

Awkward Happiness, or Everything I Don't Remember About Meeting You

A Walk in the Park

Photo: Tom Johnson

Thu 10 Jul

Photo: Karol Jarek

Wed 9 Jul

Natalie McCool

Tue 15 Jul

Wed 16 Jul

Championing the shiny and the new in contemporary theatre, the understandably titled Shiny New Festival kicks off with three new plays – Three Women, You Boy, and Occupied – taking on everything from loss of loved ones to student protests. Other shows include Jollyboat and Hacienda Tales. Lantern Theatre, Liverpool, until 19 Jul, see listings for full details

Having well and truly abandoned his Final Fantasy guise, Canadian baroque pop maestro Owen Pallett returns with his latest release, In Conflict. Still riding the wave of success of his 2010 release, Heartland, Pallett brings his violin and loop pedal mastery to the Deaf's stage. The Deaf Institute, Manchester, 7.30pm, £12.50

Campervan-residing comic Lou Lowe's show Lulo's Shitting in Narnia is a bravely titled stream of consciousness exploring campervan life and poo – complete with questionable hashtag, #davidcameronhasapoo. Catch this and more as part of the Greater Manchester Fringe Festival. The King's Arms, Salford, 8pm, Free. See listings for our GMFF selections

Red Redmond

Owen Pallett

Photo: Sam Huddleston

Mon 14 Jul

Lou Lowe

Sun 20 Jul

Mon 21 Jul

Tue 22 Jul

Returning for its 19th run, the Manchester Jazz Festival is all set to hoist up its pavilion in the heart of Albert Square and set about putting 88 bands on eight stages for a ten-day stretch, with new commissions and some freebie gigs to look forward to. Catch Young Pilgrims, Keith Tippett and more today. Various venues, 18-27 Jul, Manchester, see listings for full details

Since 1922, BBC Children's broadcasting has been capturing imaginations and leading young 'uns to believe in the magical power of papier mâché.

The Lowry's latest exhibition, Here's One We Made Earlier, is a visual exploration of 90 years of BBC Children's broadcasting, complete with the original Tracy Island model from Blue Peter. The Lowry, Salford, 19 Jul–12 Oct, Free

Inspired by the Mars One mission – which aims to populate the red planet with us humanoids by 2024 – Square Peg Theatre employ their cinematic and physical style in their latest production, Icarus, asking why 1/4 million people applied to be a part of the one-way mission. Our mucky blue planet ain't all bad, is it? Unity Theatre, Liverpool, 7pm, £8

Manchester Jazz Festival

Icarus

Here's One We Made Earlier

Sat 26 Jul

Sun 27 Jul

Mon 28 Jul

With new album Magpie Billy & the Egg That Yolked in tow, the Eccentronic Research Council head to a live setting with their experimental electronics, crafted using vintage synths. For this rare outing, they'll share tracks from their two concept albums released to date, accompanied by actress, Maxine Peake. Islington Mill, Salford, 7.30pm, £12

Embracing the Kino ethos of creating something out of nothing over a short space of time, the Filmonik Kino Kabaret kicks off with a three-round, ten-day filmmaking bonanza. Catch the round one screening, as a selection of sleep-deprived filmmakers share the results of their hard graft. New Art Spaces, Federation House, Manchester, 7.30pm, £5

Before heading up to Edinburgh with every other soul in the Northwest, Big Wow present a preview of their latest and greatest, The Art of Falling Apart, a fastpaced show about the out-of-sorts and the off-kilter performed by a trio self-described as 'turning pissing around into an art form'. Should be aight. Unity Theatre, Liverpool, 9.15pm, £8

Maxine Peake & the ERC

July 2014

Filmonik Kino Kabaret

The Art of Falling Apart

Chat

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Photo: Pierre Joly et Véra Cardot

Sat 5 Jul

Photo: Andrew Ellis

Fri 4 Jul

Photo: Allan Amato

Thu 3 Jul

Give Them the Old Razzle Dazzle Liverpool Biennial opens for its eighth edition this month. We commence our coverage with highlights, history, and the main group exhibition Interviews: Sacha Waldron Photography: David Howarth

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iennial/Triennial/Anythingennial season is upon us. Glasgow International kicked everything off in April. Whitstable Biennale in May/ June saw gin drinking in beach huts, lifeguard performances and stories from a meteorite.

Folkestone Triennial in August/September promises us work with an architectural slant – more beach huts, this time from Pablo Bronstein and a cruise-liner hotel lookout from Alex Hartley.

No one knows quite what to expect from the new Bristol Biennial in September but, back up in Manchester, the Asia Triennial (September also) looks set to be a winner.

The oldest biennial in the UK is, however, Liverpool’s, which opens this month for its eighth edition. The festival launches with two new commissions, Carlos Cruz-Diez’s Dazzle Ship and composer Michael Nyman’s memorial symphony to the victims of the Hillsborough disaster 25 years ago, which will be performed at Liverpool Cathedral on 5 July. The core exhibition, titled A Needle Walks into a Haystack, is curated by Cairo-born, Brussels-based Mai Abu ElDahab and Geneva-born, San Francisco-based Anthony Huberman. The two are attempting to “disrupt the way we assume our habits and experience our habitats” through a group exhibition of international artists and several more focused installations and exhibitions across the city which look at not just contemporary work but also at the historical and archival.

The Bluecoat will be presenting the work of James Whistler (1834-1903), particularly his infamous Harmony in Blue and Gold: The Peacock Room (1876-77). This ambitious interior AngloJapanese mural/artwork was considered shocking by the Liverpool shipowner it was created for and, in part, resulted in Whistler’s eventual bankruptcy. Across town, FACT presents a solo exhibition of LA-based artist/filmmaker Sharon Lockhart, her first in the UK, which includes a new installation created for the Biennial. Tate Liverpool, as they did last year, will curate from their own collections in the second-floor galleries. The exhibition includes the work of over 46 artists including Rachel Whiteread, Susan Hiller, Francis Bacon and León Ferrari (good name!).

Downstairs, in the Wolfson Room, an exciting new commission from architect Claude Parent remodels the gallery with slanted floors and ramps, allowing the visitor to re-navigate the space.

Biennial visitors have come to expect sneaky peeks into previously disused or private buildings all over the city. In 2012 we were invited to explore the old postal sorting office on Copperas Hill and the rather epic Cunard buildings on the riverfront. This year does not disappoint and visitors are invited into the Old Blind School (and former Trade Union building) on Hardman Street which has been derelict for many years. Another new venue has also been announced this year, referred to mysteriously as ‘The Apartment’ (located in St Andrews Gardens) which will host the work of experimental Belgium television director Jef Cornelis.

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A notable bow-out from the main Biennial exhibition is Open Eye, who have chosen to do their own thing this year with an exhibition curated by Lorenzo Fusi (previously curator at the Biennial) called Not All Documents Are Records: Photographing Exhibitions as an Art Form. The exhibition looks to be a meaty one with work including Hans Haacke’s 1959 photographs of the Kassel quinquennial dOCUMENTA and a new work from Cristina de Middel that reinterprets the history of the Liverpool Biennial. This should be a good reflexive loopy moment within the festival; you will be in the festival, looking at documentation of art festivals, which are in themselves artworks within the festival, and at the same time they tell the history of the current festival, which could itself be an artwork. Exhibition as medium.

Take a photograph to complete the oddness.

“The curators are attempting to ‘disrupt the way we assume our habits and experience our habitats’” As usual you can expect to see major partner exhibition, the John Moores Painting Prize (dubbed the ‘Oscars of the painting world’ according to the website, but slightly less glam in reality) at the Walker Art Gallery. We have our (conceptual) money on either the black and white worm-like totems from Christopher Cook or the stark nakedness of Robert Fawcett. Bloomberg New Contemporaries, the important platform for recent graduates, now in its 65th year, is also back, this time at the World Museum and selected by Marvin Gaye Chetwynd, Enrico David, and Goshka Macuga.

Over the course of the Biennial, The Skinny will be covering much of its programme, reviewing the shows and profiling and interviewing the artists, with more online. First up, we chatted to German artist Judith Hopf, who’s exhibiting new work at the Old Blind School. We also recommend the best of the exhibitions and projects that form the wider festival and Independent programme, alongside key events and performances to look out and book ahead for. Happy Biennialing!

Liverpool Biennial runs 5 Jul-26 Oct. The exhibitions take place in most of the major venues in the city. See www.biennial.com for the full programme and listings Read our report on our visit to Carlos Cruz-Diez’s studio in Paris at theskinny.co.uk/art Carlos Cruz-Diez - Dazzle Ship

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THE SKINNY

The Best of the Rest

Judith Hopf - Flock of Sheep (2013)

A Needle Walks into a Haystack Part of a group show at the Old Blind School, Judith Hopf discusses Liverpool and Berlin, exhibiting in public spaces, and reimagining materials

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erlin-based Judith Hopf is known for her sculptures and films that use everyday items such as computer packaging or household items.

Last year, her first solo exhibition in the UK at Studio Voltaire, London, saw the gallery filled with a flock of concrete sheep accompanied by a film referencing the history of silent cinema and the suffragette movement. Hopf was also featured in the monolith that is dOCUMENTA in 2012 and created columns of drinking glasses to form a ‘bamboo’ forest that visitors could walk though.

The Skinny met with Judith Hopf for a coffee on what she called “day zero” – the very first day she had arrived in Liverpool to research her new Biennial work and her first time ever in the city – to find out how she approaches her work and what plans she has for her new commission.

“A lot of the time my sculptural practice is in collaboration with cinematic work,” says Hopf.

“I don’t think that will happen with the Biennial exhibition, as the process normally takes a year or so. I don’t produce works excessively. I like to let the film and sculptural works grow organically and over time they knit together rather than get thrown together right at the moment of exhibition. I’m making something new for the Biennial, although it may incorporate elements from existing works”.

Research time in Liverpool has been important for all the artists and it’s clear that facilitating this has been a priority for the curators, Mai Abu ElDahab and Anthony Huberman. “They want to create the time for contemplation,” says Hopf, “to not just ask for the new but give us time to reflect on the procedures involved in making the work for the exhibition.”

Hopf is excited about her inclusion in the Old Blind School group show which, although in a building, is more in the public realm than, say, exhibiting at the Tate or Bluecoat. As with all the buildings that are opened up especially for the Biennial, the audience is often comprised not just of regular art-going visitors but often locals who just want a look inside the building.

“Exhibiting in a more open, or public, space is important to me, away from institutional spaces

July 2014

also to get a broader range of opinion or overview. I appreciate it as I grew up in the 60s and 70s where there was a whole interest in the arts as an aesthetic for the general public, not just the expert public. It’s very rooted in my understanding. I think it’s important that artists exist in the public realm and we find new contexts and situations for our work. The changes in how you view the work are also interesting to observe. You see when perhaps the work exists just for amusement or when it can get quite sharp in different contexts.”

Festivals, of course, are also very different beasts compared to the gallery environment.

“Yes, it’s a thin line we walk,” says Hopf. “In event culture there is this expectation that you should be astonished and amused by the artwork. In fact the art may be quite boring, slower, or not so entertaining.”

“It’s important artists exist in the public realm and we find new contexts and situations for our work” Judith Hopf

Does site-specificity ever come into it?

Does Hopf feel like the city of Liverpool will have influence on her ideas or production process?

“Yes I think so,” she says. “I always try to adjust to the situation – I mean you have to anyway as a human being. The work has to, in some way, be related to Liverpool. I’m going to take my time to learn about the city and how it works, and of course you’re influenced by who you meet and the places they take you to or what they tell you. My

work is often inspired by objects and the things that I find just around me. A good example is the work I made for the last dOCUMENTA which was made with the drinking glasses that were formed into kind of trees. The idea came when I was just cleaning up some glasses one day and stacking them up and I thought, Oh, maybe I can make a column out of them one day. That’s quite typical for me.”

Encountering the work at dOCUMENTA, you were struck by the simultaneous lo-fi production of the ‘trees’ but also their delicacy and precariousness. Green leaves punctuated their length, giving the glass towers a lo-fi pop twist. “I was thinking about what you can do with materials when you steal their original function,” says Hopf, “and also how they can then appear again in public life and in a different aesthetic discussion.” As with a lot of Hopf’s work, the viewer can have an instant relationship with the materials because you recognise them immediately. Once you have had this recognition, however, the materials have a completely different life or understanding in their new context. “There are all kinds of funny interpretations,” says Hopf. “The choice of materials is important for me – it comes from a political understanding of how you use what you find around you to express ideas.” Hopf also has an amusingly modest opinion of her own ability. “I think in terms of my handcraftiness, as an artist, on a scale from 1 to 100 I am maybe about 40.”

So what are her first impressions of Liverpool? “When I approached the old Trade Union building I was thinking about empty buildings and spaces in the city and how important it is to reflect on that. Why are they empty and what has happened? It’s similar to Berlin where I have been working now for 22 years. After the wall came down, there were and are still so many empty buildings, there has been a lot of change in how we use the city.”

The group show at the Old Blind School opens 5 Jul The Old Blind School (former Trade Union Building) is located on 24 Hardman Street, L1 9AX. Open 10am-6pm daily

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Photo: Kaufmann Repetto

Macoto Murayama: Botech Compositions, Metal, Edge Hill Station In 2013, Tokyo-based Macoto Murayama spent six months living and working at Metal’s space in Southend-on-Sea. The focus for his time there was the dissecting, recording and digital rendering of the UK’s indigenous flowers. Metal Edge Hill are exhibiting the resulting works which are rooted in the foundations of botanical illustration. The exhibition has a really comprehensive events schedule and will only be open to view during these times. Otherwise by appointment, see the website for further details. Edge Hill Station is located on Tunnel Road, L7 6ND. Walter Hugo & Zoniel: The Physical Possibility of Inspiring Imagination in the Mind of Somebody Living, High Park Street, Toxteth Part of the Biennial festival fringe, Hugo and Zoniel have installed a giant tank in a derelict shop window on High Park Street, Toxteth, filled with jellyfish – and who does not like a good jellyfish? The installation is closed during the day but at night the shutters are opened up to reveal the 20 illuminated jellies. This is also being beamed live to the window of Gazelli Art House in London. Weird, but fun.

Jesse Wine and Glen Pudvine: Tossed Salads and Scrambled Eggs, Cactus Gallery Two damn good artists in one very promising art space. We don’t know what it’s going to look like, we’re already singing the Frasier theme tune, we think it’s going to be GOOD! (Or else scrambled eggs all over my face…) Cactus Gallery is located in the Royal Standard complex in the Vauxhall Business Centre, L3 6NB. Open Fri and Sun 11am5pm or by appointment.

Joey Holder - Hydrozoan

Rob Chavasse: Ghostie/Sam Smith: Frames of Reference/Joey Holder: Hydrozoan, The Royal Standard The Royal Standard have three consecutive solo exhibitions lined up for the Biennial programme this year. First up is Peckham-based Rob Chavasse (head to the website now for ambient roller-blading and pleasing computer-GIF sports cars). Expect immersive environments, installations and audio. Next up is Sam Smith in August exploring the relationship between sculpture and film and video, and in late September comes Joey Holder and thoughts on nature, food webs and the artificial vs the natural. Busy but exciting programme. Head to the website for dates and further info. The Royal Standard is located in the Vauxhall Business Centre, L3 6NB. Open Fri-Sun, 12pm-5pm.

Bogdan Rata, St George’s Hall At 3.5 metres tall, Bogdan Rata’s new sculpture, The Middle Way, will be installed outside St George’s Hall throughout the Biennial. Rata reproduces anatomical parts such as ears, hands or toes in a kind of hybrid realism in bright colours applied to polystyrene, polyester and metal. www.biennial.com

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Wave of Retaliation Pixies guitarist Joey Santiago tells us all about the band’s new album Indie Cindy, the trials of being on tour and what he would like to do to those who discount the band’s reunion as ‘a craven cash-in’

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he Pixies have released a new album, their first in 23 years, and guitar whizz Joey Santiago is apoplectic. The first reviews for Indie Cindy have begun to land as we talk and, perhaps for the first time in their career, the band are suffering a critical backlash. Whereas a typical Pixies song consisted of shrieking and gnashing, manic interjections tempered with sporadic lurches into lucidity, the 2014 edition of the band – now with Paz Lenchantin on bass replacing not one, but two Kims – has something similar but it’s tempered with a certain… polish. A certain predictability.

The extremes of emotion are gone, no longer at once haggard and luscious, but existing somewhere in the middle ground. Indie Cindy isn’t a bad album – it’s just that the bar is set staggeringly high. In a rather foolhardy moment, The Skinny has begun to relay some of these… concerns to Santiago.

“What do you mean [The Guardian] said the album was a ‘craven cash-in’? What about the music?” he queries. “Come on. That’s just stupidity.

Cash in? Fuck. We paid for the album ourselves and we weren’t trying to cash in, we were just trying to be relevant. And the other point – of course we want to make a profit. I mean, why do people get up in the morning? I’d love to take this reviewer on tour with us. She doesn’t have to play, she just has to wake up when we wake up, go through different time zones when we go through them, she doesn’t have to play to any fans, she doesn’t have to get as nervous [as we do], she’s just gotta eat at the right time, sleep at the right time, take a shit at the right time… all those things. Come on! This is a more demanding job than most others out there. I mean, going to the office, punching the clock, making coffee, we don’t wanna do that. It’s a hassle... believe me.”

A hassle? “Okay, maybe it’s not a hassle but it’s more difficult than people think. At the end of the day, we’re earning that money but we’re not doing it just for that, we’ve got families! If we didn’t need to earn money, I would keep on composing music. If I start composing music and was getting big films, is that a cash-in? Am I cashing in? [laughs] It’s silly.”

A lot of this negativity stems from support for the now absent two Kims (Deal and Shattuck); the former reportedly waking out from the band in a Monmouth coffee shop and the latter apparently fired over the phone last November… “Yeah, well you work with the second Kim [Shattuck].

You check her out yourself, you take her to an office, just as a temp, and you hang out with her.

See how you like it.”

Relations are still somewhat strained then?

“Not now. Paz is in there and Paz means ‘peace.’

She keeps everything light. I don’t think we’ve ever had this lightness amongst us. That’s nothing against Kim Deal – there was a rub there but it was a healthy kinda rub. Paz is a player, she hasn’t taken a break since she’s been in the band and she’s with her other band right now – Entrance – playing shows across Europe.”

Let’s roll back a little. The Pixies’ first four albums displayed a magnificent hyperactive energy, splendidly impulsive with scant regard for sonic or linguistic syntax, a very natural unnaturalness. But communication between the band members was notoriously ruffled; frontman Black Francis (aka Charles Thompson) seemingly split the band up via fax on New Year’s Day 1993. Since then, his solo career was a case of diminishing returns while Kim Deal briefly burned bright with The Breeders before becoming mired in myriad addictions. Santiago remained away from the

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Interview: Colm McAuliffe

spotlight while Lovering took the natural step of becoming a magician. After much speculation, the band reunited as a touring unit in 2003, eventually recording one new single, the Deal-penned Bam Thwok, and were seemingly content to play the festival circuit ad infinitum with little prospect of more material until 2013 when the band began releasing a series of EPs, now collated as the Indie Cindy album. What has changed in the interim?

“We’re definitely better players,” admits Santiago. “We’re more gung-ho about things now, we go to shows and try to give the best show possible. Not to say that we didn’t do that in the beginning but right now we’re just totally conscious of it. It’s invigorating playing the new songs, we’re still tweaking them. It took us a while to like playing the old stuff [again] because back then, around the time of Doolittle, we were really struggling with it live, trying to figure out the material. In essence, we were still working on it.

And we were taking more substances then. No one has drug problems but before shows we used to – or I used to anyway – take drugs as a crutch.

But now, going on stage with nothing is a natural high. No safety net, so it’s more exciting.”

The band re-united with Gil Norton for the Indie Cindy material. The Liverpudlian producer helmed the band’s final three albums first time around and proffered a more polished version of the Pixies’ frantic intensity.

Was Norton first choice on this occasion or did they ever envisage taking a different producer on board? “Well, we kicked around other names, we really thought at this point that because we

hadn’t been recording for so long, we didn’t want another variable in there, we didn’t want a ‘new thing.’ So we didn’t want some new producer running away [with the album]! With Gil, there was a mutual amount of keeping each other under control.”

“I don’t think we’ve ever had this lightness amongst us. That’s nothing against Kim Deal” Joey Santiago

How does Santiago feel about playing the newer songs in tandem with the older Pixies material? Does he feel the two eras of the band are on a similar level? “I definitely love playing Magdalena the most, it goes over really well, even from the get-go – that strange guitar I come in with, the strange beginning, it’s just really haunting and beautiful. As for our sound – it starts with the songwriting but at my end, it starts with the style of guitar I play – people seem to like it.

Charles leaves me alone so it sort of massages itself into sounding like the Pixies.”

As the primary songwriter, does Black dictate what Santiago should and shouldn’t

play? “No, he doesn’t. He doesn’t even enter the room. I don’t know what the hell he does when I’m gone, maybe he just goes to the pub.

He just comes back in and he’ll be smiling and saying ‘yes.’”

Along with the return of Gil Norton as producer, the cover design is courtesy of the legendary Vaughan Oliver, who designed the band’s previous sleeves for 4AD. Was that sense of continuity important? “Oh yeah, I’m delighted Vaughan is back. And I’m also delighted I finally got used to his accent. It veers between this Scottish brogue filtered through having a few pints. I couldn’t ever understand him. All I could do was nod my head. I couldn’t for the life of me… ’what the fuck is this guy saying?’ I love the cover on the new album. We just leave that guy alone as well, that’s entirely his department.”

It certainly feels like a rather exciting time to be in the Pixies right now. A new album to promote, another to be recorded imminently, a new member bringing the harmony and tranquillity and an entire summer of festivals on the horizon. “Yeah,” confirms Santiago. “We’re off to Sydney next, four shows at the Opera House and then travelling to Barcelona. And sure, I’d love to take that journalist with us, get her to play four shows and go sit in the airport, stop over, and get to the next venue 24 hours later. We’re earning it!”

Playing Manchester Castlefield Bowl on 10 Jul and T in the Park on 11 Jul. Indie Cindy is out now www.pixiesmusic.com

Pixies

MUSIC

THE SKINNY

July 2014

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STAND OUT FROM THE

CROWD

WITH A POSTGRADUATE DEGREE Wai-Yin Cheung, Naturalist Expedition Guide

www.cumbria.ac.uk/pgcourses

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THE SKINNY

Time Bandits As time and geography conspire against them, Rock Action sextet Remember Remember pull out an unlikely victory for grandiosity

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t’s Wednesday evening and Graeme Ronald, a videogame sound designer by day, is trying to relax. He’s in Nottingham, his grudgingly adopted hometown, where a stray job application landed him this March. Early evenings are a rare cooldown period but tonight he wolfs down some Spanish rice and veggie sausage and fires up Google Hangouts to talk Scotland’s most grandiose rock band while huffing an e-cigarette.

“Making this album all the smokers in Remember Remember jumped on the electronic bandwagon,” Graeme muses of his latest instrument. “It’s vape-rock, vape-prog,” adds synth wizard Tommy Stuart, grinning through fake smoke. “Not stoner music, none of us are into that.”

Spirits are nonetheless high for the ensemble’s new LP. Their third album for Mogwai’s Rock Action, Forgetting the Present fleshes out questing instrumental songs composed for a string of performances at a planetarium, film festival and ice rink. It seems apt, given the recent shakeup, that the music feels so mind-windingly unsettled. Although wordless, themes of lostness and impermanence meander through the mist.

“There is a search in the music,” Graeme agrees. “Two things I really like in music are repetition and sudden radical change. You express something internal you can’t quite find words for. That sense of journey’s a definite theme that I’ve felt in myself, after years trying to figure out where I’m going.”

“Two things I really like in music are repetition and sudden radical change. You express something internal you can’t quite find words for” Graeme Ronald

Those uncertain travels cover serious ground. In 2006 the multi-instrumentalist began Remember Remember as a solo project buoyed by favours from friends. Without a drummer percussion was staplers, coffee spoons and scissors. After an auspicious debut LP the setup expanded fast until 2009, when Yann Tiersen took a punt on the then-septet and offered a vital UK support slot.

Permanent players have since populated the ranks, and for Graeme, who previously did time with Multiplies and The Royal We, Forgetting the Present finally establishes Remember Remember as a complete unit. “My original concept was a band that anyone could be in,” he explains, “and anyone could come and go whenever they wanted to. But now, with everyone who’s still in the band, I’m just really happy they stuck around, you know?”

In a video-chat window beside Graeme’s and Tommy’s is percussionist Joanne Murtagh, leaving absentees Joseph Quimby (guitar), James Swinburne (sax and keyboard) and drummer Andy

July 2014

Interview: Jazz Monroe Illustration: Emer Tumilty

Brown to round out the lineup. Throughout the chat, Tommy, an art gallery’s technical manager whose latest exhibition scored five stars in the Times, entertains himself by teasing Graeme, the band’s long-suffering uncle figure. (Imagine a well-intentioned child terrorising a cat with a nerve disorder.) Asked about the rest of the band’s creative input, Tommy jests, “Are we allowed to answer that Graeme?” Graeme can barely contain his laughter.

During these exchanges Joanne stays lowkey, sometimes chuckling privately. She has a fond look on her face like, ‘Come on boys’. Outsid e Remember Remember Joanne teaches percussion at a primary school. “Children can be very excitable and a bit mental,” she says of the day job, “so it’s good practice for looking after all these guys.” Coincidentally a disused primary school hosts their Glasgow rehearsal space, an abandoned classroom decorated by a taxidermy warthog and old nametagged coathangers, all of which looks out ten-foot windows and over a screaming 12-lane stretch of the M8. It’s from this elevated position that Remember Remember do their dreaming.

The title Forgetting the Present, which references an obscure performance instruction on a Satie score, signifies, in Graeme’s words, “our battle with the real world... if that’s not too grandiose.” It is, in other words, a fantastical rejection of limitations that restrict artistic idealism. Like predecessor The Quickening, its songs apply old eastern scales, post-rock structures and krautrock propulsion to the entrancing minimalism of Philip Glass and Steve Reich.

But here it feels urgent and proud, almost regal.

From the listener there swells an unshakeable urge to travel in time and overthrow monarchies.

Lead track Magnets has an air of ambient mysticism, its eerie medieval undercurrent gracing the fringes of David Bowie’s Berlin period.

The record materialised at Castle of Doom, a studio co-owned by Mogwai and in-house producer Tony Doogan. It’s cliché to hype the Scottish music scene’s camaraderie, but few bands illustrate it like Remember Remember.

Featured on earlier records were Graeme’s Multiplies partner James Hamilton, now of Errors, and beloved songwriter RM Hubbert.

Via longstanding member James Swinburne, a sometime Belle & Sebastian collaborator, that legendary group’s rehearsal space is also open to Remember Remember during downtime. “Oh, and we got Stuart Braithwaite doing handclaps on the first record,” remembers Graeme. “Which puts me in mind of the Beach Boys getting Paul McCartney to chew celery on Vegetables.”

To minimise studio costs, Forgetting the Present’s two-week gestation involved serious shifts in recording booths strewn with e-cig supplies and marker pens. Says Tommy, “We recorded the album twice as fast as we would’ve had we been smoking.” “In the past we’ve never had music left over,” Graeme elaborates, “but this time we did, from the time we saved not having fag breaks. I don’t think it’s too grand an exaggeration to say that recording this album saved our lives. It’s saved me some money, anyway.”

What went on the whiteboard? “The whiteboard’s a sacred thing,” Tommy asserts, “it’s not a thing to be abused. I mean, that’s our ticket to ride. It’s such a privilege to be able to record in a proper studio with a proper Tony – none of your pretend Tonys. We were very conscious of making the most of our time, and making good on our record label’s trust.”

“That’s the thing,” Graeme agrees. “When someone is essentially paying you to do this, that’s one situation where it’s like, This is alright,

y’know? We complain about how hard it is, but that’s one real amazing advantage. We have a label that pays for us to record, which is something that should never be taken for granted.”

“The first week was really intensive,” Tommy recalls. “I think Joe Quimby, the guitarist, won the prize for most first takes on the final record.”

“Everyone got rapped on the wrists when they made mistakes,” adds Graeme, grinning. “Joanne got her teacher voice out and chastised us.”

The result is a refinement of the traditional style of 2011’s The Quickening. But as much as it evokes various folk musics, Forgetting the Present feels pan-global, its roots interweaving under the ocean and connecting continents. The result, intriguingly, is a music of homelessness; its worldly influences surge together and whip up an aural hurricane, whisking you away and into the ether. Is there a political or social frustration driving the band?

“Well, we’ve got a pretty strong sense of what’s not cricket,” answers Tommy, before Graeme finishes, “But I don’t think any of us are out there protesting. Still, some of that [awareness] is reflected in the music. There’s anger, there’s frustration. I’m just not politically and socially aware enough. Although I’m angry at injustice and a lot of things about the way the country

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is, I don’t really do anything about it. But the last thing I would want is for the music to be considered just background music, passive.”

“I suppose,” Tommy goes on, “that in repetitive or progressing music – not progressive, that’s a dirty, stinking word – there’s that idea that you repeat an action or you repeat a day or you repeat a process. But you try and do it better the next time, see what the difference is, do it again.

And then over time, you think you’re doing the same thing but you’re not.”

“You’ve progressed,” Graeme concurs, nodding.

“And sometimes it’s a bit more productive than constantly changing direction.”

On record these journeys lead, eventually, to a sort of melodic settlement, even if it’s a long way from home. “You try and make something beautiful,” concludes Graeme. “There’s a lot of chaos, and by organising music, arranging music, for me it helps deal with the chaos. And hopefully people hearing it are finding something that speaks to them. Often things aren’t clear, but maybe you hear some music you relate to – you’re communicating with people in that way. Making the world make a bit more sense.”

Forgetting the Present is out now via Rock Action www.rememberrememberband.blogspot.com

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Back to Reality David Gordon Green has one of the strangest CVs in Hollywood, easily switching from lyrical drama (George Washington) to goofy stoner comedies (Pineapple Express).

He’s back in a more contemplative mood with Joe, a lived-in slice of American Gothic muscle.” Green was drawn to Joe’s star Nicolas Cage, in part, because of his similar career trajectory. “I just think somebody that has that weird career, is somebody that has the complicated levels and layers of Joe,” he says of Cage.

“A lot of movie stars, once they’re accepted at something, won’t mess with it. He’s constantly willing to go out on a limb and challenge that, and I think that’s exciting. I like to do that as well.”

“T

hat dog is an asshole!” Joe (Nicolas Cage) declares mid-way through David Gordon Green’s Southern crime drama, when the vicious beast bares snarling teeth and bars him from entering his favourite local brothel. Later, in the film’s most arresting sequence, Joe sets his own French bulldog on it in a fight to the death, sublimating his own desire to kill. The scene serves as a central metaphor for Green’s film: dogs (a favourite subject of the director) are our closest animal allies, the most domesticated of beasts, but they’re just as easily capable of tearing us apart when backed into a corner or abused. Or even, like true assholes, just because they feel like it.

The ostensible hero of the film, Joe is most certainly an asshole, and one often without cause, like his whorehouse canine nemesis.

Struggling to control his impulse to continually lash out at the world and blow up his own life, Joe is plunged into an existential despair he thinks only sex and booze can quell. Green, however, seems like the quintessential amiable guy, just excited to be getting the chance to do what he’s doing. But he admits he has some of Joe in him, like we all do. When pressed about the idea of suppressing the beast within the man – whether it’s something that’s even possible, and whether it denies basic human nature – Green is circumspect. “Wow, man, we need a few drinks at the bar to talk about this,” he offers with a chuckle. “To me the whole movie is like – I mean, you have that, I have that, Joe fucking certainly has that – how do you juggle who you are with your community’s laws and your culture’s expectations of you?”

Green knows a thing or two about cultural expectations. He first burst on to the indie filmmaking scene with his 2000 debut, George Washington, a stunning, near-perfect film about youth on the economic fringe of Southern US society, which won the New York Film Critics’ award for Best First Feature and the Discovery Award at the Toronto International Film Festival. At turns deadpan funny and harrowing, with exquisite naturalistic cinematography from his now-longtime collaborator Tim Orr, the film announced Green as an heir to the likes of Terrence Malick (who produced his third film, 2004’s Undertow).

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But unlike that filmmaking legend, Green had an obvious sense of humour, and seemed more content to study the roots of terrestrial human relationships than what happens in a more spiritual realm, above the tree branches.

“I like weirdos. I like outcasts. I like places around the corner and down the street that you have to kind of like, hold your breath when you enter,” he says. “I like when you take a little bit of the polish off people and their places.” Green himself might not be a weirdo, but his career trajectory is most certainly strange. After following up George Washington with a few moderately successful indie dramas (All the Real Girls, Undertow, Snow Angels), he scored his biggest hit to date, the uproariously funny doper comedy Pineapple Express (2008), and quickly followed it up by co-producing and directing the profane HBO cult sitcom Eastbound & Down (star Danny McBride is an old friend from university). It couldn’t have been a bigger about-face, something Green readily acknowledges.

“I work in a very playful, whimsical way,” he says. “When I’ve done something I try to do something different. I try to exercise a different

“I like weirdos. I like outcasts. I like places around the corner and down the street that you have to hold your breath when you enter” David Gordon Green

While Green says he likes to take “a bit of the polish off” his characters, unfortunately that lack of shine has applied to his own output in recent years. His 2011 studio projects Your Highness and The Sitter were critically eviscerated commercial failures, ironically (at least in the case of the latter) not because of any artistic risk-taking, but out of a slavish adherence to the bland Hollywood ‘product’-by-committee that Green himself despises. When discussing the creative leaps made by the filmmakers of the late 60s and 70s that he so admires, and their subsequent dissolution by Hollywood, he is noticeably dismayed. “We’d betrayed everything we’d learned and started making everything that was an action figure and a franchise, and everything had a commercial polish,” he says. “And so, when you go to the movies now, you’re buying a product. You’re getting on the assembly line and you’re taking a ride with the toys.”

Perhaps he feels a bit burned and is just too genial to admit it, because Green’s last two films,

Interview: Michelle Devereaux the charming, contemplative and quirky Prince Avalanche (2013) and now Joe, mark a return to his filmmaking roots and a return to form (although he has yet to re-attain the heights of his debut). Green denies being an auteur, deriding the entire concept.

“Nic [Cage] actually, he looked at me and said, ‘You’re a character-actor director. You like to disappear into your work,’” he recounts proudly. But his characteristic early thematic and stylistic preoccupations are all over the film: the outside (nature) invading the inside (both figuratively and literally), a heightened sense of naturalism nearing the sublime, animalistic masculinity, love as an emotional brutality, a diffuse episodic narrative leading to a decisive moment, children and animals (the latter, and sometimes the former, as both companions and meat).

Above all, Green desires to find the humane in the horrible, baring a seed of hope nestled in diseased, rotten fruit. That’s personified in Joe

by Wade, the vicious drunk and Joe’s chief antagonist, played by Gary Poulter, a homeless man discovered in Austin who sadly passed away a few months after filming. After seeing Poulter teaching people to breakdance on set, he decided to integrate it into the film. “I was like… let’s have the villain have a side of humanity,” he explains.

“Let’s challenge our perception of this guy and like him for a second. Similarly, Green gave nonscripted direction for Poulter to place a tender kiss on the forehead of a fellow drifter he’s just robbed and murdered. His penchant for ad-libbing makes sense given his affection for human foibles and oddball connections.

Green’s next film will be another antihero drama, the Al Pacino-starring Manglehorn, but he’s also got more comedy in the works, including a television collaboration with his own personal career hero, Steven Soderbergh, called Red Oaks.

Whatever he does, Green will most likely continue to make a career out of keeping it weird, like any true iconoclast. “Sometimes you just say it out loud and you put your foot in your mouth, and sometimes you say it out loud and get in trouble,” he muses. “And sometimes you say it out loud and people say you’re a genius. You never know, man.”

It seems for Green, the not knowing – just being in the moment – is the whole point. “There are no rules. There really aren’t,” he declares. Spoken like a true nice-guy antihero.

Joe is released 25 Jul by Curzon Film World

David Gordon Green

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Ten Years, Ten Plays, Ten Questions A theatre festival dedicated exclusively to new writing and emerging artists is a brave concept, but those who take a chance on 24:7 can expect to reap rewards. This year’s writers offer insights into their plays

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hen David Slack devised 24:7 theatre festival, inspired by the creative vibrancy of Edinburgh Fringe, it is fair to say he did not envisage a decade of success.

Presenting new writing and untapped acting talent, 24:7 promised to provide a showcase for original and stimulating theatre, performed in unconventional venues in the heart of Manchester. A home-grown festival sculpted by determination and creative ingenuity, it celebrated its first birthday in 2004, and Manchester watched as the festival infiltrated the city’s bars and clubs.

How time flies. Now a National Portfolio Organisation, with continued support from Manchester City Council and a number of awards and accolades, 24:7 has cemented a national reputation as an important and influential theatre festival.

Omitting the usual array of world premiere productions, this year’s tenth anniversary programme calls for celebration, inviting audiences to participate in rehearsed readings, examine scripts in development, and embrace a host of extra events – including, of course, an obligatory birthday party – featuring emerging artists from across the region. Over the course of eight days, ten pieces of intemerate theatre are offered to a hungry audience ready to discuss, dissect and devour.

Ten years, ten plays... what better way to introduce this year’s programme than by asking the ten writers – you guessed it – ten questions?

pass’ – when someone crosses that boundary and attempts to seduce someone.”

Stuff by Mick Cooper: Life, death, family, friendship and all the stuff in-between.

Choose one line that you feel best summarises your play.

“Toby, in response to Xav saying he wanted ‘to give something back’: ‘When people say that, they mean throwing out old Spingsteen albums. What they don’t mean, and this is very important, is palming off your semen to close friends.’”

“I’m hoping we'll be able to create something atmospheric and unusual”

Interview: Alecia Marshall Illustration: Anthony Jaycott

watch the play take shape, the more I realise the experience is simply human. The play raises questions about labels that are difficult to escape from such as gender and age. Lisa is a woman in her 40s, but does she feel like a woman in her 20s? Does she sometimes feel like a man?

Who holds authority on how we should feel anyway?”

The Tongue Twister by Luke Walker: To rhyme is sublime and should not be a crime.

Describe the opening of The Tongue Twister.

“The play opens with the myth of The Tongue Twister: if anyone accidentally rhymes they must pardon themselves by saying, ‘Pardon the tongue that sung / It’s a crime to be rhyming / One twist and you’re miming / Oh pardon the tongue that sung!’ We see what happens if you don’t!”

Anonymity by Gareth George: A basement divided by trust, isolation and chalk lines.

Gareth George

In My Bed by Rebekah Harrison: A fractured love story.

How does the venue compliment your play?

“Anonymity is performed in ‘The Basement’ which fits perfectly with the narrative of the play, which watches two men on a job in the basement of an abandoned building. It should feel quite isolated down there as it’s removed from the rest of the festival. I’m hoping we’ll be able to create something atmospheric and unusual to watch.”

Pass by Naomi Sumner: There are some mistakes you can’t cross out.

Describe the set of In My Bed. “Our set is like our story: ‘fractured’. We have the central piece – a bed – that has a hollow metal frame and is like everything else in the bedroom – incomplete.”

Why have you chosen Pass as the play’s title?

“I chose the word ‘Pass’ as it has several meanings which tie in with the play’s themes. Most obviously, Jake wants to ‘pass’ his exams and also sees qualifications and education as a ‘pass’ to a better life. Then there is the idea of ‘making a

To the Dam by John Clarke: One character’s journey of self-discovery that is just beginning.

The Box of Tricks by Ric Brady and Stephen M Hornby: A box reveals a brother’s past.

Who is this play written for?

Describe your principal character. What should “I wrote To the Dam to offer a different perspective of a woman’s experience, but the more I we know about them?

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Three Women by Mari Lloyd: Three women say goodbye to a life that never was.

Where did the idea for Three Women originate?

“An image of three women going to a funeral. They were angry with each other. I had to find out why.”

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“Mike helped support his younger brother after their parent’s divorce. He has a great sense of duty and would do anything for his family.

However, he can also be spiteful, and cannot help but hold a grudge against those he thinks have wronged him.” (Ric Brady)

Afterglow by Julie Burrow: The story of Her and Him. Their relationship, their memories.

What can an audience expect from Afterglow?

“Afterglow shares how a relationship is built together. It is a very honest reflection on relationships and how memories are formed, both the good and bad. Her and Him both ask questions that many of the audience will have asked themselves in their own experiences, which gives it a universal appeal. It moves unconventionally between different times and locations so it keeps the audience on their toes, while inviting them into the spaces that comprise the narrative.”

The Lives and Loves of Vera Dymond by Jayne Marshall: Behind that smile and acid tongue, lies a broken heart.

Why should an audience buy a ticket for this play?

“While this play is not a musical, original music and lyrics have been written specifically for the play, which I believe is the first time a 24:7 play has ventured down this route. It’s a big dipper of a ride: it packs a punch but there is plenty of humour. For those familiar with the Blackpool scene of the 70s and 80s, it can offer a bit of nostalgia, and for those who aren’t – well, come and see!”

The 24:7 theatre festival takes place in New Century House, Manchester, 18-25 Jul Tickets are £8 full, £6 concession. The rehearsed readings and extras vary; some are free More information regarding all ten productions can be found on the 24:7 website www.247theatrefestival.co.uk

THE SKINNY

Programming the Future An immersive show at the Bluecoat, a carnivalesque performance at Everton Park and an adventure game? All in a season’s work for Hope Street’s Emerging Artists Programme. Laura Cockett and John Leyland discuss the impressive initiative Interview: Alecia Marshall

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rior to an enlightening half-hour phone conversation with project producer Laura Cockett, I will readily admit to underestimating both the scale and merit of Liverpool’s Hope Street Emerging Artists Programme. “And it costs nothing at all to participate?” I ask, finding the idea of a free, five-month training programme specifically for developing artists simultaneously incredulous and admirable. “Nothing at all?”

I end the call with new-found regard for an organisation that to my knowledge – and I have done my research on this one – has no counterpart in providing intensive, tangible experience for those looking to forge a career in a multitude of artistic disciplines.

“We are interested in taking risks,” says Cockett. “We want to do things differently.”

Celebrating their 25th anniversary last October, Hope Street have long demonstrated a commitment to the development of fresh talent, running various forms of emerging artists programmes and aiding the evolution of new art forms. Responsible for the initiation of some of Liverpool’s most groundbreaking theatre companies (including the force behind Physical Fest,

Tmesis), Hope Street’s reputation for success is indubitable.

The only cultural organisation in the UK that trains, nurtures and develops emerging artists irrespective of age, educational background or artistic practise, the Emerging Artists Programme welcomes a diverse range of applicants: “Our 2012 programme included somebody with a physics PhD who wanted to move his life in a different direction. The programme prior to that included a grandad!”

This year’s programme is comprised of 25 emerging artists who occupy a number of roles, including a musical designer, participation coordinator, film-maker and digital artist. “The roles vary each year,” explains Cockett. “This year we have recruited a digital artist – a role we have not worked with before. We recognised the growing relevance of the role and the value it brings to an artistic project and found a way to support and facilitate it within the programme. We are always very careful that we do not create roles that we cannot provide real development for.”

Attached to each programme are a number of artistically ambitious public performances,

Hope Street Emerging Artists Programme

carefully devised to offer not only maximum development potential for the emerging artists but audience enjoyment. This year’s programme is compiled of an immersive theatrical experience at the Bluecoat, a carnivalesque performance at Everton Park and a ‘live-action adventure game’ that weaves its way through Liverpool’s most iconic buildings, all three events invite their audience to relinquish their inhabitations and connect with the action.

“All of the pieces are site-specific,” says creative producer John Leyland, “and that can be a tricky way to work. We have a responsibility not only to the development of our emerging artists but also to the public – the performances must be high quality and accessible.”

For the many merits of such an interactive programme there are the inevitable difficulties.

“In a black box theatre space you are in control of your environment. It is much more malleable in that sense. Working site-specifically it is about

finding things that are unique and incorporating and responding to those elements appropriately.

That is the challenge for our emerging artists.”

Providing 12 months’ additional support and aftercare to programme participants, including free rehearsal space, loan of equipment and costumes and mentoring, Hope Street remains long after the production has ended.

“We retain lifelong relationships in some ways,” says Cockett. What more could you ask for?

Hope Street’s Emerging Artists Programme runs biennially Jun – Nov. This year’s productions are as follows:

Sense & Sustainability, the Bluecoat, 19 Jul Spring Heeled Jack, Everton Park, 31 Aug Race Against Time, an adventure game taking in some of Liverpool’s most iconic buildings, 27 Sep www.hope-street.org

Causing a Scene Looking for a pre-Edinburgh warm up? Shiny New Festival is on hand to assist with an impressive programme of fringe performance. Director Peter Mitchelson hopes it will become the cornerstone of an expanding scene Interview: Alecia Marshall

Scottie Road The Musical

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t Liverpool’s Lantern Theatre, marketing manager Siobhan Noble and Shiny New Theatre director Peter Mitchelson are talking quietly, mirror images hunched over matching laptops and ruled paper. Their conversation is consumed by the rapidly approaching Shiny New Festival: “Next year we are thinking of beginning a process where people can apply to be involved,” explains Noble, punctuated by an enthusiastic nod from Mitchelson. “This whole thing began via word of mouth,” he interjects, “but it is beyond that now.”

Entering its third year, Shiny New Festival has indeed grown at impressive speed. An idea conceived by Mitchelson in the wake of his annual Edinburgh trip, the festival spans seven days and offers an impressive programme. “I was taking shows to Edinburgh Fringe year after year, to Brighton and Buxton – all of those kinds of places, and I loved the vibe. Liverpool had nothing.

Jollyboat had just won a Musical Comedy Award,

July 2014

but what could they do with it in Liverpool? Shiny New was a reaction to that.”

Offering valuable exposure to both emerging artists and established fringe performers, Shiny New brings a much needed edge to Liverpool’s concentrated theatre scene, inviting local audiences to sample a taste of the fringe without the four hour train journey. “There is a huge amount of talent taking their work away from our city; why not allow them to preview it here?” Mitchelson says.

It is a rhetorical question, and one that hopefully pre-empts the continued evolution of Liverpool’s theatre scene – and it has evolved. A mere four years ago the existence of a dedicated fringe venue within the city seemed a utopian dream to performers forced to produce their own work in often unsuitable and undesirable locations. The opening of the Lantern Theatre changed that, armed with a vision to support local artists and the perfect space in which to do it. “Shiny New is the epitome of what we do at the

Lantern,” says Noble, the business brain of the family-run theatre. “It is what we are about.”

“Shiny New had to happen here,” Mitchelson says, gesturing to the intimate confines of the converted warehouse. “Where else would it work?”

In many ways the festival is a nod towards the success of the Lantern: there are few – if any – independent theatres who boast the addition of an annual in-house festival. While external funding may be the elusive goal of most arts establishments, the Lantern is content with its position: there is no question of artistic compromise. “Nobody can tell us what we can and cannot put on,” grins Noble. “We like that.”

This year’s festival opens with a trio of plays – all three are examples of new writing, and one is a preview performance of a script chosen for the succeeding Manchester’s 24:7 theatre festival.

These are followed by a host of Edinburgh-bound comedians, award-winning comedy rock stars Jollyboat, and a musical misadventure dubiously

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titled Scottie Road The Musical. “I’m most looking forward to Wednesday’s programme,” Mitchelson confesses with little hesitation. “We begin with Three Women – a pretty serious play – before moving on to Scottie Road the Musical and finishing with Jollyboat.” Now, if that’s not fringe…

Noble is keen for the festival to spread its wings, outlining an event that occupies more than one venue – “not just a Lantern thing but a Baltic Triangle thing” – though both recognise the fundamental difficulties of Shiny New’s development. “This festival can only grow if Liverpool’s fringe scene grows,” admits Mitchelson. “We essentially need to establish a scene.” A daunting task – but between them, they just might do it.

Shiny New Festival runs from 14-20 Jul at Lantern Theatre, Liverpool For full details, including times and ticket prices, visit the Lantern Theatre website Discounted multi-passes are available for a limited period only www.lanterntheatreliverpool.co.uk

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Jupitus Ascending This month, Phill Jupitus brings two shows to the Greater Manchester Fringe, one of which features him as his alter ego Porky the Poet.

Naturally, we interviewed him – and he answers – in rhyme and haiku

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hill Jupitus is a tireless workhorse, with each of his fingers thrust firmly into a differently flavoured creative pie. In the summer months he flits maniacally between comedy festivals, like a gigantic bearded butterfly.

He brings to the Greater Manchester Fringe not one but two shows. One is a set of straight and heartfelt stand-up, entitled Shirking Progress; the other, Juplicity, features him as his alter ego Porky the Poet.

He’s a very busy man, in other words. He’s got an awful lot on.

“Let’s see if he’ll squander some of that valuable time / humouring an idiot who shares his fondness for rhyme,” was the thinking behind this interview. And, as it turns out, he will indeed.

The comedy festival season is here, Most notably (though our bias is clear) The Manchester Fringe, where you play twice – Aren’t you greedy! Would once not suffice?

Twice a night if truth be told No oversight (I make so bold!)

The reason that I’ve gone to town I am both poet and a clown You’re a known aficionado of Edinburgh’s Free Fringe, Which paints the affair with a celebratory tinge.

Would you like greater emphasis on providing

Interview: Debs Marsden

free events: Giving fun to one and all, and filling massive tents?

I have always held the view A festival’s just that So celebrate the things you do Don’t be a greedy twat

Which do you write with relative ease, Or are they simply comparative?

The poetry demands more time And mute consideration.

Though stand-up functions without rhyme It still needs inspiration D’you prefer stand-up or poetry?

(Though they both sing a similar ode) And how different are the audiences On whom they are bestowed?

Doing both shows at Edinburgh Would no doubt be tough enough, But have you conjured extra time To do some other stuff?

I value both as equals In my mind quite chaotic They aren’t each other’s sequels More, relations symbiotic

I must confess it’s THREE a day Rather than just the two I like to play the Fringe that way And vary what I do

Throughout a life spent treasuring words – Shaping, then spewing them true – In both comedic and poetic terms: Who has influenced you?

The third show is a love of mine To copy down fine art The galleries are so sublime The work speaks to my heart

Right off the mark John Cooper-Clarke I saw him as a teen Hair and shades and suit so sharp Funny, fast and lean

On my iPad I will draw This humble tribute sketcher And at week’s end open the doors Upon our short art lecture When approaching the task of bending your words, To rigid meter, or flexible narrative,

Horizons broadened As I aged I thought tradition dud.

Back in those days, loved LKJ Adored Dread, Beat an’ Blood.

In comedy when I was starting I held a torch for mad Steve Martin Stylish, brilliant, slick and daft Never so much had I laughed

“Words are my playground” Phill Jupitus

When writing rhymes, is there a mindset?

A zen-like state where all is calm, Where couplets never struggle And plucked from ether, fall to palm?

I always carry a pencil, propelling In case I am struck by a notion compelling If paper I lack, around then I look (I’ve been known to write in others’ books!)

Is there nobler cause at all, Than to gift verse to the common man?

Ignorance can otherwise thrive Of coupled words that nicely scan.

The beauty of prose can be startling, So it seems to me uncouth To cast verse as naught but a goodly excuse To use words like ‘forsooth’.

Poems or prose Sit in sweet repose Language can seduce (Dependent on use) Some may deplore us For use of thesaurus

With real joy This I say now Words are My playground In times of recession, with right-wing ‘oppression’, As liberals seethe red hot and glower: Is there as much work for left-wing punk poets, As when Tories were last in power?

Right-wing administrations May cause consternation But this then makes art Wake up with a start One has to love Action in traction; What reactionaries loathe Inspires our reaction In poetic worlds, The haiku is a great pre -tender. D’you agree?

That took liberties With a pure Japanese art You should be ashamed.

How many years of musical service As the captain of a quizzical team Does one have to put in on Buzzcocks, To qualify for the Chelsea Pensioner scheme?

(Where you while out your days being pushed In a carved wicker bath chair By progressively younger comedians With taller and taller hair.)

The deal I made with myself Was ‘Do it, if you love it.’

And it is still big fun to do So I won’t yet say ‘Shove it!’

Stand-up, poetry, panel shows, A radio spot or two, Glorified shouting in punk bands, And musical theatre too – It’s clear your disposition is never to say: ‘C’est tout!’

Is there anything you’d like to try, Yet haven’t had chance to?

This thought to me is elementary To direct a documentary Plucked from life’s great offerings, ‘Twixt woeful depths and joyous highs, Sweet mundanity, or grand occasion: What prompts your happiest sighs?

As I grow older And others bolder Happiness is found Travelling round The world is vast One’s view should cast Further afield To newness yield With people, places, things, ideas I’m cramming my remaining years (Oh my...

I forgot ‘pie’) Phill Jupitus will be at The King’s Arms, Salford, 8 and 9 Jul: Juplicity at 7.30pm, and Shirking Progress at 9.30pm @jupitusphillip

Phill Jupitus

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THE SKINNY

The Little Theatre That Could Placed just 17 miles from Manchester and 30 from Liverpool, Chorley Little Theatre – under the direction of Ian Robinson – is giving the big boys a run for their money. Catch a number of Edinburgh previews in the Lancashire picturehouse this month Interview: John Stansfield

W

hen thinking of comedy and Chorley you probably jump straight to the crass slogan attributed to its local radio station by Bolton’s favourite memory bank Peter Kay in his show Phoenix Nights. And though Mr Kay may still be plumbing the same depths he always has, it’s Chorley and indeed its Little Theatre that has taken great strides in reinventing itself as a comedy fan’s paradise, booking acts that might not even play in Manchester or Liverpool into a theatre with a 236 capacity simply because they like to play there.

In May, John Bishop did a five-night run at this little playhouse, the aggregate of these five sell out shows still just over half of the capacity of the Preston Guild Hall. Richard Herring often eschews the big city gigs, preferring to do one-offs at clubs such as The Frog and Bucket when in Manchester, but still heads to Chorley Little Theatre whenever he tours the country because of the good audience and intimate surroundings of what is a proper old-fashioned theatre. Chorley Little Theatre’s Ian Robinson describes Herring as their “good luck charm,” as, once he was booked, the rest came knocking. And then knocking again. Robinson explains that “because there’s limited space for comedy, I get to choose what I actually like.” Thankfully,

Mr Robinson has great taste; in the last month both Mark Steel and Robin Ince have performed.

“I’m not sure if Chorley is entirely ready for Robin Ince, but I just put him on anyway. This [was] his third time playing here.”

Starting life in 1910 as a cinema, Chorley Little Theatre was one of many picturehouses in the small Lancashire town, but it stood out from the pack with its pioneering use of 3D films back in the 1950s. With the advent of television, though, cinemas across the country struggled, and in the 1960s the Chorley Amateur Dramatics and Operatic Society (CADOS) took over the theatre to stage plays, musicals and indeed operas for those looking to leave the gogglebox in their front room.

It wasn’t until March of 2009 when the roof of the pre-Great War building came in that the volunteers of CADOS had to reconsider their business model. Closing for three months, it was CADOS’s chairman, the aforementioned Ian Robinson, who had the brainwave of introducing comedy to the theatre and indeed to Chorley (there is no comedy club at present in the town; fans have to make the trip to Preston Guild Hall to get their fix). In this way they hoped to squeeze in more shows around the six or seven plays CADOS puts on throughout the calendar

Chorley Little Theatre

year. Also, comedy doesn’t take much setting up. All they’d need was a stage and a mic, as opposed to the 250 technical cues of the theatre’s recent stage production of The 39 Steps. After Richard Herring was in, word started to creep around the comedy circuit about this great little gig in Lancashire. Chris Ramsey, Alex Horne, Greg Davies, Jenny Eclair and many more have all been privy to the amazing rider of ice cream and Chorley cakes.

Due to the volunteer-run nature of the venue, it seems very much like a family affair, with a welcoming vibe that is more accommodating to new ideas than one would think when picturing a small town in the heart of Lancashire. This summer sees Chorley Little Theatre putting on Edinburgh preview shows for the first time, with a wealth of talent heading to the town. “It’s a great venue for long form story-telling, so works much better for full hour-long shows than just short sets,” Robinson says. Testing the waters of Central Lancashire, and their Edinburgh Fringe pieces, are Dan Nightingale, Carl Hutchinson, Andrew Lawrence, Joel Dommett, Fin Taylor, Gavin Webster and James Acaster (who, after

having his 2013 Fringe appearance cut short by back problems, will certainly be one to catch) – a veritable who’s who of the new wave of UK comedy.

Also previewing their Edinburgh material are a sketch act you may have heard us banging on about in the past, Gein’s Family Giftshop.

Robinson isn’t sure how their dark and despicable skits will go down with the Chorley crowd, but after telling him they have been likened to masters of the mirth-macabre The League of Gentlemen, Robinson is more than sated, telling us that founder member of the League Steve Pemberton made his first appearance on that very stage in a 1993 production of The Diary of Anne Frank.

Seems Chorley has been promoting great comedians for longer than we realised.

Chorley Little Theatre, Dole Lane, Chorley, Lancashire, PR7 2RL Previewing their Edinburgh Fringe material will be: Carl Hutchinson & Gavin Webster, 6 Jul; Fin Taylor & Andrew Lawrence, 26 Jul; Gein’s Family Giftshop & James Acaster, 27 Jul www.chorleylittletheatre.com

The Way of the Dragons Four years on from its release, How to Train Your Dragon feels like a classic, able to stand shoulder to shoulder with the best of Pixar.

We speak to its director Dean DeBlois about the sequel, which premiered alongside the art-house crowd at this year’s Cannes Interview: James Mottram

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prawled on a sofa in Cannes’ Carlton Hotel, Dean DeBlois is big and bushy-bearded – not exactly how you might imagine one of Hollywood’s most in-demand animators. Then again, appearances can be deceptive; just look at his 2010 film, How to Train Your Dragon. Adapted from Cressida Cowell’s long-running series of children’s books, this seemingly formulaic-looking tale of a Viking boy named Hiccup and the mythical fire-breather Toothless he befriends surprised everyone.

Co-directed with Chris Sanders, with whom DeBlois made the underrated 2002 cartoon Lilo & Stitch, HTTYD took almost $500 million at the box office. Immediately, a spin-off television series, DreamWorks Dragons, was put into production, while DreamWorks Animation head Jeffrey Katzenberg called for a sequel. With Sanders off making prehistoric cartoon The Croods, it was left to DeBlois to go solo on How to Train Your Dragon 2.

Thankfully, he came up with something rather more imaginative than the sequel’s perfunctory title. “I told him [Katzenberg] I was keen

July 2014

on it if he would consider it being a trilogy,” says the 44-year-old DeBlois. “So it doesn’t feel like an arbitrary random next adventure with the same five or six characters. It’s now a seemingly necessary evolution in Hiccup’s coming of age, and so by introducing five years later, we get to see him at a different period in his life.”

While DeBlois confesses that the classic Star Wars sequel The Empire Strikes Back was an inspiration, this latest adventure deepens the story, as Hiccup (again voiced by Jay Baruchel), his friend Astrid (America Ferrera) and Toothless venture from the Viking village of Berk, overseen

by Hiccup’s father Stoick (Gerard Butler), to discover an island haven full of dragons. There they meet Valka (Cate Blanchett), a dragon-rider and protector, who boasts a deep, personal connection to Hiccup.

With Blanchett affecting a spot-on Scottish accent, it continues the franchise’s Celtic theme.

“It comes from Cressida Cowell,” informs DeBlois.

“She lived in London, but she spent her summers on a remote island in Scotland [a tiny uninhabited

How to Train Your Dragon 2

isle, owned by her father, off the west coast], so she was well aware of the Viking presence there. She always imagined Stoick to have a thick Scottish brogue. So when we cast Gerard Butler, it set a standard for the adults.”

Like fellow animator Brad Bird, who went from Pixar’s The Incredibles to directing Mission: Impossible – Ghost Protocol, the Quebec-born DeBlois still harbours dreams of moving into liveaction. Post-Lilo & Stitch, he sold three projects to the studios, all of which stalled. “It’s still an ambition of mine,” he says, but adds that the crossover between the two mediums is such that he’s able to enjoy many of the experiences that his live-action counterparts take for granted.

Indeed, from working with a double Oscarwinner like Blanchett and acclaimed cinematographer Roger Deakins (a visual consultant on the film) to taking advice from Steven Spielberg,

FILM

DeBlois is in a far more fortunate position than most. “These are all things that in your fantasy of live-action would be ideal,” he says. The only problem is he’s now got to deliver a conclusion to the trilogy. “The pressure to get the third one under way is palpable,” he sighs.

Thankfully, while the films have departed from Cowell’s books somewhat, the author has signposted DeBlois towards wrapping it all up. On one of her visits to the studio, she told him that by the end of her ongoing series of books “she was going to explain what happened to dragons and why they are no more.” It fired his imagination. “Where they’ve gone, and what happened to them, will be revealed,” he promises. Game of Thrones eat your heart out.

How To Train Your Dragon 2 is released 11 Jul, distributed by 20th Century Fox

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First Prize: £10,000*

The Manchester Writing Competition 2014 Manchester Poetry and Fiction Prizes

Under the direction of Poet Laureate Carol Ann Duffy, the Manchester Writing School at MMU is launching the 2014 Manchester Writing Competition. The Manchester Poetry Prize will award £10,000* to the writer of the best portfolio of three to five poems (total maximum length 120 lines); the Manchester Fiction Prize will award £10,000* to the writer of the best short story of up to 2,500 words in length. The competition is open internationally to both new and established writers aged 16 or over.

Judges – Adam Horovitz, Adam O’Riordan and Clare Pollard (Poetry). Christopher Burns, Claire Dean and Nicholas Royle (Fiction). The prizes will be awarded at a gala event hosted as part of the 2014 Manchester Literature Festival.

For further details, to enter online, or to download a printable entry form for postal submission, go to: www.manchesterwritingcompetition.co.uk … or contact the Manchester Writing School at MMU on +44 (0) 161 247 1787/1797; writingschool@mmu.ac.uk Deadline for entries: Friday 29th August 2014 *Terms and Conditions apply.

See: www.manchesterwritingcompetition.co.uk Entry fee: £17.50

Our free* courses will sharpen up your urban cycling skills and give you the freedom to cycle safely

bikeright.co.uk/freewheeling

See website for details

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@bikerightUK THE SKINNY

Old Dog, New Tricks If the notion of a videogame soundtrack floods your mind with bleeps and bloops, it might be time to wrap your head around Watch Dogs – a progressive score for a cutting-edge game. We ask Brian Reitzell about his unorthodox path to becoming its composer hink carefully about your career. Plan what you want to do with your life. Have goals and ambitions. Don’t squander your time with videogames. It’s advice we’ve all heard in some form or other over our lifetimes. However, it’s not advice that Brian Reitzell has particularly followed and yet the former rock drummer now finds himself as a pretty hot ticket composing music for film, TV and, yes, videogames. Having come to prominence scoring 2003’s Lost in Translation, and more recently putting his touch to the acclaimed Hannibal television series, Reitzell seems to be in something of a purple patch, cemented by his stunning and progressive work on Watch Dogs, one of this year’s biggest and most anticipated games.

“I’m really not someone who plays videogames, because my job is like a videogame,” laughs Reitzell when The Skinny asks about his gaming credentials. “I sit at my computer with all this equipment trying to make it work, to fit into whatever I’m scoring at the time. It’s like the best videogame ever.” With indie games covering topics as diverse as playing a fictional immigration officer to controlling a set of self-aware, artificially intelligent, polygonal shapes, we suggest to Reitzell that perhaps such a game could exist.

“Yeah, then I could soundtrack it,” he laughs.

However, Reitzell didn’t always have such a clear idea of his future path. Back in 1990 the young musician joined alternative punk band Redd Kross as their drummer, a position he held for seven years before deciding to forge his own path. “Redd Kross weren’t my band,” he begins on why he quit the veteran group. “They had been around for over a decade when I joined and eventually I realised I wanted to do something that was completely my own. I didn’t know what that would be, but then Sofia Coppola asked me to help her with the music for her first film [1999’s The Virgin Suicides, for which Reitzell assisted French stargazers Air]. We were friends. I had a big record collection. I used to make mixes and play them while we would hang out. It was an extension of that, really.”

Though The Virgin Suicides was a confident first outing for both, it wasn’t until the pair teamed up again for Lost in Translation that the real acclaim began to emerge. Reitzell, along with My Bloody Valentine’s Kevin Shields, received a BAFTA nomination for his work on the soundtrack. It opened up many unexpected doors for Reitzell, which allowed him to develop his own style. “I was approached to work on a small horror film called 30 Days of Night,” he begins of the offers that came in. “I really didn’t know how to score a horror film but I wanted to do it my way rather than just copy someone like Bernard Herrmann. I didn’t have access to huge orchestras or anything like that so I just had to develop my own way of doing things.”

Reitzell claims that his ominous and brooding score for 30 Days of Night led directly to the offer of his first major videogame project, 2011’s Red Faction: Armageddon. As a reasonably well-received fourth instalment to a fairly nondescript franchise, it was perhaps a good starting point for the new frontier Reitzell found himself in. However, his next major videogame project was certainly quite different on paper. Watch Dogs was pitched as an ambitious, open-world, stealth-action game; a new IP for Ubisoft and clearly one of such investment that a whole new franchise would be riding on its trenchcoat-clad shoulders.

“I went to E3 in 2012 and had no idea what to

July 2014

expect,” begins Reitzell on his first proper look at the game he had been working on. “Up until then it had been called Nexus. I didn’t even know the name had changed until I turned up. I watched it in a small room and was just blown away by the trailer. As were a lot of people, it turns out.”

Indeed they were, and Watch Dogs went on to be one of the most anticipated games of recent times, partly due to its grand, far-reaching ambition and partly because it was slated to be one of the first triple-A releases for the next generation of consoles.

Yet despite being in a strange new world, and with some weighty expectation from notoriously hard-to-please gamers, Reitzell claims no such pressure intruded on his day-to-day work.

“I started with the script,” he says of the process he went through. “That gave me a good feel for the tone of the game and I’m also very familiar with Chicago where it all takes place. I had been thinking of doing something in a krautrock style for a while and felt Watch Dogs would be a good match. At the time, Drive had just been released and that got a lot of attention, but I felt the Tangerine Dream comparisons were a little off.

So that made me really want to do a proper krautrock, early Tangerine Dream score.”

“My job is like a videogame.

I sit at my computer with all this equipment trying to make it work to fit into whatever I’m scoring at the time – it’s like the best videogame ever”

Brian Reitzell

Brian Reitzell

With his ideas in place, Reitzell went to work on recording his score but says he discovered more and more the complexities of making a videogame compared to a movie. “With in-game music, you might know what’s happening in the story or where in the city it takes place but ultimately you have no idea what the player will be doing at that time,” he explains. “So you have to make the music fairly ambiguous. And even with cut-scenes, where you have a visual cue, the early versions would have people with no lips or even no head at times. Things would be edited and changed in ways that just don’t or can’t happen in movies.”

However, just as he claims with his score to 30 Days of Night, adversity bore art and Reitzell’s struggles saw him adopt some clever approaches to the difficulties he faced. “I ended up going

over and above what my remit was,” he admits.

“I’d maybe be asked for a two-minute piece of music for a certain section but by manipulating that piece, by slowing it down, changing octaves and looping it, it would go on for twenty minutes without ever repeating itself. I thought that was important for a game people will be playing for thirty hours or more.”

Delayed for six months whilst Ubisoft tightened the game’s underlying mechanics, Watch Dogs was eventually released in May to record sales and strong critical acclaim. Not least of the plaudits were those for Reitzell’s unconventional, progressive soundtrack and it wasn’t just cyberhacking gamers taking note. Invada Records, a small, specialist label co-owned by Portishead’s Geoff Barrow, release the Watch Dogs soundtrack this coming month, a development which pleased Reitzell plenty. “A mutual friend of mine had been telling me I should meet Geoff for a while and it was kind of on my radar but we both just didn’t have the time. It was pure coincidence that Invada decided to release Watch Dogs on vinyl and CD and a real compliment as they only release stuff they really like themselves.”

With the physical release of game soundtracks something of a rarity, Watch Dogs seems indicative of a maturity within the craft and we’d wager on it being something of a pivotal soundtrack in years to come. On that note, we

MUSIC

quiz Reitzell on some touchstone videogame scores of his own. “Like I said I’m not really a games player but I’d love to do something along the lines of those 8-bit sounds,” he states surprisingly. “I remember Malcolm McLaren playing me all these crazy Game Boy soundtracks and it was quite an eye-opener. Some of those things were as intricate as any classical piece. I’d love to work in that area, do something as a tribute to those classic arcade games like Pac-Man, Donkey Kong and Centipede.”

For now though, Reitzell has just released his debut solo album proper, Auto Music (again collaborating with Shields), and is currently putting the finishing touches to the physical release of his Hannibal soundtrack. After that he has no plans, or is at least remaining tight-lipped, causing The Skinny to ask if, after the success of Watch Dogs, a sequel is on the cards. “Let me tell you, they [Ubisoft] are like the CIA,” he jokes.

“They know how to keep a secret, so no, I haven’t heard anything. But then again, I wouldn’t, not yet anyway. But yeah, if the offer comes up I’d certainly be interested.”

So it continues for Brian Reitzell, then. No firm career plans, no overarching goals, taking opportunities where they arise and absolutely, positively wasting his time with videogames.

Watch Dogs OST is released on 28 Jul via Invada Records www.invada.co.uk

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Photo: Sol Nicol

T

Interview: Darren Carle

Flock Together Process is everything for Julius Steinhoff, co-founder of Hamburg’s Smallville record label. He calls from his studio to discuss vintage synths, the delight of collaboration, and first LP Flocking Behaviour

Interview: Thomas Short

Julius Steinhoff

S

ince its birth back in 2006, Hamburg’s Smallville imprint has quietly gone from strength to strength. Establishing itself with a number of highly respected releases from artists such as Move D, STL and Christopher Rau, the label-slash-store is renowned for an effortless, distinctive sound, combining a certain naivety in its approach towards creating and curating with a masterful knowledge of what constitutes great house music. This aesthetic is visually represented by Stefan Marx’s gorgeous, childlike line drawings, which adorn the label’s records and posters. It’s a perfect fit.

Being concerned with the by-no-means trifling task of running a label, a record store and a series of legendary parties, Smallville’s co-founder Julius Steinhoff has had relatively few official releases to his name. Yet, after a compelling crop of singles and a well-received album – 2012’s Salty Days – produced with label co-founder and the other half of Smallpeople, Just von Ahlefeld, it’s finally Steinhoff’s turn to step to the front with his first solo LP, Flocking Behaviour.

Steinhoff calls from the confines of his tiny 1.5m-wide studio, crammed full of cherished analogue instruments (Roland 808, 909, Juno-106 and the Korg MS2000 for the synthspotters!), which he used to produce the album. In keeping with his vision of his label as a way of producing music among a tight-knit circle of friends, there’s an unmistakable homely feel to Steinhoff’s work.

Bathed in a warm array of pads, and underpinned by a number of rhythmically shifting but reassuringly familiar beats, tracks like Hey You! and Treehouse provide all the fuzzy satisfaction of a big hug.

“As I am using vintage analogue machines, it’s easy to sound nostalgic,” Steinhoff admits, reflecting on the recording process. “But that’s never been my intention. The patterns come from really deep inside me, and the machines are there for twisting knobs so I can physically

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experiment a little more. You get something that you might not expect if you just let it go. I wouldn’t say it’s about being nostalgic, or this whole nostalgic thing that’s going on; I’ve been collecting the machines for a while now, but they are merely tools that allow me to improvise and embrace my mistakes.”

Rather than spending most of his childhood parked in front of a PlayStation, Steinhoff eschewed video games in favour of software interfaces, channelling his childish energy into making music from an early age. This approach still defines his philosophy towards making tracks: “There’s definitely a playful mood in the album, and I think making music is effectively like playing with a computer. Even using basic programs like Fruity Loops as a kid, it was nice to play around and to have a result that I could listen to.”

Perhaps the charming, improvisatory quality of Steinhoff’s music is less a result of a particular attempt to recreate the sounds of classic deep house than his appreciation for the joyful experimentation that many of the artists of this era exhibited, before the scene became known for taking itself too seriously. The dour, moody tag associated with deep house of the German variety, in particular, is certainly one that he and his friends are wary of.

“Dial Records [Smallville’s older sister, run

by Steinhoff’s close friend and mentor Lawrence] always had that title of melancholic house music back in the day, and I think at some points they were a little annoyed by this,” Steinhoff says. “It’s like a [label] that someone puts on your music to say that it’s melancholic, and that you are this specific kind of person. I’m definitely into minor chords and melodies but it’s not about trying to tell something with it, it’s more like a natural process.”

Continually referring to his work using organic metaphors, it’s clear that Steinhoff does not fit the mould of the solitary producer steadily

knocking out tracks from his bedroom. Instead, he prefers to produce music in a more openended fashion, through a non goal-orientated philosophy. He shares this perspective with co-conspirator Von Ahlefeld, which is probably why their collaborations are so frequently fruitful. Future plans include further forays into instrumental territory with another Smallville artist, Hammouda, which may never be released, along with definite plans for another Smallpeople 12-inch.

“I wouldn’t say it’s about being nostalgic; I’ve been collecting the machines for a while now, but they are merely tools” Julius Steinhoff

That some of these collaborations will come to nothing is beside the point, since Steinhoff finds the process itself so invaluable: “I really like doing something with other people because it’s always like a complete other way of sharing things. It’s easy to just go next door, turn on the machines and make a track. Smallpeople is just more fun, it’s way more spontaneous. When you do get the chance to play with other people and get their input it takes you out of your comfort zone,” he enthuses.

CLUBS

Steinhoff remains refreshingly humble about his own talents, and the considerable success that both himself and his label chums are now experiencing. Again, it’s an attitude that he puts down to his formative experiences on the Hamburg scene with Lawrence, aka Peter Kersten: “When I got introduced to Pete, we talked and talked and he eventually invited me to come to his place to get some Dial records. It made me realise we were the same, just musicians, and I was really happy about that.”

Their friendship is also intertwined with the legacy of house music in Hamburg, which becomes obvious as he patiently fills me in on his city’s not so humble musical history: “Hamburg had the Front club, which was the first club to play acid house. There’s some very famous DJs from Hamburg who brought the acid house movement to Germany: they had a very important movement called Container Records. After Container came to an end, and the Front closed down, there was a period of very bad house music in the 90s. Pete always went to the Front when he was really young, and he’s always talking about it. Pete took a lot of that feeling with him into Hamburg’s much-loved nightspot – the Golden Pudel. So, there’s a continuity there. As I’m much younger, both Pete and the Pudel club were major influences when I was growing up.”

The extent to which the city has moved on from the “bad 90s” is evident in the rude health that the triumvirate of Smallville, Dial and the Pudel are all currently enjoying. As the Smallville machine expands, with another store and wildly successful parties happening in Paris and (possibly) beyond, what does Steinhoff reckon is the most important thing behind their success?

‘It’s definitely about friends,’ he considers.

“We planned to launch the store and the label at the same time, but we also realised that you need to have great music to put out before you start a label. A very important point for us was the first album, Move D’s Songs From the Beehive. When that came out, we got so much feedback from all over the world. Move D was really not doing a lot at that point in time, then afterwards he got very big again and started putting out loads of releases afterwards. There was never a master plan, or anything behind it, we just released the music that we liked.”

Steinhoff goes on to reveal that Smallville currently do not listen to demos, preferring to release material exclusively from within their gradually expanding circle of friends. While this recruitment method may strike some as somewhat insular, fortunately their decisions to book and stock white labels from unknown artists from around the globe often demonstrates remarkable willingness to gamble – a tactic that certainly pays off when that unknown artist is Omar S. Booking such a heavyweight at such an early stage in his career is undoubtedly part of the reason why Smallville are so well respected as tastemakers, but it is particularly welcome to hear Steinhoff talk about comparatively unknown Detroit producer Keith Worthy, his current favourite DJ, in the same breath.

So, with a beautifully crafted album about to drop, and a label whose reputation is only growing year on year, it’s not improbable that Steinhoff will soon be talked about in similarly awed tones; it’s a shame he probably won’t notice, though.

Flocking Behaviour is out via Smallville now www.smallville-records.com

THE SKINNY

Paper at the Cutting Edge of Fiction Visionary writer Mark Z. Danielewski on stitching narrative threads, the joy of collaboration, why you’ll never read an e-book of his work, and the loneliness of the young novelist

M

ark Z. Danielewski’s visionary breakthrough novel, House of Leaves, published in 2000, didn’t so much re-write the rules of genre fiction as tear them up, burn the remnants and start over. A dizzying, challenging, often bewildering take on the traditional haunted house tale, and a fractured meta-narrative that unfolded, maze-like, through footnotes, marginalia and distressed, disturbed printing techniques presented in the visually-led style of ‘ergodic literature,’ it was intended as a meditation on the concept of the labyrinth in fiction, and borrowed heavily from cinematic techniques.

In April, Cargo Press republished his 2005 novella The Fifty Year Sword, a mysterious, Scheherazade-like fireside tale with multiple narrators, their voices indicated by intricate lines of coloured thread stitched into the very pages of the original manuscript. Now, Danielewski is in the process of writing The Familiar, an ambitious long-form serial inspired by the surge of creativity in the world of television in recent years. Just as House of Leaves took its cues from film, and Only Revolutions from music, and just as The Fifty Year Sword was inspired by the folk tale, The Familiar will attempt to achieve a simulacrum of the long-form TV series “through the lens of a book.”

For anyone hoping to bag a discounted copy of any of Danielewski’s work on e-book format, think again. His ergodic novels operate at the cutting edge of printing technology, employing experimental approaches to typography, illustration and printing that bind his novels inextricably to their printed forms. Take The Familiar: “The electronic form will be explored, but the reality is that the electronic forms available are not really up to speed with what I’m doing,” he says.

The Fifty Year Sword has gone through several iterations, with previous editions being illustrated in some way, and even coming to life as a ‘shadow play’ at a theatre in Los Angeles. “The more I worked with the text, and its musicality, and the literalness of the threads, I began to understand I needed to use thread,” he says. “House

Interview: Bram E. Gieben

of Leaves and Only Revolutions were so much about the self. That ideal and awful dream of the novelist – to get everything his or her way. Once I’d done that, I thought, is that really such a great goal? Is that really what you want? And I realised that for my own happiness, my own personal wellbeing, I wanted to include others.”

To achieve this goal of working collaboratively, he created his own ‘atelier’ – a French word for an artists’ collective or workshop. There were “three people busily scanning and stitching and collecting pieces of thread; running out and getting new colours, or needles; exploring different papers... very much like you’d see in an atelier in Genoa, on an architectural project, or in a kitchen in Angoulême,” says Danielewski. This led to just the kind of inspired improvisation he had been yearning to be a part of: “My assistant came in one day with all of these butterflies, and set them loose around the place, so that we were constantly reminded of these butterflies we were attempting to assemble through thread,” he recalls. This led him to consider “how novels, as important parts of our culture, stitch together a larger array of people, and voices.” In building his atelier, he built not just a unique novella, but a family of sorts. “The stitching was central to the narrative, but it was also the stitching together of a community,” he says.

It is this community aspect which conceptually drives The Familiar, too. “I thought how sad that the novel, which is such a powerful medium, always seems to argue against itself; about all it can’t do, and the little it can do,” he says. “The little that it can do is so impressive, but why not expand? So already, for The Familiar, there are half a dozen translators, graphic artists involved...

Its origins, really, were The Fifty Year Sword, which was where I finally managed to break out of my own ego, and say, ‘Okay, I need help for this.’ Now, I’m not saying community’s gonna work...” He gives a soft chuckle. “But it seems to be a valid exploration.”

Perhaps this desire for community and collaboration was a reaction to the typically lonely

working life of the novelist? “A first novel is always a lonelier experience,” says Danielewski. When House of Leaves was published, he was 34, and had been rejected by publishers; “rejected in writing seminars – I was verging on being that crazy guy who just keeps tapping away at his novel, which no one had really seen,” he remembers. “It was a difficult period. The twenties are the hardest years for a young man. I see that now, in retrospect, and I certainly see it with other young men. It’s a time when you are dispossessed of any fortunes or futures. Even though everything is wide open, it can be a really terrible time.

I think women have a very difficult time as well, but it plays out a little differently, in terms of where and when that happens.”

“That ideal and awful dream of the novelist – to get everything his or her way” Mark Z. Danielewski

He values that first novel experience, an unrepeatable phase in a writer’s career which, while challenging and lonely, also means you are “completely without expectations, or pressures from a larger commercial institution, without the pressures of getting older, living longer.”

Now, his biggest challenge is “the drive not to repeat yourself, to not be derivative of a former work. To explore new phases, new voices, new ideas that aren’t necessarily comfortable, or necessarily familiar.”

Given the hard work he has put in to make his works so definitively tied to the paper form,

what are his thoughts about the future of the novel? “The novel is always going through a revolution,” he believes. “What we recognise as the important revolution isn’t always the important one. The big revolution was the mp3 – the ability to compress files down into nothing and transfer them effortlessly.”

He strongly believes that “the changes on the novel are always contingent on the reader – then of course they come back, and are contingent on the author.” This dialogue between reader and author is a question he wants to explore, but he refuses to reduce it to a sound bite. “My exploration of this in The Familiar is the answer to this question,” he says. “It’s a book that cannot be written without an audience.” Entering into a dialogue with his readers, Danielewski intends to shape the novel, guided in part by their feedback.

“If the readership isn’t there, if they don’t want to participate in this form, then the only thing I can say is that this particular direction of how the novel could take shape clearly didn’t work. And if it does, then we can start to say, ‘Okay, it looks like there’s life in the old form yet.’”

Proving that there’s life in the old form seems to have been the defining ambition of his career so far and, with The Familiar, it is just possible that Danielewski has hit upon a new, thoroughly modern way to engage readers with his highbrow mix of genre fiction and experimental literature. “As the volumes come out, and people begin to express their opinions, they will become kind of distant collaborators or co-authors of the experience,” he predicts. “I’ll be open to those kinds of input. A musical dialogue will take place.”

Asked if he is at all bothered about House of Leaves’ greater fame, he is self-deprecating and pragmatic. It is “the monster that keeps going – my little monster. I find it carrying out different conversations and relationships now, which are far beyond me. I’ve described it before as my kid, but the kid’s grown up even beyond the teenage years, and now it really has a life of its own – I can watch from a distance, but I’m not as privy to those dialogues.”

He continues: “Only Revolutions is probably the odd kid, but it has deep, fiery resources – I’ll get a picture of a woman’s back, and she’s tattooed the first page of Only Revolutions on it.

Or, I had the wonderful pleasure of seeing and spending an evening with Simon [Neil] and his wife, the lead singer from Biffy Clyro – getting to talk about their album Only Revolutions, which was rooted in the novel. So certainly, those two examples are very strong reactions. Who am I to say one is weaker or stronger than another? They clearly had an impact that meant something in their lives.”

He resists the urge to tame or disown his “little monster,” instead preferring to let it lead its own life, free of the burden of being judged by the reactions of others. “I think probably, if we were asked to rate other works of art or music that were weak or strong in our own lives, we would struggle, we would hem and haw,” he says.

“They play different roles – they are like different friends, different teachers that we encounter over the course of our lives.” As academics dissect and discuss his writing, Danielewski continues to teach by example – carving out a trail that can only be described on paper, but one which perhaps leads to the future of the novel by less circuitous a route than technologists might predict.

The Fifty Year Sword is out now, published by Cargo Press

Mark Z. Danielewski

July 2014

BOOKS

www.markzdanielewski.com

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Shamelessly Safe Fighting the stigma of being prepared Words: Matthew Bobbu Illustration: Julie Ritchie

M

y student years were exciting, unpredictable times. Each night out could end with me in bed with a beautiful man; struggling to keep my dignity while having sex on a leather sofa; or passing out in a garden ten yards from my front door because rum hates steep hills. Like any sensible person who engaged in sex in unforeseeable locations – sometimes with unforeseeable people – I carried condoms with me.

Yes, condoms plural. Not even just one or two: some people are allergic to latex, or the spermicide included in some condoms. Some people enjoy flavoured condoms, while others don’t like cock to taste like rubbery fruit salad.

So for the safety and pleasure of everyone, I kept several in my pocket.

Of course, as with every man who carries condoms in his wallet, I acquired a reputation.

Despite merely acting responsibly to protect my health and the health of others, I was simply known as a shameless man-whore. I was having the time of my life, but I would increasingly wonder if it was a positive thing that I was always prepared to be safe. Sounds absurd, doesn’t it? And women who exercise healthy, consensual, sexual freedom have to face far worse judgements than I ever dealt with.

So I stopped carrying condoms. I decided to shake off the reputation, maybe convince people I liked that I didn’t just want to fuck them.

It seemed clear to me that not carrying condoms

would help me to stop sleeping with all those wonderful people, as I wouldn’t be prepared for it all the time. Clearly I could not find a long-term committed relationship while I was still behaving like a man who carries condoms.

I realised the stupidity of this one day when I was at my girlfriend’s house. We were getting naked and sweaty when she realised she had run out of condoms. I didn’t have any with me, because I didn’t want to be a legendary man-slag any more. It made no sense – that my reputation and happiness should rely upon being unwilling to take responsibility for my own health and safety. I decided right then to start carrying condoms again: it’s my health, it should be my responsibility to look after it.

What’s more, I realised that I was trying to get away from a reputation that made no sense.

We see adults having safe, consensual sex, and we judge them for it to the point where we discourage them from staying safe. We shame the people who choose to always be protected, because this society still somehow thinks that having lots of sex is a bad thing, no matter how you do it.

So now I, like a good scout, am always prepared. And whether I have sex with the pretty girl from the pub, or my boyfriend of two years, is none of your damn business. Unless you want to join in, in which case – make sure you bring your own condoms, too.

Good Girls Don’t Get Pregnant Our Deviance editor ponders the practicalities of motherhood Words: Tasha Lee Illustration: Julie Ritchie

A

s a teenager, in the circles I moved in, getting pregnant was the worst thing that could happen to you. Girls at my school were transferred to another secondary down the road once their bump got too big. The other school had a nursery and was better able to facilitate pregnant teens, but to my peers it was as if these girls were being expelled. We learned that getting pregnant meant you were punished. Getting pregnant was shameful.

At my mum’s church someone always seemed to be pregnant. The headscarf-wearing women, who weren’t allowed to read the Bible to a mixed congregation, would gather together to talk about how so-and-so’s pregnancy was coming along. Sometimes they got sick, but usually they’d recover. They didn’t talk about it in front of the boy children. Only the girls.

Very few of the women in my mum’s church worked. Good girls worked hard at school, went to university, met a nice Christian boy, got married and had babies. I would get into arguments with the pastor’s wife about the order. Why go to university if you’re not going to have a career?

And also, if education wasn’t necessary why was it shameful to get pregnant while you’re in secondary school? The idea seemed to be that my own education was necessary so that I could homeschool my children. Only that way could I control what influences they received. Protect them.

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Lifestyle

It takes a single-minded young woman to go to a state school, study for three or four years at university and still want to settle down, have children and never work. It’s also virtually impossible now – supporting another adult and a few children on even a professional male graduate’s salary would be a struggle.

So what are you to do, as a heterosexual young woman who wants a family and a career?

You’ve got through school and university, met a nice boy... do you get married and start having babies? While working?

In my profession working from home is an option, but it seems like it would be lonely and unstable. I want to know how to integrate work and childrearing without shame. Colleagues start to whisper about maternity leave. How many months on full pay? It doesn’t seem... profitable. Wouldn’t your employer resent you?

Or just fire you?

My ignorance on the subject is embarrassing. While at university my friends and I understood that this would be a problem we would have to deal with one day, but I guess I assumed there’d be guidance on the issue. Leaflets in the women’s toilets at work or a booklet from human resources in your starter pack. Instead the silence and shame around pregnancy still hangs heavily over me.

DEVIANCE

THE SKINNY

The Longest Way Round Psychotropic adventures in Amsterdam

I

t has become a by-word for the bulk of society’s carnal excesses and eccentricities, but Amsterdam remains, for me, one of the most beautiful cities to walk around and simply be in across the whole of Europe. Its hard-earned reputation as a mecca for the sexually and narcotically underprivileged stands in contextually stark relation to the hard facts of Netherlands life. A mere 6% of Dutch people use recreational drugs such as mushrooms or cannabis on a regular basis, despite widespread decriminalisation.

The requisite figures for brothel attendance were not, last time I checked, widely published.

It is primarily we Brits who make the pilgrimage to its narrow streets and mesh of canals, with 20% of its annual tourist contingent (second only to domestic visitors) emanating from our fair, repressed Isle. Braying packs of football supporters and swaying herds of various stag parties sniff out the coffeeshops and nightclubs, before the wind picks up and the prevailing scent steers them, inevitably, to the city’s red-light district.

The primary ingredient of Amsterdam’s Britmagnet is of course the ubiquity of soft drugs.

There are nearly a hundred coffeeshops (to be distinguished from cafes) in the city. A brief scan of the menu of types of cannabis on offer is a potentially dispiriting experience. Various types of ‘high’ are itemised, before one happens upon one strain’s claim to offer ‘no paranoia,’ which certainly undercuts the appeal of the remainder of the menu.

On perhaps my second visit to the city, my travelling companion raised the prospect of trying some mushrooms during our visit. It was apparently something that he’d always wanted to do. When it comes to recreational drugs, I’ve always been of the opinion that one’s inclination towards certain types bears some relation to one’s taste in music. The dance and hardcore crowd gravitate towards the endless energy and euphoria of speed and pills. The manic art-schoolers who won’t leave the house unless promised synthesisers favour cocaine’s manic buzz. I was very much an old-fashioned lover of the relatively fashionable wave of sixties sounds – appropriating actual sixties music with the soundalike indie groups of my youth. The odd toke would provide

July 2014

an excellent backdrop to much of our listening, though the hippy-ish and idealistic curiosity as to the limits of our minds led one, perhaps inevitably, to the psychotropic end of the scale.

LSD and mushrooms are, of course, not the same thing. Through prudent selection though, one can experience a facsimile of the former’s effects and symptoms. Mushrooms are legal in Amsterdam; their stockists a range of ‘head shops’ that nestle in back alleys – the better to ensnare the errant tourist whose stoned wanderlust has led them off the beaten track.

Perfectly sober, we entered one such establishment, and started to scan the various display cases. The layout put me in mind of a jewellers transplanted to an interrogation facility, with the goods on offer being an oddly enchanting (even when ‘straight’) array of funghi. We explained our ‘predicament’ to the proprietor and made our selection, and were assured that, should we begin to feel ‘unwell’ at any stage, we should simply drink some water and eat a banana. Perfect – the exhilaration of the jump and the safety net all for under 20 Euros.

Now, I had little sense of exactly what psychoactive drugs such as LSD did to the mind, or how their effects presented themselves. In music, poetry and literature there is a trove of abstract jargon relating to doors being opened, to altered perspectives, to some synaesthetic elements such as ‘seeing’ sounds. But like one’s balance, it is a hard thing to describe to the unbalanced – one can’t imagine it into being. As such, I probably anticipated a slightly refined version of being high, or drunk. Dear reader, I could not have been more wrong.

Back at our rented apartment, we began by dropping a couple of mushrooms into our mugs of tea and stirring them around. This merely gave the tea an earthy tinge, and we chewed and grimaced our way through mouthfuls. We opened a bottle of wine – the better to dispel the arid taste in our mouths – and resumed our game of chess. And we waited. For what, we weren’t sure, though were convinced we’d know it when we approached it.

Baffled at the lack of effects, and cursing the charlatan who had sold us some fancily

shaped, psychotropically dormant mushrooms, we finished off the remainder of the box. But still the chess pieces simply failed to come alive and address us as to the best course of their movement. The wine we were drinking had a screwtop, one of us noticed. This was becoming rather common, we agreed. God only knows what’s likely to become of the world’s cork manufacturers, we pondered. And then laughed. And laughed. And laughed. And laughed some more; our mirth comfortably scaling the heights of hilarity.

And we were suddenly ushered on to and buckled into the kind of trip that we had been promised, and had read about. The initial laughter subsided, and we scrabbled around for some music to listen to – the better to experience it through such an auditory filter. I remember that my friend opted for something classical though it could scarcely have mattered less who the composer was. The sounds of the cello seemed to bounce around inside my head, at numerous points seeming to flit across my field of vision.

The conversation was shelved as we simply lay, or sat, and gazed into the middle distance or into the streets below. The music wasn’t simply bouncing around the room, it was IN me – with each climb up the musical scale, my brain reacted with a gushing of euphoria. Eager to experience new realms of touch sensation, I roused myself from the rug that I was lolling around on and took a shower.

Quite how I managed to undress and eventually re-dress myself given my state of mind remains off-limits to my memory or understanding.

Suddenly, we were ‘normal’ again; we agreed to take a walk. The sanity that had been tantalisingly glimpsed moments earlier once more eluded us as we weaved along the street – not intoxicated or unbalanced, just drawn to the merest light or architectural nuance.

I surrendered in my staring contest with a cat stationed inside one window, and we took ourselves to the canal’s edge. We sat there for some time before getting up to leave. I remember falling over, though without pain. Again, disorientation was not to blame, but the fact that I had loosened my belt while sitting had caused my trousers to slide down and ensnare me at

TRAVEL

Words: Scott Campbell lllustration: Clio Isadora

the knees. We laughed some more – one of the few moments of appropriate response – and decided to take a longer walk around the canals.

Now I maintain to this day that, alongside the attendant madness, and discombobulation of ordinary mental processes, the sheer longevity of psychoactive drugs remains their most potent feature. After about half an hour of taking our place in a coffeeshop, and smoking a little local ganja, we once more began to feel weird. The perceptions were the same, but our overall ‘sense’ of ourselves and our environment suddenly altered. Or, more correctly: dived. This wasn’t a happy place, but one of unexplained and unattributable worry and concern. We hurriedly packed up and scurried off home. Sleep it off, and leave tomorrow for the reflecting, we thought.

Sleep does not come easy to the user of such drugs. The overall palette of sensations is too abstract to adequately describe, but none of them are physical. There is no reduction in alertness, co-ordination or vigour. The mind, on the other hand, responds as if it has been injected with enough energy and insight to sustain a thousand waking moments; a million hopes, dreams, paranoias and anxieties. I lay awake, wishing that the enhanced scrutiny that my psyche was now imposing would dissipate, but such wishing served only to make it worse.

I eventually slept, though not for long. I was suitably physically fragile the following day, while my mind felt as if I had been ridden hard and put away wet. We groped our way through what can only be described as a psychological hangover, before eventually recovering sufficiently to sit down in a local boozer and recount and connect some of the features of the last twentyfour hours. There are still songs and sights that remind me of the frame of mind that I was in, though there is no corresponding emotional state or realm of perception that one can equate with such trips.

The apperception of the fragility of mere rational consciousness was immediate and vivid.

It was an education of sorts – perhaps that the longest way round is often the shortest way home...

Lifestyle

27

Anonymous Extinction II (2014)

Jade Collin J

ade studied Theatre and Performance Design at Liverpool Institute for Performing Arts, before completing her degree in Fine Art at Liverpool School of Art and Design this year.

“My work aims to explore how physical surroundings can impact on personal experiences.

Through the use of sculpture, I consider how spaces can act as reminders or representations of feelings and emotions. Focusing on the idea of non-places, I have been able to deal with themes of anonymity, shelter and emptiness.

“I wouldn’t call myself a sculptor; I like to think that my work challenges the boundaries between drawing, sculpture and digital media.

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Studying at LJMU allowed me to explore a range of different pathways, which has really benefitted my work. I see drawing to be an important tool for any artist. It has always featured heavily in my practice, either as a starting point or a realised piece of work. My 2D plywood pieces act as a platform between my works on paper and the more 3D sculptural pieces. The engraved shapes and forms seen in the work are influenced by a series of large-scale line or charcoal drawings I made at the beginning of the year. These handmade drawings then evolved into digital drawings before being transferred to plywood and acrylic.

“At art school, I found that architects and graphic designers dominated laser cutting, and

so I enjoyed the challenge of using the machines in new ways. This didn’t come without its difficulties, but it was great to test the boundaries of laser cutting and how it can be used within visual art, particularly as a Fine Artist. I chose to laser cut every part of my work, sometimes for purely aesthetic reasons; I really enjoy the burnt quality of the wood. The laser cutters can produce some really beautiful things, specifically with the engraving tool; it is so interesting to see how a machine can produce really beautiful tonality.

“Scale was an important consideration within my work. I spent a long time contemplating very small changes in size and had to consider how this would impact the work. The work could

SHOWCASE

have quite easily consumed a whole room, but it was important for me that the scale remained relational, and in fitting with human physicality.

Subtle and elegant in size and form, the work is able to exist as an intimate and delicate structure, while allowing it to become more personal to the viewer.

“A lot of people can see a theatrical side to my work, perceiving the structures as areas and spaces for performance. I can see how the lighting adds a dramatic element to the work, juxtaposing the physical structure, while casting shadows and marks in the space.” www.cargocollective.com/jadeacollin

THE SKINNY

Transitory Solitude (2014)

People are always, and never, alone (2014)

Empty Spaces (2014)

July 2014

SHOWCASE

29

Denim Dreams Straight after completing her degree and wowing at Graduate Fashion Week, we catch up with menswear designer Jessica Campbell to find out more about her work

Interview: Alexandra Fiddes folklore and ghost stories have also influenced her work. She tells us that she has, for example, been inspired by “the tale of the ghost that lives in my house back home. I have taken inspiration from the life of this Irishman, Andrew Fraser, and his transition from farmhand to soldier during WWI, leading to his untimely death.” Spooky!

“I tend to work like a costume designer – I like to develop a character”

Photos: Steven Ramage

Jessica Campbell

orn in Ballinamallard, County Fermanagh, in Northern Ireland, 22-year-old graduate menswear designer Jessica Campbell has always been creative. She tells us, “Throughout school I would try to develop my ideas into wearable garments as I always wanted my work to have a reason or function behind it.” She much prefers having her work on view in the real world, being used, rather than “being hidden away in a gallery.”

From early on, Campbell was focused on pursing art and design as a career choice. “When I was 15 I completed a work experience placement with designer MaryRose McGrath at her studio in Belfast. She was (and still is) such a great mentor to me and I came away from the experience knowing that I definitely wanted to be a designer when I was older.”

After finishing school in Northern Ireland, Campbell made the move to the Northwest, to study a Foundation Diploma in Art and Design at Manchester School of Art. She says, “Moving from A-Levels to Foundation Art was a big change for me. When I was at school art and design was about creating beautiful pieces whereas Foundation Art taught me more about expressing my creativity.

“I was encouraged to experiment with different methods and media,” she adds, “which led me to be a lot more open-minded about my work and art in general. After a year of doing whatever I wanted in the name of art, it was good to have some structure again from the BA (Hons) Fashion course.”

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Lifestyle

To see more of Jessica Campbell’s work check out jessicaac-campbell.blogspot.co.uk or follow her on @Jessica_ACC

The tutors, she says, although hugely supportive, ultimately wanted students to make decisions for themselves and become independent thinkers. “This was difficult at times, but in hindsight it has made me more confident in developing my own ideas and skills.”

The city of Manchester has itself has been an influence on Campbell’s work and its development. “Manchester is so culturally and historically rich it is hard not to be influenced by it in some way or another. During one university project, we were encouraged to take our research from MOSI (the Museum of Science and Industry.)

Even though we all began with the same research source, it was amazing to see how many different outcomes my course-mates created.”

Campbell also takes her inspiration from diverse sources, often completely disassociated from fashion. She creates initial designs based on research, then finalises these as she experiments with sampling and finishing. “I try to develop it [the idea] into a narrative or story. I tend to work like a costume designer – I like to develop a character then try to imagine what they would or should wear.”

Campbell adds, “I feel that garments should reflect a person’s personality to an extent, and by working in this way I feel I can create an experience for the wearer that will last longer than a trend.”

Campbell’s final year menswear collection was inspired by Northern Ireland and her experiences of growing up there on a farm. Local

FASHION

Photo: Steven Ramage

B

This ghoulish element has been realised throughout the garment details, such as the offset pockets and the traces of braces on a shirt that are no longer present. The collection also contains “oversized shapes and silhouettes which have been ‘roughly altered’ to reflect the tradition of ‘hand-me-downs.’”

Through her work Campbell “challenges obvious traditional craft techniques and uses them to create contemporary fashionable outcomes” and prides herself on creating beautifully finished pieces with hidden design features and detailing that may only become evident when worn.

Manipulated denim is the main element of the collection, which is complemented by touches of fabrics such as wool and linen. Throughout the collection, Campbell has played with traditional techniques like rag-rugging, which has been used to replicate the look of fur on a parka and also on a pair of jeans. Additionally, she has used

potato prints (in her own words, a “subtle ode to Ireland!”) to create a polka dot pattern that is used on a pair of jeans and on a denim jacket. She has also, “hand-knitted a jumper using hessian, wool and string, which I then dipped in indigo dye to keep with the denim theme.”

The graduate designer describes her incredibly striking and tactile denim collection as “sharp menswear with a softened edge reminiscent of a past era of DIY and tradition” which seems entirely appropriate but doesn’t quite give it enough credit, as although the garments’ aesthetic is beautifully handmade and rustic, the overall look is exceptionally ‘high-fashion.’

Last month, Campbell’s stunning final year collection also caught the eyes of the judges at Graduate Fashion Week, where it was selected for the Gala Show and shortlisted for the prestigious menswear award.

What’s next for the newly graduated designer? “I’ll soon begin work as a costume design assistant for a TV series set in Belfast. It is now in its third season and I can’t wait to be involved in such a successful show. In the future I would like to work for a menswear company or would like to progress in the film industry as a costume designer.”

She would also like to travel as part of her job but while having “my own studio by the seaside where I would design and develop ideas – then, when the film is shooting, I would be on location to do fittings, alterations, etc. That or working for an established designer such as Paul Smith or Tom Ford would be amazing...”

We’re sure with such a talent, big dreams and a determination to succeed, Jessica Campbell might just get that studio...

THE SKINNY

First of the Summer Wine

Food News

We asked a wine advisor to seek out some great vino to drink this summer. And he did! Don’t worry, it’s not going to break the bank

Words: Nicolas Rezzouk Illustration: Beth Walrond

We’re not on a mission to get you bladdered, promise. But, er, July brings with it a trio of wine experts with a puntastic name – plus new openings in the form of Maray, Salvi’s Cucina and The Nag’s Head, and a foodie festival in a big park Words: Jamie Faulkner Illustration: Harrison Edwards

T

I

t’s fair to say that in Britain, we do like a drink.

After all, we are joint 15th in the OECD legue table of alcohol consumption per capita! So, no matter the time of year, we often find an excuse for a pint of beer or a glass of wine. But beer is easy. If you’re a lager drinker you can probably cope with anything that’s on offer, and if you’re into ales or craft beers, you can normally sample before you buy. Wine, less so. Despite the best efforts of the wine community to eradicate the stigmas of pomposity and inaccessibility, it’s still something of a scary subject for most of us.

Well, summer is still upon us, and it’s as good a time as any to shed any preconceived ideas you might have. Really, curiosity is all you need. That’s how I got started, only three years ago. And, as I’ve learned from experience, there are far worse chores than getting acquainted with different wines. Think of it as a bit like listening to the radio and discovering new tunes along the way. For the most part, you’re in the hand of the DJ, and the key is to remain open-minded and objective. You can come to it with your past experiences: some of what you hear you may like, some not so much.

If you’re uncertain where to start but want to make the best decision possible, paying a visit to your local wine shop is a step in the right direction. I could list a thousand reasons why, but the principal one is that, unlike a supermarket, there will be someone there who has not only tried most of the available wines but can also recommend you something for your taste and budget. And if you don’t yet have a preference, they can talk you through some options. What’s more, wine shops will often do free tastings, or simply have a bottle open for customers to try.

Now, to the actual wine. In terms of regions and grape varieties to look out for this summer, Sauvignon Blanc is still very much out there, but New Zealand is not the only player. South Africa and France have evolved dramatically and are capable of great balance between fruit and citrussy acidity. Another great style of fresh, clean and

July 2014

zippy whites comes from Albarino in Rias Baixas, Spain but sub-£10 examples are rare and often not worth bothering with. Chardonnay, despite all the ‘Marmite’ chatter there is about it, has enough flexibility to cater for everyone’s tastes: light and elegant or heavy and creamy. If red is your type of colour, Beaujolais is a great playground in the summer with loads of juicy thirstquenching sweet fruits.

Here is a small selection of some great wines you’ll find for around a tenner in all good wine shops.

Sepp Moser – Gruner Vetliner, Austria From a producer dedicated to biodynamic viticulture. Lime and orange, hint of spice and a steely acidity this will accompany all your East Asian flavoured dishes perfectly.

WHITES Cotes du Luberon – Grenache Blanc, Macabbeu, Luberon, France An alter-Chardonnay made with Grenache Blanc and Vermentino from the country of Chateauneuf-du-Pape. Fresh apples, lemon and a hint of banana on the nose; mineral, lemony and weighty on the palate. Good, clean acidity on the finish.

REDS One Chain, The Wrong ’Un – Shiraz, CabernetSauvignon, Australia A corker (pun intended) if you’re on a budget.

Medium-bodied, juicy berry fruits with a certain chewiness from adequate tannins, hints of spice and vanilla from the oak. A great red to have on a sunny Saturday afternoon with your mates and a barbie going.

Domaine de la Rablais – Sauvignon Blanc, Touraine, France Making the bridge between New World (New Zealand/Australia) and Old World (France), this has equal amount of ripe apple and pear fruits and crisp minerality with a superb, clean finish. I love this wine.

Las Gavias – Garnacha, Campo de Borja, Spain From the new branch of Evuna in the Northern Quarter. Bright and concentrated black fruits, juicy and moreish with good tannins and a meaty quality.

The Listening Station – Chardonnay, Australia A light and refreshing style of Chardonnay, with just a touch of vanilla from the oak to give a bit of weight and complexity. Still full of ripe fruits and a great citrussy acidity to keep it clean and crisp.

Nicolas Rezzouk is wine advisor for Reserve Wines, West Didsbury

Taste the Difference, Soave Classico – Garganega, Italy For the Pinot Grigio amateurs, this is a decent alternative. Light, simple and easy-going, this can be used as a doorway to more satisfying wines but not necessarily more challenging.

George Duboeuf, Fleurie – Gamay, Beaujolais Cru, France I think Beaujolais has suffered a bad period in Quinta da Raza – Arinto and Azal, Vinho Verde, recent years but we are past that now. Gamay is Portugal Lively and bright with a little spritz on the tongue a very fruity, playful grape and this wine is the and tangy citrus and grapefruit. Razor sharp acid- embodiment of the word ‘drinkable’. Sweet strawberries and cherries, a little bubblegum, mellow ity and great freshness. Superb with fish tannins. Give it a go. and seafood.

Check the article online to find out where to buy these selections locally www.theskinny.co.uk/food

FOOD AND DRINK

o dovetail with the vinicultural theme of this month’s section, we’ll start things off with a wine-tasting event. The Three Wine Men (Tim Atkin, Olly Smith, and Oz Clarke, all wine gurus off the telly) will be making a pilgrimage, like some sort of soused Biblical Magi, to Manchester, bearing neither aromatic resin nor precious metals, but wine and wine knowledge. The mission: to create an informal yet educative look at wine for everyone from oenologists to first-timers. There will be masterclasses, food, and even (sacrilege!) beer. Manchester Town Hall, 4-5 Jul, tickets £25 (£5 extra for masterclasses) Elsewhere, in more bucolic settings, it’s the return of Foodies Festival at Tatton Park. In a typically bulging three-day itinerary, this is what we’d aim to do: watch a demo by Aumbry’s MaryEllen McTague, chat or listen to Let Me Tell You About Beer author Melissa Cole, see what the BBQ Arena and Street Food Avenue have to say for themselves, then have some of Knutsford-based Pudology’s dairy- and gluten-free sweet treats.

Tatton Park, Cheshire, 18-20 Jul, tickets £10-38

There has also been a slew of recent-ish openings. As soon as the mercury rises, places seem to pop up all over. Standouts: Salvi’s, the Manchester-based Italian deli, have opened their Cucina (@SalvisMcr) on John Dalton Street, serving even more rustic-looking, authentic dishes. Liverpool have Maray (@MarayLiverpool) on Bold Street, which has taken people’s love of little falafel cafes and added a decent cocktail menu and a hipper locale. Up in Cheshire, Nigel Haworth, of Michelin-starred Northcote Manor fame, has added to his upmarket pub portfolio by taking over The Nag’s Head (@nagsathaughton) and introducing a suitably British, artisaningredient-led menu, which will be overseen by Michael Eminson, who’s been part of Haworth’s trusted team for a while now.

Lifestyle

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Maray

rrrrr

For this writer, only a couple of places in the Northwest get that distressed-but-homely, rustic but not nostalgic thing right – North Tea Power in Manchester, with its communal benches cut from healthy slabs, and now Liverpool’s Maray, a focused but still versatile offering on Bold Street that seamlessly segues from morning coffees to lunchbreak stop-offs to evening dining. It modestly proffers ‘Falafel x Cocktails x Small Plates’ and delivers just that (well, and a bit more) in an unfussy environment of blues, ecrus and umbers that’s softened by dumpy ice-water jugs, pot plants, classic filament lighting and slim sprays of fresh flowers. We will concede that, yes, the table bases are fashioned from a certain piece of vintage textile machinery – but one can only assume that, along with All Saints’ preferred method of burglar deterrent (latticing its windows with 463 of the things), the boutique eaterie is responding stoically to continued pleas for help from the Home for Singer Sewing Machines.

Open only two weeks when we call in, it’s clear the staff – who, on the day we visit, are also the owners – know the importance of a warm welcome. We are greeted by a round of cheery hellos, shown to a comfortable perch against the exposed brickwork, and are recommended a new beverage they’ve just received their first batch of that morning – a Duke’s Cold Brew coffee from a local independent brewer, presented in a stout bottle and ready mixed with almond milk. (Keep an eye out for this stuff – the aforementioned NTP are also now producing their own cold brew, and we’ve heard word of a couple more outlets starting their own lines; put out in small batches with only a few weeks’ shelf life, cold brews are more considered, crafted alternatives to your standard iced coffee, having been made with the intention of being served chilled rather than just

Maray

muddled with ice at point of purchase.)

Though we’re here early for a weekend (midday), the light, airy wedge of canteen soon fills up – it’s obviously already made an impression, perhaps partly due to its amenable prices for what turn out to be significant portions. The lunch menu is pleasingly limited – you may choose flatbread, flatbread, flatbread or flatbread (or soup), meaning the concentration is on the fillings (falafel, houmous and feta, slow cooked lamb, or marinated chicken). At first, the lamb flatbread appears somewhat naked – the salad is limited to mainly lettuce, tomato and cucumber – but this turns out to work in its favour (or should that be flavour?); rather than being slathered in sauce, its subtleties are allowed to emerge gradually and

Salvi's Cucina

Salvi’s Cucina rrrrr Authentic Italian cuisine may be in short supply around these parts, but this family-run restaurant makes a strong claim to being one of Manchester's best Years ago, as an undergraduate studying French, I was fortunate to have what is known as a ‘year abroad.’ What this meant, in actuality, was frantically trying to secure any form of employment for a few months in some French-speaking place, preferably doing something that might

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Review

realistically influence future career choices.

Somehow, by twists of fate I can now barely recall, I ended up spending the summer working in a specialist wine shop on the Boulevard SaintGermain. Très romantique, n’est-ce pas?

Round the corner from the shop stood an Italian pizza joint named Pizza Vesuvio.

Perennially busy from what I could gather and lauded by my boss and colleagues alike, Vesuvio became my default dinner option when I closed up at night, the brusque machismo and the roaring heat of the clay oven a world away from the hoity-toity business of selling over-priced wine to tourists. Often, I would devour a four seasons

contrast with the sweet bite of the fresh-sliced (not jarred) jalapenos, which are our pick of the extras, along with a chunky tabbouleh. Those who prefer a veritable jamboree of ingredients in their wraps, however, may find the selectivity a little too... well, little.

Another visit one evening to sample the dinner menu yields a creamy, al dente aubergine risotto; cute and compact falafel balls, and tangy fish goujons, which our dining partner can’t get enough of – though she isn’t so sure about the sweet potato with fig wedges, a rich-sounding combination that she finds hard on the teeth.

Unfortunately, our pre-payday budget doesn’t stretch to cocktails, but word on the tweets is that the margarita is particularly

punchy; their twist on the Bloody Mary, meanwhile – that’s, yes, a Bloody Maray – takes in mezcal and green chilli sauce. Oomph. With its familial décor, splashes of colour and unique USP, Maray has the feel of a ‘local’ rather than a stopoff – and will surely become a haunt in no time.

[Jamey Tubbs]

pizza, still blisteringly hot, while sitting on a street bench in the cool evening air, looking up every so often from my boxed feast to gaze at passers-by.

Since then, I’d not had pizza quite like it.

Until, that is, I bit into a slice of quattro stagioni at Salvi’s Cucina, and these memories came instantly flooding back. So you can say, without fear of reprisal, this review is biased, clearly coloured by nostalgia for my stay in Paris. We all come to restaurants with irrepressible memories, tastes, and tics. And, don’t get me wrong, the likes of Honest Crust are making fantastic pizza in Manchester too, albeit of a slightly different ilk.

But this was, y’know, meta.

Cucina sees Manchester-based Italian Deli Salvi’s setting out their stall: We do authentic Italian cuisine. There’s definitely adequate room for them in the city centre, given that their only real competitor is San Carlo and its Cicchetti spin-off. But they’re a different affair altogether.

Cucina is far more laid-back: no marble, no black aprons, no tableside tartare-making in sight.

Frankly, Cucina deserve credit for managing to use the red, white, and green colour scheme without eliciting derision; the lemon trees and basil plants are nice touches, which don’t look out of place, at least in summertime. “A taste of Italy without the tack,” as my dining partner puts it.

So, to the food. The aforementioned quattro stagioni smacks of quality ingredients, with olives, ham and artichokes combining to tangy, salty effect. There is a wealth of pasta dishes on offer, some of which (gnocchi and ravioli) feature homemade pasta. The trofie with swordfish, aubergine, smoked mozzarella and pine nuts is intensely savoury and brought together by a very

good tomato sauce. Cucina don’t do everything well, mind. A cauliflower salad, perhaps an outlandish choice in the first place, came carelessly dressed with balsamic glaze and missing the promised capers, with huge florets that could well do with being downsized. Having eaten my way through a fair few practice tiramisus of late, theirs needs work: too heavy and lacking the required one-two punch of coffee and booze. The wine menu is also one of the priciest I’ve seen in this kind of establishment, unless you go for a bottle. 175ml glasses bob around the £7 mark, about a third of the full bottle price. Given the portion sizes, the rest of the menu’s prices are well pitched.

Where beer is concerned they’re still clinging on to Peroni, that mainstay of European lager offerings, but it’s encouraging to see more recherché options, including Birra Gjulia. This was unavailable on our visit, so it was a Birra Toz instead, a Belgian-style blonde, which works surprisingly well with the pizza. I’m still waiting for an Italian restaurant (actually make that any restaurant) to stock some of Lomardy-based Brewfist’s range, but Salvi’s have definitely got the right idea.

So to those who can’t share my memories or have a year (well, three months) abroad in Paris, go to Cucina instead: it’ll give you an idea. And you’ll save on the air fare. [Jamie Faulkner]

FOOD AND DRINK

If you liked Maray, try: Bakchich, Liverpool Little Beirut (inside Mr Chips, serving falafel at lunchtime), Liverpool Armenian Taverna, Manchester Maray, 91 Bold St, Liverpool, L1

If you liked Salvi's Cucina, try: The Italian Club Fish, Liverpool Honest Crust, Manchester San Carlo Cicchetti, Manchester Salvi’s Cucina, 19 John Dalton Street, Manchester, M2 6LE

THE SKINNY

Photo: The Independent Map Company

A new little cafe in Liverpool lives up to its street's name, boldly going where not enough have gone before and creating an atmosphere where it's easy to segue from pre-work cuppa to late lunch, to Friday night drinks

July 2014

33

28-34 HIGH ST, NORTHERN QUARTER, MANCHESTER, M4 1QB

THERUBYLOUNGE.COM H @THERUBYLOUNGE @CLASSICSLUM H CLASSICSLUM.COM

JULY 2 - CLASSIC SLUM present THE PAINS OF BEING PURE AT HEART + guests FEAR OF MEN JULY 5 - THE BRILLIANT CORNERS + guests THE HAYWAINS + HORSEBEACH JULY 7 - RIXTON JULY 11 - CLASSIC SLUM present BONE-BOX (ACOUSTIC SET) + DAVID REDBRANCH + GREG LARKIN + JIM MCSHEE @ FALLOW JULY 18 - SPANDEX RISING + MAD DOGS AND ENGLISHMEN + SIXTY MINUTE MAN JULY 19 - JOHN FULLBRIGHT JULY 25 - A NORTHERN CONTRIBUTION featuring PUSHER + CLAY GARDEN + BLOSSOMS JULY 26 - DANCE OFF! DOUBLE DUELLING DJS DUKING IT OUT! DANUKA (SO FLUTE) VS STUDENT HOUSE DJS W/ DARRYL MARSDEN JULY 26 - CLASSIC SLUM present THE ECCENTRONIC RESEARCH COUNCIL featuring MAXINE PEAKE + guest KELLY FORSYTH @ ISLINGTON MILL JULY 27 - MIKE DIGNAM JULY 31 - CLASSIC SLUM present GUITAR WOLF + guests BONES SHAKE + HOPPER PROPELLED ELECTRIC AUG 1 - THE MOODS ALBUM LAUNCH PARTY + guests TOM HINGLEY + THE JOINT + DIRTY NORTH + LITTLE RACH HOSTED BY JB BARRINGTON (aka WORDS ESCAPE ME) AUG 13 - CLASSIC SLUM present SPEEDY ORTIZ + guests HAPPYNESS @ THE CLUNY / NEWCASTLE AUG 15 - THE COURTESANS + guests SEARU + HARDTAIL AUG 18 - CLASSIC SLUM present PROTOMARTYR + guests DÉJÀ VEGA AUG 21 - ALICE GASSON ‘WE WON’T LET GO’ SINGLE LAUNCH PARTY AUG 23 - THE MINX AUG 26 - ACID MOTHERS TEMPLE & THE MELTING PARAISO UFO AUG 30 - ARCANE FLUX + guests RELAY D’VERB + DIRTY JESUS + THE JALAPENO HOMBRES SEPT 6 - THE LOST 37 + ZILOV GAPS + THE UNASSISTED + CREEK SEPT 19 - CLASSIC SLUM present RAE MORRIS @ THE DEAF INSTITUTE SEPT 20 - CLASSIC SLUM present INCA BABIES + A WITNESS + THE GREAT LEAP FORWARD (ACOUSTIC SET) SEPT 23 - CLASSIC SLUM present RAE MORRIS @ THE CLUNY / NEWCASTLE SEPT 24 - CLASSIC SLUM present ANGEL OLSEN @ THE CLUNY / NEWCASTLE SEPT 25 - SPEAR OF DESTINY ’31 (THIRTY-ONE)’ UK TOUR + guests DAVID R BLACK SEPT 26 - SNUFF SEPT 27 - DARLIA SEPT 30 - CLASSIC SLUM present BESNARD LAKES OCT 2 - THE IN CROWD featuring SLYDIGS + CLOCK TOWER + VENDETTAS OCT 3 - BLACK SUBMARINE OCT 6 - ELIZA AND THE BEAR OCT 11 - A NORTHERN CONTRIBUTION featuring SHAKEDOWN STOCKHOLM + VANDETTES + BLACK SONIC REVOLVER OCT 16 - CLASSIC SLUM present DANNY & THE CHAMPIONS OF THE WORLD + guests TREVOR MOSS & HANNAH LOU OCT 18 - VIRGIL AND THE ACCELERATORS + guests BLACK CIRCLES OCT 31 - IAN MCNABB (FULL BAND SHOW) NOV 1 - CLASSIC SLUM present CUD NOV 6 - KILL IT KID + guests GALLERY CIRCUS NOV 8 - TIGERSIDE NOV 9 - ELECTRIC MARY NOV 10 - TRANS AM + guests PLANK NOV 12 - FEROCIOUS DOG NOV 18 - THE ORDINARY BOYS NOV 24 - CLASSIC SLUM present BEANS ON TOAST @ THE CLUNY / NEWCASTLE NOV 27 - BEANS ON TOAST HHHHHH

EVERY 1ST FRIDAY (FROM SEPTEMBER): PUMP UP THE JAM - BACK 2 THE 90’S FROM THE HOWLING RHYTHM TEAM EVERY 1ST SATURDAY: REMAKE REMODEL - THE NATION’S SAVING GRACE OF ALTERNATIVE ROCK’N’ROLL EVERY 2ND FRIDAY: THIS FEELING - THE UK’S MOST ROCK’N’ROLL NIGHT OUT EVERY 2ND SATURDAY: POP CURIOUS? - IT’S POP MUSIC. PLAYED LOUD EVERY 3RD FRIDAY: DUSK TILL DAWN - A WILD NIGHT OF CLASSIC SLEAZE + HARD ROCK WITH A TWIST OF PUNK + METAL EVERY 3RD SATURDAY: HOWLING RHYTHM - 60s SOUL + MOTOWN + GRITTY RHYTHM & BLUES + FUNK EVERY LAST FRIDAY: SCARY MONSTERS - MANCHESTER’S GREATEST 80’S NIGHT EVERY LAST SATURDAY: DANCE OFF! - DOUBLE DUELLING DJS DUKING IT OUT

TEEN 20 / 07

BIPOLAR SUNSHINE 03 / 10

POLICA 16 / 08

JUNGLE BROTHERS 06 / 10

LUKE SITAL SINGH 14 / 09

OFF! 07 / 10

JAWS 23 / 09

BRANT BJORK 19 / 10

WOMAN’S HOUR 26 / 09

THE ANTLERS +MARIKA HACKMAN 02 / 11

SLUM VILLAGE 29 /09 1-1A CROSS BELGRAVE STREET, LEEDS

TRANS AM - 09 / 11 NOW OPEN FROM 11PM EVERDAY!

PINTS OF AMSTEL £2.50 TILL 5PM

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34

THE SKINNY

Festival Watch

Gig Highlights We’ve an unusual embarrassment of riches, including Ghostface Killah and The Twilight Sad in Liverpool, and Sleigh Bells in Manchester

Words: Joe Goggins

Oh come, all ye faithful Words: Laura Swift

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idely reported as a festival that remembers how to be a festival, i.e. you genuinely feel like you’ve stumbled upon a small wonderland, Lancashire’s Beat-Herder (18-20 Jul) prides itself on its handmade feel – in past years, they’ve knocked up a tattoo parlour, church, and even a castle for the occasion. Its lineup is led by warm, rootsy dance and dub, with forays into folk for the limited windows of time where you may opt to sit down: 2ManyDJs and a live Vitalic show are probably as nasty as it’ll get, with the majority of the lineup belonging to the sunkissed pace of The 2 Bears, Justin Robertson and Mr Scruff.

Skip Badly Drawn Boy and Goldie Lookin’ Chain – anyone with three-word names, basically – for Eats Everything, James Lavelle and The Orb, and you’ll be reet.

Looking over to Yorkshire, on the run-up to Beacons the region boasts three top looking fests for differing crowds: Tramlines (25-27 Jul) is Sheffield’s annual mainstay, unfurling across the city centre and offering a stupidly impressive roster for almost no money. This year is its sixth edition: Auntie Flo, Awesome Tapes from Africa, Boddika, Gold Panda, Future of the Left, Katy B, Jimmy Edgar, Lone, Levon Vincent, Maurice Fulton and Menace Beach can all be yours for just £28 a weekend ticket (well, you can’t take them home.

But you can watch them for half an hour or so).

It even has its own fringe. Quite frankly, we’re jealous.

Those seeking to kick back and enjoy the Grand Depart – ideally from somewhere called Buttertubs Pass – can do so at King of the Mountains (4-6 Jul), a little arts and music event set up by the landlords of a pub in North Yorkshire village Muker, who recognised that not enough was being put in place to accommodate the thousands of visitors set to descend on the area for the first stage of the Tour de France, and so decided to stick a 5000-capacity festival on.

Huw Stephens spins tunes, Sky Larkin, Dry the River, Kyla La Grange and Hey Sholay play, and there’ll be proper food.

True folkies, meanwhile, can get their fix at Under the Stars (25-27 Jul), showing its credentials by being named for a Kate Rusby song and bringing Tunng, Richard Thompson and more to the lush undulations of Cannon Hall Farm, near Barnsley.

Finally, yer customary instalment of Manchester Jazz Fest (18-27 Jul) allows us to see out the month in style – you are forbidden to miss Ex-Easter Island Head (they play at 1pm on Thu 27th, for free!) or the Arun Ghosh Sextet (8pm, Sat 19th). Both appear at the Festival Pavilion in Albert Square; as usual, many events are gratis, and the ‘mjf introduces’ and ‘mjf originals series’ showcase up-and-coming talent and new commissions respectively. Check the website for full listings.

Sleigh Bells

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s far as I’m concerned, festivals have got a hell of a lot to answer for. Whether it’s simply their musical drawbacks (short sets, no sound checks, the fact that large-scale speaker systems and high winds don’t mix) or the fact that the major ones, at least, seem to market themselves as excuses for a serious bender first and as music events second, they’ve nevertheless grown so popular that they tend to dominate the schedules for touring artists through the summer months, leaving townies – to be fair, usually spoiled for three-quarters of the year – facing a few gigless weeks.

This July, though, is an unusually strong one across the Northwest. The early pace-setters are The Pains of Being Pure at Heart, who’ve just dropped their third full-length, Days of Abandon, to richly deserved critical acclaim; they’ll be at the Ruby Lounge on the 2nd, with a new lineup that includes Jen Goma from A Sunny Day in Glasgow and formidable support from Fear of Men. A day later, the considerably less demure Sleigh Bells play their first Manchester show for nearly two and a half years over at Gorilla; it’ll also be their most intimate since they played the Deaf Institute shortly after their debut dropped.

They’ll be belatedly playing tracks from the superb Bitter Rivals; expect a sweatfest and very, very loud guitars. We certainly can’t imagine

they’ll be booked across town at the Manchester Cathedral any time soon, but a man who should be considerably more comfortable in such gorgeous surroundings is Conor Oberst, who’s just delivered another wonderful solo album, Upside Down Mountain. He’s there on the 8th, assuming you’re happy to miss the first World Cup semi-final, with support from Dawes, who will also serve as his backing band.

If something on a bigger scale’s your bag, you can catch Pixies – minus Kim Deal, alas – at the Castlefield Bowl on Thursday 10th; hopefully, there’ll be minimal material from the decidedly lopsided Indie Cindy, but either way, how often do you get the opportunity to see a seminal indie rock group play amidst Roman ruins?

Speaking of indie rock, The Cribs, now ten years old as a band, are fast becoming old hands themselves – not that it’s slowing them down at all. They’re supposed to be working on a pair of new albums, but just seven months after last December’s Cribsmas shows apparently saw them bid farewell to the stage for the foreseeable future, they’re back playing a slew of festivals; you can catch an intimate warm-up show at Liverpool’s East Village Arts Club on 11 Jul. Back in Manchester, you’re spoiled for choice the following day. Tame Impala take the stage at the beautiful Albert Hall; it’s sold out, though, which

might make Slow Club’s show at Gorilla a cheaper bet and perhaps, given the promise of the singles we’ve heard from Complete Surrender so far, a better one. Either way, you’ll be getting out of the house and away from the damp squib that is the World Cup third place play-off; you could even do both, if you catch the Sheffield duo down the Mersey at the Kazimier on Wednesday 8th.

There’s plenty to get stuck into on the hiphop front, too; first up, the customary summer dose of Wu-Tang – take your pick from Method Man and Redman at Manchester’s Ritz on the 18th, or Ghostface Killah playing an intimate solo show at the Kazimier four days earlier (14 Jul). Over at the East Village Arts Club, meanwhile, you can catch Immortal Technique’s State Terrorism tour on the 23rd; alternatively, those of a mellower disposition might want to head down three days earlier, for a real treat in the form of Glaswegian indie rockers The Twilight Sad playing their terrific debut, Fourteen Autumns and Fifteen Winters, front to back. If that’s your bag, you might want also to catch Owen Pallett at the Deaf Institute a little earlier in the month, on the 15th; he’s currently on tour with Arcade Fire, but in truth, his fantastic new In Conflict LP is light years ahead of Reflektor.

Do Not Miss T

his year’s Independence Day sees three quality things come together on the Manchester/ Salford border. Kult Country are one of Sways Records’ finest; given the sheer strength of their roster, that’s a bold statement, but one the band should back up when their long-awaited debut record finally drops. For now, you can check out their brand of washed-out, scuzzy psychedelia in the form of new single Trembling Moon, as well as excellent debut cut Slowdown; they’ll be arriving off the back of a rapturously received set at Liverpool Psych Fest.

The second component of the hat-trick is

July 2014

Kult Country

promoters Now Wave, but the clincher is the venue. The Eagle Inn is an old Joseph Holt house, tucked away incongruously in an industrial estate and just yards from Elbow’s Blueprint Studios.

It’s been taken over by the minds behind the

Northern Quarter’s Castle Hotel, and looks set to follow in its footsteps – as well of those of Gullivers – in offering top-drawer ale and even better live shows on a regular basis.

MUSIC

Photo: Elliot Kennedy

Kult Country The Eagle Inn, Salford, 4 July

Beat-Herder, Dockber Farm, Lancashire, 18-20 Jul, adult weekend ticket £120, www.beatherder.co.uk Tramlines, various venues, Sheffield, 25-27 Jul, £28 weekend, £12 day, www.tramlines.org.uk King of the Mountains, Muker, Swaledale, 4-6 Jul, various day and weekend tickets available, www.kingofthemountainsfestival.com Under the Stars, Cannon Hall Farm, South Yorkshire, 25-27 Jul, various day and weekend tickets available, www.underthestarsfest.co.uk Manchester Jazz Festival, various venues, Manchester, 18-27 Jul, www.manchesterjazz.com

Preview

35

Album of the Month Honeyblood

Honeyblood [FatCat Records, 14 Jul]

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In tone, Stina Tweeddale’s vocals on Super Rat are disarmingly sweet; in content, they’re scintillatingly vitriolic. “I will hate you forever,” she trills in unison with drummer Shona McVicar, firing syllables at a presumably quivering target. “Scum! Bag! Sleaze! Slime!

Ball! Grease! You really do disgust me!” – a pretty unequivocal payoff, set to a punch-the-air slice of hook-filled, grungy guitar pop.

It’s a genre the Glasgow duo are already mavens of, with their eponymous debut possessing the special kind of vitality that only a lean and acutely focussed two-piece can muster. As anyone fortunate enough to witness their live shows over the last couple of

years already knows, the absence of a third pair of hands on bass limits neither their power nor clarity, and producer Peter Katis has successfully ensured that all that charm and energy translates to record.

Joining Super Rat on the album’s invigorating highlight reel are the pacey, sugared chorus of Killer Bangs, the moody alt-rock of Choker, and the cantering, shout-along refrain of All Dragged Up – though really, you can stick a pin anywhere in its 40 minutes and turn up a choice guitar line or a razor-sharp melody worthy of enthusiastic praise. [Chris Buckle] www.honeyblood.co.uk

Claude Speeed

The National Jazz Trio of Scotland

Shabazz Palaces

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My Skeleton [LuckyMe, 14 Jul] Releases like My Skeleton ground LuckyMe in a more vibrant, experimental milieu than even their brightly-hued, dancefloor-led 12"s. Composed by Stuart Turner, a member at various times of American Men, Degrassi and Russia, this is a deeply personal, almost beatless collection of compositions constructed from field recordings, laptop jams and esoteric instrumentation, both synthesised and analogue.

Written on a round-the-world sojourn which began after the death of someone close to him, it is a record washed in the acid sting of survivors’ guilt, capturing some of the sunlit beauty of the world while revelling in mournful compositions powerfully evoking loss and darkness.

Fragmented vocals deliver a sense of narrative. Strings swell and sweep through the title track; Some Other Guy’s processed static is bone-chilling; the reverb-soaked pianos of Tiger Woods nod to the more sombre notes of Mogwai and Remember Remember’s journeys into tone and form; the achingly beautiful Taj Mahal is an etherial centrepiece. Magnificent, understated, and beautifully realised. [Bram E. Gieben]

Standards Vol. III [Karaoke Kalk, 7 Jul]

Lese Majesty [Sub Pop, 28 Jul]

On their third volume of Standards, Bill Wells’ mischievously christened National Jazz Trio of Scotland (actually a quartet, completed by vocalists Aby Vulliamy, Kate Sugden and Lorna Gilfedder) sound more gracefully minimalist than ever. Deploying only the most sparing and precise of musical accompaniments, melodies are built around the soft, sylphic tones of its vocal trio, pitched one notch above a whisper throughout.

A balmy atmosphere is established by opener Alive and Well, with lyrical references to summer heat underpinned by ersatz cricket song and shimmering instrumentation. This mirage-like delicacy is maintained across the remainder of the album, with the twinkling music box air of Unguarded Moment and the glockenspiel-led bossa nova of Surprising Word among its many gentle pleasures. The only reservation to be had is a minor sense of overfamiliarity, with the Trio’s milieu undergoing only the slightest of changes between volumes. But otherwise, these finespun creations are altogether enchanting. [Chris Buckle]

Palaceer Lazaro (formerly known as Ishmael ‘Butterfly’ Butler of Digable Planets) and Tendai Maraire broke through in 2011 with the mercurial, minimalist and abstract Black Up. With stripped digital beats and playful, worldly-wise lyrics, that album was a considerable achievement, setting out a template for Seattle hip-hop that was challenging, experimental and rugged without recourse to macho declarations of street toughness. On Lese Majesty, they push the envelope even further.

The beats draw on cloud rap and cult electronica, with the best cuts – drifting, dreamlike openers Dawn in Luxor and Forerunner Foray – achieving a hazy, LSD-washed, cosmic vibe.

Wisely avoiding exhortations to take shrooms and open minds, the duo retain their humour (see the chuckle-inducing #CAKE). At points, over-ambition causes them to lose focus, but at a sprawling 18 tracks, even the less invigorating moments drift by pleasantly. Superior psychedelic hip-hop from a band yet to reach their peak, and sure to dominate when they do. [Bram E. Gieben]

www.facebook.com/NJTOS

www.shabazzpalaces.com

www.soundcloud.com/claudespeeed

Alvvays

Alvvays [Transgressive, 21 Jul]

www.alvvays.com

Slow Club

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WATCH_DOGS OST [Invada Records, 28 Jul]

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Looking for your summer soundtrack? Get ready to swoon. This ain’t no hackneyed trust exercise either, so make sure you’re stood well away from sharp corners while listening. Alvvays’ sumptuously pretty pop glistens with hazy reverb and insouciant jangles, recalling yer La Seras and yer Dum Dum Girlses without really sounding too much like either of them. The Canadian quintet’s debut brims tantalisingly with effortless magnificence, reaching an early peak when Molly Rankin’s soft sighs melt like crushed ice under the radiant warmth of Archie, Marry Me’s sun-kissed melody.

Throughout the record, there’s a shoegazey fug that wraps the listener up in fuzzy earworms, almost obscuring its true, sorrowful heart. But as with all great pop nuggets, these songs are at their best when left to glide cheerily over their melancholic undercurrent – subtly yet irrevocably chipping away at your unsuspecting heartstrings rather than tugging at them outright. Vvonderful stuff. [Will Fitzpatrick]

Brian Reitzell

Finding esoteric music in videogames isn’t so hard on the fringes of the indie scene, but for a multi-million dollar, next-gen, new hope like Watch Dogs, it’s certainly something of a welcome surprise. Not since, perhaps, Amon Tobin scored Splinter Cell: Chaos Theory have such worlds collided with results as good as this. Brian Reitzell, better known as a composer within film and TV, turns his hand to fleshing out Watch Dogs’ near-future world of cyber-hacking and deceit with singular results.

Creeping, foreboding and claustrophobic are all watchwords but, whilst being imbued with an insect-like electro pulse, there’s an organic, human feel at the heart of it all. It’s also a very adaptive in its delivery while keeping a consistent tone, perhaps a result of its primary purpose but certainly a trait that keeps interest when removed from its natural environment. In lieu of a DualShock joypad, a good pair of headphones will more than suffice to get into the world of Watch Dogs. [Darren Carle]

Complete Surrender [Caroline International, 14 Jul] Midway through Everything Is New, the second track on Complete Surrender, the strings and big, gospel-style vocals kick in. At that point the penny will drop that you’re listening to a very different Slow Club.

Previous works – not least 2011’s Paradise – were brassy and cheeky, and while it might risk somebody somewhere sounding the cliché klaxon by describing this as a more mature offering, Charles Watson and Rebecca Taylor have crafted a record that’s both soulful and a musical step forward.

That said, the Haribo rush of the title track sounds like an old friend popping her head round the door for a goofy ‘hiya’ while you’re in the middle of a proper grown up dinner party – but overall this is a beautiful, lovelorn record that pushes the boundaries of what can be achieved in a three minute pop song. More serious?

Sure, but doesn’t everyone grow up eventually? [Stu Lewis] www.slowclubband.com

www.invada.co.uk

The Icarus Line

Anna Calvi

Avowed Slavery [Agitated, 7 Jul]

Strange Weather EP [Domino Records, 14 Jul]

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Tut Vu Vu

Slow Sound Horn EP [JAS POW, Out now]

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Hot on the heels of last year’s slow-burning Slave Vows, California’s meanest return with five more slabs of molten psychosis for our sick pleasure.

If its predecessor felt like an exercise in unnerving tension and blood-spattered groove, Avowed Slavery is very definitely the flipside of the coin. It snarls, sneers, screams and – crucially – sweats its way through the Iggy-informed creepy-crawl of Leeches And Seeds, dripping with menace and drool. More voyeuristic thrills abound on the thoroughly wracked Junkadelic, where Joe Cardamone’s intense shrieks amplify the band’s staccato, Norman Bates-style stabs: truly delightful horror.

An immersive experience above all else, The Icarus Line’s sinister charms owe little to simple hooks or pop classicism, instead preferring to churn guts with gusto. Thirteen cacophonous minutes of the climactic The Father, The Priest, however, serve as a timely reminder that we are all in the gutter, but some of us are more adept at sifting through the slime. [Will Fitzpatrick]

Anna Calvi has defined herself as a singer-songwriter who trades in the markets of gloom and theatrics. With this EP, she has sought to apply her craft to the works of others. Released on Domino Records, Strange Weather is a concentrated display of interpretive and vocal talents, which sensitively takes on songs from Suicide to Bowie.

The title track sees Calvi collaborate with David Byrne to cover Israeli songwriter Keren Ann’s staple, with vocal harmonies that play with the conventions of the form; Byrne sounds crisp and forlorn, Calvi sounds deep, in both tone and sentiment. Also notable on the EP – for more than just its relative newness – is a rich, dusty take on Connan Mockasin’s willfully creepy I’m The Man That Will Find You. Diverging form the fiery nature of some of Calvi’s original material, Strange Weather stands testament to a confident stylistic distinctiveness that spreads well over many textures. [Lucy Holt]

Footsteps on a wooden floor. Then a drifting backbeat leads into schizoid trumpet and a decidedly unsettling organ motif. Suddenly, ‘Gallic psyche noir’ is a genre. This is Lynch, the opening track of the Glasgow-based ensemble’s debut, six-track EP for JAS POW, a collective formed by Django Django’s Dave Maclean and The Phantom Band’s Andy Wake. It’s a singular work that takes a free jazz foundation as its starting point and adds various layers of artful exploration that could be more readily interpreted as dicking around.

In the words of an accompanying text on the back of their vinyl sleeve (penned by our own former Theatre editor), mindful of the critic’s response, “bland documentation” is rejected and “flights of fancy will not do.” Touché. Aside from this posturing, the Slow Sound Horn EP is accomplished enough to (probably) not be a joke, diverting enough to warrant more than a cursory glance.

But like most provocateurs, they’ll leave you unsure as to whether they’re laughing with you, or at you. [Gary Kaill]

www.theicarusline.com

www.annacalvi.com

www.facebook.com/tutvuvu

36

Review

RECORDS

THE SKINNY

Midnight Masses

Gulp

Bright Light Bright Light

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Season Sun [Sonic Cathedral, 14 Jul]

Departures [Superball Music, 21 Jul]

Life Is Easy [Self Raising Records, 7 Jul]

Established in 2008 by Autry Fulbright and buddy Jason Reece of …And You Will Know Us by The Trail of Dead (whom Fulbright later joined), Midnight Masses was inspired by the passing of Autry’s father; an artistic balm for a raw wound. The death three years later of friend and mentor Gerard Smith of TV on the Radio, however, almost closed the Midnight Masses chapter permanently, as Fulbright considered whether to proceed.

Now, after a lengthy hiatus, debut Departures arrives – but for all the cathartic heft of a song like All Goes Black (on which Autry’s vocals spill feverishly), the results struggle to cohere.

There’s plenty to respect in There Goes Our Man’s melancholic march, or Clap Your Hands’ crisp groove – both evidence of the talent involved. But as a whole, Depatures feels unexpectedly tepid, often failing to scale the promised heights. [Chris Buckle]

The woozy clip-clop of opener Game Love sets the dreamy tone for this, the debut by Super Furries’ Guto Pryce and his partner Lindsey Leven.

Coloured by skittering percussion, trim guitar, Leven’s austere vocals and a dusting of Farfisa parp, Season Sun is grounded in a carefree 60s psychedelia. Its home-grown origins are evidenced by sparse arrangements and a sharply executed lo-fi production.

Written and recorded over the last couple of years in a multitude of places, including their home, various studios and a local community centre classroom, it’s an album with aspirations beyond those thrift shop origins. For the most part, it’s all rather lovely, and a reedy, top-end soundboard does little to diminish its warmth. It doesn’t engage at depth, particularly, but that’s perhaps not the intention. It’s a pointedly stylised piece and, a risk-free addition to your summer soundtrack. [Gary Kaill]

Rod Thomas has feelings, and he wants you to know about them. Over a backdrop of superpolished disco beats, he implores us earnestly to know how it feels to be lonely. He alludes to elements of love – breakup and aftermath, specifically, and sounds bafflingly smug in the process.

Make no mistake, this is a terrible record, amalgamating anaemic electro-pop with the tritest of lyrical sentiment (sample offender: “I hope that there is colour in all your days”). The influence of 90s rave is everywhere, ditto the Pet Shop Boys’ technicolour sheen, albeit sans the titanic splendour of either. Instead, Thomas drones on in excruciatingly wet fashion about experiences we’ve heard described a million times before, offering little of note beyond a duet with Elton John. This truly is the sound of an easy life, and yours doesn’t need such transparent nothing. [Will Fitzpatrick]

www.facebook.com/midnightmasses

www.gulpgulp.co.uk

www.brightlightbrightlight.com

Dalhous

Will To Be Well [Blackest Ever Black, Out now]

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A wordless ambient concept album about pioneering Scottish psychiatrist R.D. Laing might sound like too conceptual a proposition for some electronica fans, but in the hands of Edinburgh-based producer Dalhous, it is nothing short of remarkable. A Communion With These People luxuriates in sampled white noise, washed-out synths and pulsing, narcotic percussion. The beatless, bubbling synths of Function Curve are warm and welcoming, like a stripped-down Boards of Canada.

Elsewhere, glitched drums and a distant, guitar-like refrain brocade the stately electro of Sensitised to this Area; the stuttering, Autechre-like drum patterns of Four Daughters by Four Women approach proto-techno; while the industrial overtones of Thoughts Out Of Season are almost hypnotic. The richly-textured beatless tracks will continue to haunt you, ethereal and strange, and if the titles pique your curiosity, this album would perfectly accompany an afternoon spent researching Laing’s work.

[Bram E. Gieben]

Blues Pills

Lawrence English

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Blues Pills [Nuclear Blast, 28 Jul]

Wilderness of Mirrors [Room40, 21 Jul]

Once upon a time, you could get away with this sort of histrionic blues-rock. Back then, of course, it was a logical progression from the hip-shaking immediacy of pop; an exploration of roots that birthed some fascinatingly wondrous treats (Hendrix’ demented psych-blues, the ragged throat of Janis Joplin) and some incredibly tedious awfulness (Eric fucking Clapton and his disciples).

That’s where multinational foursome Blues Pills come in.

Positives first: they’re solid musicians, building from the groove up, and singer Elin Larsson certainly packs an impressive punch. In another time, you’d call ‘em contenders, but therein lies the problem. To 21st century ears, this pursuit of so-called ‘authenticity’ ironically comes across as over-rehearsed theatre – pop’s seen, heard and done too much for these paleontological exercises to work. “I’ve tried to find myself,” Larsson hollers on Gypsy, channelling some vague simulacrum of soulful anguish.

Maybe try looking elsewhere, because this prescription of fake nostalgia ain’t gonna cure no ills. [Will Fitzpatrick]

A series of abstruse sonic abstractions? Or something, judging by its wholly prescriptive titling, more narratively inclined than that?

The latest in a portfolio that encompasses sound installations as well as recorded work, Wilderness of Mirrors is an unwavering and disorienting experience, born of a methodology that erases melody and rhythm, and strips musical expression back to little more than noise.

It seems almost pointless to attempt to distinguish between ‘tracks.’ There is little that separates the stark minimalism of, say, Another Body and Hapless Gatherer. But they fascinate nevertheless. English’s materials are difficult to locate, his sound nigh on impossible to explain. It’s a drone, yet not; a buzzing, keening squall, but possessed of an unfathomable beauty. Built from almost intangible elements, Wilderness of Mirrors’ aural scree is equal parts harmony and discord. Its inarguable aesthetic makes for a listening experience as unsettling as it is exhilarating.

[Gary Kaill]

www.bluespills.com

www.lawrenceenglish.com

www.facebook.com/pages/Dalhous/166534330152827

Fhloston Paradigm

King Creosote

To Rococo Rot

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Phoenix [Hyperdub, 7 Jul] Philadelphian producer King Britt returns to his science fiction-inspired Fhloston Paradigm project, which sees him switching from the soulful techno of his main alias into a kind of stuttering, stroboscopic machine funk informed by early Warp experiments, pioneering synth soundtracks, and the heavy conceptual bent of ground-breaking SF. Having released an EP on Hyperdub in 2012 following two EPs for smaller labels in 2009 and 2011, Phoenix sees Britt finally realising the full potential of Fhloston Paradigm, with some impressive, ethereal vocal contributions from Natasha Kmeto, Pia Ercole, and Rachel Claudio.

The gloriously analogue tones of Chasing Rainbows makes a welcome appearance; but it’s the bubbling arpeggios of opener Race To The Moon; the dubbed-out percussion and whispered vocals of Never Defeated; and the glittering post-dubstep of It’s All About that demonstrate the album’s diversity and quality. The blistering anaogue acid of the title track seals the deal, making this a standout in Britt’s impressive discography. [Bram E. Gieben]

From Scotland With Love [Domino, 21 Jul]

Instrument [City Slang, 21 Jul]

Written to soundtrack the archive-compiled documentary of the same name, From Scotland With Love is equally effective in cut-down, re-ordered album form. The strength of KC’s lyrical, narrative-led songwriting is such that, even shorn of their redolent visual accompaniments, the tales told in the likes of Cargill (a fisherman’s wife waiting for her partner to return from sea – Kenny’s first attempt to write from a female perspective and a moving triumph) or Miserable Strangers (an outpouring of heartfelt homesickness from émigrés clinging to dreams of a new life around the corner) are deeply felt.

The latter is the album’s emotional pinnacle, buoyed by Pete Harvey’s majestic string arrangements and a rising choir of backing vocals (used again to stirring effect in Pauper’s Dough). At the pacier end of the spectrum, meanwhile, is Largs – a jazzy toe-tapper that translates the overarching romanticism into punch-drunk childhood nostalgia. Utterly transportive, and truly special.

[Chris Buckle]

The latest from these Berlin experimentalists belies its uncompromising title; for the first time in an eight album career, they’ve chosen to embellish their expansive electronica with live vocals. The trio of brothers Robert and Ronald Lippok, and Stefan Schneider, invited No Wave pioneer Arto Lindsay to sing on three tracks, a development down to happenstance (Lindsay is a friend and a fan) as much as design.

It’s a little wrong-footing at first – the likes of Classify and Many Descriptions seem initially too welcoming, a distinct remove from the band’s previously trenchant designs. Lindsay’s soft vocals feel at odds with the Instrument(als); an intrusion, almost.

Because, for all of that commendable experimentation, the highlights here are those tracks (the nervy warp of Pro Model, the listless melancholy of Gitter) that reference earlier recordings, and demonstrate the trio’s ability to deftly create and manipulate space within their work. [Gary Kaill]

www.glasgow2014.com/culture

www.dominorecordco.com/artists/to-rococo-rot

www.soundcloud.com/kingbritt

Plank

Matthewdavid

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Hivemind [aA, Out now]

In My World [Brainfeeder, Out now]

Manchester’s Plank play with Krautrock in a slightly more groove-based way than fellow motorik warriors BEAK>, delivering a head-nodding collection of math-y, riff-packed instrumental rock on their second album. Analogue synths, drums, bass and guitar interlock in inventive and challenging ways, managing to channel the classic likes of CAN and NEU! without sounding derivative. Aphidelity incorporates louche cosmic disco; Dark Web’s initially gentle post-rock explodes into tightly-wound riffage; while Swarm Behaviour’s looping, psychedelic fretwork and growling bass linger long in the memory.

The band are constantly playing with structure; the beatless wash of Drone shows they have an understanding of texture and atmospherics even without the riffs, while the melancholic, stargazing expanse of Waterboatmen is a gentle, understated highlight. Field recordings and library sounds round out the sonic landscape, making Hivemind a satisfying experience, worthy of many a repeat listen. [Bram E. Gieben]

Matthewdavid’s second album for Brainfeeder is a very different beast to the ambient, experimental textures of his debut, Outmind. Where that album explored off-kilter beat workouts, sample collages and drawn-out, textural depth charges of bass and synth noise, In My World is a mercurial, constantly shifting pop album. Beginning with a chopped-up smooth soul cut refracted through typically Brainfeeder-esque sonic weirdness, it only gets stranger amd poppier, occasionally sounding like what might happen if Luther Vandross dropped acid and hung out with FlyLo. Even the customarily Low End Theory-oriented tracks, like Perpetual Moon Moods, are overlaid with a sheen of polished popsoul, making this album either a leftfield choice for pop fans, or a more melodic choice for beat enthusiasts. Thankfully, it works as a showcase for Matthewdavid’s sophisticated beat-work, and a surprising revelation of his abilities as a hook-delivering neo-soul crooner. A treat, then, for those with open minds. [Bram E. Gieben]

www.facebook.com/plankuk

soundcloud.com/matthewdavid

July 2014

RECORDS

The Top Five 1 2 3 4 5

Honeyblood

Honeyblood

Claude Speeed

My Skeleton

King Creosote

From Scotland With Love

Fhloston Paradigm

Phoenix

Brian Reitzell

WATCH_DOGS OST

Review

37

A Matter of Choice Prodigious Oldham songwriter Kiran Leonard is a teenager who fully embraces our era of all-access

Kiran Leonard

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aced with overwhelming choice, some will retreat, daunted, while others will leap gleefully into its volumes of possibility. For example: at the end of February, Jake Bugg played the BBC’s much-vaunted 6 Music Festival at the Victoria Warehouse in Salford. A champion of the outdated vagaries of what supposedly constitutes Real Music – having bashed One Direction for not writing their own songs (while having co-writers for his own material) – Bugg’s hugely reductive style almost proudly refused to accept anything other than a hackneyed caricature of guitar-led music, as he pretended the previous 50-odd years of popular music had never happened.

Earlier that day though, on the same stage as Bugg, another songwriter born in the mid-90s ripped through a set that criss-crossed through different terrains like a slalom skier – doing so with a gloriously uninhibited freedom as he and his band swept through everything from operatic camp to hard-driving kosmische.

At 18 years old, Kiran Leonard is a musician who views choice as something to be embraced; his music – represented most comprehensively on last year’s album, Bowler Hat Soup – is a patchwork torn apart to reveal fantastical worlds, with narratives taking in everything from alien abduction to Brunswick Street’s hipster critique and tales of his native Saddleworth (a sleepy parish to the north-east of Manchester).

Fans of the wilful kitchen sink approach and the histrionics of Of Montreal’s Kevin Barnes or Sufjan Stevens can expect to find an instant affinity with Leonard – Bowler Hat Soup contains 22 instruments, ranging from the orthodox to the improvised, such as the hitting of a radiator to replicate a cowbell sound.

It all points to a palette that started out skewed from the off and has only pooled into more beguiling shades at the touch of an artist who believes that it is not enough to simply collect styles, it’s how the styles are edited and pulled together that’s important. Meeting Leonard at Nexus in Manchester’s Northern Quarter, the teenager admits he skipped out on

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Preview

the developmental phase of getting into music.

“I had an older brother who did all that for me,” he says. “Then he started getting into things like The Locust and The Mars Volta and that’s where I started, I suppose.”

“When I first heard Water Walk by John Cage it really provided a focus and an inspiration for me – using instruments that aren’t meant to be instruments” Kiran Leonard

Leonard was born into a music-loving household as the fourth of five siblings; his dad was a professional guitarist in the 70s and 80s and as such he grew up in a house filled with instruments and recording equipment – something he only started taking full advantage of a few years ago. “I actually started making electronic records, and did about a dozen albums between 2008 and 2010,” he says; “but I wasn’t even using hardware, it was just Ableton software straight on to the laptop – with a greater understanding of recording equipment came more instrumentally-led music.” Some of those early recordings remain, on a compilation called A Seed Is a Sovereign, although the rest he has since deleted for “not being good enough.”

Shorn of a physical music community to interact with in rural Saddleworth, Leonard took to music social networking sites like Last.fm to “look for other 13-year-olds who were into The Mars Volta.” Among several online friendships he formed was one with a drone artist going under the name of Jane Barbe. This led to a split release on a small Canadian cassette label, Prairie Fire, with Leonard going under the name Akrotiri Poacher and providing a side of abrasive noise collage. A project he’s revisited since, with a 2012 release on the same label as well as a selfreleased split alongside local improv rock troupe Locean, such truly outré explorations haven’t as yet found their way into his self-monikered music over the last couple of years – although he derives plenty from the avant-garde when finding the sounds that make up his schizophrenic pop mini-operas. “When I first heard Water Walk

by John Cage it really provided a focus and an inspiration for me – using instruments that aren’t meant to be instruments,” he says. “But a lot of my improvisations are just because I’m lacking the actual instrument I need – for instance I didn’t have a cabasa; so I had to wrap some sandpaper around a wooden block and scrub it with a brush. Pulling songs together does come quite quickly.”

Leonard took control of every part of Bowler Hat Soup, the genesis of which can be traced back to a recording found on his Bandcamp, The Big Fish. The in-and-out piano-pounding histrionics of Dear Lincoln was also written around the same time – at just 14 years of age – the other tracks following more or less in order. “I wrote that whole album chronologically,” he reveals. “I kind of write records as records and then only if there’s sometimes a gap I’ll write a song to fill it, in order to make the cohesiveness and the chronology of it work. But the stuff I write that I don’t like, I simply don’t record – it’s not like there are any outtakes from Bowler Hat Soup.”

Dear Lincoln’s only hints at the youth of its writer are thanks to the mispronunciation of the name Nietzsche in its verse – everything else is

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impossibly perfect; short, punchy, with a hook as memorable as the one on the first 7” you owned, but somehow containing a depth that suggests you could dig deep beneath its saccharine sweet pop for an eternity without finding its crystalline sugared base.

To talk to Leonard now about an album that was originally self-released at the beginning of 2012, before being snapped up for an official launch by Mary Epworth’s Hand of Glory label last year, is to find an artist already dismissive of its contents – not out of self-deprecation, more an eagerness to progress and a desire to move on from songs that he’s been playing for the best part of four years. “There was a musical narrative but a lot of the words were gibberish,” he says.

“I wrote them as I was recording. I’ve started taking lyric writing more seriously, particularly with the new record; but I never used to, I found them a bit tedious.” Not that Bowler Hat Soup is a record without lyrical content. Take Brunswick Street for instance: “It’s this street in Australia in Melbourne that’s full of hipsters,” he explains, fully aware that we’re sitting in a café in an area of Manchester that shares plenty of Brunswick Street’s traits. “And I remember walking around it and thinking it was full of fucking arseholes… but now I’m one of them!”

However, Leonard is still relatively new to Manchester as a city; his live experiences were largely confined to playing DIY all-dayers in the basements of its suburbs and the bar room floors of the Northern Quarter, until he was suddenly plucked to play at the BBC’s two-day event alongside the likes of Bugg, The National, Damon Albarn and Wild Beasts among many others. “It was quite stressful,” he says of jumping up to play in front of hundreds of people. I wouldn’t say it was unpleasant, but it was surreal.” It’s something you suspect Leonard can expect more of, as he continues to make the most of the choices on offer.

Playing Manchester Gullivers on 26 Jul www.kiranleonard.bandcamp.com

THE SKINNY

Photo: Manox

Interview: Simon Jay Catling

Young British Artists

First Chop Brewing Arm, 14 Jun

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Parquet Courts

The Kazimier, 22 Jun

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Baiting the public: sometimes it’s the only sensible thing to do. OK, Parquet Courts’ rickety racket isn’t exactly disappointing The Kazimier tonight, but the summer heat seems to have rendered a Sunday evening crowd somewhat restrained. Still, some textbook so-glad-to-bein-this-towns later, Sean Yeaton takes to teasing the huddled attendees with mischievous fibs about their city’s musical heritage: “The Rolling Stones! They were from here, right?” Before long, they’re all at it (“Oh duh! Kraftwerk, obviously!”

“Korn! That’s a good one. You should be proud of them”) – a lesser band might make a lackadaisical mess of such daftness, and yet this Brooklyn quartet only inspire the dancefloor to become more excitably fierce, as the love in the room builds slowly towards climax. Their shonky charm wins all.

The songs help, of course. Jumbles of wracked melody, interspersed with the sort

of wry observations you’d expect from stoners who’ve hung out in way too many DIY arts spaces. There are flashes of Swell Maps, The Fall and Jonathan Richman. Guitar solos sit astride spindly rhythms like novice bullriders; constantly thrown off but gloriously, triumphantly so. New album Sunbathing Animal isn’t so much a refinement of their ludicrous imaginations as a clever development – the ghost of Pavement still stalks raggedy punkers like Bodies Made Of, but never before have they embraced slacker sprawls like Instant Disassembly, deliriously enlivened by Austin Brown’s total absorption in the atonal noise that ensues when beer bottles meet guitar strings. Light Up Gold II stirs the moshpit into an ecstatic frenzy, as crowdsurfers collide at all angles and sweat begins to drip from the venue ceiling. Compelling evidence that even the best gags ain’t got nuthin’ on a damn good tune.

Their influences are familiar and well-worn, but Parquet Courts’ indomitable spirit feels wonderfully untamed: masters of their craft indeed.

[Will Fitzpatrick]

Fucked Up

Fucked Up / Lower Gorilla, 15 Jun

Parquet Courts

July 2014

Photo: Stuart Moulding

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The tension: it’s bound up in every single one of Anton Rothstein’s rippling, complex drum patterns. Why settle for a standard punk rock beat when you can just confuse the fuck out of everyone instead, right? Framing this dizzying shuffle with strafes of discordant scree and galloping basslines, Lower’s take on post-punk is a rusted, coiled spring that never quite snaps open; instead it immerses us all in the strain and slowly crushes us with it. Frontman Adrian Toubro neatly ices the cake, his cherubic, preppy-boy scruff leaving us unprepared for the existential ache of his vocal – the earnest roar of numbers like Lost Weight, Perfect Skin offers a glimpse of a parallel universe where Bryan Ferry grew up in the American hardcore scene of the 80s, obsessing over Embrace and Moss Icon. “We can’t offer you pop music,” he announces, unapologetically, “but

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we can offer you narcissism.” Seems a fair trade.

After the tension, the release: Fucked Up remain one of punk rock’s most compelling live acts. Ever the willing spectacle, Damian Abraham rampages around the room, whether to roll around in the beer-soaked floor or scream a few lines from behind the merch desk. Of course, such infectious energy can come across as daffy punk schlock without the tunes to back it up, and an opening salvo of Echo Boomer, Queen of Hearts and David Comes to Life makes airpunching, beaming devotees of mere fans, both old and new. The cold, brutal anger of hardcore was meant to express many things, but euphoria was never one of them: just when you thought Toronto’s finest had pushed their template as far as it could go, they unleash brilliant newbies like the cathartic pop of Sun Glass, drenched with luminescent harmonies and mirage-like psychedelic fug. “Let’s fall in love,” as the song begs.

We’re way ahead of you. [Will Fitzpatrick]

Review

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Photo: Michael Barrow

Parquet Courts

Photo: Stuart Moulding

Of all the dates most bands would choose their debut album launch to fall on, the night of England’s first World Cup game would probably not be one of them. That doesn’t deter Young British Artists, who have long grown accustomed to playing second fiddle. The YBAs have been staples in the Manc indie scene for years, propping up their showier peers while never quite getting the attention they deserve. That might be about to change with the release of Change By Any Other Name, which gets a modest send-off here tonight.

As a congenial crowd takes their time enjoying their beers in the garden outside the Brewing Arm, the YBAs’ support abet the relaxed atmosphere early on. Unnervingly sporting sacks on their heads, Horrid are a mysterious presence with their stony-faced psychedelic drone, blending indecipherable yells and melodica into

one vaguely groovy piece. Weird Era are more approachable, their watery distorted guitar melodies reminiscent of the moodiest 90s college rock.

With the evening so unhurried that the Young British Artists somehow rock up 30 minutes late, there is a tangible edginess about whether they’ll finish in time for the 11pm match.

Perhaps it’s that which encourages them to race through their set, offering the supportive audience an energetic show with minimal fuss.

There’s clearly youthful promise and vigour to their dreamy, discordant noise pop, led by Ben Phillips’ animated drumming, and they blaze through their celebrated single Everything In Front of You in a squall of feedback. “Now someone put the fucking football on!” singer Leo Scott says, before the band hastily disassemble so the crowd can huddle around the big screen.

They may have been typically upstaged here, but things are finally kicking off for them.

[Chris Ogden]

Behind the Scenes With just weeks to go ’til the festival, Beacons top dog Ash Kollakowski takes a break from adding the finishing touches to the programme to explain the importance of discernment, and not getting too big for your boots Interview: Lauren Strain

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ntering its fourth year, Beacons festival, which takes place every August in the moody, misty Yorkshire dales, is often praised for the strength of its ‘clubs’ lineup – but, as programmer and co-director Ash Kollakowski quite firmly emphasises, “We don’t consider bookings club-/ DJ-led in [something like] the Resident Advisor tent, because a lot of the artists that are in those tents are music producers. People like Max Graef, Mano le Tough, Roman Flugel, Daniel Avery... they’re musicians.”

Of an artist like Nicolas Jaar – one half of this year’s headliners Darkside (alongside Daughter and Jon Hopkins) – he says, “it’s all about composition, production, elements, finding key things in music that haven’t been done before. For me that’s not club music. People can go and hear Andrew Weatherall play for five hours and see what’s inspired him; I don’t view it in terms of clubbing anymore. I think it’s probably viewed as a little bit more than that.”

Rising, in 2011, from the ashes of the fewhundred capacity Moor Fest (a bit of a “hippy, dogs-on-strings thing,” Kollakowski remembers affectionately; but “no one wants a dog on a string in your face”), Beacons was founded upon

the desire to concoct a “relevant, up-to-date lineup that you wouldn’t be able to see anywhere else, without charging an arm and a leg.”

“We’re from the city, and we’ve grown up in clubland in Leeds, from Back To Basics to Up Yer Ronson,” he explains; “our partners went to, or were a big part of, Fabric in London and warehouse parties in Manchester, and we wanted to bring that and live music together, in a field, with no neighbours.”

Since the upset of the first (non-)instalment, which had to be cancelled due to flooding, the fledgling fest has had a pretty good crack at achieving that balance, with this year’s programme bringing together the likes of the aforementioned Avery and Flugel, Nightmares on Wax, Pariah, Dam-Funk and Dixon with Golden Teacher, John Wizards, The Fall, and Neneh Cherry. For the bookers (Kollakowski works with a few others, but signs everything off himself), it’s how the acts overlap, intersect and relate that’s crucial. No one is booked if they don’t work in context with the rest of the lineup. “We get offered so much stuff, we turn down more stuff than we take, and we get offered really big acts but if they don’t fit, we won’t book it, no matter

Neneh Cherry

how many tickets it sells,” he insists. It’s that idea of being able to choose different paths through the festival that’s key – “when you look at each individual artist, y’know, kids might not flip out,” he says. “But when you see the lineup all together... that’s when it starts to get quite exciting. You can almost plan your day by, ‘this is how I want to feel.’ If you want to get thrown around and go absolutely berserk, go to Hookworms or Eagulls or Fat White Family; if you want to just have a good afternoon trip into wherever you want inside your head, go see Mano le Tough or Max Graef.”

The ambition, accordingly, is to remain as they are – getting ‘big’, he says, would just “spoil it... By putting on huge people you’re gonna attract people who are not interested in the smaller artists, and it just goes back to how we programme; everything needs to be relevant together. And it can’t be relevant when you’re doing a 40,000 capacity festival because the earlier

acts can never, ever match up to how people are gonna get excited about the bigger acts. It’s very, very difficult to do that and run it well, while keeping your independence.

“We’re all about curating a weekend with a great experience for people,” he summarises.

“Y’know, you can meet like-minded people and make new friends.”

What with the onus on the ‘journey’ and the connections that you make, plus some sunny vibes from that hazier end of the lineup (hello the gumdrop pop of Charli XCX; the fuggy disco of Psychemagik and A Love From Outer Space), we dunno – we reckon they haven’t totally shaken off those summer-of-love beginnings quite yet. Just leave the string at home...

to non-electronic music at home because sometimes you have to step back and listen to everything, especially this kind of timeless record.

This track is from the first collaboration record I made with Malin Génie. It was released in 2012 for the first instalment of the I Don’t Sync So series.

It features vocals from the hugely talented singer Mar, a former Amsterdam-based artist. I recommend checking out his work as Full Crate & Mar if you want to know more about this great singer. A lot of good memories are attached to this song; we made it two years ago but it seems like ages.

We’ve just re-released part one on Lazare Hoche Records, cop it while you can.

Beacons Festival, Heslaker Farm, Skipton, 7-10 Aug, full weekend and day tickets available www.greetingsfrombeacons.com

DJ Chart: Lazare Hoche A rising star of the Parisian scene, Lazare Hoche delivers seven tracks that have helped to shape the sound of his eponymous label Interview: Daniel Jones Illustration: Lucas Jubb

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rench house tradition goes way back, to a time when punks weren’t quite so daft. Cats like Cerrone and François K were pushing the dance music agenda in the late 70s, while Jean Michel Jarre was fiddling around with low-budget tape effects in a secluded bedroom somewhere on the outskirts of Lyon. Their efforts afforded a foundation for the 90s contingent – Zdar, Bangalter, de Crécy, Garnier – to build their sound on, making heavy use of filtered loops and eventually birthing labels like Roulé and FCom. We’ve come a long way since then; Bob Sinclar has been and gone, whereas St. Germain and Pepe Bradock are now bona fide veterans down at the jazzier end of the spectrum. But fear not: a new dawn of French house is upon us, carried on the supple sampling shoulders of guys like S3A, Hold Youth, Varoslav and Charlie Naffah – aka Lazare Hoche.

Taking his name from an 18th century French Revolutionary general, Lazare Hoche’s campaign has been in full force for the past five years or so, pushing a wealth of tight little house numbers on his own eponymously named label. His best form is found in collaboration with Malin Génie on the I Don’t Sync So series, and with an eagerly anticipated reissue on the way, it’s shaping up to be a productive year for this young Parisian go-getter.

Here, we get to grips with the arcane musical processes at play in the Lazare Hoche machine, a journey that passes through chilled out chansons to Beastie Boys obsession.

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Sun Ra – Door of the Cosmos [El Saturn] Sun Ra was a US poet, jazz composer, philosopher and a quite cosmic artist. From the mid 50s, he led the Arkestra, but he often changed the name of this ensemble to reflect the change of his music. This record, Sleeping Beauty, was impossible to find; if you ever had the chance to get your hands on it was for $300 – it was reissued in 2005 on a UK label that I forgot the name of.

The music speaks for itself in this case; no more words are needed to describe it. I can listen to it over and over, and there’s always something new to discover.

Miles Davis – It’s About That Time [Columbia] This is an early, “electric” Miles Davis jam. The two keyboards are just Chick Corea and Herbie Hancock laying it down on a Rhodes Mk1, I guess.

It was released in 1969 and recorded in one session, then edited by Teo Macero, the producer of the album. This jam is essential to me, and inspiring as hell because it has a quirkiness that I love in music. The vibe is next-level; I play this record maybe four times per week. Well, like lot of his work, Miles Davis is something else.

MD’Z Revenge – The Banger [Focus] Here we have an esoteric jam by Mike Dunn, the well-known Chicago producer, from 2001. It was released in a single-sided 12” on Focus Records which is a sub label of Subliminal, so it makes the whole thing even weirder. It’s actually a brilliant cut: straight, simple and efficient. The beat is tight, and it keeps rolling and rolling. The sound treatment and process here is a huge part of the music because there are no tonal elements.

Beastie Boys – Shake Your Rump [Capitol] I’m definitely a Beastie Boys nerd – it’s an obsession. That’s basically what I’m listening to all day long. It’s just straight hip-hop; no bitches, money or fancy ride bullshit. This cut called Shake Your Rump is from Paul’s Boutique. Fun fact: Miles Davis actually said that he never got tired of listening to this album. It’s like the Bible of sampling – Shake Your Rump is made up of more than 10 samples, for instance.

Serge Gainsbourg – Cargo Culte [Mercury] Of course, Gainsbourg. From the album Histoire de Melody Nelson released in 1971 – for me, and for a lot of people, a masterpiece of French music. Spoken words, deep strings and choral ar- Lazare Hoche & Malin Génie – Pressure Baby rangement by Jean-Claude Vannier. I listen mostly (Vocal: Mar) [Lazare Hoche Records]

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Nimbus Quartet - Your House Is Yours Parts II & III Simultaneously [Sounds] Nimbus Quartet was a project of the Minneapolis acid legends Woody McBride & Dave Stevens.

They just released two 2x12” back in 1995 on Woody’s own imprint, Sounds. I immediately fell in love with this jam and I really wanted to give this music a second life – the original record was quite expensive and hard to find in good condition. I decided to contact Woody McBride to let him know that I want to reissue some of his works as Nimbus Quartet, and he told me very quickly, ‘Yes!’ – so here we go. www.soundcloud.com/lazare-hoche

THE SKINNY

Clubbing Highlights As studentdom goes on hiatus for the next few months, we cherry-pick the best action from the July club calendar for all you mainstays out there – represent Interview: Jack Burns Illustration: Kim Thompson

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ittingly for a party falling on the fourth of July, the guys at iDiOSYNC have decided to invite over an American. You may have otherwise known him for his alias Adultnapper, though now releasing under his given name, Francis Harris makes music with a beautifully emotive feel to it. Resident selectors Guy Richards and Eoin Thomas will be on hand providing support for what is an expectant return for the night, at Dry in Manchester (£5). The same date sees pioneer of the scene Parris Mitchell – also known as Victor Romeo and Rhythm II Rhythm, but universally recognised for laying the foundations of Ghetto house with his X-rated percussive anthems on Chicago’s legendary Dance Mania label – take the downstairs at Soup Kitchen for Chow Down (£5). This is his first time in Manchester – so you could at least pop your head in to say hello.

Things kick off in Liverpool 5 Jul with Motion presenting the dynamic pairing of Dinky and John Heckle for their first major party of the season at The Magnet (£8). Hailing from Santiago, Chile, Dinky is currently recording her album for Crosstown Rebels, but her sets explore the realms outside of house, to deep minimal techno, experimental, old school and even a bit of funk and soul. Heckle, on the other hand, has been spinning in Liverpool since he was 15, and has since built a weighty arsenal of outboard gear, as well as honing his three-deck abilities.

Beats, Bats and Beers runs every Saturday at Twenty Twenty Two, but 5 Jul sees Horse Meat Disco return to the basement to cause more mischief and disco mayhem (£5). Now in their tenth year of existence, the four-man DJ/club collective have continued to lead the way in the disco field with packed residencies at their HQ of Eagle London; Cielo and various venues in New York; Prince Charles in Berlin, and Silencio in Paris.

Elsewhere in Manchester, Mr Scruff rocks up to Band on the Wall for another instalment of Keep It Unreal (5 Jul, £12). The long-running night is now in its 15th year, and Scruff’s selection is still throwing up surprise after surprise: good going, Andy! If that’s not quite your bag, you can spunk that £12 on Goldie at Gorilla, which is a more than worthy cause if you’re into rinsing D’n’B and metallic teeth.

Fast-track to 11 Jul and there’s a party at

July 2014

Joshua Brooks in celebration of their new Void system. They’re putting on a demo rig, bringing in the guys from Selective Hearing, Micron, Coded Rhythm, Project 13 and Meat Free to help test the water… for free! Next day, 12 Jul, sees acid house dab hand DJ Pierre take to the Underland decks – just £12 again! All money raised will be donated to Connie, a young girl who suffers from a debilitating illness known as West syndrome.

A good cause to say the least, and it’s also DJ Pierre’s birthday, which makes it an extra special shindig all round. If that doesn’t cut the mustard for you then you’ve also got Simian Mobile Disco over at Gorilla for £12; or Iration Steppas at Antwerp Mansion for a fiver.

Over in Liverpool, Dan Ghenacia takes to the Williamson Tunnels for Freeze on 12 Jul – probably one of the most creative spaces in the city (£12). You can also catch Lewis Boardman’s fivehour set at The Shipping Forecast on the same night for a fiver – decisions, decisions.

Off-kilter vibes are the order of the day on 15 Jul, as Theo Parrish brings his new live show to The Ritz (£12). A graduate of the Detroit underground, Theo is famed for his own seamlessly genre-hopping productions as well as for his impeccable and inscrutable skills as a music selector, with sets swerving dangerously between house, funk, disco and techno and miscellaneous.

Then, come 18 Jul, it’s time to dust off your dancing sneakers as El Diablo’s Social Club returns to Manchester for another evening of low–slung sleazy shenanigans at the underground discotheque den, Underdog. Greg Wilson joins the clan for a three-hour summer session, which is good value for £6. Wilson also plays Liverpool’s Bombed Out Church on 12 Jul (£14).

Yousef brings in a healthy slew of names on 26 Jul to get the Circus brand back in the habit – Dixon, Green Velvet, Subb-an and Tom Trago are all on the bill at East Village Arts Club, bringing high grade house and techno that treads water in the deep end. At £20, it’s a little steep, but it’s pretty much guaranteed to be a decent night at least.

So there you have it – more than enough to get you in the summer spirit, and a lot of it will set you back £12 each time. Stay warm, campers, and remember – the choice is all yours.

CLUBS

Preview

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Beneath the Label: Ruf Kutz Wet Play co-founder Ruf Dug is the cat behind Ruf Kutz, which issues punchdrunk disco drenched in 80s nostalgia. He chats proper parties, cassette culture and Helvetica predecessors

Interview: John Thorp

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he Skinny: Hey Ruffy, you’ve been touring a lot in Europe this year, playing legendary venues like the Golden Pudel. Any other offbeat finds party-wise, or any nice surprises?

Ruf Dug: Oh man there have been some fun adventures! Pretty much everywhere I’ve played has been really good... on the offbeat angle I think the Inkfolk lot in Hebden Bridge might have to be the winners – a lovely bunch of people of all ages and walks of life who live up in the hills and come together every few months for a four-day mini festival of sorts in an old mill...

Saturday night is the big dance and it’s quite the session.

Returning to the Northwest, you were involved in founding Manchester’s Wet Play, which birthed some genuinely affirming parties for many in the city. After a while, you went your own way, arguably at its underground peak, pursuing Ruf Kutz exclusively. What informed this decision?

Putting on a party, and particularly Wet Play with all its chaos and colour, is for me a pretty massive endeavour, physically and also emotionally! It takes up a lot of time and energy and as I started to get more gigs out of town as well as working a day job and producing and trying to spend time with my girlfriend – well, something had to give. I remain immensely proud of and grateful for every minute I was involved with Wet Play. It’s the best party I’ve played at in the last six years.

The vision and aesthetic for Ruf Kutz is, it’s fair to say, quite specific thus far. Having released from a fairly small group of producers to date, do you do much A&R work, or do records just find their way to you?

I just work with my friends. I will ask one of my mates to give me some tunes or make something for me; that’s kind of the extent of my A&R work.

I don’t get stuff sent to me by hopeful strangers, and I don’t go out searching SoundCloud for unreleased gold to put out. It’s more a place for me to do what I want personally – I don’t really envisage ever doing more than two or three records a year on it, and I really want each one to be ultra special to me.

With Ruf Tapes, you’re taking a widely available format (the mix) and putting it on a slightly

Ruf Dug

archaic format (the cassette tape). The latter has featured widely across your various endeavours; what is its appeal to you? Can you give us an idea about the latest one?

I’ve loved tape and cassettes forever... some of my most powerful early musical memories involve listening to cassettes in an enormous Walkman that needed loads of batteries and chewed up tapes, and I was a massive Sinclair Spectrum guy and that was all cassette-based, so I personally have a very romantic attachment to the format.

As far as the Ruf Tapes blog goes, I wanted to make a series of mixes last year and my girlfriend had just come back from the charity shop with a load of blank tapes for me, so it was a fairly

logical step to put the two together. I’m also lucky that there’s a company called Tapeline very close to my house, and they’re one of the only places in the UK left that still do tape duplication, and they do it at a very reasonable price.

So to mark a year of doing the blog I got some tapes made up to sell, to sort of pay homage to the old days of mixtapes being sold in record shops and the like.

Of course, not many folk have cassette players any more so mine come with a download code, but I’ve found that a lot of people like simply owning the physical cassette whether or not they can actually play it... it becomes a sort of fetish item, which in some way it always has been for me.

“Some of my most powerful early musical memories involve listening to cassettes” Ruf Dug

You’ve recently had a run of parties in Manchester, in the very suitable and smokefilled Soup Kitchen basement, Dancers Wanted – featuring yourself and a guest each time. The artwork for the night is very distinctive; who’s behind it?

It’s me! I like halftone screens and I also like typefaces – a designer friend hooked me up with a copy of the Akzidenz-Grotesk font which

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Preview

CLUBS

is the original typeface used for Helvetica. One for the nerds!

Finally, you played a memorable Boiler Room in Bradley Zero’s front room in Peckham. But I know you’re likely to turn down other media opportunities if you think they’re bullshit. How do you feel about rave and party culture in the UK at the moment, and the involvement of big brands in the proliferation of channels and media otherwise purporting to be underground?

Do you feel like running a label is one of the last few ways to do something without major interference?

Jesus, you’ve finished with a proper essay question here! Man... well look, there’s always a thick end and a thin end, and at the thick end there are loads of people and loads of money – and wherever there is loads of money there are always people who are pretty much all about the $$$ and not much else at all and they can fuck things up really easily – which is not to say they will fuck things up but come on, it usually goes that way to some extent, right?

Head on down towards the thin end, though, and there’s always some weirdos in a room somewhere with a sound system and odd records and no logos and no money. Powerful people have a real interest in keeping you up the thick end, though, and they will do everything they can (and they can do a lot) to make you stay there.

I don’t think I need to say which end I prefer, but you know everybody needs at least a little bit of money and it’s a big old world out there, so it’s best not to be too judgy. There’s room for us all and I think there’s probably more freedom down the thin end than there has ever been. It’s just all those bell-ends up the thick end making a lot of noise that makes us think differently! www.rufkutz.net

THE SKINNY

Walk On: 40 Years of Art-Walking

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Castlefield Gallery/Agency

The Atkinson, Southport

Carey Young - Body Techniques (after A Line in Ireland, Richard Long, 1974) (2007)

Louisa Chambers - Double Decker (2014)

Bringing together eight painters from across the UK, Castlefield’s new exhibition, Launch Pad: About Painting, explores the variety of abstract painting practice today. Abstraction is certainly in the Northwest air right now: Tate Liverpool has just launched a whole summer season on the subject, and Liverpool Biennial’s co-commission, exploring war-time abstracted ‘dazzling’, Dazzle Ship by Carlos Cruz-Diez, has just been launched in the Albert Dock.

Selected through open submissions judged by a panel including Stephen Snoddy (director of the New Art Gallery, Walsall) and Castlefield’s interim programme manager Matthew Pendergast, there is quite a lot of work on display, with 26 works in total arranged over Castlefield’s two floors. Malevichy works in a muted colour palette derived from Terry Greene. His painted triangles frame the composition, a camera shutter opening up to reveal, or closing to obscure, a secondary layer. Louisa Chambers goes in for optically playful forms that exist within Snake or Pipe Dream game fields. Her Double Decker (2014) is perhaps the most interesting work in the exhibition; a neon peach colon forms an arch around a doublelayered yellow and green spiked shape, possibly grass or a pop and pimped seismic graph.

Nearby, however, the main shape within Zig-Zag (2014) is too map-like – it looks like the UK with Kent chopped off and Scotland flattened.

Lisa Denyer (who is also the curator of the exhibition) presents mixed media compositions, constructions from plywood, breeze-blocks and found stone that sometimes provide armatures for small paintings but often exist just as themselves. They create makeshift and open-ended micro-narratives; a black and green sparkling rock props up a purple and blue-ish oil painting and rests on breezeblocks in Painted Green Stone (2013) – the painting like an illustration of the murky lagoon where the gem had been found.

Another, Painted Bronze Stone (2014), sees the flat side of a black rock painted gold. The rock has an edible cookie quality sitting on its wooden plinth. Elsewhere there are some pleasing spotlit black-and-white checkered acrylic works from Andy Parkinson, and a couple of billowing wet-brushed paintings from Matthew Macaulay.

Macaulay’s works are some of the few to express a looser, freer abandon; they whip up abstraction like sand-storms. [Sacha Waldron] Run ended www.castlefieldgallery.co.uk

Artists walking? They get ferried around by Saatchi limo don’t they? At the very least some smart, gallery-paid-for black cab. Apparently not so. They walk, just like us mere mortals. Not only that, they make art out of walking and as you can currently see at The Atkinson Gallery, Southport, much of it is pretty damn good.

Walk On: 40 Years of Art-Walking focuses on ‘artists' walks and journeys’, however Francis Alÿs, whose use of the city and social space as canvas makes him the obvious choice for this exhibition, makes an important distinction. ‘A journey,’ he says, ‘implies a destination, so many miles to be consumed, while a walk is its own measure, complete at every point.’

There are some big names in Walk On: Richard Wentworth, Janet Cardiff, Hamish Fulton, etc. Richard Long shows one of the first ever images of his drawing interventions into the landscape (England from 1968), and Carey Young’s Body Techniques – after Long’s, A Line In Ireland (2007) is nearby. Marina Abramovic and Ulay’s walk towards each other across the Great Wall of China is represented by a series of photographs and drawings. One of the great stories of performance art history, the lovers intended to walk towards each other and marry, but the project was delayed by so many years that, by the time they complete it, they meet instead to separate.

Sophie Calle’s Venetian Suite (1980-1996) could be mistaken for an obsessive love story, but is resolutely non-romantic. Calle explores in

the city, following strangers akin to Vito Acconci’s earlier work Following. Calle followed strangers around the streets, photographing them and noting their movements. A chance encounter at a party with a stranger she had been following during the day inspired Calle to follow this man, Henri B, to Venice. Her daily frustrations in not being able to locate him, and her various disguises and routines, are displayed in text and photographs.

Several works explore the physicality of walking, of the human body moving through space, for example Bruce Nauman’s Walking in an Exaggerated Manner Around the Perimeter of a Square (1967-8) or the cute video projection, Hill Walker (2009) from Tracy Hanna, which sees the artist projected teeny-tiny on a mountain of 25kg of plaster. She walks up the mountain only to have her journey begin again and again, consigned to a Sisyphean fate. Another work positions the viewer as the walker – Dan Holdsworth’s large-format image Blackout 10 (2010), which is displayed in a huge lightbox. The image, taken on a walk in southern Iceland, has been rendered tonally monochrome and the scale of the photograph makes you feel like you could walk right into this abstracted alien landscape. [Sacha Waldron] Until 9 Aug, open daily, times vary, see website ww.theatkinson.co.uk

 THE DAILY TELEGRAPH

 THE GUARDIAN

4th July - 24th August 2014 Grosvenor Park, Vicars Lane, Chester, CH1 1QQ

BOOK NOW

www.grosvenorparkopenairtheatre.co.uk box office: 0845 241 7868

July 2014

ART

Review

43

Photo: Carey Young/Paula Cooper Gallery

Launch Pad: About Painting

July Film Events Plenty of opportunity to sample cinema in the outdoors this month, with Picnic Cinema kicking off and Screenfields back after its Wimbledon break Words: Simon Bland I Am Divine

Finding Vivian Maier

How to Train Your Dragon 2

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Director: John Maloof, Charlie Siskel Starring: Vivian Maier, John Maloof Released: 18 Jul Certificate: 12A

Director: Dean DeBlois Starring: Jay Baruchel, Kristen Wiig, America Ferrera Released: 11 Jul Certificate: U

In 2007 John Maloof, while researching for a book on Chicago, happened upon a collection of 30,000 prints and negatives by one Vivian Maier.

Googling her name he found nothing. Over the next few years he bought everything of hers he could find, uncovering more about her life as he went.

It turned out that she was an eccentric and intensely private nanny who spent her time both on and off the job walking the streets surreptitiously taking thousands of photographs with a neck-hung Rolleiflex. She showed her life’s work to no one.

“I find the mystery of it more interesting than her work itself,” says one of the many interviewees (consisting mainly of her employers, their children, or people who knew her only briefly), and this is unfortunately the documentary’s focus. The enigma’s all well and good, but it’s the work we really care about. If only Maloof and Siskel had focused less on gossipy psychological guesswork, and more on Maier’s art, this could’ve been a documentary worthy of its towering subject. [Kristian Doyle]

Following the smash success of How to Train Your Dragon, this sequel – part coming-of-age tale, part family drama, part aerial war movie – fast-forwards a few years. Hiccup (Jay Baruchel) is now a stubbly-faced young adult, and the dragons and humans now live in harmony together. Soon, however, this peaceful co-existence is threatened by villainous Drago (Djimon Hounsou), who plans to dominate with a dragon army, while Hiccup’s long-lost mother (Cate Blanchett) reappears to further confuse matters.

Despite largely irrelevant 3D, the visuals are impressive, particularly during the numerous flying sequences but, as before, the dragons are the film’s main draw. Toothless remains adorably feline – early scenes of mundane exposition and human drama are upstaged by the playful interactions of the characters’ dragon counterparts – but the plot is weak, with the film lacking clear focus and direction. Hiccup’s mum is quickly sidelined – even worse, towards the end so is Toothless. Perfectly adequate as light entertainment, nevertheless it fails to excite or surprise the way its predecessor did. [Becky Bartlett]

Norte, the End of History

Joe

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Director: Lav Diaz Starring: Sid Lucero, Angeli Bayani, Archie Alemania Released: 18 Jul Certificate: 18

Director: David Gordon Green Starring: Nicolas Cage, Tye Sheridan, Ronnie Gene Blevins Released: 25 Jul Certificate: 15

Filipino director Lav Diaz has been working consistently since the late 1990s but, with most of his films running for anything up to nine hours, the relatively accessible Norte, the End of History will act as an introduction to his work for most UK viewers. What they will find in this slow-burning fourhour drama is a filmmaker in total command of his art.

The film unfolds in long, measured takes and every sequence is a masterclass in visual and aural composition. It is a film that gives us time for contemplation and ample space to fully immerse ourselves in his story.

Whether or not that story entirely works is open to debate; what begins as a loose adaptation of Crime and Punishment takes some surprising and troubling turns, particularly in the climactic hour. But Norte, the End of History is a film worth grappling with. Patient and inquisitive viewers will surely find it a very rewarding experience, and one hopes it’s not the last Lav Diaz film to make its way to these shores. [Philip Concannon]

With Joe, director David Gordon Green (Pineapple Express, Prince Avalanche) returns to his roots, examining the grim reality of society’s underclass with great sympathy and unflinching honesty and humanity. The result is his best film in years – post-screening, you can very nearly shake the grit from your shoes as you leave the cinema.

As the titular grizzled antihero, a subdued, marble-mouthed Cage fights his violence-prone nature as he attempts to lead a ‘respectable’ existence (poisoning perfectly healthy trees so a developer can cut them down) until a homeless teenager (Mud’s Sheridan) arrives on the scene with his abusive drunk of a father in tow. With its Southern Gothic milieu and moody, noir-ish tone of understated menace, at times Joe feels as pulpy as its poisoned trees. But Green brings a delicate, richly detailed touch to a story that could have felt pat. Instead, it’s potently ambivalent. Joe may be a rabid cur at heart, but at least he has heart enough to have a dog in the fight. [Michelle Devereaux]

I Am Divine

Boyhood

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Director: Jeffrey Schwarz Starring: John Waters, Divine, Ricki Lake, Tab Hunter Released: 18 Jul Certificate: TBC When Glenn Milstead died from a heart condition in 1988, he was just hours away from shooting his first episode of Married... with Children, the hit Fox sitcom on which he’d been offered a recurring role. After two decades spent eating dog shit for midnight movie audiences, chewing the scenery in queer theatre productions and touring an aggressive strain of gay disco around the world, the star was tired and in search of something approaching mainstream acceptance. It’s tragic that he fell just short of this dream, but admirers can console themselves with the knowledge that Divine left behind an undiluted body of work.

This documentary mostly looks back on its subject’s career as a notorious drag act, with consistently amusing input from the likes of John Waters, Tab Hunter and psychedelic theatre troupe The Cockettes. It’s the involvement of Milstead’s recently deceased mother that proves most illuminating, however, offering insight into his private battles and lending pathos to an otherwise profane story. [Lewis Porteous]

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Review

Director: Richard Linklater Starring: Ellar Coltrane, Patricia Arquette, Ethan Hawke Released: 11 Jul Certificate: 15 In Boyhood, Richard Linklater follows the same actors over 12 years, as they age with their characters. Ellar Coltrane plays Mason Jr, a six-year-old boy growing up in the America of the 2000s: the nervous years of Middle Eastern war, digital advances and eventual economic depression. Against the backdrop of a changing society we watch Mason’s parents (Patricia Arquette and Ethan Hawke) divorce, find new love, lose it and find it again.

Meanwhile Mason grows up – he falls for a girl, tries to understand his wayward father, discovers art and goes to college.

The film is at once of a piece with Linklater’s other pictures – as temporal as the Before/After series, as philosophical as Waking Life – and also more universal than anything else he’s done. The characters drift through life as we do: bemused, in turns sad and happy, wondrous at the mystery of time and how it passes. [Sam Lewis]

FILM

S

till a bit gutted you missed Glastonbury?

Don’t worry, you can dust off your camping gear and pitch your tent at Picnic Cinema instead. This immersive movie experience returns for another summer of outdoorsy fun, inviting happy campers to a handful of picturesque locations to catch a classic movie back on the big screen. An impromptu trip to Uncle Monty’s cabin (aka Cumbria’s Sleddale Hall) kicks off this year’s proceedings, with three screenings of Brit-comedy classic Withnail and I (3-5 Jul). A couple of creepy castles form the backdrop for the next two events, with Hammer Horror’s The Woman in Black appearing at Lowther (16 Jul) and The Shining taking over Muncaster two days later (18 Jul). It’s not all horror in the hills, though, as Grease (19 Jul) arrives just in time to bring some summer lovin’ to the Cumbrian countryside. Leather jackets and combs at the ready, people.

In Liverpool, FACT revisit Jules and Vincent with Pulp Fiction (3 Jul), host a digitally restored Mad Max double bill (5 Jul) and run around with The Beatles for A Hard Day’s Night (7 Jul), all before getting a bit silly with (most of) the Monty Python crew at the end of the month. This special screening sees John Cleese, Michael Palin, Eric Idle and the two Terrys (Jones and Gilliam) back together for the first time in three decades as the hugely anticipated Monty Python Live (mostly) is zapped via satellite from the O2 on to FACT (and Cornerhouse) screens (20 Jul). Expect lifeless parrots, funny walks and new gags.

Nudge nudge, wink wink, say no more...

Mad Max 2

Over in Manchester, the Dancehouse theatre closes out its John Carpenter season with paranoia body-shock flick The Thing (17 Jul).

Here, you’ll be able to relive the slime-covered genius of special-effects pioneers Rob Bottin and Stan Winston, as scientist Kurt Russell finds out just how much he can trust his colleagues when a shape-shifting alien infiltrates their snowy compound.

Meanwhile, on the other side of town, Manchester’s Screenfields continues to offer some sunny cinema fun with three events scheduled for the last three Thursdays of the month. It all starts with musical epic Les Misérables on 17 Jul, followed by Rob Reiner’s coming-of-age classic Stand by Me on 24 Jul and Tim Burton’s emotacular Edward Scissorhands finishing things off on 31 Jul. So forget festivals, grab a beer, plonk yourself in a deckchair and relax. You’ve earned it... probably.

THE SKINNY

Boy Meets Girl

Labor Day

We Are the Best!

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Director: Leos Carax Starring: Denis Lavant, Mireille Perrier Released: Out now Certificate: 15 At long last, Leos Carax’s debut film, Boy Meets Girl, comes to Bluray. Originally premiered in International Critic’s Week in Cannes 1984, when the enfant terrible was just 24, it’s a reflexive meditation on doomed love and suicide, all shot in beautiful monochrome by the much missed Jean-Yves Escoffier (who went on to shoot Harmony Korine’s Gummo and Gus Van Sant’s Good Will Hunting among others).

It stars Denis Lavant (Carax’s alter ego and leading man in four out of five of his features) as Alex, an aspiring filmmaker, who wanders the moonlit streets of Paris attempting to get over a lost love and stumbles upon a suicidal young woman (played by Mireille Perrier) suffering a similar malaise. Look out for the famous sequence – recently paid homage to in Frances Ha – where Lavant runs/dances to Bowie’s Modern Love. A poetic, little-seen gem that should not be missed. [D W Mault]

Director: Jason Reitman Starring: Kate Winslet, Josh Brolin Released: 4 Aug Certificate: 12A

Director: Lukas Moodysson Starring: Mira Barkhammar, Mira Grosin Released: 28 Jul Certificate: 15

A change of pace for Jason Reitman, and a near-disastrous one, Labor Day is an earnest attempt to make an old-fashioned romance that can’t take flight under the weight of its leaden voiceover and disruptive flashbacks. Josh Brolin and Kate Winslet work hard to invest their characters – an escaped convict and a fragile single mother – with as much soulfulness as they can muster, but Reitman can’t generate any heat. His direction feels tepid and self-conscious; the work of a man patently unsuited to the kind of story he is trying to tell.

It’s hard to believe in anything these characters do, and the key moments – notably the much-derided baking scene – come off as laughable. Labor Day is set in 1987 when Jason Reitman was ten years old, a little younger than the film’s narrator, and the close attention paid to evocative period detail is just about the only thing in this picture that rings true. [Philip Concannon]

It’s suburban Sweden, 1982, and punk is dead. Two 13-year-old outsiders, Bobo (Barkhammar) and Klara (Grosin), are feeling the loss more than most. Undaunted by a lack of musical ability, the girls form a pint-sized punk trio with a demure, God-fearing goodgirl (LeMoyne), who also happens to be a kickass axe-smith. The targets of their rage include embarrassing parents and PE (‘the world is a morgue / but you’re busy watching Björn Borg’).

This is Moodysson back to the freewheeling verve of his early, funny features (Show Me Love, Together). Shot in a raggedy, handheld style, it’s an exquisite portrait of friendship and the frustrations of youth. Like all great bands, jealousies and egos – Bobo and Klara fight over a boy and the bass – threaten equilibrium, but self-expression wins out. It may not be very punk, but these girls just want to have fun. And, crucially, Moodysson is having a good time too; there’s joy in every frame. [Jamie Dunn]

Rapture

Harold and Maude

13 Sins

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Director: John Guillermin Starring: Melvyn Douglas, Patricia Gozzi Released: 28 Jul Certificate: 12 This curio from 1965 features strong performances from screen greats Melvyn Douglas (Ninotchka) and Dean Stockwell (Paris, Texas), but is carried by a 15-year-old Patricia Gozzi, who’s every bit as compelling as she was in her more celebrated debut, Sundays and Cybele. It’s with a feral earthiness that she plays Agnes, the troubled child lost to isolation and fantasy, who becomes convinced that an escaped convict seeking refuge within her family home is the human manifestation of a scarecrow that once stood outside it.

There are shades of Whistle Down the Wind in this initial premise, but events take a decidedly dark turn as Agnes and the fugitive embark on a doomed sexual relationship. A delirious, creepy sensuality pervades John Guillerman’s twisted fairytale.

Unfortunately, the otherwise captivating Rapture is let down by some clunky exposition and a fatally rushed conclusion.

[Lewis Porteous]

Director: Hal Ashby Starring: Ruth Gordon, Bud Cort Released: 14 Jul Certificate: 15

Director: Daniel Stamm Starring: Mark Webber, Devon Graye Released: Out now Certificate: 15

Wes Anderson fans unfamiliar with the pleasures of Harold and Maude should remedy that post-haste, considering the filmmaker’s sensibilities owe as much to Hal Ashby’s 1971 cult classic as they do to any Truffaut film. Although the story – death-obsessed 20-year-old boy meets life-besotted 80-year-old girl – is as stripped down as, say, The Grand Budapest Hotel is convoluted, most everything else will seem familiar: the dark and deadpan humour, the studied compositions, the obsession with outsiders and societal corruption… and all that darn wistfulness.

But Anderson’s increasing emotional distance is notably absent. Ashby was arguably the most humane New Hollywood director, and his ability to effortlessly marry barbed social satire with an earnest celebration of intimate connection shines through every rain-dappled frame. Wry, funny and gently weird, Harold and Maude also trades in a much rarer commodity: unashamed wonder at the beauty of life, in all of its absurdity. [Michelle Devereaux]

Hollywood’s cannibalistic cycle of consumption and regurgitation continues unabated, as yet another super Asian horror is chewed up, sucked of its creativity and spat out. Adapted from Thai horror comedy 13 Beloved, 13 Sins centres on down on his luck Elliot (a highly emotive Mark Webber), an expectant father who loses his job and faces bankruptcy. Desperate, Elliot hastily acquiesces when he receives a strange phone call offering him a thousand dollars to swat a fly.

Much like Stamm’s previous supernatural chiller The Last Exorcism, 13 Sins’ horror relies on a largely unexplained conspiracy, only instead of satanic cults, there’s a secret game show that, despite its reliance on insidious modern technology, has a dark history stretching back to medieval Rome. Flimsy plot withstanding, 13 Sins is an enjoyable watch and fits neatly into the ever expanding genre of film as theme park ride: thrilling, shocking, forgettable. [Rachel Bowles]

BOOK OF THE MONTH

The Matiushin Case

The Glasgow Coma Scale

Happy are the Happy

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By Yasmina Reza

By Oleg Pavlov

By Neil D. A. Stewart

First Time Solo

By Iain Maloney

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Yasmina Reza is well acquainted with the torments of the bourgeoisie; just watch her stage masterwork The God of Carnage for proof. So it’s no surprise when she adopts a similar yet fiercer approach to them in Happy are the Happy, a series of vignettes from 18 loosely connected members of the French chattering classes. She builds a bonfire for their vanities, remaining complicit by allowing each to self-immolate. We are shown the vulgar and the self-important – trapped in lives they despise, bound by conformity while perching at the peak of Maslow’s hierarchy of needs – whose most acute life challenge is cheese; shrieking publically and embarrassingly “Who likes bloody morbier?!”

Reza’s prose is natural, true and steeped in each character, yet it is the space between these words – as in Browning’s My Last Duchess – that reveals all during each separate short diatribe.

Condescension drips from politician Odile Toscano like the champagne off her socialism, while her unhappy mother, Jeannette Blot, laments a life stifled by the etiquette of her class.

‘What does it mean to have a man in one’s life?

Look at me, with one on paper but none in my life.’

Thankfully there is dark laughter to fish from this pool of melancholy, where fear, age and ill health loom large; most often characterised by the spectre of cancer, an obvious but relevant metaphor for a society in decay. [Alan Bett]

‘Matiushin thought it was hilarious, everything suddenly seemed funny to him; the more hopelessly dark and confused it became, the funnier it was.’

Beginning with an unwanted baby born to a wailing mother in the middle of graveyard, Oleg Pavlov’s The Matiushin Case is a long, grey night that never really brightens. Charting Matiushin’s journey from a loveless home to the brutal life of a soldier in a Soviet labour camp, Pavlov’s novel quickly numbs the reader to the constant horrors that constitute his life. Written in a bare, stilted style, it never plays for the high drama its Hardy-esque opening scene might suggest, choosing instead to beat steadily on from one absurdity to the next, coolly piling horror on top of horror. Moving relentlessly forward with such weary inevitability, the entire tale soon begins to blur, drifting between the truly horrible and the simply miserable in a dreamlike haze.

Seen through a lens softened by exhaustion and cheap vodka, Pavlov’s dark picture of existence becomes wryly amusing and often almost whimsical in its black humour. In the tradition of Russian novels, The Matiushin Case makes a fine read out of the essential awfulness of life.

[Ross McIndoe]

The novel takes its title from the system used to judge consciousness in the comatose, applying it implicitly to its characters as they first numb out and then come round to the reality of their lives.

Lynne, locked into a job at a call centre that she hates, has an urge to give everything away. She fantasises that she could give first her money and then her belongings to the homeless, and ‘after that, she might twist her fingers and pop off each joint, distribute these too, a controlled disintegration.’

It turns out one of the homeless people on Sauchiehall Street is her former art teacher – the one she had a crush on before she dropped out and slid into the monotony of life, job, mortgage.

She takes him home, half out of kindness and half hoping he’ll fall in love with her. He doesn’t do that, but in his own disintegrated state he disrupts and challenges the cycle of victimhood that she’s made for herself. It’s an intriguing debut, capturing the psyches of two very different people as they look sidelong at the reasons their lives haven’t gone quite as well as they’d hoped.

[Galen O’ Hanlon] Out 17 Jul, published by Corsair, RRP £14.99

Out 8 Jul, published by And Other Stories Publishing, RRP £10

April 1943. Eighteen-year-old Jack Devine is bound south to London to start RAF training. He dreams of playing jazz, turning girls’ heads and flying Spitfires. In the coming months his life will change irrevocably. Iain Maloney’s First Time Solo is a compelling coming-of-age narrative and an accomplished debut.

First Time Solo perfectly evokes the transience and fractured normality of wartime life.

RAF training soon supersedes the reality of home, and Jack finds friendships and distractions with his fellow aircraftmen – the illicit thrills of jazz, sex and liquor. Throughout, there is a sense that the characters are living on borrowed time, a feeling exacerbated by the fates of their brothers and in the servicemen’s talk of life ‘after the war’.

It comes as a shock when the brutalities of war infringe upon their lives – yet one we have long anticipated. The story of ingenuous young Jack Devine is not a new one, but it’s told well.

Maloney does not rely on unnecessary plot convolutions or sentimentality to carry the novel.

Instead, he has created characters and relationships that feel genuine – normal people reacting to extraordinary situations. Maloney’s debut is navigated with compassion, humour and grace.

Let’s hope that his First Time Solo is not his last.

[Ceris Aston] Out now, published by Freight Books, RRP £8.99

Out 3 Jul, published by Harvill Secker, RRP £14.99

July 2014

DVD / BOOKS

Review

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Venue of the Month: Grosvenor Park Open Air Theatre Presenting the Northwest’s answer to the Globe – in Chester

Cyrano de Bergerac

uly has got to be one of the best months of the year: it signals the end of school, the beginning of summer, and, for the past four years, the opening of Grosvenor Park’s theatre programme. “Grosvenor Park?” we hear you ask. “In Chester? They have a theatre programme?” They have a theatre, actually. An open-air theatre.

Forget Regent’s Park. Forget the Globe. In just four seasons, Grosvenor Park has gained a reputation for excellence, innovation and adventure, presenting a mixed season of Shakespeare and fresh adaptations of classic literature.

Mingling the traditional Shakespearean thrust stage with a freshly cut lawn, stripy deckchair and picnic terrace, Grosvenor Park is the dream summer location for the sagacious theatre lover.

Founded in 2010 by Chester Performs (a unique arts organisation that plays an important role in Chester’s cultural landscape, providing

an annual programme of site-specific festivals and events), Grosvenor Park Open Air Theatre is the only one of its kind outside of London. Past programme highlights include Glyn Maxwell’s much celebrated adaptation of Rostand’s classic, Cyrano de Bergerac (written especially for Grosvenor Park), and a delightfully interactive performance of A Midsummer Night’s Dream, complete with a multitude of powder-paint bombs and a set of identical Pucks.

Performed in repertory, featuring some of the country’s greatest actors, directors and designers, this season we are treated to the delicious ‘toil and trouble’ of Macbeth, with an injection of warm-hearted farce from Shakespeare’s earlier The Comedy of Errors – a play often overlooked and yet wildly buoyant and thoroughly entertaining. Completing the theatrical triumvirate is the pleasingly apt Jessica Swale adaptation of

The Secret Garden, the mysterious Misselthwaite Manor and overgrown magical garden immediately authenticated by the natural rusticity of the surroundings.

As with any recreational activity worth engaging in, eating and drinking is largely encouraged. The conventional straight-backed chairs of the theatre are rejected by Grosvenor Park in favour of a world of patterned blankets, plump cushions and clinking plates. No matter if the First Merchant emerges from the bushes while you wrangle with a sausage roll atop a Tupperware-strewn blanket, this is a theatrical experience to enjoy – and that is the ultimate success of this venue. Rules are tossed aside in favour of ice buckets and Prosecco, children are free to stretch their restless limbs on the grass and those on the front row find themselves frequently (if inadvertently) part of the action.

Of course, with the pleasures of open-air theatre comes the inevitable pitfall; the unspoken four-letter word that so smugly characterises the conventional British landscape. Rain. Nobody wants to hear Macbeth splutter his way through Act V Scene V, upstaged by the well-timed drips sliding down his nose; but then, isn’t that essentially the charm of outdoor theatre? Heatwave or thunderstorm, the show must go on. Recent renovations have ensured most audience seating is well covered, though an emergency weatherproof kit is a sensible idea (umbrellas omitted – they restrict the view of fellow audience members). Then again, who wants to be sensible?

Grosvenor Park’s programme – Macbeth, The Comedy of Errors, and The Secret Garden – runs 4 Jul-24 Aug. Tickets range from £18.50 to £45 www.grosvenorparkopenairtheatre.co.uk

Angel Meadow

Lord of the Flies

Lord of the Flies

The Lowry Studio, 9-12 Jul

A group of schoolboys, evacuated from their homes for safety, find themselves stranded and alone on a tropical island in the dramatic opening of William Golding’s 1954 novel, Lord of the Flies. Free from ‘grown-ups’ and the strict rules of the schoolroom, the island is idyllic by day but is transformed under cover of darkness, when the boys’ nightmares are haunted by fears of an unknown ‘beast’.

As they attempt to negotiate this new environment and maintain a civil society in a world devoid of civilisation, the cracks begin to show.

Power struggles develop as the boys debate the best course of action: build a fire? Build a shelter? Hunt for food? In a society where the only emblem of law is a conch, how long will it be before tribes develop and the boys descend into savagery? This powerful, dystopian vision of modern civilisation painfully reveals man’s potential for evil and, in Golding’s words, ‘laments

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Preview

the lost childhood of the world.’

The novel that many of us may recognise from our school days has been adapted for the stage by Nigel Williams. First professionally performed by the Royal Shakespeare Company in 1995, the play received mixed critical reviews, with some doubtful of the theatre’s ability to capture the scale, depth and complexity of Golding’s intentions. Step up award-winning director Reuben Johnson, recipient of the 2009 NSDF Best Emerging Artist Award. Returning to the Lowry following sell-out runs of Wrecked (2012), The Proposal (2011) and Territory (2010), Johnson’s revived production promises to be provocative, accessible and enthralling.

In a modern world fraught with political power struggles that permeate so many aspects of our daily lives, perhaps Johnson’s production will also prove painfully relevant, delivering Golding’s parable as a poignant warning against the breakdown of civil society. [Bernie Whittle] Tickets are £6-£8 www.thelowry.com

Angel Meadow

Cutting Room Square

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Arriving at Cutting Room Square, Ancoats, surrounded by vast trendy apartments projecting World Cup jubilation from their residents, we are unaware of the experience we are about to undertake. As Angel Meadow begins, eight audience members are immersed in the location’s previous life as Manchester’s underbelly, led by a blood-spattered descendant of Irish immigrants who resided here during the industrial revolution.

Angel Meadow succeeds in separating you from your fellow audience members – as well as, seemingly, from your own psyche – as you are manoeuvred around the now-derelict Edinburgh Castle pub: a bleak and nightmarish hub in which the characters attempt to find a sense of belonging.

No experience is the same and the journey

THEATRE

is sculpted by the decisions you, the ‘audience’ member, make. You can find yourself playing pool, alone in a meat locker, narrowly escaping a shot of bleach or standing face to face with the devil. The piece is highly atmospheric and stimulates the senses with the smell of burnt toast and sweat, of brewing angst and grief.

The excellent cast of ANU Productions present an immersive experience of a forgotten world and reveal the darker side of human nature. Angel Meadow will get under your skin and into your head. It is not a performance for the faint-hearted, it is perhaps not a performance at all – but a reminder. You may leave Angel Meadow feeling anxious, manipulated and thoroughly uncomfortable but the beauty of the piece lies in its rawness, in its refusal to accommodate a voyeuristic audience. Our advice to you: go with it. [Kate Morris] Angel Meadow is directed by Louise Lowe, presented by HOME. Run ended www.homemcr.org

THE SKINNY

Photo: Graeme Cooper

J

Photo: Mark McNulty

Interview: Alecia Marshall

Spotlight: David Stanier Vikings, crisps, and mountain gorillas Interview: Debs Marsden Illustration: Nicole Miles

I

n the 80s, it wasn’t all union strikes and governmental apathy: we also had joke books. Huge books, containing a stupid amount of jokes. 1001 Jokes For Kids! their titles boasted, in a font that screamed ‘There Might Actually Be TOO Many!’

The purest essence of one of these editions might just have resulted in a David Stanier...

Looking as though someone painted a portrait of the word ‘affable’, then swathed it in the cheery knitwear of a not-yet-disgraced children’s TV presenter, Stanier cuts an immediate contrast to most of his fellows. He’s simply an intrinsically silly human being. Which is a very good thing, as there’s a bit of a drought on.

Influences: “A good upbringing, fun, ghosts, roller coasters, sassiness, Tom Cruise, all of human history, the infinite possibilities of the imagination, and a thirst for knowledge. Also Shooting Stars, Russell Brand, Mitch Hedberg, Peacock & Gamble, and Nick Helm.”

First gig: “In Lancaster when I was at university, learning. There was an open mic night with poets and acoustic guitar players and me not knowing how to do comedy. It went badly in front of people who are dear to me.”

Best gig: “The best gig is probably David Stanier’s Silly Party. It’s jokes, games and fun, with a party theme. I’ve done it twice, and it has just been loads of fun. So I’m going to keep doing them.”

Worst gig: “David Stanier’s Silly Party... BUT on Opposites Day! What date is Opposites Day this year?”

Best heckle and put down you’ve heard: “A man declared ‘I love kids!’ halfway through a joke. I wasn’t sure if it was meant like a proud nursery owner, or a proud sex criminal. I shut his butt down, explaining I wasn’t qualified for that, and carrying on with my jokes. Slam! Boom!

Swadoosh!”

Plans for Edinburgh this year: “This year I’m planning on letting Edinburgh go and saying goodbye to Scotland as it leaves the UK after the referendum… Fly free little bird...”

What are your aspirations?

“I aspire to lead a full and interesting life, and leave a good legacy with all my jokes about snakes and submarines and things. It would be good to maybe find the right words to convince Katie Hopkins to pack it all in.”

What would you be doing if you weren’t doing stand-up?

“Sitting down! HAHAHAHAHA! No, in all seriousness, I would be sitting down: in a Formula One car, because I’d be a racing driver. Or a spy.

Because as you know, I am not a spy.”

If you could be haunted by anyone, who would it be and why?

“Myself, but from the future. The fact that this hasn’t happened yet proves that ghosts can’t time travel, or that I will never die.”

But what about Victorian ghosts?

“I will never die.”

If you were on death row, what would your last meal be? And why are you on death row?

“A bowl of every type of crisp. I would have to guess each of the flavours with a blindfold on. I am there due to an admin error.”

What’s the largest animal you think you could beat in a fight? No weapons.

“Let’s just say… why do you think mountain gorillas are endangered?”

If you lived in medieval times what would you do for a living?

“I would be the Prince, a Viking, or a Rumpelstiltskin.”

Question from last month’s Spotlight, Liam Bolton: What’s your favourite episode of The Simpsons?

“Season 3, Episode 9: The Red Wedding.”

David Stanier will be performing at Beat-Herder Festival, Ribble Valley, Lancashire, 18-20 Jul (David plays on Sun 20 Jul) @DavidStanier

Win Tickets to 24:7 Theatre Festival

24:7 are delighted to announce that the tenth anniversary season of our theatre festival will take place 18-25 July.

simply head over to theskinny.co.uk/about/competitions and correctly answer the following question:

Don't Pass up this chance to open The Box of Tricks and see some Stuff. Witness The Lives and Loves of Vera Dymond or even Three Women! Go To the Dam and feel the Afterglow of In My Bed. Just don't remain in Anonymity.

How many main shows are there in this year's 24:7 Theatre Festival?

So now we’re ten, we’ll see you then… if The Tongue Twister doesn’t catch us first for daring to rhyme! All our main productions and other events are at New Century House, Corporation Street, Manchester.

To be in with a chance of winning a pair of tickets to one of the 24:7 performances of your choice,

July 2014

A) 7 B) 10 C) 24 Competition closes midnight Thu 10 Jul. Entrants must be 15 or over. Winners will be notified via email within two working days of closing and will be required to respond within 24 hours or the prize will be offered to another entrant. Our Ts&Cs can be found at www.theskinny.co.uk/ about/terms For more information on 24:7 go to www.247theatrefestival.co.uk

Shakespeare on The Lawns

THE COMEDY OF ERRORS & MACBETH Friday 18th to Sunday 20th July Tickets: Adults £18 Concessions £14 Book online: www.gbtheatre.com www.spinningfieldsonline.com/shakespeare

COMEDY / COMPETITIONS

Spinningfields @Spinningfields

Preview

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Manchester Music Tue 01 Jul STUART MCCALLUM

MATT AND PHRED’S JAZZ CLUB, 21:00–00:30, FREE

The Cinematic Orchestra guitarist trying out new material in the realm of beats, electronica, classical orchestration and jazz.

TONY JOE WHITE

GORILLA, 19:00–22:30, £20

Returning to the UK following a 45 year absence, Tony Joe White brings his swamp rock sounds to the stage.

Wed 02 Jul

THE PAINS OF BEING PURE AT HEART (FEAR OF MEN)

THE RUBY LOUNGE, 19:30–23:00, £13

Reassuringly textbook indie-pop from NYC, of late brighter, bolder and evidencing sharpened songwriting skills.

JUDESSA JAZZ

MATT AND PHRED’S JAZZ CLUB, 21:00–00:30, FREE

International quintet comprising clarinet, saxophone, piano, bass and drums.

SPAN THAT WORLD 4 (SANGY + FREE WIZE + RAVI WIMMER + THE KAPTIVATORS + BEAT CONSULTANTS + PLASTIC HOUSE) NIGHT AND DAY CAFE, 20:00–23:00, £5

Span that World bring their fundraising gig night to Manchester: organised by the Woodcraft Folk and raising funds for Medecin Sans Fronteires.

ROBBIE WILLIAMS

PHONES 4U ARENA, 19:30–23:00, FROM £55

The former Take That-er continues to ride the wave of his profitable solo career, playing tracks offa his new LP, if that kinda thing does it for you.

BAM MARGERA’S FUCKFACE UNSTOPPABLE

MANCHESTER CLUB ACADEMY, 19:30–23:00, £15

That jackass from, err, Jackass turns his attention to making music, reppin’ the first release on their new label home, Artery Recordings.

BETH ORTON

MANCHESTER CATHEDRAL, 19:00–23:00, £22.50

A shining beacon of studied, innovative songwriting, Ms Orton celebrates the reissue of Central Reservation in bumped-up bonus material format, performing the LP live and in its glorious entirety with full band backing.

Thu 03 Jul NICE PETER

THE DEAF INSTITUTE, 19:00–22:30, £12.50

Comedian and musician, aka Peter Shukoff, known for co-creating Epic Rap Battles of History.

THE JAMIL SHERIFF TRIO

MATT AND PHRED’S JAZZ CLUB, 21:00–00:30, FREE

A dynamic piano trio, led by Jamil Sheriff.

PYE CORNER AUDIO (NOT WAVING)

SOUP KITCHEN, 19:30–23:00, £7

The underground electronic musician, aka Martin Jenkins, takes his minimal textured sounds to the Soup basement.

SLEIGH BELLS

GORILLA, 19:30–23:00, £13.50

Super-hip and super-hyped NYC duo peddling the kind of aggressive, dynamic industrial-pop that makes for one helluva live show.

THE HAUNTING OF BRITAIN (STRANGE COAST + EAT DEFEAT + LIINES) THE CASTLE HOTEL, 20:00–23:30, £5

Radical Ghost Records embark on a summer showcase tour, headlined by Strange Coast, the Glasgow-based, DIY-styled outfit dabbling in noise, punk and grunge sounds.

DE’NOVA (MOOSE PATROL + FORTY FOUR HOURS + POLYBIRD)

NIGHT AND DAY CAFE, 20:00–23:00, £6

Alternative rock outfit hailing from Manchester, bringing various cultural influences into the mix.

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Listings

LONDON SINFONIETTA + JONNY GREENWOOD BRIDGEWATER HALL, 19:30–22:30, FROM £15

Synergy Vocals join the London Sinfonietta to perform Music for 18 Musicians; Reich’s seminal piece, Clapping Music; and Electric Counterpoint, accompanied by Jonny Greenwood.

DAVID GRAY

THE LOWRY: LYRIC THEATRE, 19:00–22:00, FROM £31.50

Twenty one years since his first studio LP, Mr Gray tours his tenth and latest offering, Mutineers, in case anyone’s still keeping track.

Fri 04 Jul

SEROTONIN (SUBURBAN SYMPHONY + PATCHWORK SOCIETY + FLY CASUAL)

OFELIADORME + GRAMLINES THE CASTLE HOTEL, 19:30–23:00, £5 ADV (£7 DOOR)

Italian dream pop trio, fuzzing along on ambient waves of minimalist psych sounds.

Mon 07 Jul RIXTON

THE RUBY LOUNGE, 19:30–23:00, £9

Manchester four-piece navigating the pop rock meets r’n’b genre, drawing comparisons to the likes of Maroon 5.

JAIMEO BROWN

BAND ON THE WALL, 19:30–23:00, £12

Acclaimed jazz drummer tours his debut album, Transcendence.

FELIX MARTIN

SOUND CONTROL, 19:30–23:00, £6

Four piece progressive/alternative rock lot from Manchester.

Warming up for Tech Fest later this year, the Prog Your Chops Off! UK tour brings left-handed Venezuelan guitarist Felix Martin to our shores.

MANCHESTER ACADEMY, 19:00–23:00, £28.50

MANCHESTER ACADEMY 3, 19:30–23:00, £18.50

ROADHOUSE, 19:30–23:00, £5

EXTREME (LEOGUN)

The veteran rockers play their critically-acclaimed Pornograffitti LP live and in its entirety, alongside some of their biggest hits outside of the record.

HAMELL ON TRIAL

THE DEAF INSTITUTE, 19:30–22:30, £13.50

Punk rock-influenced acoustic tunes from the one-man-band that is New York’s Ed Hamell.

KULT COUNTRY

THE EAGLE, 20:00–23:00, £4

SEBASTIAN BACH

Canadian heavy metal-er, best known as the frontman of Skid Row.

Tue 08 Jul MYRON & E

BAND ON THE WALL, 19:30–23:00, £10

Los Angeles-residing soul duo – currently signed to Stones Throw Records – regularly to be found jamming with members of The Soul Investigators.

STRETCH TRIO

Sway’s finest take their fuzzy psych sound to a live setting, launching their latest single, Trembling Moon on the night.

Gypsies of Bohemia

MATT AND PHRED’S JAZZ CLUB, 21:00–00:30, FREE

MATT AND PHRED’S JAZZ CLUB, 21:30–01:30, £5

MANCHESTER CATHEDRAL, 19:00–22:30, £20

Britney Spears, Beyoncé and Iron Maiden get the new gypsy jazz treatment in this toe-tapping performance.

URBAN EMPIRE (RUM THIEF + SHOOTING PIGEONS + WILLIAM BARSTOW)

NIGHT AND DAY CAFE, 20:00–23:00, £5

Indie rock bunch from East Lancashire, churning vintage valve tones and swirling guitars into a gritty whole.

Leeds-based trio, drawing on jazz, ambient and rock influences.

CONOR OBERST

Lead singer of Bright Eyes – as well as Desaparecidos, and a sometime player in myriad other outfits – Conor Oberst takes to the road solo to showcase tracks offa his latest LP, Upside Down Mountain.

Wed 09 Jul

LEE RITENOUR AND DAVE GRUSIN

BAND ON THE WALL, 19:30–23:00, £30

NIGHT AND DAY’S LOCAL SHOWCASE (MIDNIGHT SUNS + TESLA COILS + RANDOM WHITE + THE 86’D) NIGHT AND DAY CAFE, 20:00–23:00, £5

Live music showcase, giving a stage to local up-and-coming performers.

BRIAN JONESTOWN MASSACRE

THE RITZ, 19:00–23:00, £15

Anton Newcombe and his band dispatch the tunes with their usual relentless purpose, touring in support of new LP release, Revelation.

THE COLLIERS

SOUND CONTROL, 19:00–22:00, £7

London-based alternative pop five-piece head out for their debut UK tour.

BEN FOLDS (WITH THE ROYAL NORTHERN SINFONIA)

BRIDGEWATER HALL, 19:30–23:00, FROM £29

As part of his current global orchestral tour, the multi-platinum American singer/songwriter plays a special set accompanied by the Scottish Festival Orchestra.

DARYL HALL AND JOHN OATES

O2 APOLLO, 19:30–23:00, FROM £35

American musical duo – better known as Hall and Oates – on the go now for an impressive 40+ years.

SUMMER IN THE CITY: PIXIES

CASTLEFIELD BOWL, 17:00–20:00, £37.50

Charles, Joey and Dave bring their reunion schtick back to the UK (sans Kim, alas), for which you may well have to beg, borrow or steal your way in.

Fri 11 Jul

CREEK (RANDOLPH SWAIN & THE RED LIGHTS + INDIAN SUMMER + ANTELOPES + CHANTELLE ELLIOT)

ROADHOUSE, 19:30–23:00, £5

Indie pop outfit fronted by Heather Baron-Gracie, taking their debut single Lust to a live setting.

BEER AND BLUES WEEKEND (JO HARMAN AND COMPANY)

BAND ON THE WALL, 19:30–23:00, £10 (£20 WEEKEND)

Two day mini festival celebrating live blues music, rare beers and real ales: with a lineup that includes Jo Harman & Co, Kyla Brox and the return of Chantel McGregor.

THE BIG EASY

MATT AND PHRED’S JAZZ CLUB, 21:30–01:00, £5

Sat 05 Jul

American pianist Dave Grusin plays a special show with jazz guitarist Lee Ritenour.

LEE PARRY + ENIGMA FALLS

Swing quintet, playing all the classics from Louis Prima to Nina Simone.

THE RUBY LOUNGE, 19:30–23:00, £8

MATT AND PHRED’S JAZZ CLUB, 21:00–00:00, FREE

THE CASTLE HOTEL, 19:00–22:00, £5

THE BRILLIANT CORNERS (THE HAYWAINS + HORSEBEACH)

Bristolian indie pop outfit of 1980s fame, touring to mark their 30th anniversary.

THE CASTAWAYS

MATT AND PHRED’S JAZZ CLUB, 21:30–01:30, £5

Macclesfield-based seven-piece band, bringing the old school sounds of the Caribbean to the stage.

OUR FOLD

KRAAK, 19:30–23:00, £5

Indie rock four-piece from Bolton.

ABOVE THE UNDERGROUND

SOUND CONTROL, 19:00–22:15, £5

Pop punk quartet from Cheshire, no strangers to the touring circuit having racked up over 300 shows in four years.

A double bill performance from the York-based singer/ songwriter, Lee Parry and the Bolton-based folk rock trio, Enigma Falls.

NIGHT AND DAY’S LOCAL SHOWCASE (NEWLANDS + INTUITION + SIAMEASE TIDE + THE TRANSMITTERS)

NIGHT AND DAY CAFE, 20:00–23:00, £5

Live music showcase, giving a stage to local up-and-coming performers.

TIIF RECORDS NIGHT #1 (DALOT + RUSSELL.M.HARMON + GAVIN MILLER + WINTER SON (DJ SET)) KOSMONAUT, 20:00–23:00, FREE

CODY SIMPSON

Local label This Is It Forever present a showcase of some of the artists on their roster.

MANCHESTER ACADEMY 2, 19:00–23:00, £18.50

SOUND CONTROL, 18:30–22:30, £10

Young Australian pop singer/ songwriter who was discovered on YouTube at the tender age of 13.

OSCARS FOR ORCHESTRA

BRIDGEWATER HALL, 19:30–22:00, FROM £16

The Hallé orchestra roll out the red carpet and present some blockbuster scores: including Star Wars and Titanic.

SKA FACE

MANCHESTER ACADEMY 3, 19:30–23:00, £7

10-piece ska band from Blackpool, encouraging folk to let loose and dance like loons.

Sun 06 Jul

ACOUSTIC BHUNA (ROOK AND THE RAVENS + THE VOICE COLLECTIVE)

BAND ON THE WALL, 18:00–22:00, FREE

Genius pairing of live music with home-made curry, making for a relaxed sorta Sunday.

ONLY CRIME

Heavy rock outfit formed in 2003, blending hard rock, jazz and punk.

IN HINDSIGHT

MANCHESTER ACADEMY 3, 19:00–23:00, £10

Three-piece pop/rock outfit touring their latest single, Dangerous.

Thu 10 Jul THE GELATOS

MATT AND PHRED’S JAZZ CLUB, 21:00–00:30, FREE

High energy trio traversing the 40s and 50s with their blend of piano, double bass, sax, clarinet and vocals, joined on the night by drummer, Mark Warburton.

GUARDIAN ALIEN (HORRID + THE OSIRIS CLUB)

ISLINGTON MILL, 19:30–23:00, £9

New York-based avant-garde outfit, led by drummer Greg Fox.

ESPER SCOUT + BAD GRAMMAR

Double headline show from Leeds-based rock outfit Esper Scout and Manchester’s fuzzy pop bunch, Bad Grammar.

BONE-BOX

FALLOW CAFE, 19:30–23:00, £4

Special acoustic performance from the Manchester-based grungy blues outfit.

THIS BURNING HELL

GULLIVERS, 19:30–23:00, £5

Ukulele-slinging singer/songwriter Mathias Kom takes to the stage under his The Burning Hell guise, singing songs about death you can dance to.

SUMMER IN THE CITY: JAMES

CASTLEFIELD BOWL, 17:00–20:00, £35

The longstanding Manc rockers continue their tour of classical venues, where they’ll be accompanied by a full orchestra and choir to perform a selection of songs from their back catalogue.

LANCASHIRE HOTPOTS

THE LOWRY: QUAYS THEATRE, 20:00–22:00, £16

Five northern blokes in flat caps singing songs about the wonders of modern day life.

Sat 12 Jul

BADLY DRAWN BOY (LIAM FROST + JOE ROSE + JOHN AINSWORTH + BEAR AROUND YA NECK) ROADHOUSE, 19:00–23:00, £15

Bolton’s Damon Michael Gough, aka, Badly Drawn Boy, returning to the stage to raise money for The Christie Hospital in remembrance of Roadhouse co-owner, Steve Lloyd.

BEER AND BLUES WEEKEND (KYLA BROX)

BAND ON THE WALL, 13:00–19:00, £14 (£20 WEEKEND)

Two day mini festival celebrating live blues music, rare beers and real ales: with a lineup that includes Jo Harman & Co, Kyla Brox and the return of Chantel McGregor.

BEER AND BLUES WEEKEND (CHANTEL MCGREGOR) BAND ON THE WALL, 19:30–23:00, £14 (£20 WEEKEND)

Two day mini festival celebrating live blues music, rare beers and real ales: with a lineup that includes Jo Harman & Co, Kyla Brox and the return of Chantel McGregor.

DOM AND THE IKO’S

MATT AND PHRED’S JAZZ CLUB, 21:30–01:00, £5

A blend of New Orleans r’n’b and funk from the London-based Dom Pipkin, playing a mix of original material and covers.

UNKEEPABLE (FINCE AND THE MOON + KATE O’MALLEY)

THE CASTLE HOTEL, 19:30–23:00, £5

Acoustic pop showcase headlined

by Manchester’s Stephen G Marsden.

THE BEDROOM HOUR ALBUM LAUNCH (DEAD SEAS + THE PINSTRIPE PIGEON BAND + CLINT)

NIGHT AND DAY CAFE, 20:00–23:00, £5

West London-based indie chaps who record and mix everything in their own studio space.

THE LARK ASCENDING

SUGARHILL GANG

SPEAKEASY BOOTLEG BAND

YOUNG PILGRIMS

GORILLA, 19:30–23:00, £15

MATT AND PHRED’S JAZZ CLUB, 21:30–01:00, £5

THWAITES FESTIVAL PAVILION, 18:15–19:15, FREE

Best known for their 1978 hit, Rapper’s Delight, the New Jerseyhailing rap outfit take to the road for a reunion tour of sorts.

THE GENTLEMEN + PHILIPPA HANNA

NIGHT AND DAY CAFE, 20:00–23:00, £8

Led Zeppelin tribute act.

SOUND CONTROL, 19:00–23:00, £12

BRIDGEWATER HALL, 19:30–22:00, FROM £16

INQUISITION

Colombian trash metal outfit formed back in 1988 – later found their footing in black metal in 1994.

KEY 103 SUMMER LIVE (THE VAMPS + NEON JUNGLE + ASHLEY ROBERTS + ELLA HENDERSON + RIXTON + CHER LLOYD)

PHONES 4U ARENA, 19:30–23:00, FROM £27.50

Salford City College and Key 103 join forces for a mega pop outing, chock full of chart-topping tweens.

THE AFGHAN WHIGS

MANCHESTER CATHEDRAL, 19:00–23:00, £20

Enjoy an evening of English classics, as Jamie Phillips leads his orchestra through works by Britten, Arnold and Holst – and Vaughan Williams’ iconic The Lark Ascending.

ALBERT HALL, 19:00–23:00, £SOLD OUT

Fri 18 Jul

TAME IMPALA (D.D. DUMBO)

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

THE OCEAN

MANCHESTER ACADEMY 3, 19:30–23:00, £10

AUTUMN RUIN (DE’NOVA + DRYTONES + THE JACKOBINS + THE VIBE + KORSAIRS)

ROADHOUSE, 19:00–23:00, £5

Alternative metal bunch from Manchester, influenced by the likes of Bullet For My Valentine and Killswitch Engage.

Berlin-based metal outfit, heavy on the guitars.

SPANDEX RISING (MAD DOGS AND ENGLISHMEN + SIXTY MINUTE MAN)

THE LOWRY: QUAYS THEATRE, 20:00–23:00, £18.50

Glam metal tribute act.

THE DOORS ALIVE

The Doors tribute act.

Mon 14 Jul

THE RUBY LOUNGE, 19:30–23:00, £4

JAZZ ON 3: BBC INTRODUCING

BAND ON THE WALL, 19:00–20:00, FREE

BY BALLOT

Mr Costello returns to the stage for a special solo performance.

BBC’s Jez Nelson presents a showcase of four emerging jazz bands. Part of Manchester Jazz Festival.

WATERSIDE ARTS CENTRE, 20:00–23:00, £15 (£7.50)

MATT AND PHRED’S JAZZ CLUB, 21:30–01:00, £5

ELVIS COSTELLO

BRIDGEWATER HALL, 20:00–22:30, £43.50

PATRICK STREET

Irish folk outfit hailing from Dublin, fronted by Andy Irvine’s distinct vocals.

Tue 15 Jul OWEN PALLETT

THE DEAF INSTITUTE, 19:30–22:30, £12.50

Canadian baroque pop multiinstrumentalist and composer, known for his lush orchestral arrangements for the likes of REM and Arcade Fire.

SAMUEL C LEES

MATT AND PHRED’S JAZZ CLUB, 21:00–00:00, FREE

Gypsy guitar playing, emerging as one of the leaders in the UK scene, playing a blend of originals and covers of modern classics.

THE COSMIC DEAD

SOUP KITCHEN, 19:30–22:30, £8

The Glaswegian space rockers play the last date on their current tour, taking to their favourited lair of Bloc+.

RED BULL MUSIC ACADEMY: THEO PARRISH

THE RITZ, 19:00–23:00, £14 ADV (£16 THEREAFTER)

The Sound Signature boss plays a special set as part of a two-date tour for the Red Bull Music Academy.

Wed 16 Jul STUART MCCALLUM

MATT AND PHRED’S JAZZ CLUB, 21:00–00:30, FREE

The Cinematic Orchestra guitarist trying out new material in the realm of beats, electronica, classical orchestration and jazz.

Thu 17 Jul MARTIN CARTHY

BAND ON THE WALL, 19:00–23:00, £14

Innovative English folk musician, still going strong some 40 years on.

THE DAN JOHNSON LATIN JAZZ QUARTET

MATT AND PHRED’S JAZZ CLUB, 21:00–00:00, FREE

Jazz quartet made up of Leeds College of Music alumni, comprising saxophone, bass, drums and piano.

BOOT LED ZEPPELIN

Singer Philippa Hanna and electro-pop outfit The Gentleman join forces for a dual tour.

From their rough-hewn beginnings with their Big Top Halloween LP, to the enduring elegance of 1965, Greg Dulli et al blow the dust off 16 years with their long-time-coming new LP, Do to the Beast – a swaggering barroom rocker of a thing.

BRIDGEWATER HALL, 19:30–22:00, FROM £16

Hailing from New Orleans, this tin pan alley three piece bring the sounds of the turn of the 20thcentury to the Northwest. Part of Manchester Jazz Festival.

DURHAM UNIVERSITY BIG BAND

One of the UK’s most prestigious university big bands open the Manchester Jazz Festival, with their diverse range of classic and contemporary jazz.

METHOD MAN + REDMAN

THE RITZ, 19:00–23:00, £25

American rap duo consisting of yer men Method Man (of Wu-Tang Clan) and Redman (of Def Squad), collaborating as a unit since 1994.

FIVE YEARS IN DEBT (HONEYFEET + FELIX HAGAN & THE FAMILY + WALK + SNOWAPPLE + T. E. YATES) THE DANCEHOUSE, 20:00–23:00, £8

Manchester independent label, Debt Records mark five years of being with a fearless showcase spanning rock, jazz, soul and blues.

DESPERADO

WATERSIDE ARTS CENTRE, 19:30–22:00, £12.50

Eagles tribute act.

BUGALU FOUNDATION

THWAITES FESTIVAL PAVILION, 20:30–21:30, FREE BY BALLOT

Irresistible fusion of jazz, funk and soul. Part of Manchester Jazz Festival.

Sat 19 Jul JOHN FULLBRIGHT

THE RUBY LOUNGE, 19:00–23:00, £15

Hailing from Woody Guthrie’s hometown, the Grammy-nominated singer/songwriter heads out on the road to promote his debut album, From The Ground Up. CUBAN SALSA PARTY (SON YAMBU + DJ LUBI) BAND ON THE WALL, 20:00–21:00, £12 ADV (£14 DOOR)

An evening of toe-tapping, hip-swaying beats courtest of Son Yambu. Part of Manchester Jazz Festival.

KASSOMA (FREEDOM OF THE CITY)

THE DEAF INSTITUTE, 19:00–23:00, £7

New blood from Manchester, serving up intense, anthemic indie rock.

SOUND CONTROL, 19:00–22:15, £15

THE HALLÉ’S SOUNDS OF THE SIXTIES

Celebrating and unforgettable decade in music, The Halle will be joined by four of the country’s leading vocalists to perform music by Dusty Springfield, The Mamas and the Papas and more.

KLAMMER

THWAITES FESTIVAL PAVILION, 13:00–14:00, £5

Pianist Rick Simpson returns with a new line-up. Part of Manchester Jazz Festival.

RED HIPPO

THWAITES FESTIVAL PAVILION, 14:15–15:15, FREE

Traditional folk melodies melded with jazz-influenced arrangements. Part of Manchester Jazz Festival.

JULIET KELLY’S SPELLBOUND STORIES

THWAITES FESTIVAL PAVILION, 15:00–16:00, £4

Singer/songwriter Juliet Kelly shares a new set of songs, inspired by her favourite novels.

Part of Manchester Jazz Festival.

RED HIPPO

THWAITES FESTIVAL PAVILION, 16:10–17:00, FREE

Traditional folk melodies melded with jazz-influenced arrangements. Part of Manchester Jazz Festival.

PIGFOOT

THWAITES FESTIVAL PAVILION, 17:00–18:00, £4

Anarchic and distorted take on the early jazz canon. Part of Manchester Jazz Festival.

ARUN GHOSH SEXTET: A SOUTH ASIAN SUITE

THWAITES FESTIVAL PAVILION, 20:00–21:00, £8 ADV (£10 DOOR)

Clarinettist Arun Ghosh presents his trademark IndoJazz, with a full band line-up. Part of Manchester Jazz Festival.

Sun 20 Jul

SOFT MACHINE LEGACY + KEITH TIPPETT

BAND ON THE WALL, 19:00–20:00, £15 ADV (£17.50 DOOR)

Double bill performance from Song Machine Legacy and pianist, Keith Tippett. Part of Manchester Jazz Festival.

LOWER THAN ATLANTIS

THE DEAF INSTITUTE, 19:00–22:30, £10

Hard-rockin’ foursome hailing from Hertfordshire.

GREATER MANCHESTER JAZZ ORCHESTRA

THWAITES FESTIVAL PAVILION, 13:00–14:00, £4

Some of the best young jazz musicians in the region come together to play a selection of jazz standards, highlighting the abundance of talent in the region.

Part of Manchester Jazz Festival.

YOUNG PILGRIMS

THWAITES FESTIVAL PAVILION, 14:30–15:30, FREE

High-energy and upbeat bunch from Birmingham, sharing their rock-infused originals and popular classics. Part of Manchester Jazz Festival.

TWELVES

THWAITES FESTIVAL PAVILION, 15:00–16:00, £4

Stylistically free quartet moving between traditional English folk and modern jazz. Part of Manchester Jazz Festival.

YOUNG PILGRIMS

THWAITES FESTIVAL PAVILION, 16:10–17:00, FREE

High-energy and upbeat bunch from Birmingham, sharing their rock-infused originals and popular classics. Part of Manchester Jazz Festival.

SEAFARERS

THWAITES FESTIVAL PAVILION, 17:00–18:00, £4

Inspired by films, books and folklore, Matthew Herd leads the Seafarers through some melodic compositions. Part of Manchester Jazz Festival.

High-energy and upbeat bunch from Birmingham, sharing their rock-infused originals and popular classics. Part of Manchester Jazz Festival.

KRISTYNA MYLES

THWAITES FESTIVAL PAVILION, 20:00–21:00, £6 ADV (£8 DOOR)

Touring in support of her debut album, Pinch Me Quick, Kristyna Myles takes her soulful, sassy self out on the road. Part of Manchester Jazz Festival

Mon 21 Jul BOOKER T JONES

BAND ON THE WALL, 19:30–20:30, £27 ADV (£30 DOOR)

Memphis soul architect and Hammond B3 organ master, performing as part of the Manchester Jazz Festival.

SVACR HANLEY LANGHAWN

MATT AND PHRED’S JAZZ CLUB, 18:30–19:30, FREE

Classic trio offering a new take on the template. Part of Manchester Jazz Festival.

A DEAD SUPREME

MATT AND PHRED’S JAZZ CLUB, 19:45–20:45, FREE

Nine-piece line-up, drawing from a variety of influences, including Jamaican music and British/ American jazz, with the aim of defying categorisations. Part of Manchester Jazz Festival.

THE NEW ORLEANS JAM

MATT AND PHRED’S JAZZ CLUB, 21:30–01:00, FREE

A new monthly jam session, celebrating the big band music of New Orleans. Part of Manchester Jazz Festival.

DANIEL PEARSON

NIGHT AND DAY CAFE, 20:00–23:00, £7

Stripped back showcase of songwriting from the Hull singer.

JOHN ELLIS TRIO

THWAITES FESTIVAL PAVILION, 12:10–13:00, FREE

The Mancunian trio take a musical journey through township, soulful songs and Manchester folk heritage. Part of Manchester Jazz Festival.

THE SLOWLIGHT QUARTET

THWAITES FESTIVAL PAVILION, 14:00–15:00, FREE

Contemporary jazz from this Newcastle-based quartet. Part of Manchester Jazz Festival.

SIMON READ OCTET

THWAITES FESTIVAL PAVILION, 15:30–16:30, FREE

LCM graduate, influences by the octets of Julian Arguelles and Dave Holland. Part of Manchester Jazz Festival.

ZOE GILBY QUARTET

THWAITES FESTIVAL PAVILION, 17:00–18:00, FREE

Newcastle-based jazz vocalist.

Part of Manchester Jazz Festival.

NEW YORK BRASS BAND

THWAITES FESTIVAL PAVILION, 17:45–18:45, FREE

North Yorkshire’s only contemporary New Orleans inspired brass band. Part of Manchester Jazz Festival.

NICOLA FARNON TRIO

THWAITES FESTIVAL PAVILION, 19:00–20:00, FREE

Close-knit, swinging jazz outfit playing jazz and Latin standards.

Part of Manchester Jazz Festival.

THE JAZZ WORRIES

THWAITES FESTIVAL PAVILION, 20:40–21:40, FREE

Varied quintet blending new compositions and arrangements, presented with their trademark wit. Part of Manchester Jazz Festival.

THE INITIATIVE

THWAITES FESTIVAL PAVILION, 22:20–23:20, FREE

Lancaster-based collective presenting compositions and arrangements with a fresh interpretation each time. Part of Manchester Jazz Festival.

THE MAGIC BEANS

MIDLAND HOTEL, 14:30–15:30, £22.50

Afternoon tea performance from the mellow and melodic Magic Beans. Part of Manchester Jazz Festival.

UNFURL

ST ANN’S CHURCH, 13:00–14:00, FREE

A musical journey through Indian ragas, flamenco and Arabic music from the Manchester, Leeds, Sheffield and Glossop-based five piece. Part of Manchester Jazz Festival.

THE SKINNY

ADAM FAIRHALL

THE BAD PLUS

TOP CAT JAZZ BAND

JOSHUA CAVNAGH-BRIERLEY NONET

PARSHMAUNE

BLACKTHORN MUSIC FESTIVAL

ST ANN’S CHURCH, 14:50–15:50, FREE

ROYAL NORTHERN COLLEGE OF MUSIC, 20:00–23:00, £19.50

ROYAL NORTHERN COLLEGE OF MUSIC, 18:30–19:30, FREE

THWAITES FESTIVAL PAVILION, 12:30–13:30, FREE

THWAITES FESTIVAL PAVILION, 15:00–16:00, £4

ROMILEY, 11:30–20:00, £15 (£40 WEEKEND)

BRIAN MOLLEY QUARTET

MR WILSON’S SECOND LINERS

Jazz piano performance utilising acoustic, electric and prepared toy pianos from this forward-thinking musician. Part of Manchester Jazz Festival.

Tue 22 Jul UKEBOX

MATT AND PHRED’S JAZZ CLUB, 21:30–01:00, £5

Five-piece ukulele ensemble, delivering fresh arrangements of anyone from The Beach Boys to beyonce. Part of Manchester Jazz Festival.

TYCHO

GORILLA, 19:30–22:30, £12.50

Formerly the output of one man, Scott Hansen, which has now grown into a trio following the release of his second LP, Awake.

AARON WOOD QUARTET

ROYAL NORTHERN COLLEGE OF MUSIC, 18:30–19:30, FREE

Trumpeter Aaron Wood leads a group of RNCM students through a selection of jazz, hip-hop and funk infused originals and standards.

Part of Manchester Jazz Festival.

ADAM FAIRHALL’S THE IMAGINARY DELTA

The 21st century jazz outfit offer a preview of material to be found on their forthcoming release. Part of Manchester Jazz Festival.

TWISTED TUBES

ROYAL NORTHERN COLLEGE OF MUSIC, 18:30–18:30, FREE

A group of RNCM students play this MJF introducing showcase, roaring their way through some pop covers and originals. Part of Manchester Jazz Festival.

THE BAD PLUS

ROYAL NORTHERN COLLEGE OF MUSIC, 20:00–21:00, £19.50

The 21st century jazz outfit offer a preview of material to be found on their forthcoming release. Part of Manchester Jazz Festival.

ROD CLEMENTS

WATERSIDE ARTS CENTRE, 20:00–22:00, £10

The Lindisfarne frontman continues his solo trajectory, playing songs from his illustrious career alongside material from his forthcoming release.

THE GREAT MOUNTAIN

THWAITES FESTIVAL PAVILION, 12:30–13:30, FREE

A riotous re-working of early jazz forms, first commissioned in 2011.

Part of Manchester Jazz Festival.

Ben Watte of Beats and Pieces fronts a new band, exploring acoustic and electronic textures to mesmeric effect. Part of Manchester Jazz Festival.

THWAITES FESTIVAL PAVILION, 13:20–14:20, FREE

THWAITES FESTIVAL PAVILION, 14:30–15:30, £4

ROYAL NORTHERN COLLEGE OF MUSIC, 20:00–21:00, £17.50

DEAD HEDGE TRIO

A trio from Liverpool, throwing jazz, psychedelic rock and Afrobeat into the melting pot and coming up with something kinda groovy with an improvised vibe.

Part of Manchester Jazz Festival.

DORIAN FORD QUARTET

THWAITES FESTIVAL PAVILION, 14:30–15:30, £4

Authentic British/European jazz, with a nod to its American counterpart. Part of Manchester Jazz Festival.

HELEN PILLINGER AND JOHN ELLIS

THWAITES FESTIVAL PAVILION, 14:30–15:30, £22.50

Afternoon tea performance from a a relaxed and mellow saxophone and keyboard duo. Part of Manchester Jazz Festival.

NICK MALCOLM QUARTET

THWAITES FESTIVAL PAVILION, 17:00–18:00, £4

Returning following his appearance in 2012, Nick continues his exploration of improvisation. Part of Manchester Jazz Festival.

NAMVULA

THWAITES FESTIVAL PAVILION, 20:00–21:00, £5.00

Singer/songwriter drawing inspiration from her homeland of Zambia, fused with her Scottish roots and the current London scene. Part of Manchester Jazz Festival.

CARLES BENEVANT

ST ANN’S CHURCH, 13:00–14:00, FREE

Presented in association with the Instituto Cervantes, bringing bass guitarist Carles Benavent to our shores. Part of Manchester Jazz Festival.

Wed 23 Jul NAT BIRCHALL QUINTET

BAND ON THE WALL, 19:30–20:30, £10 ADV (£12 DOOR)

Using Coltrane’s legacy as a springboard for experimentation, Nat Birchall lead the quintet through some expansive improvisations.

Part of Manchester Jazz Festival.

RIOGHNACH CONNOLLY AND HENRY BOTHAM

MATT AND PHRED’S JAZZ CLUB, 21:30–01:00, £5

Blues, jazz and swing trio, enriched

by Rioghnach Connolly’s warm vocals. Part of Manchester Jazz Festival.

SPACE F!GHT + SILENCE BLOSSOMS

SOUP KITCHEN, 21:00–23:00, £10

Double bill night of experimentation across spoken word, electronics and audio-visual experiences.

Part of Manchester Jazz Festival.

NIGHT AND DAY’S LOCAL SHOWCASE (THE HOPE EDITION + THE MIGHTY & THE MOON + CREEK + ANTELOPES) NIGHT AND DAY CAFE, 20:00–23:00, £5

Live music showcase, giving a stage to local up-and-coming performers.

July 2014

SANDRANI

Global music collective, with influences spanning Indian, English, Mauritian and Italian traditions.

Part of Manchester Jazz Festival.

PAUL EDIS SEXTET

THWAITES FESTIVAL PAVILION, 17:00–18:00, £4

Occasional trio turned sextet led by Paul Edis, playing a set of forward thinking jazz, rooted in the tradition but with a distinctly contemporary vibe. Part of Manchester Jazz Festival.

JONATHAN SILK BIG BAND

THWAITES FESTIVAL PAVILION, 20:00–21:00, £5

An expansion on the big band sound, utilising electronics to pass through high-octane numbers and delicate ballads. Part of Manchester Jazz Festival.

Students from the RNCM take to the stage for an energetic performance spanning the golden age of jazz to Broadway musicals. Part of Manchester Jazz Festival.

TIM MEN AND THE TELEPHONE + DIEGO AMADOR TRIO

ROYAL NORTHERN COLLEGE OF MUSIC, 20:00–21:00, £17.50

Double bill performance from two international ensembles: Tin Men and the Telephone and Diego Amador. Part of Manchester Jazz Festival.

MATT CHANDLER TRIO

THWAITES FESTIVAL PAVILION, 12:30–13:30, FREE

Bluenote-tinged trio playing feelgood grooves. Part of Manchester Jazz Festival.

TORI FREESTONE TRIO

THWAITES FESTIVAL PAVILION, 14:30–15:30, £4

Tori Freestone presents her ‘In The Chop House’ project, inspired by her involvement in Neil Yates’ 2010 MJF project. Part of Manchester Jazz Festival.

ENGINE ROOM FAVOURITES

THWAITES FESTIVAL PAVILION, 17:00–18:00, £4

Ambitious project exploring new standards for improvisation, presented as part of the Manchester Jazz Festival.

NATALIE WILLIAMS

THWAITES FESTIVAL PAVILION, 20:00–21:00, £5

The MOBO award-nominated soul artist tours her latest album, Where You Are. Part of Manchester Jazz Festival.

BERRY TRIO

MIDLAND HOTEL, 14:30–15:30, £22.50

Afternoon tea performance from the Berry dynasty, sharing their passion for jazz and improv. Part of Manchester Jazz Festival.

EX-EASTER ISLAND HEAD

ST ANN’S CHURCH, 13:00–14:00, FREE

Liverpool-based experimental ensemble, utilising horizontal ‘mallet guitars’ to craft their otherworldly tones. Part of Manchester Jazz Festival.

THE IRWIN MITCHELL MJF ORIGINALS

CENTRAL LIBRARY, 18:00–19:00, £10 ADV (£12 DOOR)

A fusion of rock, pop and jazz, played by an ensemble of fresh young musicians. Part of Manchester Jazz Festival.

THWAITES FESTIVAL PAVILION, 14:30–15:30, £22.50

Brian Molley performs with a full band, demonstrating his awareness of the jazz tradition as he goes.

Part of Manchester Jazz Festival.

PAPANOSH

THWAITES FESTIVAL PAVILION, 17:00–18:00, £12 ADV (£14 DOOR)

For their debut visit to the UK, Papanosh perfom as part of the Manchester Jazz Festival, bringing their cheeky imagination to the fore with their theatrical presence.

BEATS & PIECES BIG BAND

THWAITES FESTIVAL PAVILION, 20:00–21:00, £17.50 ADV (£21 DOOR)

Award-winning jazz group present their big energy sound, built up on influences as wide ranging as Ellington and Radiohead. Part of Manchester Jazz Festival.

UZ2

MIDLAND HOTEL, 14:30–15:30, £4

Afternoon tea performance from UZ2, presenting some contemporary originals in the tradition of Jim Hall and Ron Carter. Part of Manchester Jazz Festival.

MATT OWENS: KEYS

ST ANN’S CHURCH, 13:00–14:00, £4

Fledgling music festival taking over Whitebottom Farm in Stockport, with a headline stage (Dodgy, Reverend and the Makers and Matchstickmen), an acoustic stage (The Hayley Sisters and more), and a strong food focus.

Sat 26 Jul

SLAUGHTER HOUSE FESTIVAL (THE DEAD XIII)

ROADHOUSE + SATAN'S HOLLOW, 14:00–23:00, £6 (£8 WEEKEND)

Slaughter House Club host a two-day mini festival spreading out over the Roadhouse and Satan’s Hollow, inviting 40 bands of the rock and metal persuasion to take to the stage.

Fri 25 Jul

BAND ON THE WALL, 21:00–03:00, £15 ADV (£17.50 DOOR)

WAKA FLOCKA FLAME

MANCHESTER ACADEMY 3, 19:30–23:00, £11

The Southern rapper (known to his mammy as Juaquin Malphurs) takes to the road, despite having apparently never wanting to be a rapper. Go figure.

Thu 24 Jul MAYSA + DEBRA DEBS

BAND ON THE WALL, 19:30–20:30, £19.50 ADV (£23 DOOR)

American soul singer and lead vocalist for Incongito. Part of Manchester Jazz Festival.

SPILT MILK

MATT AND PHRED’S JAZZ CLUB, 21:30–01:00, £5

Manchester-based trio, crafting innovative and original material with keys, drums and bass. Part of Manchester Jazz Festival.

BLACK SONIC REVOLVER (SETTING SUNS + ARCANE BRONZE)

THE CASTLE HOTEL, 19:30–23:00, £5

Genre side-stepping Manc fivepiece, formed in 2013 by chief song writer, Leon James Kenny.

NIGHT AND DAY’S LOCAL SHOWCASE (THE CHEVRON SHAWL + SUNLIGHTER + MOLLY WARBURTON + REBECCA CULLEN) NIGHT AND DAY CAFE, 20:00–23:00, £5

Live music showcase, giving a stage to local up-and-coming performers.

ARNOCORPS

SOUND CONTROL, 19:00–23:00, £13.50

San Franciscoan hardcore noise outfit big on the rockin’ and rollin’.

THE RUBY LOUNGE, 19:30–23:00, £4

The monthly showcase night returns with a night of psychedelia.

LONNIE LISTON SMITH & THE NEW COSMIC ECHOES

BAND ON THE WALL, 20:00–21:00, £5

The man best known as the Godfather of jazz funk and smooth jazz takes to the stage with his New Cosmic Echoes band. Part of Manchester Jazz Festival.

MANCHESKA

MATT AND PHRED’S JAZZ CLUB, 21:30–01:00, £5

Eight-piece ska band fronted by a four-strong horn section and eight vocalists, playing originals, rare gems and some Jamaican classics thrown in for good measure. Part of Manchester Jazz Festival.

THE UNASSISTED (EMPIRE SIGNAL + TOY SPARROWS)

THE CASTLE HOTEL, 19:30–23:00, £5

Indie rock outfit hailing from Manchester, formed in early 2013 following a Drummer Wanted ad.

TINY PHILLIPS: THE REAL LIFE LAUNCH PARTY

NIGHT AND DAY CAFE, 20:00–23:00, £5

The Mancunian indie-popsters launch their latest EP, The Real Life, with a live show followed by a DJ set.

BUNNY WAILER

THE RITZ, 19:00–23:00, £25 ADV (£30 THEREAFTER)

The Grammy Award-winning musician and founding member of The Wailers embarks on a solo tour, still revelling in that Jamaican reggae sound.

JP COOPER

SOUND CONTROL, 19:00–22:30, £10

Mancunian singer/songwriter, launching his latest EP on the night.

Led by acclaimed Americana guitarist Billy Buckley, The Wagon Train return to Manchester Jazz Festival, all twangy guitar and dustbowl ballads.

MR WILSON’S SECOND LINERS

THWAITES FESTIVAL PAVILION, 18:30–19:30, FREE

A New Orleans style brass band, blending jazz with 90s club classics. Part of Manchester Jazz Festival.

HACKNEY COLLIERY BAND + CHARLIE COOPER

THWAITES FESTIVAL PAVILION, 20:00–21:00, £15 ADV (£17 DOOR)

East London all-acoustic take on the brass band, featuring trumpets, trombones, saxes, sousaphone and marching percussion.

Part of Manchester Jazz Festival.

KINGS BAND NIGHT (LOST + HARRY MACINTOSH PROJECT + BLACK RUSSIAN)

ROMILEY, 11:30–11:30, £25 (£40 WEEKEND)

BLACKTHORN MUSIC FESTIVAL

ST ANN’S CHURCH, 13:00–14:00, FREE

Solo recital from pianist Alexander Hawkins, exploring all aspects of the tradition: from Tatum to Sun Ra. Part of Manchester Jazz Festival.

THE WAGON TRAIN

THWAITES FESTIVAL PAVILION, 17:00–18:00, £4

ROMILEY, 17:30–02:30, £15 (£40 WEEKEND)

CRAIG CHARLES FUNK ‘N’ SOUL CLUB + LONDON AFROBEAT COLLECTIVE

A NORTHERN CONTRIBUTION (PUSHER + CLAY GARDEN + BLOSSOMS)

A New Orleans style brass band, blending jazz with 90s club classics. Part of Manchester Jazz Festival.

An evening of live music from a selection of up-and-comers.

Afternoon tea performance from this piano and saxophone duo. Part of Manchester Jazz Festival.

ALEXANDER HAWKINS

THWAITES FESTIVAL PAVILION, 16:30–17:30, FREE

Set of new compositions from double bassist Matt Owens, venturing into unusual two-piano formats. Part of Manchester Jazz Festival.

Anton Hunter leads his ensemble through an innovative suite, built up on miniature musical motifs for each player. Part of Manchester Jazz Festival.

KING/RAVEN DUO

MIDLAND HOTEL, 14:30–15:30, £22.50

New London-based collective aiming to create an immersive live experience with their music. Part of Manchester Jazz Festival.

DJ and actor Craig Charles will be manning the decks until 3am for a special edition of his funk and soul night, joined by the London Afrobeat Collective. Part of Manchester Jazz Festival.

THE SHIRES

THE DEAF INSTITUTE, 19:00–22:30, £7

Hertfordshire and Bedfordshirehailing duo riding the wave of country music’s recent success.

MR WILSON’S SECOND LINERS

MATT AND PHRED’S JAZZ CLUB, 21:30–01:00, £5

A New Orleans style brass band, blending jazz with 90s club classics. Part of Manchester Jazz Festival.

ECCENTRONIC RESEARCH COUNCIL

ISLINGTON MILL, 19:30–23:00, £12

THE KING’S ARMS, 19:30–23:00, £5

BLACKTHORN MUSIC FESTIVAL

Fledgling music festival taking over Whitebottom Farm in Stockport, with a headline stage (Dodgy, Reverend and the Makers and Matchstickmen), an acoustic stage (The Hayley Sisters and more), and a strong food focus.

SLAUGHTER HOUSE FESTIVAL (DIE NO MORE)

SATAN’S HOLLOW, 14:00–23:00, £6 (£8 WEEKEND)

Slaughter House Club host a two-day mini festival spreading out over the Roadhouse and Satan’s Hollow, inviting 40 bands of the rock and metal persuasion to take to the stage.

Sun 27 Jul

SLAUGHTER HOUSE FESTIVAL (THE SUN EXPLODES)

ROADHOUSE, 14:00–23:00, £6 (£8 WEEKEND)

Slaughter House Club host a two-day mini festival spreading out over the Roadhouse and Satan’s Hollow, inviting 40 bands of the rock and metal persuasion to take to the stage.

MIKE DIGNAM

THE RUBY LOUNGE, 19:30–23:00, £9

Singer/songwriter from Preston, often drawing comparisons to Jason Mraz and James Morrison, quite possibly for his sins.

THE LAST CARNIVAL

SOUND CONTROL, 19:00–22:00, £8

More pumping melodies and driving guitar from the energetic rock five-piece, if you can handle it.

SAM HEALEY QUARTET

THWAITES FESTIVAL PAVILION, 13:00–14:00, £4

With new album Magpie Billy and the Egg That Yolked in tow, the Eccentronic Research Council head to a live setting with their experimental electronics, crafted using vintage synths.

Sam Healey of Beats and Pieces branches out with his new band, performing a bold blend of new music built up on two lead instruments. Part of Manchester Jazz Festival.

NIGHT AND DAY CAFE, 20:00–23:00, £5

THWAITES FESTIVAL PAVILION, 15:00–16:00, £4

MIDDLEMAN (AFROTREE)

Leeds-based four-piece known for their energetic live performances.

ALTERNATIVE AND BURLESQUE FAIR

SOUND CONTROL, 11:00–17:00, £5

Dubbed as ‘the ultimate alternative shopping experinece’, the Alternative and Burlesque fair is set to feature 50 stalls and 2 stages with a full programme of entertainment.

RACHAEL COHEN QUARTET

THWAITES FESTIVAL PAVILION, 13:00–14:00, £4

Alto saxophone player Rachael Cohen shares her storytelling style of performing. Part of Manchester Jazz Festival.

THE PARADISE TRIO

All-star trio built up on 25 years of playing together in various guises.

Part of Manchester Jazz Festival.

THE MUSIC PLACE CHOIR

THWAITES FESTIVAL PAVILION, 17:00–18:00, £4

Brainchild musical project of leader, Clare Morel, bringing together the groups shared love of singing, closing the Manchester Jazz Festival with their rousing song.

WHAT’S THE ALTERNATIVE?

THE KING’S ARMS, 14:00–23:00, £1

All-day festival of alternative music.

Fledgling music festival taking over Whitebottom Farm in Stockport, with a headline stage (Dodgy, Reverend and the Makers and Matchstickmen), an acoustic stage (The Hayley Sisters and more), and a strong food focus.

SLAUGHTER HOUSE FESTIVAL (BLUE ORIGIN)

SATAN’S HOLLOW, 14:00–23:00, £6 (£8 WEEKEND)

Slaughter House Club host a two-day mini festival spreading out over the Roadhouse and Satan’s Hollow, inviting 40 bands of the rock and metal persuasion to take to the stage.

Mon 28 Jul CHURCH OF MISERY

MANCHESTER ACADEMY 3, 19:30–23:00, £10

The legendary Japanese doom four-piece return to Scotland in support of their new LP, Thy Kingdom Scum.

Liverpool Sun 06 Jul MELLOSTOCK II (DJ CARNIVALESQUE)

MELLOMELLO, 20:00–23:00, £10 WEEKEND

Three-day festival hosted by MelloMello, throwing open the doors of the mansion to celebrate the acts and artists who’ve called MelloMello home over the years.

Tue 08 Jul

DROPKICK MURPHYS (THE BOTS + BLOOD OR WHISKEY)

O2 ACADEMY, 19:00–23:00, £18

Boston rockers who started playing in the basement of a friend’s barbershop back in the 90s, blending the musical influences they grew up with – punk-rock, Irish folk and hardcore – into one chaotic whole.

SLOW CLUB

THE KAZIMIER, 20:00–23:00, £12

Liverpool Music

Rather lovely alternative folkiness from Sheffield duo Charles Watson and Rebecca Taylor, returning to the touring circuit with their third album, Complete Surrender.

Tue 01 Jul

FREDERIKS, 20:30–23:00, £3

HEAVEN AND EARTH (M.ILL.ION)

O2 ACADEMY, 19:00–23:00, £15

Joe Retta-led rockers on a mission to resurrect the sanctity of classic rock to its purist form.

PARRJAZZ (DAVE EDGE)

FREDERIKS, 20:30–23:00, £3

The weekly jazz showcase night pitches up in a new home on Hope Street.

Wed 02 Jul

ROBERT WALTER’S 20TH CONGRESS

STUDIO 2, 20:30–23:00, £5

The Greyboy Allstars founder embarks on a solo funk, jazz and solo project.

Thu 03 Jul

DEAD HEDGE TRIO RESIDENCY

MELLOMELLO, 20:00–23:00, FREE

A trio from Liverpool, throwing jazz, psychedelic rock and Afrobeat into the melting pot and coming up with something kinda groovy with an improvised vibe.

PAUL WELLER

EAST VILLAGE ARTS CLUB, 18:15–23:00, £SOLD OUT

The Jam and The Style Council singer/songwriter, doing his solo thing with that haircut.

Fri 04 Jul

THE ZANZIBAR PRESENTS (THE VISITORS EP LAUNCH + THE PROBES + MELTING + DANNY) THE ZANZIBAR CLUB , 19:30–23:00, £4

The alt-rock venue serves up another showcase event, shining the light on local and national talent.

VISITORS

THE ZANZIBAR CLUB , 19:30–23:00, £4

Liverpudlian three-piece drawing on a wide range of influences spanning garage and grunge.

MELLOSTOCK II (PETE BENTHAM AND THE DINNER LADIES + RORY AND NED + YELLOW BELLY STRAGGLERS)

MELLOMELLO, 20:00–23:00, £10 WEEKEND

Three-day festival hosted by MelloMello, throwing open the doors of the mansion to celebrate the acts and artists who’ve called MelloMello home over the years.

Sat 05 Jul

BAM MARGERA’S FUCKFACE UNSTOPPABLE

O2 ACADEMY, 19:00–23:00, £15

That jackass from, err, Jackass turns his attention to making music, reppin’ the first release on their new label home, Artery Recordings.

MELLOSTOCK II (DOGSHOW + THE HARLEQUIN DYNAMITE MARCHING BAND + LONG FINGER BANDITS)

MELLOMELLO, 20:00–23:00, £10 WEEKEND

Three-day festival hosted by MelloMello, throwing open the doors of the mansion to celebrate the acts and artists who’ve called MelloMello home over the years.

PARRJAZZ (DAVE MANNINGTONS RIFF RAFF)

The weekly jazz showcase night pitches up in a new home on Hope Street.

Thu 10 Jul MYRON & E

THE KAZIMIER, 19:30–23:00, £9

Los Angeles-residing soul duo – currently signed to Stones Throw Records – regularly to be found jamming with members of The Soul Investigators.

THE DRIFTERS

LIVERPOOL EMPIRE, 19:30–22:00, £26

American doo-wop vocal group, currently in their 60th year of making music.

FREE ROCK’N’ROLL (SHEEPY + DIDDUMS + TENEMENTS)

MELLOMELLO, 21:00–23:00, FREE

Fortnightly event offering up an evening of free rock’n’roll-inspired music by the bucket load.

LIZZIE NUNNERY AND VIDAR NORHEIM

THE LANTERN THEATRE, 19:30–22:00, £8.50 (£6.50)

Liverpudlian folk duo launch their latest EP, Songs of Drink and Revolution.

THE MELLOMELLO JAZZ COLLECTIVE MELLOMELLO, 21:00–23:00, FREE

MelloMello’s jazz collective return, serving up a free evening of stomping jazz and swing fusion.

BRIAN JONESTOWN MASSACRE

EAST VILLAGE ARTS CLUB, 19:00–23:00, £SOLD OUT

Anton Newcombe and his band dispatch the tunes with their usual relentless purpose, touring in support of their new LP release, Revelation.

Sun 13 Jul

SUNDAY SIT DOWN SESSIONS (THE WALRUS SOUND SYSTEM)

MELLOMELLO, 15:00–20:00, FREE

A new Sunday session from MelloMello, featuring a marathon set of nu jazz from DJ Jacques.

NEIL YOUNG AND CRAZY HORSE

ECHO ARENA, 19:30–23:00, FROM £39

The Canadian singer/songwriter heads out on tour with his band, Crazy Horse, and his 35th studio album, Psychedelic Pill.

Mon 14 Jul

DECADE (SCOUTS + PAVILIONS + BUCKLE TONGUE)

O2 ACADEMY, 19:00–23:00, £7

Bath-based pop-punk quintet with an anthemic approach and penchant for unforgiving guitar assaults.

GHOSTFACE KILLAH

THE KAZIMIER, 19:30–23:00, £15

Wu-Tang banger Ghostface Killah does his solo thing, with his inimitable stream-of-consciousness style rap narratives blasted out atop high-energy machine gunlike basslines.

ROAM (LIGHT YOU UP + AS IT IS)

EAST VILLAGE ARTS CLUB, 19:00–23:00, £6

Melodic pop punk five-piece hailing from Eastbourne, touring their latest release, Head Down.

Tue 15 Jul

PARRJAZZ (HELEN RODGERS)

FREDERIKS, 20:30–23:00, £3

The weekly jazz showcase night pitches up in a new home on Hope Street.

Thu 17 Jul EVIL DJS

MELLOMELLO, 20:00–23:00, FREE

Fri 11 Jul

Genre-spanning night curated by Evil DJs, taking y’all on a journey through jazz, drone, prog, pop and groove.

EAST VILLAGE ARTS CLUB, 19:00–23:00, £18

Fri 18 Jul

THE CRIBS (MENACE BEACH)

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

HOODIE LEDBETTER (OSAKA PUNCH + DIAMOND DAYS) EAST VILLAGE ARTS CLUB, 19:00–22:00, £6

The Liverpudlian duo take it to the EVAC Loft, with their searing blend of guitar-driven electronic sounds.

THE SONGS OF JAMES TAYLOR

THE LANTERN THEATRE, 19:30–22:00, £12.50

Guitar and keys duo Brian Dales and Jon Chamberlain return to Liverpool, playing a set of James Taylor’s songs.

X&Y FESTIVAL (HALF MOON RUN + LITTLE COMETS + LAUREN AQUILINA + CATFISH & THE BOTTLEMEN + THE FAMILY RAIN)

LIVERPOOL GUILD OF STUDENTS, 16:00–01:00, £20

Indie, pop and rock bands unite for this one-day mini festival of established and up-and-coming talent: this year catch headline act, Half Moon Run, a talented young trio from Canada, working their magic across elements of indie, pop and folk.

Sat 12 Jul CATALYST

O2 ACADEMY, 19:00–23:00, £6

Classic rock five piece playing tributes to all the classic rock era greats.

DEAN FRIEDMAN

EPSTEIN THEATRE, 19:00–22:00, £20

US-of-A singer/songwriter doing his thing on vocals, piano, keyboard, guitar... and maybe even harmonica.

THE FAMILY RUIN (VICES AND VIRTUES)

O2 ACADEMY, 19:00–23:00, £5

Electrifying five-piece rock outfit hailing from York, proudly mashing up riffs, grooves and harmonies.

OTTERSGEAR

MELLOMELLO, 20:00–23:00, FREE

Long-standing member of Dan Haywood’s New Hawks, Mikey Kenney, stepping out on his own to pursue a solo folk/pop/art project.

THE MUSIC MANUAL PRESENTS...

(BLOSSOMS + GO FIASCO + TYRON FREEMAN + MARVIN POWELL) LEAF, 20:00–02:00, £7

Marking the launch of their new two-page zine, Burn the Manual, award-nominated music blog The Music Manual throw a proper shindig, with headliners Blossoms bringing the psych pop sound.

SODIUM FROGS (ELEPHANT AND CASTLE + JUST FRANCIS + THE TRAITS + THE CENTRAL)

EAST VILLAGE ARTS CLUB, 19:00–23:00, £6

Classic heavy rock four-piece hailing from Liverpool.

Sat 19 Jul

THE SONGBOOK SESSIONS (THE BRIGANTES + BEXI BLUE + LANEY MURPHY + DERICK JACKSON)

THE ZANZIBAR CLUB , 19:30–23:00, £4

A showcase event for new and upcoming songwriters in Liverpool and the surrounding areas.

THE ELO EXPERIENCE

LIVERPOOL EMPIRE, 19:30–22:30, £21

ELO tribute act.

BLIND MONK TRIO

MELLOMELLO, 20:00–23:00, FREE

Three Northwest musicians putting a fresh spin on the classic, chordless jazz trio format.

Listings

49

Liverpool Music JOOLS HOLLAND AND HIS RHYTHM AND BLUES ORCHESTRA ECHO ARENA, 19:30–23:00, £44.50

The former Squeeze piano tinkler does his thing, accompanied as ever by his 20-piece Rhythm and Blues Orchestra.

LYRA (BUNKBED)

EAST VILLAGE ARTS CLUB, 19:00–23:00, £6

Alternative rock five piece calling Liverpool home, deftly honing their sound since 2012.

Sun 20 Jul

STEVEN SEAGAL (THE VIPER KINGS)

O2 ACADEMY, 19:00–23:00, £28.50

The Hollywood legend/director/ martial artist/reserve deputy sheriff turns his attention to the blues.

SUNDAY SIT DOWN SESSIONS (DJ PETE BENTHAM)

MELLOMELLO, 15:00–20:00, FREE

A new Sunday session from MelloMello, featuring a marathon set of nu jazz from DJ Jacques.

RADIO CITY LIVE 2014 (SAM SMITH + KATY B + PALOMA FAITH + LITTLE MIX + FOXES) ECHO ARENA, 19:30–23:00, FROM £22

LIVERPOOL CALLING (RIFLES + TWISTED WHEEL + DEXTERS)

Student Thursday-nighter, with resident DJs Steve Davies, Bill Murray’s Rock n Soul club, and Nicola Bear serving up anything from retro classics to electro mash ups across three rooms.

THE KAZIMIER, 16:00–23:00, £20 (£35 ALL VENUES)

HARDMAN SQUARE, 12:00–00:00, FREE

MELLOMELLO, 21:00–23:00, FREE

Fortnightly event offering up an evening of free rock’n’rollinspired music by the bucket load.

STUDENT HOUSE

SOUTH, 23:00–04:00, £2

The weekly student house and techno night returns to South, keeping you on the dancefloor till the early hours.

Wed 02 Jul TOO MANY DJS

THE DEAF INSTITUTE, 21:00–02:00, FREE

A new club night pitching up at Deaf, taking a cue from open mic nights and inviting DJs of all standards to take over the decks for half hour slots.

HIGHER GROUND

BLACK DOG BALLROOM NQ, 23:00–04:00, FREE

Residents Stuart Richards and Joshua Goddard guide us through the mid-week slump, navigating motown, ska and rock’n’roll as they go.

Thu 03 Jul

REASONS TO BE CHEERFUL

THE DEAF INSTITUTE, 21:00–01:00, FREE

New weekly event, with the ever-charming Duncan from Dutch Uncles taking to the decks for a vinyl-only set of golden age pop and disco.

BLACK DOG BALLROOM NQ, 22:00–04:00, FREE (BEFORE 11PM)

BLACK DOG BALLROOM NQ, 22:00–04:00, FREE (BEFORE 11PM)

Regular Saturday-nighter, packed with disco, house and funk, with a dash of hip-hop and reggae for good measure.

WELL FUTURE

COMMON, 21:00–02:00, FREE

4pm — 3am

Mixed bag club night of shoegaze, psych, indie, electronic, krautrock, low-fi and pop: marking their 8th birthday with an extra special outing. #GOT2BEFUNKY

WALRUS, 20:30–02:00, FREE

Unity Radio’s Si Foresterio serves up a mix of funk, soul, disco and classic hip hop.

CHOW DOWN: PARRIS MITCHELL (DJ CROWW + FINN + CRAIG AD)

SOUP KITCHEN, 23:00–00:00, £5

Guest DJs on the decks, bringing you music from the past, present, and well, future.

CLUB X OVER

House DJ Parris Mitchell headlines the latest Chow Down night, performing in Manchester for the first time as part of a rare UK visit.

THE RITZ, 22:30–03:30, £4 (£5 AFTER MIDNIGHT)

Sat 05 Jul

Monthly alternative club night offering an eclectic mix of rock, grunge, metal, hip hop, industrial and more courtesy of their resident DJs. TOP OF THE POPS (JUSTINE ALDERMAN + GUS GORMAN)

MINT LOUNGE, 22:30–04:00, £2

Get your weekend off to a great start with this healthy mix of dancefloor fillers and guilty pleasures served up by residents and guest DJs. FRI251

FACTORY 251, 23:00–03:00, 99P (£6 AFTER 12)

Student Friday-nighter, with mashups in room one, indie, funk and Motown in room two, and electro house in room three.

Listings

Underdog resident Stuart Richard serves up a healthy mix of old skool hip-hop, house, bashment and bass.

JACOB COID

TwentyTwentyTwo.co.uk

WHOSAIDWHAT?

HIGH JINX (STUART RICHARDS)

UNDERDOG, 23:00–04:00, FREE (£4 AFTER MIDNIGHT)

Beats, Bats & Beers Every Saturday — A musical outing soundtracked

by House, Disco & Pop Obscurities

Manchester’s premier 60s party, now a bi-monthly reason to get excited. Expect 60s pop, garage, motown, rock’n’roll.

An eclectic mix of genres, with DJ Da Funk bringing a seamless blend of house, hip hop and dubstep sounds until the smaller hours.

BLACK DOG BALLROOM NWS, 23:00–04:00, £TBC

HORSE MEAT DISCO

TWENTY TWENTY TWO, 16:00–03:00, FREE

Horse Meat Disco return to Manchester to celebrate the launch of the all new Twenty Twenty Two – they’ll be causing more mischief and disco mayhem and we’ll do the boogieing.

REMAKE REMODEL

THE RUBY LOUNGE, 23:00–03:00, £4

A night of alternative rock’n’roll shenanigans.

FUNKADEMIA

MINT LOUNGE, 22:30–04:00, £5 ADV (£6 DOOR)

Mancunian nightclub institution – delivering a chronological history of soul on a weekly basis, courtesy of their DJ collective.

CLINT BOON

SOUTH, 23:00–04:00, £5

Mixed-bag night from local DJ ledge Clint Boon.

Free entry every Saturday 50

FACTORY 251, 23:00–03:00, £2

Three rooms of commercial dance, indie and deep house, powered by funktion one sound.

Rebel Music’s Jacob Coid supplies an unpredictable mix of his leftof-centre collection, featuring Dylan to Dre, the Strokes to Snoop Dogg, Bowie to the Beastie Boys and anything in between.

VACATION: JUST SKANK (GOLDIE)

GORILLA, 23:00–04:00, £12 EARLYBIRD (£15 THEREAFTER)

Gorilla soundtrack your summer vacation with a series of nights keeping feet moving throughout the summer months.

APEROL SPRITZ SOCIAL

HARDMAN SQUARE, 12:00–00:00, FREE

Catch the Wimbledon action up on the big screen, followed by DJ sets.

LOWDOWN BOAT PARTY

SOUND CONTROL, 19:00–04:00, £12

Following a three-hour cruise down the Manchester Riviera (err, Castlefield), all of which will be soundtracked by Lowdown residents, the party continues back on dry land, as Miss Monument takes the breaks and bass into the night.

GIRLS ON FILM: BOWIE SPECIAL

THE DEAF INSTITUTE, 22:00–04:00, £4.50 ADV (£5 DOOR)

Pink lady cocktails, disco balls, glitz and glamour: a monthly club night where you’re free to let your inner 80s child loose, this month adopting a Bowie theme.

Sun 06 Jul

APEROL SPRITZ SOCIAL

HARDMAN SQUARE, 12:00–00:00, FREE

Catch the Wimbledon action up on the big screen, followed by DJ sets.

Tue 08 Jul STUDENT HOUSE

SOUTH, 23:00–04:00, £2

The weekly student house and techno night returns to South, keeping you on the dancefloor till the early hours.

4pm — 3am TwentyTwentyTwo.co.uk

STOP MAKING SENSE

COMMON, 21:00–02:00, FREE

Common’s regular club-in-a-bar night of hipster bullshit, with Mr Seb Valentine, Benatronic & Luke Warm.

Gorilla soundtrack your summer vacation with a series of nights keeping feet moving throughout the summer months.

WAX SESSIONS

FLYIN’ EASY SOUL CLUB (JOE IN OHIO B2B BOLTS)

NIGHT AND DAY CAFE, 23:00–03:00, FREE

Vinyl-only set from Lucky T Jackson’s Josh, spinning the likes of Otis Redding and The Kinks.

THE DEAF INSTITUTE, 21:00–02:00, £2

New club night inspired by the recent Floating Points You’re a Melody recordings, aiming to recreate the soulful vibes and taking on everything from deep jazz to big disco.

#GOT2BEFUNKY

WALRUS, 20:30–02:00, FREE

Unity Radio’s Si Foresterio serves up a mix of funk, soul, disco and classic hip hop.

SHAKEDOWN

BLACK DOG BALLROOM NQ, 23:00–04:00, FREE

DJ Da Funk taking over the decks for a night of hip-hop, funk and dubstep sounds.

F//CK

FACTORY 251, 23:00–03:30, £3 (99P CHEAP LIST)

Student Thursday-nighter, with resident DJs Steve Davies, Bill Murray’s Rock n Soul club, and Nicola Bear serving up anything from retro classics to electro mash ups across three rooms.

BURN OUT (D DOUBLE E + SLIMZEE + SPOOKY + KALLI)

KRAAK, 22:00–04:00, £12 ADV (£14 THEREAFTER)

Party in the dark in an art gallery, offering a preview of things to come at Victoria Warehouse later this year.

Free entry all night

Beats, Bats & Beers Every Saturday — A musical outing soundtracked

by House, Disco & Pop Obscurities TwentyTwentyTwo.co.uk

Sat 12 Jul

TROF NQ, 21:00–03:00, £1

THE DEAF INSTITUTE, 22:00–04:00, £4.50 ADV (£5 DOOR)

A new Friday-nighter offering up smooth soul and elevating disco.

PUMPING IRON

COMMON, 21:00–02:00, FREE (£2 AFTER 10)

Mixed-bag night of nu cosmic Italio, vintage avant garde disco and lo-fi rhythmic punk funk.

WHOSAIDWHAT?

BLACK DOG BALLROOM NQ, 22:00–04:00, FREE (BEFORE 11PM)

Regular Saturday-nighter, packed with disco, house and funk, with a dash of hip-hop and reggae for good measure.

SAUCE (STE SPANDEX + RITCHIE MIDNIGHT + DAVE OWEN + ASHER JONES)

KRAAK, 22:00–04:00, £5

Sauce returns to Kraak with their mixed bag of records courtesy of resident DJs, Dave Owen and Asher Jones, with special guest appearances from Ste Spandex and Ritchie Midnight.

TOP OF THE POPS (LOZ NEWY + CHRISTOPHER DRESDEN STYLES)

MINT LOUNGE, 22:30–03:30, £2

GOO

Monthly club night tribute to 90s indie – expect Pulp, Nirvana, Suede, Smashing Pumpkins, Pixies and more.

FUNKADEMIA

MINT LOUNGE, 22:30–03:30, £5 ADV (£6 DOOR)

Mancunian nightclub institution – delivering a chronological history of soul on a weekly basis, courtesy of their DJ collective.

CLINT BOON

SOUTH, 23:00–04:00, £5

Mixed-bag night from local DJ ledge Clint Boon.

FRIENDS IN COMMON

COMMON, 21:00–02:00, FREE (£2 AFTER 10)

Common invite their buddies to take over the decks.

WOO HAH

TROF NQ, 21:00–03:00, FREE (£1 AFTER 10PM)

New Saturday-nighter spanning old school, hip-hop, soul and funk.

BEATS, BATS & BEERS

TWENTY TWENTY TWO, 21:00–03:00, FREE

Get your weekend off to a great start with this healthy mix of dancefloor fillers and guilty pleasures served up by residents and guest DJs.

Mark Webster and his chums play their take on soul, boogie, funk and alternative pop treasures, providing ample soundtrack to your beer-fuelled ping pong session.

FACTORY 251, 23:00–03:00, 99P (£6 AFTER 12)

THE DEAF INSTITUTE, 20:00–23:00, FREE

FRI251

Student Friday-nighter, with mashups in room one, indie, funk and Motown in room two, and electro house in room three.

BOOMBOX

TWENTY TWENTY TWO, 21:00–03:00, FREE

David Dunne and Andy Daniels embark on a trip through the 90s, taking in anything from hip hop to house to classic pop.

4pm — 3am

Sun 13 Jul

Fri 11 Jul MELTING POT

&

FREE ROCK’N’ROLL (THE STOPOUTS + THE WASTERS + CARL MOORCROFT)

Tue 01 Jul

FACTORY SATURDAYS

SOUTH, 23:00–04:00, £3

House, hip-hop, grime and garage from the Murkage residents.

GORILLA, 23:00–04:00, £12 EARLYBIRD (£15 THEREAFTER)

GORILLA, 23:00–04:00, £3

Gorilla soundtrack your summer vacation with a series of nights keeping feet moving throughout the summer months.

S

Manchester Clubs

KRAAK, 23:00–04:00, £5

Old school, hip hop and electro are the focus of this female-fronted club night.

MURKAGE

VACATION (SIMIAN MOBILE DISCO + WILL TRAMP)

VACATION: JUICY SUMMER JAMS

S

Upitup head honcho DJ Jacques, soundtracking your Saturday night.

WITCH*UNT (KERRIE + TAMASINE + RORY JAMES + THE MIGHTY QUINN)

New weekly event, with the ever-charming Duncan from Dutch Uncles taking to the decks for a vinyl-only set of golden age pop and disco.

DJ SI FORESTERIO

WALRUS, 20:30–01:00, FREE

Unity Radio’s Si Foresterio serves up a mix of funk, soul, disco and classic hip hop.

Rebel Music’s Jacob Coid supplies an unpredictable mix of his leftof-centre collection, featuring Dylan to Dre, the Strokes to Snoop Dogg, Bowie to the Beastie Boys and anything in between.

T

Liverpool-based ensemble Immix return with some of the region’s most talented instrumentalists to forge new collaborative musical relationships.

Free entry all night

DJ JACQUES

MELLOMELLO, 20:00–23:00, FREE

FOREPLAY

THE DEAF INSTITUTE, 20:00–23:00, FREE

A warm up for your Saturday night, with the house band, Foreplay playing a mixture of covers and originals.

REASONS TO BE CHEERFUL

THE DEAF INSTITUTE, 21:00–01:00, FREE

Three floor club night touting indie/electro, classic rock’n’roll and punk/rock.

S

The split venue fezzie returns, with a mixed-bag line-up of up-and-comers taking to stages across The Kazimier, Korova, Zanzibar, Maguire’s and St Luke’s Bombed Out Church.

Mark Webster and his chums play their take on soul, boogie, funk and alternative pop treasures, providing ample soundtrack to your beer-fuelled ping pong session.

Thu 10 Jul

JACOB COID

T

LIVERPOOL CALLING (TWISTED WHEEL)

MAGUIRE’S PIZZA BAR, 16:00–23:00, £7 (£35 ALL VENUES)

BEATS, BATS & BEERS

TWENTY TWENTY TWO, 21:00–03:00, FREE

DJ DA FUNK

LIVERPOOL CALLING (D/R/U/G/S + GHOSTCHANT)

The split venue fezzie returns, with a mixed-bag line-up of up-and-comers taking to stages across The Kazimier, Korova, Zanzibar, Maguire’s and St Luke’s Bombed Out Church.

BAND ON THE WALL, 22:00–03:00, £12

DJ set from the musical mastermind, known for mixing a junkshop bag of sounds and bringing his beats to life with squiggly, scribbled animations.

BLACK DOG BALLROOM NWS, 23:00–04:00, £TBC

BARE BONES

R

METAL, 19:30–22:00, £5 (£3)

KRAAK, 21:00–04:00, £10

MR SCRUFF KEEP IT UNREAL

Residents Stuart Richards and Joshua Goddard guide us through the mid-week slump, navigating motown, ska and rock’n’roll as they go.

THE DEAF INSTITUTE, 22:00–03:00, £5

A

IMMIX ENSEMBLE

THE DEAF INSTITUTE, 23:00–03:00, £3 ADV (£4 DOOR)

New Saturday-nighter spanning old school, hip-hop, soul and funk.

Underdog resident Stuart Richard serves up a healthy mix of old skool hip-hop, house, bashment and bass.

E

Thu 24 Jul

DOTS AND LOOPS 8TH BIRTHDAY (THE OSCILLATION + DEAD SEA APES + BOB STANLEY DJ SET)

&

Ron Pope-led American outfit whose current sound steers his former country-folk leanings into irresistibly hooky pop-anthem territory.

REVOLVER

S

O2 ACADEMY, 19:00–23:00, £12

Monthly rock’n’roll club night hosted by Two Weeks Running.

S

RON POPE (NICK HOWARD + HANNAH TRIGWELL)

NIGHT AND DAY CAFE, 23:00–03:00, FREE

PACEMAKER

T

Wed 23 Jul

APEROL SPRITZ SOCIAL

HARDMAN SQUARE, 12:00–00:00, FREE

TROF NQ, 21:00–03:00, £1

KOROVA, 16:00–23:00, £10 (£35 ALL VENUES)

FREDERIKS, 20:30–23:00, £3

The weekly jazz showcase night pitches up in a new home on Hope Street.

Gorilla soundtrack your summer vacation with a series of nights keeping feet moving throughout the summer months.

Catch the Wimbledon action up on the big screen, followed by DJ sets.

A new Friday-nighter offering up smooth soul and elevating disco.

BLACK DOG BALLROOM NQ, 23:00–04:00, FREE

WOO HAH

HIGHER GROUND

An eclectic mix of genres, with DJ Da Funk bringing a seamless blend of house, hip hop and dubstep sounds until the smaller hours.

B

The split venue fezzie returns, with a mixed-bag line-up of up-and-comers taking to stages across The Kazimier, Korova, Zanzibar, Maguire’s and St Luke’s Bombed Out Church.

GORILLA, 23:00–04:00, £12 EARLYBIRD (£15 THEREAFTER)

Fri 04 Jul MELTING POT

TROF NQ, 21:00–03:00, FREE (£1 AFTER 10PM)

COMMON, 21:00–02:00, FREE

HIGH JINX (STUART RICHARDS) UNDERDOG, 23:00–04:00, FREE (£4 AFTER MIDNIGHT)

A

LIVERPOOL CALLING

ST LUKE’S CHURCH, 16:00–23:00, £15 (£35 ALL VENUES)

Catch the Wimbledon action up on the big screen, followed by DJ sets.

Common invite their buddies to take over the decks.

DJ DA FUNK BLACK DOG BALLROOM NWS, 22:00–04:00, FREE (BEFORE 11PM)

E

The split venue fezzie returns, with a mixed-bag line-up of up-and-comers taking to stages across The Kazimier, Korova, Zanzibar, Maguire’s and St Luke’s Bombed Out Church.

APEROL SPRITZ SOCIAL

VACATION (LOWSTEPPA + CHRIS LORENZO + JUST JORGE + DJ MURR + JAXX + LIAM MURPHY

S

PARRJAZZ (GREG ABATE)

Unity Radio’s Si Foresterio serves up a mix of funk, soul, disco and classic hip hop.

F//CK

FACTORY 251, 23:00–03:30, £3 (99P CHEAP LIST)

T

DANIEL PEARSON

THE ZANZIBAR CLUB , 19:30–23:00, £8

Stripped back showcase of songwriting from the Hull singer.

DJ SI FORESTERIO

WALRUS, 20:30–01:00, FREE

A

THE ZANZIBAR CLUB , 19:30–23:00, £8

The alt-rock venue serves up another showcase event, shining the light on local and national talent.

DJ Da Funk taking over the decks for a night of hip-hop, funk and dubstep sounds.

R

THE ZANZIBAR PRESENTS (DANIEL PEARSON)

SHAKEDOWN

BLACK DOG BALLROOM NQ, 23:00–04:00, FREE

A

Tue 22 Jul

The split venue fezzie returns, with a mixed-bag line-up of up-and-comers taking to stages across The Kazimier, Korova, Zanzibar, Maguire’s and St Luke’s Bombed Out Church.

BLACK DOG BALLROOM NWS, 22:00–04:00, FREE (BEFORE 11PM)

An eclectic mix of genres, with DJ Da Funk bringing a seamless blend of house, hip hop and dubstep sounds until the smaller hours.

E

The American country rock outfit continue well into their 29th year, stilling going strong following their 2011 reunion and subsequent release, Mockingbird Time.

THE ZANZIBAR CLUB , 19:30–23:00, £11

DJ DA FUNK

E

THE JAYHAWKS

THE KAZIMIER, 19:30–23:00, £18.50

LIVERPOOL CALLING (TWISTED WHEEL + BLACK DELTA + MOVEMENT + MIDNIGHT SUNS)

Common’s regular club-in-a-bar night of hipster bullshit, with Mr Seb Valentine, Benatronic & Luke Warm.

THE DEAF INSTITUTE, 21:00–02:00, FREE

A new club night pitching up at Deaf, taking a cue from open mic nights and inviting DJs of all standards to take over the decks for half hour slots.

FRIENDS IN COMMON

B

Mon 21 Jul

Sat 26 Jul

STOP MAKING SENSE

COMMON, 21:00–02:00, FREE

E

Brooklyn songwriter best known for his melodic tunesmithery built on alternately introspective, political lyrics.

Experimental multimedia, bringing together four arts practitioners to present four short works taking on a performance-meets-lecture format.

BOOMBOX TWENTY TWENTY TWO, 21:00–03:00, FREE

David Dunne and Andy Daniels embark on a trip through the 90s, taking in anything from hip hop to house to classic pop.

B

KEVIN DEVINE

KOROVA, 20:00–23:00, £9

24 KITCHEN STREET, 20:00–23:00, £TBC

MURKAGE SOUTH, 23:00–04:00, £3

House, hip-hop, grime and garage from the Murkage residents.

B

The Twilight Sad boys treat collective Liverpool earlugs to a special live show, playing their 2007 gem of a debut – Fourteen Autumns and Fifteen Winters – live and in its glorious entirety.

SYNDROME SESSIONS 2.0 (APATT + ANTONIO ROBERTS AND RACHEL SWEENEY)

Manchester Clubs

TOO MANY DJS

E

EAST VILLAGE ARTS CLUB, 19:00–23:00, £11.50

MELLOMELLO, 20:00–23:00, FREE

Hailing from New Orleans, this tin pan alley three piece bring the sounds of the turn of the 20thcentury to Liverpool.

Wed 09 Jul

B

THE TWILIGHT SAD (PLAYING 14 AUTUMNS AND 15 WINTERS IN FULL)

THE SPEAKEASY BOOTLEG BAND

B

Previous years have seen One Direction take to the stage for this summer party of sorts – tweenies unite.

Fri 25 Jul

FOREPLAY

A warm up for your Saturday night, with the house band, Foreplay playing a mixture of covers and originals.

FACTORY SATURDAYS

FACTORY 251, 23:00–03:00, £2

Three rooms of commercial dance, indie and deep house, powered by funktion one sound.

DJ DA FUNK

BLACK DOG BALLROOM NQ, 22:00–04:00, FREE (BEFORE 11PM)

ZUTEKH VS TPOT: COURTYARD PARTY #003 (BLOODY MARY + JACK WICKHAM)

SOUTH, 15:00–00:00, £10

The summer courtyard parties continue, with a headline DJ set from the France-born, Berlinbased dancefloor seductress, Bloody Mary.

Tue 15 Jul STUDENT HOUSE

SOUTH, 23:00–04:00, £2

The weekly student house and techno night returns to South, keeping you on the dancefloor till the early hours.

Wed 16 Jul TOO MANY DJS

THE DEAF INSTITUTE, 21:00–02:00, FREE

A new club night pitching up at Deaf, taking a cue from open mic nights and inviting DJs of all standards to take over the decks for half hour slots.

HIGHER GROUND

BLACK DOG BALLROOM NQ, 23:00–04:00, FREE

Residents Stuart Richards and Joshua Goddard guide us through the mid-week slump, navigating motown, ska and rock’n’roll as they go.

Thu 17 Jul

REASONS TO BE CHEERFUL

THE DEAF INSTITUTE, 21:00–01:00, FREE

New weekly event, with the ever-charming Duncan from Dutch Uncles taking to the decks for a vinyl-only set of golden age pop and disco.

MURKAGE

SOUTH, 23:00–04:00, £3

House, hip-hop, grime and garage from the Murkage residents.

An eclectic mix of genres, with DJ Da Funk bringing a seamless blend of house, hip hop and dubstep sounds until the smaller hours.

Beats, Bats & Beers Every Saturday — A musical outing soundtracked

by House, Disco & Pop Obscurities

B E A T S B A T S & B E E R S THE SKINNY

STOP MAKING SENSE

WOO HAH

MURKAGE

WOO HAH

COMMON, 21:00–02:00, FREE

TROF NQ, 21:00–03:00, FREE (£1 AFTER 10PM)

SOUTH, 23:00–04:00, £3

TROF NQ, 21:00–03:00, FREE (£1 AFTER 10PM)

Liverpool Clubs

BEATS, BATS & BEERS

SWAG!

Common’s regular club-in-a-bar night of hipster bullshit, with Mr Seb Valentine, Benatronic & Luke Warm.

SHAKEDOWN

BLACK DOG BALLROOM NQ, 23:00–04:00, FREE

DJ Da Funk taking over the decks for a night of hip-hop, funk and dubstep sounds.

F//CK

FACTORY 251, 23:00–03:30, £3 (99P CHEAP LIST)

Student Thursday-nighter, with resident DJs Steve Davies, Bill Murray’s Rock n Soul club, and Nicola Bear serving up anything from retro classics to electro mash ups across three rooms.

Fri 18 Jul MELTING POT

TROF NQ, 21:00–03:00, £1

A new Friday-nighter offering up smooth soul and elevating disco.

WHOSAIDWHAT?

BLACK DOG BALLROOM NQ, 22:00–04:00, FREE (BEFORE 11PM)

Regular Saturday-nighter, packed with disco, house and funk, with a dash of hip-hop and reggae for good measure.

WELL FUTURE

COMMON, 21:00–02:00, FREE (£2 AFTER 10)

Guest DJs on the decks, bringing you music from the past, present, and well, future.

DUSK TILL DAWN

THE RUBY LOUNGE, 23:00–03:00, £5 (£4)

Tequila-fuelled night of classic sleaze and hard rock – expect Aerosmith, Motley Crue and Misfits to name a few.

UPTOWN

THE DEAF INSTITUTE, 22:00–03:00, £3 ADV (£5 DOOR)

A new night landing at Deaf, offering up the best in disco, funk, boogie and party classics.

TOP OF THE POPS (PING PONG CLUB + LOZ NEWY) MINT LOUNGE, 22:30–03:30, £2

Get your weekend off to a great start with this healthy mix of dancefloor fillers and guilty pleasures served up by residents and guest DJs. FRI251

FACTORY 251, 23:00–03:00, 99P (£6 AFTER 12)

Student Friday-nighter, with mashups in room one, indie, funk and Motown in room two, and electro house in room three.

BOOMBOX

TWENTY TWENTY TWO, 21:00–03:00, FREE

David Dunne and Andy Daniels embark on a trip through the 90s, taking in anything from hip hop to house to classic pop.

DJ DA FUNK

BLACK DOG BALLROOM NWS, 22:00–04:00, FREE (BEFORE 11PM)

An eclectic mix of genres, with DJ Da Funk bringing a seamless blend of house, hip hop and dubstep sounds until the smaller hours.

DJ SI FORESTERIO

WALRUS, 20:30–01:00, FREE

Unity Radio’s Si Foresterio serves up a mix of funk, soul, disco and classic hip hop. #GOT2BEFUNKY

New Saturday-nighter spanning old school, hip-hop, soul and funk.

BEATS, BATS & BEERS

TWENTY TWENTY TWO, 21:00–03:00, FREE

Mark Webster and his chums play their take on soul, boogie, funk and alternative pop treasures, providing ample soundtrack to your beer-fuelled ping pong session.

FOREPLAY

THE DEAF INSTITUTE, 20:00–23:00, FREE

A warm up for your Saturday night, with the house band, Foreplay playing a mixture of covers and originals.

FACTORY SATURDAYS

FACTORY 251, 23:00–03:00, £2

Three rooms of commercial dance, indie and deep house, powered by funktion one sound.

DJ DA FUNK

BLACK DOG BALLROOM NQ, 22:00–04:00, FREE (BEFORE 11PM)

An eclectic mix of genres, with DJ Da Funk bringing a seamless blend of house, hip hop and dubstep sounds until the smaller hours.

HIGH JINX (STUART RICHARDS)

UNDERDOG, 23:00–04:00, FREE (£4 AFTER MIDNIGHT)

Underdog resident Stuart Richard serves up a healthy mix of old skool hip-hop, house, bashment and bass.

JACOB COID

BLACK DOG BALLROOM NWS, 23:00–04:00, £TBC

Rebel Music’s Jacob Coid supplies an unpredictable mix of his left-ofcentre collection, featuring Dylan to Dre, the Strokes to Snoop Dogg, Bowie to the Beastie Boys and anything in between.

VACATION (EXHIBIT + REBOOT)

FUNKADEMIA

MINT LOUNGE, 22:30–03:30, £5 ADV (£6 DOOR)

Mancunian nightclub institution – delivering a chronological history of soul on a weekly basis, courtesy of their DJ collective.

CLINT BOON

SOUTH, 23:00–04:00, £5

Mixed-bag night from local DJ ledge Clint Boon.

FRIENDS IN COMMON

COMMON, 21:00–02:00, FREE (£2 AFTER 10)

Common invite their buddies to take over the decks.

BLACK DOG BALLROOM NQ, 23:00–04:00, FREE

DJ Da Funk taking over the decks for a night of hip-hop, funk and dubstep sounds.

F//CK

FACTORY 251, 23:00–03:30, £3 (99P CHEAP LIST)

Student Thursday-nighter, with resident DJs Steve Davies, Bill Murray’s Rock n Soul club, and Nicola Bear serving up anything from retro classics to electro mash ups across three rooms.

Fri 25 Jul BLOCK PARTY

TROF NQ, 21:00–03:00, FREE

Another Mof Glimmers night, serving up block party essentials with free house punch ‘til it’s gone.

WHOSAIDWHAT?

BLACK DOG BALLROOM NQ, 22:00–04:00, FREE (BEFORE 11PM)

Regular Saturday-nighter, packed with disco, house and funk, with a dash of hip-hop and reggae for good measure.

WELL FUTURE

NIGHT AND DAY CAFE, 23:00–03:00, FREE

ELECTRIC JUG

FRI251

Student Friday-nighter, with mashups in room one, indie, funk and Motown in room two, and electro house in room three.

BOOMBOX

TWENTY TWENTY TWO, 21:00–03:00, FREE

David Dunne and Andy Daniels embark on a trip through the 90s, taking in anything from hip hop to house to classic pop.

Sun 20 Jul

An eclectic mix of genres, with DJ Da Funk bringing a seamless blend of house, hip hop and dubstep sounds until the smaller hours.

HAXAN

Michael Holland and Boomkat’s Conor, dishing up radiophonic disco and film score techno.

Tue 22 Jul STUDENT HOUSE

SOUTH, 23:00–04:00, £2

TOO MANY DJS

THE DEAF INSTITUTE, 21:00–02:00, FREE

A new club night pitching up at Deaf, taking a cue from open mic nights and inviting DJs of all standards to take over the decks for half hour slots.

HIGHER GROUND

BLACK DOG BALLROOM NQ, 23:00–04:00, FREE

Whatever happened this week, just laugh it off with Giggle resident DJs playing chart, r’n’b, house and dance and taking requests.

A warm up for your Saturday night, with the house band, Foreplay playing a mixture of covers and originals.

FACTORY SATURDAYS

FACTORY 251, 23:00–03:00, £2

Three rooms of commercial dance, indie and deep house, powered by funktion one sound.

SOLOMUN + H.O.S.H.

ALBERT HALL, 21:00–04:00, FROM £20

German talents Solomun and H.O.S.H. take control of the decks for a Diynamic showcase, sharing their distinct brand of deep house and tech.

DJ DA FUNK

BLACK DOG BALLROOM NWS, 22:00–04:00, FREE (BEFORE 11PM)

DJ SI FORESTERIO

WALRUS, 20:30–01:00, FREE

Unity Radio’s Si Foresterio serves up a mix of funk, soul, disco and classic hip hop. #GOT2BEFUNKY

WALRUS, 20:30–02:00, FREE

Unity Radio’s Si Foresterio serves up a mix of funk, soul, disco and classic hip hop.

Sat 26 Jul POP

THE DEAF INSTITUTE, 22:00–04:00, £4.50 ADV (£5 DOOR)

Pop classics in the music hall and glitzy girly disco in the main bar – all of which is designed to keep you dancing all night.

FUNKADEMIA

MINT LOUNGE, 22:30–03:30, £5 ADV (£6 DOOR)

HIGH JINX (STUART RICHARDS)

Mixed-bag night spread out over all three floors, serving up indie, rock, alternative and dance tunes.

UNDERDOG, 23:00–04:00, FREE (£4 AFTER MIDNIGHT)

BROOKLYN MIXER, 21:00–02:00, FREE

An eclectic mix of genres, with DJ Da Funk bringing a seamless blend of house, hip hop and dubstep sounds until the smaller hours.

Rebel Music’s Jacob Coid supplies an unpredictable mix of his left-ofcentre collection, featuring Dylan to Dre, the Strokes to Snoop Dogg, Bowie to the Beastie Boys and anything in between.

VACATION: GOOD LOVE (SEAMUS HAJI + LEANNE BROWN)

GORILLA, 23:00–04:00, £12 EARLYBIRD (£15 THEREAFTER)

Gorilla soundtrack your summer vacation with a series of nights keeping feet moving throughout the summer months.

RASCALIZE!

NIGHT AND DAY CAFE, 23:00–03:00, FREE

Two piece DJ set hailing from Madrid, and now based in Manchester: spinning the likes of Two Door Cinema Club and The Vaccines.

THE 5TH BIRTHDAY PARTY (DISCO MUMS)

ODDEST, 18:00–01:00, FREE

Oddest mark their 5th birthday with a late night set from Disco Mums.

Liverpool Clubs Tue 01 Jul

FAMOUS FRIDAYS

RUBY SKY, 22:00–04:00, FREE

RAGE

THE KRAZY HOUSE, 22:00–05:00, £3

BROOKLYN REMIX

DIRTY ANTICS

OUT OF THIS WORLD

Following their recent relaunch, Chameleon Bar presents an out of this world Saturday night, with guest and resident DJs taking care of the sounds.

BEDLAM SATURDAY

GARLANDS, 22:00–04:00, £10 (£5)

An anything-goes affair – think indie, punk, ska, new wave, electro and more.

NO-WAVE SOCIAL CLUB

BROOKLYN MIXER, 21:00–02:00, FREE

Alternative indie and hip-hop night from the No-Wave bunch, expect the likes of Arctic Monkeys, Hot Chip and Pixies.

Thu 03 Jul SUPER RAD

BUMPER, 20:00–05:00, £TBC

TIME SQUARE

Staple student night with a mix of music across the three floors (think: rock, indie, alternative, dance and a sprinkling of cheese).

GOSSIP!

GARLANDS, 22:00–03:00, £4

LEWIS BOARDMAN

THE SHIPPING FORECAST, 22:00–03:00, £5

Five hour set from the underground house DJ and producer.

FREEZE SUMMER SESSIONS

ST LUKE’S CHURCH, 14:00–20:00, £15 (£21 WITH AFTERPARTY)

Freeze join forces with Greg Wilson to host the return of the Summer Sessions – Wilson will be joined by Crazy P and Derek Kaye for the daytime activities, while Dan Ghenacia and Jemmy will soundtrack the afterparty down in The Williamson Tunnels.

RAGE

BROOKLYN MIXER, 21:00–02:00, FREE

CLUB OFIVEONE

Electro, house and trance night back by popular demand, with a headline performance from Kristine Blond, appearing alongside 051 residents. 25+ only.

MUMU SESSIONS #004 (ANJA SCHNELDER)

KITCHEN STREET POP UP, 22:00–05:00, £15

The first lady of mUmU returns for an extended set, continuing the mumu sessions series.

SATURDAYS ARE ALIVE

RUBY SKY, 21:00–04:00, £3

Resident DJ Ola Bean is joined by guest DJs, spinning everything from R’n’B to chart and dance.

Mon 07 Jul UNI BAR

CAMEL CLUB, 22:00–04:00, FROM £2

Long-standing student night, serving up a night of hip hop, r’n’b, funk and dancehall courtesy of residents, the RocRite DJs.

Wed 02 Jul KILL YOUR TV

Sat 12 Jul

AURA, 21:00–06:00, £20

Messy Tuesday-nighter, bring your dirty shoes.

BUMPER, 20:30–05:00, £2

DJ 2KIND and a rotation of guest DJs playing a mix of r’n’b, chart and commercial dance.

Mixed-bag night spread out over all three floors, serving up indie, rock, alternative and dance tunes.

Tue 08 Jul

Messy Tuesday-nighter, bring your dirty shoes.

FAMOUS FRIDAYS

Extravagant and flamboyant club night complete with resident entertainers, including Foxy Grunt and Barbie.

BUMPER, 22:30–04:00, FREE (£4 AFTER 11)

THE KRAZY HOUSE, 22:00–04:00, £2

Common invite their buddies to take over the decks.

BROOKLYN REMIX

BROOKLYN MIXER, 21:00–02:00, FREE

RUBY SKY, 22:00–04:00, FREE

COMMON, 21:00–02:00, FREE (£2 AFTER 10)

FRIENDS IN COMMON

Fri 11 Jul

Sat 05 Jul

Mixed-bag night from local DJ ledge Clint Boon.

THE DEAF INSTITUTE, 21:00–01:00, FREE

RUBY SKY, 22:00–04:00, FREE

Whatever happened this week, just laugh it off with Giggle resident DJs playing chart, r’n’b, house and dance and taking requests.

BLACK DOG BALLROOM NQ, 22:00–04:00, FREE (BEFORE 11PM)

Thu 24 Jul

SOUTH, 23:00–04:00, £5

GIGGLE THURSDAYS

DJ DA FUNK

A night of classic rad sounds spanning indie, rock, crunk and disco, with free gin and juice for the first 100 guests.

CLINT BOON

CAMEL CLUB, 22:30–04:00, FROM £2

DJ 2KIND and a rotation of guest DJs playing a mix of r’n’b, chart and commercial dance.

Mancunian nightclub institution – delivering a chronological history of soul on a weekly basis, courtesy of their DJ collective.

New weekly event, with the ever-charming Duncan from Dutch Uncles taking to the decks for a vinyl-only set of golden age pop and disco.

BROOKLYN REMIX

BROOKLYN MIXER, 21:00–02:00, FREE

Brooklyn Mixer christen their newly opened floor with a regular Friday and Saturday nighter, spinning b-sides, breaks and beats ‘till mad late.

SWAG!

Brooklyn Mixer christen their newly opened floor with a regular Friday and Saturday nighter, spinning b-sides, breaks and beats ‘till mad late.

Residents Stuart Richards and Joshua Goddard guide us through the mid-week slump, navigating motown, ska and rock’n’roll as they go.

REASONS TO BE CHEERFUL

Fri 04 Jul

CHAMELEON BAR, 20:00–02:00, FREE

Tranarchy, Guts for Garters and Islington Mill join forces for Bummer Camp, with drag terrorist Christeene returning to our shores following her knock-out debut appearance at the Mill at last year.

COMMON, 16:00–00:00, FREE

THE DEAF INSTITUTE, 20:00–23:00, FREE

Student night with drinks offers and resident DJs providing the urban soundtrack to your Thursday night.

GIGGLE THURSDAYS

JACOB COID

KRAAK, 23:00–04:00, £TBC

ISLINGTON MILL, 23:00–06:00, £8

RUBY SKY, 22:00–04:00, FREE

FOREPLAY

BLACK DOG BALLROOM NWS, 23:00–04:00, £TBC

TOP OF THE POPS (LOZ NEWY + GUS GORMAN)

GARLANDS, 22:00–03:00, £4

Student night with 5 rooms of music spread over 2 floors and occasional theme nights.

MINT LOUNGE, 22:30–03:30, £2

FACTORY 251, 23:00–03:00, 99P (£6 AFTER 12)

BUMMER CAMP (CHRISTEENE)

CAMEL CLUB, 22:30–04:00, FROM £2

Student night with drinks offers and resident DJs providing the urban soundtrack to your Thursday night.

Brooklyn Mixer christen their newly opened floor with a regular Friday and Saturday nighter, spinning b-sides, breaks and beats ‘till mad late.

New club night on the scene, serving up the best of the 60s, ranging from psych and ska to britpop and funk.

Party in the dark in an art gallery, offering a preview of things to come at Victoria Warehouse later this year.

TWENTY TWENTY TWO, 21:00–03:00, FREE

GOSSIP!

Mark Webster and his chums play their take on soul, boogie, funk and alternative pop treasures, providing ample soundtrack to your beer-fuelled ping pong session.

Underdog resident Stuart Richard serves up a healthy mix of old skool hip-hop, house, bashment and bass.

COMMON, 21:00–02:00, FREE (£2 AFTER 10)

New club night with Isle of Her DJs going back to back with Girls on Film DJs, playing anything from Blondie to Talking Heads.

BURN OUT (DARQ E FREAKER + DEVILMAN + PREDITAH)

New Saturday-nighter spanning old school, hip-hop, soul and funk.

Guest DJs on the decks, bringing you music from the past, present, and well, future.

THE DEAF INSTITUTE, 22:00–03:00, £3 ADV (£4 DOOR)

Wed 23 Jul

Manchester’s premier 60s party, now a bi-monthly reason to get excited. Expect 60s pop, garage, motown, rock’n’roll.

SHAKEDOWN

STRANGERS

Gorilla soundtrack your summer vacation with a series of nights keeping feet moving throughout the summer months.

Sat 19 Jul THE DEAF INSTITUTE, 23:00–03:00, £3 ADV (£4 DOOR)

Common’s regular club-in-a-bar night of hipster bullshit, with Mr Seb Valentine, Benatronic & Luke Warm.

Get your weekend off to a great start with this healthy mix of dancefloor fillers and guilty pleasures served up by residents and guest DJs.

Unity Radio’s Si Foresterio serves up a mix of funk, soul, disco and classic hip hop.

REVOLVER

STOP MAKING SENSE

COMMON, 21:00–02:00, FREE

GORILLA, 23:00–04:00, £12 EARLYBIRD (£15 THEREAFTER)

The weekly student house and techno night returns to South, keeping you on the dancefloor till the early hours.

WALRUS, 20:30–02:00, FREE

House, hip-hop, grime and garage from the Murkage residents.

DIRTY ANTICS

BUMPER, 22:30–04:00, FREE (£4 AFTER 11)

Wed 09 Jul KILL YOUR TV

BUMPER, 20:30–05:00, £2

An anything-goes affair – think indie, punk, ska, new wave, electro and more.

NO-WAVE SOCIAL CLUB

BROOKLYN MIXER, 21:00–02:00, FREE

Alternative indie and hip-hop night from the No-Wave bunch, expect the likes of Arctic Monkeys, Hot Chip and Pixies.

Thu 10 Jul SUPER RAD

BUMPER, 20:00–05:00, £TBC

A night of classic rad sounds spanning indie, rock, crunk and disco, with free gin and juice for the first 100 guests.

TIME SQUARE

THE KRAZY HOUSE, 22:00–04:00, £2

Staple student night with a mix of music across the three floors (think: rock, indie, alternative, dance and a sprinkling of cheese).

NO-WAVE SOCIAL CLUB BROOKLYN MIXER, 21:00–02:00, FREE

Alternative indie and hip-hop night from the No-Wave bunch, expect the likes of Arctic Monkeys, Hot Chip and Pixies.

Wed 23 Jul KILL YOUR TV

BUMPER, 20:30–05:00, £2

An anything-goes affair – think indie, punk, ska, new wave, electro and more.

NO-WAVE SOCIAL CLUB

BROOKLYN MIXER, 21:00–02:00, FREE

Alternative indie and hip-hop night from the No-Wave bunch, expect the likes of Arctic Monkeys, Hot Chip and Pixies.

Thu 17 Jul

Thu 24 Jul

BUMPER, 20:00–05:00, £TBC

BUMPER, 20:00–05:00, £TBC

SUPER RAD

A night of classic rad sounds spanning indie, rock, crunk and disco, with free gin and juice for the first 100 guests.

TIME SQUARE

THE KRAZY HOUSE, 22:00–04:00, £2

SUPER RAD

A night of classic rad sounds spanning indie, rock, crunk and disco, with free gin and juice for the first 100 guests.

TIME SQUARE

THE KRAZY HOUSE, 22:00–04:00, £2

Staple student night with a mix of music across the three floors (think: rock, indie, alternative, dance and a sprinkling of cheese).

Staple student night with a mix of music across the three floors (think: rock, indie, alternative, dance and a sprinkling of cheese).

GARLANDS, 22:00–03:00, £4

GARLANDS, 22:00–03:00, £4

GOSSIP!

GOSSIP!

Student night with 5 rooms of music spread over 2 floors and occasional theme nights.

Student night with 5 rooms of music spread over 2 floors and occasional theme nights.

CAMEL CLUB, 22:30–04:00, FROM £2

CAMEL CLUB, 22:30–04:00, FROM £2

SWAG!

Student night with drinks offers and resident DJs providing the urban soundtrack to your Thursday night.

GIGGLE THURSDAYS

RUBY SKY, 22:00–04:00, FREE

SWAG!

Student night with drinks offers and resident DJs providing the urban soundtrack to your Thursday night.

GIGGLE THURSDAYS

RUBY SKY, 22:00–04:00, FREE

Whatever happened this week, just laugh it off with Giggle resident DJs playing chart, r’n’b, house and dance and taking requests.

Whatever happened this week, just laugh it off with Giggle resident DJs playing chart, r’n’b, house and dance and taking requests.

Fri 18 Jul

Fri 25 Jul

BROOKLYN MIXER, 21:00–02:00, FREE

BROOKLYN MIXER, 21:00–02:00, FREE

BROOKLYN REMIX

Brooklyn Mixer christen their newly opened floor with a regular Friday and Saturday nighter, spinning b-sides, breaks and beats ‘till mad late.

FAMOUS FRIDAYS

RUBY SKY, 22:00–04:00, FREE

BROOKLYN REMIX

Brooklyn Mixer christen their newly opened floor with a regular Friday and Saturday nighter, spinning b-sides, breaks and beats ‘till mad late.

FAMOUS FRIDAYS

RUBY SKY, 22:00–04:00, FREE

THE KRAZY HOUSE, 22:00–05:00, £3

DJ 2KIND and a rotation of guest DJs playing a mix of r’n’b, chart and commercial dance.

DJ 2KIND and a rotation of guest DJs playing a mix of r’n’b, chart and commercial dance.

BROOKLYN REMIX

Sat 19 Jul

Sat 26 Jul

Brooklyn Mixer christen their newly opened floor with a regular Friday and Saturday nighter, spinning b-sides, breaks and beats ‘till mad late.

OUT OF THIS WORLD

RAGE

THE KRAZY HOUSE, 22:00–05:00, £3

RAGE

THE KRAZY HOUSE, 22:00–05:00, £3

Mixed-bag night spread out over all three floors, serving up indie, rock, alternative and dance tunes.

Mixed-bag night spread out over all three floors, serving up indie, rock, alternative and dance tunes.

BROOKLYN MIXER, 21:00–02:00, FREE

BROOKLYN MIXER, 21:00–02:00, FREE

BROOKLYN REMIX

BROOKLYN REMIX

CHAMELEON BAR, 20:00–02:00, FREE

Brooklyn Mixer christen their newly opened floor with a regular Friday and Saturday nighter, spinning b-sides, breaks and beats ‘till mad late.

Brooklyn Mixer christen their newly opened floor with a regular Friday and Saturday nighter, spinning b-sides, breaks and beats ‘till mad late.

BEDLAM SATURDAY

CHAMELEON BAR, 20:00–02:00, FREE

CHAMELEON BAR, 20:00–02:00, FREE

Following their recent relaunch, Chameleon Bar presents an out of this world Saturday night, with guest and resident DJs taking care of the sounds.

GARLANDS, 22:00–04:00, £10 (£5)

Extravagant and flamboyant club night complete with resident entertainers, including Foxy Grunt and Barbie.

FREEZE SUMMER SESSIONS (THE AFTERPARTY)

WILLIAMSON TUNNELS, 21:00–03:00, £21

Freeze join forces with Greg Wilson to host the return of the Summer Sessions – Wilson will be joined by Crazy P and Derek Kaye for the daytime activities, while Dan Ghenacia and Jemmy will soundtrack the afterparty down in The Williamson Tunnels.

OUT OF THIS WORLD

Following their recent relaunch, Chameleon Bar presents an out of this world Saturday night, with guest and resident DJs taking care of the sounds.

BEDLAM SATURDAY

GARLANDS, 22:00–04:00, £10 (£5)

Extravagant and flamboyant club night complete with resident entertainers, including Foxy Grunt and Barbie.

SUN:MOON (BROKEN MEN + RAW CITY + SUGARMEN + THE 69 WATTS + THE ROSCOES)

DISTRICT, 17:00–03:00, £7 ADV (£10 DOOR)

Resident DJ Ola Bean is joined by guest DJs, spinning everything from R’n’B to chart and dance.

Milk and No-Wave join forces to present Sun:Moon: a summer party with live music, gourmet grub from Trenchtown Truck, and No-Wave DJs keeping things going till the smaller hours.

Mon 14 Jul

RUBY SKY, 21:00–04:00, £3

SATURDAYS ARE ALIVE

RUBY SKY, 21:00–04:00, £3

UNI BAR

CAMEL CLUB, 22:00–04:00, FROM £2

Long-standing student night, serving up a night of hip hop, r’n’b, funk and dancehall courtesy of residents, the RocRite DJs.

Tue 15 Jul DIRTY ANTICS

BUMPER, 22:30–04:00, FREE (£4 AFTER 11)

Messy Tuesday-nighter, bring your dirty shoes.

Wed 16 Jul KILL YOUR TV

BUMPER, 20:30–05:00, £2

An anything-goes affair – think indie, punk, ska, new wave, electro and more.

SATURDAYS ARE ALIVE

Resident DJ Ola Bean is joined by guest DJs, spinning everything from R’n’B to chart and dance.

OUT OF THIS WORLD

Following their recent relaunch, Chameleon Bar presents an out of this world Saturday night, with guest and resident DJs taking care of the sounds.

BEDLAM SATURDAY

GARLANDS, 22:00–04:00, £10 (£5)

Extravagant and flamboyant club night complete with resident entertainers, including Foxy Grunt and Barbie.

SATURDAYS ARE ALIVE

RUBY SKY, 21:00–04:00, £3

Resident DJ Ola Bean is joined by guest DJs, spinning everything from R’n’B to chart and dance.

Mon 28 Jul UNI BAR

CAMEL CLUB, 22:00–04:00, FROM £2

Long-standing student night, serving up a night of hip hop, r’n’b, funk and dancehall courtesy of residents, the RocRite DJs.

Mon 21 Jul UNI BAR

CAMEL CLUB, 22:00–04:00, FROM £2

Long-standing student night, serving up a night of hip hop, r’n’b, funk and dancehall courtesy of residents, the RocRite DJs.

Tue 22 Jul DIRTY ANTICS

BUMPER, 22:30–04:00, FREE (£4 AFTER 11)

Messy Tuesday-nighter, bring your dirty shoes.

Student night with 5 rooms of music spread over 2 floors and occasional theme nights.

July 2014

Listings

51

Theatre

Manchester Contact

CTW2014: IN CONVERSATION WITH ALEX POOTS

8 JUL, 7:30PM – 8:30PM, FREE

Contact’s Artistic Director Matt Fenton grills Alex Poots, Chief Executive and Artistic Director of Manchester International Festival about his role in the festival, from commissioning to supporting new artists. Part of Contacting the World 2014.

CTW2014: WELCOME TO MANCHESTER

8 JUL, 9:00PM – 10:00PM, £6

Showcase night of spoken word, comedy, music, theatre and dance from local performers, welcoming visitors to the city for Contacting the World 2014.

CTW2014: CONTACTING THE CHORD

8 JUL, 10:00PM – 11:00PM, FREE

Collaborative music showcase from the companies involved in Contacting the World 2014, performing songs chosen by each other.

CTW2014: WORKSHOP (BAREFEET)

9 JUL, 1:30PM – 2:30PM, £6

Zambian performance company, Barefeet lead a workshop as part of Contacting the World 2014.

CTW2014: THEATREX BANGLADESH (DOKKHINA SUNDARI) 9 JUL, 1:30PM – 2:30PM, £6

Dokkhina Sundari present an evening of traditional Bangladeshi performance combining music, folklore and local legends. Part of Contacting the World 2014.

CTW2014: MARGINTHEATRE + CYAC

9 JUL, 7:00PM – 9:00PM, £11 (£6)

Iranian performance company margintheatre present a boundary-pushing performance alongside Manchester’s young performers group, CYAC. CTW2014: MIXED MOVEMENT

9 JUL, 10:00PM – 11:00PM, FREE

Experimental movement performance hosted by Keisha Thompson of Young Identity. Part of Contacting the world 2014.

CTW2014: 20 STORIES HIGH (HEADZ) 10 JUL, 1:30PM – 3:00PM, £6

Liverpool’s 20 Stories High theatre group present Headz, a selection of monologues dissecting the Meadowbrook estate and the secrets it houses. Part of Contacting the World 2014.

CTW2014: WORKSHOP (UTA PLATE)

10 JUL, 1:30PM – 3:00PM, £6

Germany’s Uta Plate presents a theatre workshop as part of Contacting the World 2014.

CTW2014: Q&A (THEATRE IN CONFLICT)

10 JUL, 4:00PM – 5:00PM, FREE

James Thompson (In Place of War), Ali Alizad (84 Theatre), Adam McGuigan (Barefeet) and Tina Ellen Lee (Opera Circus) present a Q&A as part of Contacting the World 2014.

CTW2014: BREAD N BUTTER ENTERTAINMENT + CORBY YOUNG ACTORS

10 JUL, 7:00PM – 9:00PM, £11 (£6)

India’s Bread n Butter performance group perform alongside the Northamptonshire-based Corby Young Actors group as part of Contacting the World 2014.

CTW2014: (OPEN MIC)

10 JUL, 10:00PM – 11:00PM, FREE

Open mic night as part of Contacting the World 2014.

CTW2014: COMMON WEALTH (US CHAMPIONS)

11 JUL, 1:30PM – 3:00PM, £6

In progress script reading of a new theatre piece based on interviews with Muslim female boxers as part of Contacting the World 2014.

CTW2014: WORKSHOP (ZURICH UNIVERSITY OF THE ARTS)

11 JUL, 1:30PM – 3:00PM, £6

The Zurich University of the Arts present a workshop as part of Contacting the World 2014.

CTW2014: QUILT PERFORMING ARTS COMPANY + FIREFLY ARTS FRESH

11 JUL, 7:00PM – 9:00PM, £11 (£6)

Jamaican theatre company Quit Performance Arts Company and Scotland’s Firefly arts perform in collaboration as part of Contacting the World 2014.

52

Listings

New Century House THREE WOMEN

18-24 JUL, NOT 19 JUL, 7:30PM–8:30PM, £8 (£6)

Mari Lloyd presents her latest work in which three generations of women are preparing for a funeral, addled by the guilt and resentment that goes hand-in-hand with the family structure. Part of 24:7 theatre festival.

AFTERGLOW

18–24 JUL, NOT 19, TIMES VARY, £8 (£6)

Manchester-based actor and writer Julie Burrow presents a debut performance of Afterglow: a fragmented story about Her and Him, with Burrow playing her and John Weaver as him. Part of 24:7 theatre festival.

ANONYMITY

18–24 JUL, NOT 22, TIMES VARY, £8 (£6)

An absurdist exploration of trust and isolation written by Stockport writer, Gareth George, following two men as they prepare to start work in an abandoned building, with their boundaries marked out in chalk. Part of 24:7 theatre festival.

IN MY BED

19–23 JUL, TIMES VARY, £8 (£6)

Set entirely in a bed, this fractured love story explores love, sex, relationships and human needs in the digital age – written by Rebekah Harrison and directed by Matt Hassall. Part of 24:7 theatre festival.

PASS

18–24 JUL, NOT 19, TIMES VARY, £8 (£6)

Naomi Sumner presents her play set in a Manchester high school, exploring the actions and consequences that define who we are.

Part of 24:7 theatre festival.

STUFF

18–23 JUL, TIMES VARY, £8 (£6)

Mick Cooper’s story of love, life, family, friendship, and all the stuff in between – following Toby and Jess and their charismatic friend, Xav, as the latter suggests a plan that will allow the couple to have children. Part of 24:7 theatre festival.

THE BOX OF TRICKS

18–24 JUL, NOT 19, TIMES VARY, £8 (£6)

Intense drama written by Ric Brady and Stephen M Hornby: when Mike returns home for his estranged brother’s funeral, he is met with difficult realisations about his brother and the events that drove them apart. Part of 24:7 theatre festival.

THE LIVES AND LOVES OF VERA DYMOND

18–23 JUL, TIMES VARY, £8 (£6)

Palace Theatre STARS FOR TONIGHT 2014

5 JUL, 7:00PM – 10:30PM, £15

The talented performers from the Natalie Woods School of Dance and Drama take to the stage for their annual showcase performance IMMORTAL CHI

4 JUL, 7:30PM – 10:30PM, FROM £20

All-new fusion of Chinese martial arts, incorporating the Chinese Girl drummers alongside multi-media images and an original musical score, created by the team behind the renowned production Shaolin Warriors.

DINOSAUR ZOO

18–26 JUL, NOT 22, TIMES VARY, FROM £13.50

Kiddo friendly production bringing prehistoric monsters to life with a touch of puppetry.

Royal Exchange Theatre BILLY LIAR

VARIOUS DATES BETWEEN 13 JUN AND 12 JUL, TIMES VARY, FROM £14.50

Billy Fisher, a creative and compulsive liar, is a young clerk in a gloomy undertaker’s office who invents the alternative fantasy world of Ambrosia to break up the monotony of his humdrum existence, thus alienating family and friends.

AROUND THE WORLD IN EIGHTY DAYS

VARIOUS DATES BETWEEN 17 JUL AND 16 AUG, TIMES VARY, FROM £14.50

Jules Verne’s classic novel is brought to the stage, adapted by Laura Eason, following Phileas Fogg on his adventure around the world.

Royal Northern College of Music COMPANY

25 JUN – 4 JUL, NOT 27 JUN, 30 JUN, 2 JUL, TIMES VARY, £15

Stephen Sondheim’s musical comedy set in 70s New York, following bachelor Bobby on his 35th birthday as he looks at the five couples around him and finds the source of his inability to commit.

The Dancehouse A SHOWCASE OF DANCE

10–12 JUL, 7:30PM – 10:00PM, £12 (£10)

Northern Ballet School present a showcase of new choreography, including scenes from Swan Lake and Evolution of Dance.

The King’s Arms BE MY BABY

10–12 JUL, TIMES VARY, £8 (£6)

Lucia Cox directs this touching drama following four teenage girls in the 1960s, hidden in a religious ‘Mother and Baby home’ as they come to terms with their pregnancies. Part of greater Manchester Fringe Festival.

LET’S SEE WHAT HAPPENS

The story of a Blackpool legend making her return to the limelight, and the clingers-on nipping at her heels, as told by Jayne Marshall in this comic musical. Part of 24:7 theatre festival.

7 JUN, 5 JUL, 7:30PM – 9:00PM, £3

18–24 JUL, TIMES VARY, £8 (£6)

SMASHING ENTERPRISES INC

THE TONGUE TWISTER

A family-friendly play written by Luke Walker, introducing a boy forever speaking in verse, living in a world where rhyming is banned.

Part of 24:7 theatre festival.

TO THE DAM

18–23 JUL, TIMES VARY, £8 (£6)

Improv from the members of CszUK – using audience suggestions a comedian will tell a story based on this, followed by imrpovised sketches from a troupe of actors.

1–2 JUL, 7:30PM – 9:00PM, £6.50

Following their production of The Jeweller’s Wife at last year’s GM Fringe, RMP bring audiences a smashing farce about a haven for rage and the man trying to find his.

THE CALL

John Clarke introduces his drama about Lisa – two-time mother, one-time daughter, occasional dancer and secret artist – and her journey of self-discovery as she digs up Gaddings Dam. Part of 24:7 theatre festival.

2–4 JUL, 7:30PM – 9:00PM, £5

Nexus Art Café

HARRY DEANSWAY IS A BIT OF A CHARACTER ANDROID

A WALK IN THE PARK

10–11 JUL, TIMES VARY, £10 (£8)

Playwright Emily Chriscoli introduces her cast of complex characters. As Jack balances his relationship with Kate with the demands of his overenthusiastic mother, the cracks begin to show and revelations of a tragic incident come to light.

Opera House

THERE’LL ALWAYS BE AN ENGLAND

24 JUL, 2:30PM – 4:30PM, FROM £10

A celebration of all things Blighty, with patriotic tunes at the forefront.

Two constructions workers face anger, grief and jealousy which leads them down a path of betrayal, with one unfortunate phone call sealing their fate. Part of the Greater Manchester Fringe Festival.

10 JUL, 9:00PM – 11:00PM, £5

With the world of the edge of an environmental apocalypse, financial crises looming and wars raging across the globe, enjoy some character comedy complete with armpit fart sound. Part of greater Manchester Fringe Festival.

VOICES AND LYRICS

10–11 JUL, 9:15PM – 11:00PM, £10 (£8)

GJ Productions present a musical theatre showcase. Part of Greater Manchester Fringe Festival.

WISH YOU WEREN’T HERE 22 JUL, TIMES VARY, £8 (£5)

A tribute to those who lost their lives during WWI, using audience participation, music, storytelling and props to chronicle their lives.

Part of Greater Manchester Fringe Festival.

The Lowry Studio LORD OF THE FLIES

9–12 JUL, TIMES VARY, £8

Nigel Williams’ adaptation of William Golding’s chilling tale, about a group of schoolboys trapped on a desert island after a plane crash. As rescue looks increasingly unlikely, their behaviour becomes increasingly savage.

ICARUS

3–4 JUL, 8:00PM–10:00PM, £12

Inspired by the Mars One mission – which aims to populate the red planet with us humanoids by 2024 – Square Peg Theatre employ their cinematic and physical style to ask why ¼ million people applied to be a part of the one-way mission.

LOWRY YOUTH TALENT SHOWCASE

7–8 JUL, 7:00PM – 10:00PM, £8

Showcase event present by some of The Lowry’s young performers.

JOURNEYS

28 JUL, 8:00PM – 10:00PM, £5

Epstein Theatre BUGSY MALONE

2–5 JUL JUL, TIMES VARY, £13.50 (£11.50)

LHK Youth Company splurge on their latest production, offering their take on the classic musical gangster show set in 1930s Chicago.

JENNIFER ELLISON FAME ACADEMY

20 JUL, TIMES VARY, £10

Showcase event from students at the Jennifer Ellison Fame Academy.

LIVERPOOL’S NEXT SUPERSTAR

26 JUL, 5:00PM – 9:00PM, £16.50

Kerry Katona judges this talent competition, with local perfomers trying their hand at anything from singing to stand-up.

Everyman Theatre

DEAD DOG IN A SUITCASE (AND OTHER LOVE SONGS)

VARIOUS DATES BETWEEN 21 JUN AND 12 JUL, TIMES VARY, FROM £11

Everyman and Kneehigh present a radical re-working of John Gay’s The Beggar’s Opera, written by Carl Grose with music by Charles Hazlewood, and directed by Mike Shepherd – follow the twisted musical tale exploring moral issues of our time.

Dance performance by Ad Hoc, The Lowry’s in-house adult contemporary dance company.

Liverpool Empire

The Lowry: Lyric Theatre

24 JUN – 5 JUL, NOT 30 JUN, TIMES VARY, FROM £10

WAR HORSE VARIOUS DATES BETWEEN 23 JUL AND 20 SEP, TIMES VARY, FROM £18

War Horse continues to tour the UK, telling the story of Albert and his beloved horse, Joey, adapted from Michael Morpurgo's novel.

You may as well just start weeping now…

GOTTDAMMERUNG

5 JUL, 3:30PM – 9:45PM, FROM £19

Opera North present the final piece in a four-year traversal of Der Ring des Nibelungen.

SHOW BOAT

8–12 JUL, 7:30PM – 11:00PM, FROM £29

Cape Town Opera present this glamorous musical set in America’s Deep South, following the crew and performers aboard the Cotton Blossom show boat between 1887 and 1927.

SHOWCASE 2014

13 JUL, 7:15PM – 10:00PM, FROM £15

Over 200 singers from eight musical theatre companies perform a showcase of West End and Broadway hits.

The Lowry: Quays Theatre VIVE LE CABARET

VARIOUS DATES BETWEEN 2 AUG AND 19 JUL, 8:00PM – 10:00PM, FROM £15

Variety night spanning burlesque and circus performance.

TONIGHT AT 8:30

2–5 JUL, TIMES VARY, £21

A rare opportunity to see Noel Coward’s nine one-act plays performed in succession, with three plays per night.

FLUX: A STATE OF CHANGE

26–27 JUL, 8:00PM – 10:00PM, £11.50

An evening of dance and film, paying tribute to the continued evolution of performance.

THE LION KING

Stage adaptation of the favourited Disney film, bolstered by suitably dazzling staging and elaborate costumes, masks and puppets.

Matinee performances also available.

ROCK OF AGES

21–26 JUL, TIMES VARY, FROM £10

80s-themed musical out on tour after five years on Broadway, following three years of ovationinducing performances in London’s West End. THE DREAMBOYS

16 JUL, 7:30PM – 10:00PM, PRICES VARY

Errr... the UK’s top male glamour show. As in, there’s more than one, and they are the best. Appaz.

Liverpool Playhouse BETTY BLUE EYES

VARIOUS DATES BETWEEN 9 JUL AND 2 AUG, TIMES VARY, FROM £10

Toe-tappin’ new musical based on Alan Bennett’s comedy film, A Private Function, about the numerous eccentric residents of a town in Yorkshire, Shepardsford.

Royal Court Theatre LENNON

VARIOUS DATES BETWEEN 25 JUN AND 19 JUL, TIMES VARY, £13

YOUNG EVERYMAN PLAYHOUSE: ALICE IN WONDERLAND

25–27 JUL, TIMES VARY, FROM £4

The Young Everyman Playhouse theatre group present Lewis Carroll’s Alice In Wonderland, sending audiences tumbling down the rabbit hole into a strange and unfamiliar world.

THE BOY WITH 1000 JOBS

28 JUL – 1 AUG, 7:30PM – 10:00PM, £20.50 (£10.50)

Based on the book by Robert Mogsa, this true story comedy follows a young lad from Liverpool and his obsession with learning new skills and trying his hand at new jobs.

The Liverpool Actors Studio Theatre ONCE UPON A TIME IN WIGAN

1–13 JUL, NOT 7, TIMES VARY, £5

Musical tale of Northern Soul, as seen through the eyes of Eugene, a man stuck in a humdrum job in a grey Northern town, with only soul and blues to save him.

Unity Theatre GAFFER

26 JUN – 5 JUL, NOT SUNDAYS, TIMES VARY, PRICES VARY

Chris Chibnall’s acclaimed play about a struggling football manager and his star striker comes to the Unity Theatre stage, exploring homophobia within the beautiful game.

CANDLEFORD

8–9 JUL, 7:30PM – 9:30PM, £10 (£8)

Playwright Flora Thompson takes audiences on a journey to a lost world of rural Oxfordshire c1901, first staged at the National Theatre in 1979 and revived by the Merseyside Academy of Drama.

THE GHOSTS OF KIRKDALE

11–12 JUL, TIMES VARY, £5.50

Poignant tale set in 1880s Liverpool, as a group of abandoned children plot their escape from school, brought to life with song and music.

TICKET TO WRITE

15–16 JUL, 7:30PM – 10:00PM, £10 (£8)

Three one-act plays focused on The Beatles and the 60s Merseybeat scene go head to head to win the Ticket to Write award.

QUEERTET 2014

17–18 JUL, 8:00PM – 11:00PM, £10

Queertet return with four fabulously decadent plays, all with a LGBT theme – kick starting this year’s Pride celebrations.

ICARUS

22 JUL, 7L00PM–10:00PM, £8

23–24 JUL, 7:00PM – 10:00PM, £10 (£8)

AWKWARD HAPPINESS OF EVERYTHING I DON’T REMEMBER ABOUT MEETING YOU

8–9 JUL, 8:00PM – 9:30PM, £10 (£8)

The Lantern Theatre

Croxteth Hall

An evening of music and dance exploring female power with performances from a cast of urban goddesses.

The Bluecoat

Anfield Road WE ARE THE CITY

ARISE MYSTIC DIVA

24 JUL, 7:30PM – 10:00PM, £12.50 (£10.50)

Inspired by the Mars One mission – which aims to populate the red planet with us humanoids by 2024 – Square Peg Theatre employ their cinematic and physical style to ask why ¼ million people applied to be a part of the one-way mission.

Liverpool Theatre

As part of Big Dance 2014 and Moving Dance Forward, MDI presents an extravaganza of dance, showcasing the rich tapestry of culture across Liverpool. Meet at Anfield Road and follow the parade style event down to Stanley Park.

Comedy play poking fun at political activism, as two would-be burglars break into a university building already occupied by protesting students in advance on the prime minister’s visit.

John Power makes his theatrical début as Lennon in this musicpacked show by writer/director Bob Eaton, returning to Liverpool following successful runs in 2010 and 1982.

Inspired by Milan Kundera’s Unbearable Lightness of Being and Pascal Bruckner’s Perpetual Euphoria, this visceral performance blends movement and music to explore intimacy and misunderstandings.

13 JUL, 1:30PM – 3:30PM, FREE

SHINY NEW FESTIVAL (OCCUPIED) 14 JUL, 9:30PM – 10:30PM, £8.50 (£6.50)

GRACE AND THE SEA

Film, live music, physical theatre and storytelling come together to tell the story of Crosby and Formby beaches, including a singing chorus of Anthony Gormley statues.

THE ART OF FALLING APART

28 JUL, 21:15–23:00, £8

As part of Unity Theatre's Edinburgh preview shows, Big Wow present their sell-out show about being out-of-sorts and off-kilter.

24:7 FESTIVAL PREVIEW (THREE WOMEN)

14 JUL, 7:00PM – 8:00PM, £8.50 (£6.50)

Mari Lloyd previews her latest work in which three generations of women are preparing for a funeral, addled by the guilt and resentment that goes hand-in-hand with the family structure.

SHINY NEW FESTIVAL (YOU BOYS)

14 JUL, 8:15PM – 9:15PM, £8.50 (£6.50)

A young man struggles with the pressure of modern life, regularly visiting the grave of his deceased brother to seek his advice of life, love and how to trust.

THE SKINNY

Comedy Manchester

Sat 05 Jul

FRIENDS IN LOW PLACES

Tue 01 Jul

XS MALARKEY: HOLLY WALSH (SEAN MORAN + GERARD MEEHAN + MC TOBY HADOKE)

PUB/ZOO, 19:00–23:00, £5 (£3)

The rather ace comedy night continues with the usual Tuesday night shenanigans, this time offering up an Edinburgh preview show.

GAG REFLEX (MITCH BENN: DON’T BELIEVE A WORD)

THE KING’S ARMS, 21:00–23:00, £5

Sceptic comic Mitch Benn presents his a preview of his upcoming Edinburgh Fringe offering, Don’t Believe a Word: part of the Greater Manchester Fringe Festival.

Wed 02 Jul

THERE’S NOWT SO QUEER AS FOLK

THE KING’S ARMS, 21:15–23:00, £3

Simon Ramsden recalls his upbringing in Yorkshire, and his subsequent escape to the bright lights of Manchester’s Canal Street.

Part of Greater Manchester Fringe Festival.

Thu 03 Jul

JOSHUA BROOKS, 19:30–20:30, £7 (£5)

The Didsbury Players present their new comedy following a pair of escaped convicts laying low in Vegas, and a twist of fate that sees them win big on the slot machines.

Part of Greater Manchester Fringe Festival.

BARREL OF LAUGHS

THE FROG AND BUCKET COMEDY CLUB, 19:00–02:00, £17 (£10)

Three top-notch comics, a sprinkling of Frog compere funnies and a late night disco courtesy of the resident DJ.

THE BEST IN STAND UP (JOSH HOWIE + MIKE GUNN + JEFF INNOCENT + ALEX BOARDMAN + MC JOHN MOLONEY) THE COMEDY STORE, 19:00–21:00, £20 (£14)

Regular night of stand up with five world-class comedians.

THE BEST IN STAND UP (JOSH HOWIE + MIKE GUNN + JEFF INNOCENT + ALEX BOARDMAN + MC JOHN MOLONEY) THE COMEDY STORE, 21:30–23:30, £20 (£14)

BIG VALUE THURSDAYS

Regular night of stand up with five world-class comedians.

THE FROG AND BUCKET COMEDY CLUB, 19:00–22:30, £9 (£6)

Sun 06 Jul

A Frog flagship event offering up four great acts for stonkingly great value.

STAND UP THURSDAY (JOSH HOWIE + MIKE GUNN + MC JOHN MOLONEY) THE COMEDY STORE, 20:00–22:00, £12 (£8)

Cheat life and get that Friday feeling one day early with a night of comedic delight from some circuit funny folk.

JAY AND SILENT BOB’S SUPER GROOVY CARTOON MOVIE

O2 APOLLO, 19:00–23:00, FROM £20

Jay and Silent Bob present their latest offering, Jay and Silent Bob’s Super Groovy Cartoon Movie.

This screening of the movie will be accompanied by some relentless chatter, in the style of their everpopular Jay and Silent Bob Get Old podcast.

GAG REFLEX (HARRIET DYER: BARKING AT AEROPLANES)

THE KING’S ARMS, 21:00–23:00, £5

The sangry – that’s sad and angry, fyi – stand-up comic shares her eccentric escapades that often leave folk questioning her mental health. Part of Greater Manchester Fringe Festival.

Fri 04 Jul

FRIENDS IN LOW PLACES

JOSHUA BROOKS, 19:30–20:30, £7 (£5)

The Didsbury Players present their new comedy following a pair of escaped convicts laying low in Vegas, and a twist of fate that sees them win big on the slot machines.

Part of Greater Manchester Fringe Festival.

BARREL OF LAUGHS

THE FROG AND BUCKET COMEDY CLUB, 19:00–02:00, £16 (£8)

Three top-notch comics, a sprinkling of Frog compere funnies and a late night disco courtesy of the resident DJ.

THE BEST IN STAND UP (JOSH HOWIE + MIKE GUNN + JEFF INNOCENT + ALEX BOARDMAN + MC JOHN MOLONEY) THE COMEDY STORE, 20:00–22:00, £18 (£12)

Regular night of stand up with five world-class comedians.

GAG REFLEX (JOEL DOMMETT: FINDING EMO)

THE KING’S ARMS, 19:30–21:00, £5

Attempting to reunite his high school band for the sake of comedy, Joel Dommett presents Finding Emo, before taking it up to Edinburgh. Part of Greater Manchester Fringe Festival.

JB BARRINGTON: WOODCHIP ANAGLYPTA AND NICOTINED ARTEX CEILINGS

THE KING’S ARMS, 21:30–23:00, £5

Salford born performance poet JB Barrington returns with a new show, following on from the success of his 2013 Greater Manchester Fringe show Words For Class Heroes. Part of Greater Manchester Fringe Festival.

KING GONG (MC ALEX BOARDMAN)

THE COMEDY STORE, 19:30–21:30, £6 (£4)

A night of stand-up from some fresh-faced comics trying to break on to the circuit – be nice.

INDIE COMEDY ALLSTARTS

WALRUS, 20:30–00:00, FREE

Red Redmond and Dead Cat Comedy present a free night of comedy from some local up-and-comers.

PRUFROCK AND ME

THE KING’S ARMS, 19:30–21:00, £3

The charming and disarming comedian, Dave Williams puts joking aside and talks about shyness, loneliness, performing, and his love of a T S Eliot poem that has soundtracked his life since school.

Part of Greater Manchester Fringe Festival.

Mon 07 Jul BEAT THE FROG

THE FROG AND BUCKET COMEDY CLUB, 19:00–22:30, £3 (FREE WITH STUDENT ID)

A ten-act long heckle-fest inviting a handful of amateurs to take to the stage and try to Beat the Frog, and the audience decides who stays – brutal!

ROBIN INCE: LOOMING BUZZING CONFUSION + MICHAEL LEGGE: POINTLESS ANGER, RIGHTEOUS IRE

THE KING’S ARMS, 19:30–21:00, £10

Double bill show from Robin Ince and Micahel Legge. Part of Greater Manchester Fringe Festival.

GEIN’S FAMILY GIFTSHOP BARGAIN BASEMENT

THE KING’S ARMS, 20:30–22:00, FREE

New sketches and material drawing inspiration from misery and human suffering. Part of Greater Manchester Fringe Festival.

Tue 08 Jul

XS MALARKEY: DAN NIGHTINGALE (HARRIET DYER + ED EASTON + MC TOBY HADOKE) PUB/ZOO, 19:00–23:00, £5 (£3)

The rather ace comedy night continues with the usual Tuesday night shenanigans, this time offering up an Edinburgh preview show.

THE WORST COMEDY NIGHT IN SALFORD

THE KING’S ARMS, 19:30–21:00, FREE

Keeping expectations low with this night of open mic stand up, opening up the stage to anyone willing to give it go.

PHIL JUPITUS IS PORKY THE POET IN JUPLICITY

THE KING’S ARMS, 19:30–21:00, £10

Porky the poet is back with his latest show, Juplicity, this year turning his attention to religion, dieting, politics, hate, hipsters, love, parenthood, sex, The Clash, baseball, death and Michael Gove.

Part of Greater Manchester Fringe Festival.

PHIL JUPITUS IS PORKY THE POET IN JUPLICITY THE KING’S ARMS, 21:30–21:00, £10

Porky the poet is back with his latest show, Juplicity, this year turning his attention to religion, dieting, politics, hate, hipsters, love, parenthood, sex, The Clash, baseball, death and Michael Gove.

Part of Greater Manchester Fringe Festival.

Wed 09 Jul

PHIL JUPITUS IS PORKY THE POET IN JUPLICITY

THE KING’S ARMS, 19:30–21:00, £10

Porky the poet is back with his latest show, Juplicity, this year turning his attention to religion, dieting, politics, hate, hipsters, love, parenthood, sex, The Clash, baseball, death and Michael Gove.

Part of Greater Manchester Fringe Festival.

PHIL JUPITUS IS PORKY THE POET IN JUPLICITY

THE KING’S ARMS, 21:30–21:00, £10

Porky the poet is back with his latest show, Juplicity, this year turning his attention to religion, dieting, politics, hate, hipsters, love, parenthood, sex, The Clash, baseball, death and Michael Gove.

Part of Greater Manchester Fringe Festival.

Thu 10 Jul

BIG VALUE THURSDAYS

THE FROG AND BUCKET COMEDY CLUB, 19:00–22:30, £9 (£6)

A Frog flagship event offering up four great acts for stonkingly great value.

STAND UP THURSDAY (STEVE GRIBBIN + PAUL THORNE + MC RICH WILSON)

THE COMEDY STORE, 20:00–22:00, £12 (£8)

Cheat life and get that Friday feeling one day early with a night of comedic delight from some circuit funny folk.

SHAM BODIE 8 (RIO BAUER + STAPLE/FACE + TREVOR LOCK)

THE BEST IN STAND UP (STEVE GRIBBIN + PAUL THORNE + MARLON DAVIS + CELIA PAQUOLA + MC RICH WILSON) THE COMEDY STORE, 19:00–21:00, £20 (£14)

Regular night of stand up with five world-class comedians.

THE BEST IN STAND UP (STEVE GRIBBIN + PAUL THORNE + MARLON DAVIS + CELIA PAQUOLA + MC RICH WILSON)

THE COMEDY STORE, 21:30–23:30, £20 (£14)

Regular night of stand up with five world-class comedians.

KINKY BOOT INSTITUTE

THE KING’S ARMS, 19:30–21:00, £4

Sketch show by comedy duo Lewis Charlesworth and Rosie Phillips, combining high energy satirical, silly, farcical scenes with costume, audience interaction and stand up.

Part of Greater Manchester Fringe Festival.

Sun 13 Jul

NEW STUFF (MC TOBY HADOKE)

THE COMEDY STORE, 19:30–21:30, £3

A night of stand-up from some fresh-faced comics trying to break on to the circuit – be nice.

JOHN SMITH

THE LOWRY STUDIO, 20:00–22:00, £12

The deaf stand-up comic shares his experiences of growing up deaf in a hearing world.

ON THE OTHER SIDE

THE KING’S ARMS, 18:00–20:00, £2 (£1)

Rehearsed reading of a new play set outside a Manchester funfair.

Part of Greater Manchester Fringe Festival.

GARY COLMAN: CHUNT

THE KING’S ARMS, 21:30–23:00, FREE

Deadpan comic explores the crushing banality of life. Part of Greater Manchester Fringe Festival.

Mon 14 Jul BEAT THE FROG

THE FROG AND BUCKET COMEDY CLUB, 19:00–22:30, £3 (FREE WITH STUDENT ID)

JANA AND HEIDI

A ten-act long heckle-fest inviting a handful of amateurs to take to the stage and try to Beat the Frog, and the audience decides who stays – brutal!

WATERSIDE ARTS CENTRE, 20:00–22:00, £5 (£4)

THE KING’S ARMS, 19:30–21:00, £3

THE CASTLE HOTEL, 20:00–23:00, £7

The rather ace monthly comedy/ gig night returns for a special Greater Manchester Fringe edition.

Mother-daughter comedy duo, exploring the ins and outs of their 32 year relationship.

KINKY BOOT INSTITUTE

THE KING’S ARMS, 19:30–21:00, £4

Sketch show by comedy duo Lewis Charlesworth and Rosie Phillips, combining high energy satirical, silly, farcical scenes with costume, audience interaction and stand up.

Part of Greater Manchester Fringe Festival.

Fri 11 Jul

BARREL OF LAUGHS

THE FROG AND BUCKET COMEDY CLUB, 19:00–02:00, £16 (£8)

Three top-notch comics, a sprinkling of Frog compere funnies and a late night disco courtesy of the resident DJ.

THE BEST IN STAND UP (STEVE GRIBBIN + PAUL THORNE + MARLON DAVIS + CELIA PAQUOLA + MC RICH WILSON)

THE COMEDY STORE, 20:00–22:00, £18 (£12)

Regular night of stand up with five world-class comedians.

LANCASHIRE HOTPOTS

THE LOWRY: QUAYS THEATRE, 20:00–22:00, £16

Five northern blokes in flat caps singing songs about the wonders of modern day life.

KINKY BOOT INSTITUTE

THE KING’S ARMS, 21:00–23:00, £4

Sketch show by comedy duo Lewis Charlesworth and Rosie Phillips, combining high energy satirical, silly, farcical scenes with costume, audience interaction and stand up.

Part of Greater Manchester Fringe Festival.

Sat 12 Jul BARREL OF LAUGHS

THE FROG AND BUCKET COMEDY CLUB, 19:00–02:00, £17 (£10)

Three top-notch comics, a sprinkling of Frog compere funnies and a late night disco courtesy of the resident DJ.

PRUFROCK AND ME

The charming and disarming comedian, Dave Williams puts joking aside and talks about shyness, loneliness, performing, and his love of a T S Eliot poem that has soundtracked his life since school.

Part of Greater Manchester Fringe Festival.

LEN JOHNSON: FIGHTER

THE KING’S ARMS, 19:30–21:00, £8 (£6)

The story of Manchester boxer and civil rights activist, Len Johnson, who was denied his opportunity to fight because of his colour. Part of Greater Manchester Fringe Festival.

Tue 15 Jul

IT ROCK‘N’ROLL: BUSINESS TRIP TO THE FUTURE

THE CASTLE HOTEL, 20:00–23:00, FREE

IT consultants, Foxdog Studios present their nerdy combination of interactive computer programmes and rock’n’roll.

MENOPAUSAL MINX SHE’S HOT FLUSHING

GULLIVERS, 20:00–20:30, £2

Johanna Wroe presents her latest show as part of the Greater Manchester Fringe, exploring life after the big M.

XS MALARKEY: JONNY AWSUM (TOM TAYLOR + MASUD MILA + MC TOBY HADOKE)

PUB/ZOO, 19:00–23:00, £5 (£3)

The rather ace comedy night continues with the usual Tuesday night shenanigans, this time offering up an Edinburgh preview show.

LEN JOHNSON: FIGHTER

THE KING’S ARMS, 19:30–21:00, £8 (£6)

The story of Manchester boxer and civil rights activist, Len Johnson, who was denied his opportunity to fight because of his colour. Part of Greater Manchester Fringe Festival.

MIRTHLAB

THE KING’S ARMS, 20:00–21:00, FREE

Serving the purest mirth around, and offering a great place for new comics to cut their teeth.

Wed 16 Jul LEN JOHNSON: FIGHTER

THE KING’S ARMS, 19:30–21:00, £8 (£6)

The story of Manchester boxer and civil rights activist, Len Johnson, who was denied his opportunity to fight because of his colour. Part of Greater Manchester Fringe Festival.

TOO COOL TO CARE

THE KING’S ARMS, 19:30–21:00, £6 (£3)

One woman show in which Lolie shares her experience as a carer for her father, an Alzheimer’s sufferer and her wheelchair-bound mother.

Part of Greater Manchester Fringe Festival.

LULO'S SHITTING IN NARNIA

THE KING’S ARMS, 20:00–23:00, £TBC

Stand up show that is essentially a huge thankyou to David Cameron interspersed with stories about living in a camper van, willies and poo. Real mature stuff. Part of Greater Manchester Fringe Festival.

Thu 17 Jul

BIG VALUE THURSDAYS

THE FROG AND BUCKET COMEDY CLUB, 19:00–22:30, £9 (£6)

A Frog flagship event offering up four great acts for stonkingly great value.

STAND UP THURSDAY (ANDY ASKINS + IAN STONE + MC MICK FERRY) THE COMEDY STORE, 20:00–22:00, £12 (£8)

Cheat life and get that Friday feeling one day early with a night of comedic delight from some circuit funny folk.

MODERN LIVING

THE BAY HORSE, 19:30–20:30, £5

Leftfield theatre company present a bleak picture of humanity, as a woman with a seemingly perfect life loses custody of her son and then slips into depression. Part of Greater Manchester Fringe.

LEN JOHNSON: FIGHTER

THE KING’S ARMS, 19:30–21:00, £8 (£6)

The story of Manchester boxer and civil rights activist, Len Johnson, who was denied his opportunity to fight because of his colour. Part of Greater Manchester Fringe Festival.

TOO COOL TO CARE

THE KING’S ARMS, 19:30–21:00, £6 (£3)

One woman show in which Lolie shares her experience as a carer for her father, an Alzheimer’s sufferer and her wheelchair-bound mother.

Part of Greater Manchester Fringe Festival.

Fri 18 Jul BARREL OF LAUGHS

THE FROG AND BUCKET COMEDY CLUB, 19:00–02:00, £16 (£8)

Three top-notch comics, a sprinkling of Frog compere funnies and a late night disco courtesy of the resident DJ. THE BEST IN STAND UP (ANDY ASKINS + ANDY WATSON + IAN STONE + MC MICK FERRY)

THE COMEDY STORE, 20:00–22:00, £18 (£12)

Regular night of stand up with five world-class comedians.

LEN JOHNSON: FIGHTER

THE KING’S ARMS, 19:30–21:00, £8 (£6)

The story of Manchester boxer and civil rights activist, Len Johnson, who was denied his opportunity to fight because of his colour. Part of Greater Manchester Fringe Festival.

KELLY KINGHAM INSIDE OUT

THE KING’S ARMS, 19:30–21:00, £5

Cheeky comic Kelly Kingham proves it’s never too late to find the funny.

Part of Greater Manchester Fringe Festival.

JAMES CHRISTOPHER

THE KING’S ARMS, 21:15–23:00, £TBC

Stand-up comic celebrating the brilliance of human flaws, citing Daniel Kitson amongst his influences. Part of Greater Manchester Fringe Festival.

Sat 19 Jul BARREL OF LAUGHS

THE FROG AND BUCKET COMEDY CLUB, 19:00–02:00, £17 (£10)

Three top-notch comics, a sprinkling of Frog compere funnies and a late night disco courtesy of the resident DJ.

THE BEST IN STAND UP (ANDY ASKINS + ANDY WATSON + IAN STONE + DAVE WILLIAMS + MC MICK FERRY)

THE COMEDY STORE, 19:00–21:00, £20 (£14)

THE BEST IN STAND UP (ANDY ASKINS + ANDY WATSON + IAN STONE + DAVE WILLIAMS + MC MICK FERRY) THE COMEDY STORE, 21:30–23:30, £20 (£14)

Regular night of stand up with five world-class comedians.

THE BEST IN STAND UP (ANDY ASKINS + ANDY WATSON + IAN STONE + DAVE WILLIAMS + MC MICK FERRY)

THE COMEDY STORE, 19:00–21:00, £20 (£14)

Regular night of stand up with five world-class comedians.

THE BEST IN STAND UP (ANDY ASKINS + ANDY WATSON + IAN STONE + DAVE WILLIAMS + MC MICK FERRY)

THE COMEDY STORE, 21:30–23:30, £20 (£14)

Regular night of stand up with five world-class comedians.

COMEDYSPORTZ

WATERSIDE ARTS CENTRE, 18:30–21:00, £7 (£5)

Comedy improv show with two teams battling it out for the biggest laughs, serving up sketches, songs and scenes with audience participation playing a key role in the development.

RHYS DARBY: MR ADVENTURE

THE LOWRY: LYRIC THEATRE, 20:00–22:00, £23

New Zealand comic brings his hilarious adventure tales to the UK. FUNNY WOMEN AWARDS 2014

THE LOWRY STUDIO, 20:00–22:00, £10

The funny women awards is back for its 12th year, shining a light on the ever-talented female voices of comedy.

KELLY KINGHAM INSIDE OUT

THE KING’S ARMS, 19:30–21:00, £5

Cheeky comic Kelly Kingham proves it’s never too late to find the funny.

Part of Greater Manchester Fringe Festival.

TOM SHORT AND WILL HUTCHBY: ONLY CHILD SYNDROME

THE KING’S ARMS, 21:00–23:00, £3

Life, as seen through the eyes of a socially awkward dyslexic and an accidental toff. Part of Greater Manchester Fringe Festival.

MIKE MILLING AND BEN POWELL: THE STUPID SHOW FOR IDIOTS

THE KING’S ARMS, 21:15–23:00, £4

An hour of alternative comedy, as crafted by a pair of self-confessed idiots. Part of Greater Manchester Fringe Festival.

Sun 20 Jul

NEW COMEDIANS (MC ALEX BOARDMAN)

THE COMEDY STORE, 19:30–22:00, £3

Regular night of stand up with five world-class comedians.

NEW COMEDIANS (MC ALEX BOARDMAN)

THE COMEDY STORE, 19:30–22:00, £3

Regular night of stand up with five world-class comedians.

INDIE COMEDY ALLSTARTS

WALRUS, 20:30–00:00, FREE

Red Redmond and Dead Cat Comedy present a free night of comedy from some local up-and-comers.

GOD CREATED BRIXTON

THE KING’S ARMS, 19:30–21:00, £5 (£4)

Comic, Amadeus Martin takes audiences on a journey of urban myth and quirky observations, looking at Brixton and its twin town, Monaco.

Part of Greater Manchester Fringe Festival.

Mon 21 Jul BEAT THE FROG

THE FROG AND BUCKET COMEDY CLUB, 19:00–22:30, £3 (FREE WITH STUDENT ID)

A ten-act long heckle-fest inviting a handful of amateurs to take to the stage and try to Beat the Frog, and the audience decides who stays – brutal!

SINFUL 7 SHORTS FOR 7 DEADLY SINS

THE CASTLE HOTEL, 19:30–20:30, £5

Seven comic shorts written and performed by Carly Tarett, with characters ranging from a classroom assistant to a singer/songwriter. Part of Greater Manchester Festival.

MCNEIL AND PAMPHILON: SECRET HOLDING PATTERN

THE KING’S ARMS, 19:30–21:00, £6 (£5)

Two comics share some of the best material they’ve ever written, interspersed with bits that seemed funny when they wrote them, but less so now. Part of Greater Manchester Fringe Festival.

Tue 22 Jul

Fri 25 Jul

THE CASTLE HOTEL, 19:30–20:30, £5

THE FROG AND BUCKET COMEDY CLUB, 19:00–02:00, £16 (£8)

SINFUL 7 SHORTS FOR 7 DEADLY SINS

Seven comic shorts written and performed by Carly Tarett, with characters ranging from a classroom assistant to a singer/songwriter. Part of Greater Manchester Festival.

XS MALARKEY: JUSTIN MOORHOUSE (NISH KUMAR + AATIF NAWAZ + MC TOBY HADOKE) PUB/ZOO, 19:00–23:00, £5 (£3)

The rather ace comedy night continues with the usual Tuesday night shenanigans, this time offering up an Edinburgh preview show.

THE WORST COMEDY NIGHT IN SALFORD

BARREL OF LAUGHS

Three top-notch comics, a sprinkling of Frog compere funnies and a late night disco courtesy of the resident DJ. MENSWEAR COLLECTION

THREE MINUTE THEATRE, 20:00–23:00, £10 (£8)

Lad culture goes under the microscope, as two new plays are brought to the stage to dissect male relationships, taking on spiders, super heroes, Socrates and sex as they go.

GAG REFLEX (FIN TAYLOR: REAL TALK)

THE KING’S ARMS, 19:30–21:00, £5

Keeping expectations low with this night of open mic stand up, opening up the stage to anyone willing to give it go.

Enemy of the self-righteous, conqueror of pretension and champion of profanity, Fin Taylor brings some Real Talk. Part of Greater Manchester Fringe Festival.

THE KING’S ARMS, 19:30–21:00, £2

Sat 26 Jul

THE KING’S ARMS, 19:30–21:00, FREE

LOU CONTAN + MILO MCCABE

Double bill show from Lou Conran and Milo McCabe, previewing new material before taking it up to Edinburgh. Part of Greater Manchester Fringe Festival.

LIFE’S A GATE CRASH

THE KING’S ARMS, 21:15–23:00, £5

BARREL OF LAUGHS

THE FROG AND BUCKET COMEDY CLUB, 19:00–02:00, £17 (£10)

Three top-notch comics, a sprinkling of Frog compere funnies and a late night disco courtesy of the resident DJ. MICK FERRY: WHAT’S GOING ON

An intense, modern day revenge story exploring what happens when someone refuses to take responsibility for their violent actions. Part of Greater Manchester Fringe Festival.

Irritated and bemused comic returns with his latest show, looking for answers but inevitably just coming across as grumpy.

Wed 23 Jul

THE COMEDY STORE, 17:00–19:00, £6 (£4)

SINFUL 7 SHORTS FOR 7 DEADLY SINS

THE CASTLE HOTEL, 19:30–20:30, £5

Seven comic shorts written and performed by Carly Tarett, with characters ranging from a classroom assistant to a singer/songwriter. Part of Greater Manchester Festival.

JON RONSON’S FRANK STORY (OH BLIMEY BIG BAND)

THE DANCEHOUSE, 20:00–23:00, £12

The man behind the Frank Sidebottom papier mache head reveals his side of the story, following the release of a new fictionalised film he co-wrote.

SCOTTISH FALSETTO SOCK PUPPET THEATRE

TAURUS BAR, 19:30–21:00, £8

Songs and sketches from socks with a sci-fi theme from the YouTube favourites. Part of Greater Manchester Fringe Festival.

LIFE’S A GATE CRASH

THE KING’S ARMS, 13:00–14:45, £5

An intense, modern day revenge story exploring what happens when someone refuses to take responsibility for their violent actions. Part of Greater Manchester Fringe Festival.

GAG REFLEX (GEIN’S FAMILY GIFTSHOP)

THE KING’S ARMS, 19:30–21:00, £5

New sketches and material drawing inspiration from misery and human suffering. Part of Greater Manchester Fringe Festival.

LIFE’S A GATE CRASH

THE KING’S ARMS, 21:15–23:00, £5

An intense, modern day revenge story exploring what happens when someone refuses to take responsibility for their violent actions. Part of Greater Manchester Fringe Festival.

LIFE’S A GATE CRASH

THE KING’S ARMS, 21:15–23:00, £5

An intense, modern day revenge story exploring what happens when someone refuses to take responsibility for their violent actions. Part of Greater Manchester Fringe Festival.

Thu 24 Jul

BIG VALUE THURSDAYS

THE COMEDY STORE, 17:00–19:00, £6 (£4)

MICK FERRY: WHAT’S GOING ON

Irritated and bemused comic returns with his latest show, looking for answers but inevitably just coming across as grumpy.

QUIPPOPOTAMUS

FUEL, 20:00–23:00, FREE

Fuel’s free stand up night returns for another night of – let’s face it – slightly bizarre comedy.

Sun 27 Jul

PROFESSOR BENNISONS LIFE OF PI

APOTHECA, 19:00–20:00, £3

Disgraced maths teacher takes to the stage for his debut stand up show, mining the maths comedy goldmine for the bulk of his jokes.

Part of Greater Manchester Fringe Festival.

SID WICK HAS NO FRIENDS

APOTHECA, 19:00–20:00, £3

Sid Wick present his debut solo/ not-solo show, bringing with him an entire self-help group made up of various imaginary friends. Part of Greater Manchester Fringe.

Mon 28 Jul BEAT THE FROG

THE FROG AND BUCKET COMEDY CLUB, 19:00–22:30, £3 (FREE WITH STUDENT ID)

A ten-act long heckle-fest inviting a handful of amateurs to take to the stage and try to Beat the Frog, and the audience decides who stays – brutal!

SIDEKICK COMEDY (KATE MCCABE + RACHEL FAIRHURST + REBECCA FEARNLEY + KIERAN LAWLESS + CHELLA QUINT) VIA, 19:30–23:00, £2 (FREE)

A monthly comedy gig offering an alternative to the usual comedy nights, offering a new take on the template with a nerdy-cool vibe.

Liverpool Comedy Wed 02 Jul

THE LAUGHTER FACTOR (MC PAUL SMITH)

THE SLAUGHTERHOUSE, 20:00–23:00, £5 (£3)

A Frog flagship event offering up four great acts for stonkingly great value.

A monthly event giving comics the chance to try out new material before the weekend shows – it helps if you think of yourself as a comedic guinea pig.

THE KING’S ARMS, 19:30–21:00, £5

Thu 03 Jul

THE FROG AND BUCKET COMEDY CLUB, 19:00–22:30, £9 (£6)

GAG REFLEX (JAMES ACASTER)

Low-key stand-up from an angular young man, taking on a host of topics in his Edinburgh preview show. Part of Greater Manchester Fringe Festival.

STEVE SHANYASKI (ADAM ROWE + DARREN HARRIOTT + MC TOBY HADOKE) COMEDY CENTRAL, 18:00–22:00, £15

Eloquent young man making funnies out of everyday, mundane experiences.

Regular night of stand up with five world-class comedians.

July 2014

Listings

53

Comedy Liverpool Fri 04 Jul

CHRIS MCCAUSLAND (RAYMOND MEARNS + PETER OTWAY + MC BARRY DODDS)

COMEDY CENTRAL, 18:00–22:00, £15

Regular triple headline show, with three comics lined up to tickle your funny bone.

CHRIS CAIRNS (PHIL BUTLER + ALLYSON SMITH + MC NEIL FITZMAURICE)

THE SLAUGHTERHOUSE, 20:00–23:00, £15

The regular compere takes the headline spot for the night, bringing bags of charm and quick wit to the stage.

BOILING POINT (MC PAUL SMITH)

HOLIDAY INN, 19:00–22:30, £8 (£4)

New and established comics take to the stage (found upstairs at Holiday Inn, Lime Street), for an evening of chuckles with their resident compere leading the way.

Sat 05 Jul

STEVE SHANYASKI (RAYMOND MEARNS + PETER OTWAY + MC BARRY DODDS)

COMEDY CENTRAL, 18:00–22:00, £18

Eloquent young man making funnies out of everyday, mundane experiences.

PHIL BUTLER (PHIL CHAPMAN + ALLYSON SMITH + MC NEIL FITZMAURICE)

THE SLAUGHTERHOUSE, 20:00–23:00, £17.50

Triple headline show with a delightfully hilarious line-up of circuit funny-folk.

BOILING POINT (MC PAUL SMITH)

HOLIDAY INN, 19:00–22:30, £10 (£5)

New and established comics take to the stage (found upstairs at Holiday Inn, Lime Street), for an evening of chuckles with their resident compere leading the way.

Sun 06 Jul

TESTING THE WATER (MC PAUL SMITH)

HOLIDAY INN, 19:00–22:30, £3 (£1.50)

Showcase night for up-andcomers and undiscovered stars, offering a great value night out if you don’t mind being a comedy guinea pig.

Thu 10 Jul

BENNY BOOT (JAMES MEEHAN + WILL MARS + MC DAN NIGHTINGALE) COMEDY CENTRAL, 18:00–22:00, £15

Aussie observational comic, known for having a giggle at his own gags.

BOILING POINT (MC PAUL SMITH) HOLIDAY INN, 19:00–22:30, £10 (£5)

New and established comics take to the stage (found upstairs at Holiday Inn, Lime Street), for an evening of chuckles with their resident compere leading the way.

Sun 13 Jul

TESTING THE WATER (MC PAUL SMITH)

HOLIDAY INN, 19:00–22:30, £3 (£1.50)

Showcase night for up-andcomers and undiscovered stars, offering a great value night out if you don’t mind being a comedy guinea pig.

Tue 15 Jul

SHINY NEW COMEDY LAB FESTIVAL SPECIAL

THE LANTERN THEATRE, 19:15–22:00, FREE

Fri 11 Jul

Variety comedy night pioneered

by Alastair Clark, sticking to his ethos of booking anything, as long as it’s funny.

COMEDY CENTRAL, 18:00–22:00, £15

Thu 17 Jul

BENNY BOOT (DAN NIGHTINGALE + ADAM STAUNTON + PHIL ELLIS)

Aussie observational comic, known for having a giggle at his own gags.

PHIL NICHOL (KEITH CARTER AS NIGE + DANNY O’BRIEN + MC CHRIS CAIRNS)

THE SLAUGHTERHOUSE, 20:00–23:00, £15

Regular triple headline show, with three comics lined up to tickle your funny bone.

BOILING POINT (MC PAUL SMITH)

HOLIDAY INN, 19:00–22:30, £8 (£4)

New and established comics take to the stage (found upstairs at Holiday Inn, Lime Street), for an evening of chuckles with their resident compere leading the way.

Sat 12 Jul

BENNY BOOT (DAN NIGHTINGALE + ADAM STAUNTON + PHIL ELLIS)

COMEDY CENTRAL, 18:00–22:00, £18

Aussie observational comic, known for having a giggle at his own gags.

KEITH CARTER AS NIGE (PHIL NICHOL + DANNY O’BRIEN + MC CHRIS CAIRNS)

THE SLAUGHTERHOUSE, 20:00–23:00, £17.50

Keith Carter presents the lovable scouse, Nige, renowned for securing Liverpool the title of Capital of Culture, so they say.

COMEDY CENTRAL (HEADLINE TBC) (JOHN LYNN + AL MCWILLIAM + MC WILL DUGGAN) COMEDY CENTRAL, 18:00–22:00, £15

The regular comedy night returns with a trio of top-notch comics – headline act tbc.

Fri 18 Jul

SEAN MEO (JOHN LYNN + DANNY DEEGAN + MC KAREN BAYLEY)

COMEDY CENTRAL, 18:00–22:00, £15

The ex-snooker champion turns his attention to comedy, picking apart the fabric of our daily lives with his sneering wit.

ANDY ASKINS (STE PORTER + KEVIN DEWSBURY + MC NEIL FITZMAURICE)

THE SLAUGHTERHOUSE, 20:00–23:00, £15

Triple headline show with a line-up of circuit funny folk vying for your giggles, all guided by a top notch compere.

BOILING POINT (MC PAUL SMITH)

HOLIDAY INN, 19:00–22:30, £8 (£4)

New and established comics take to the stage (found upstairs at Holiday Inn, Lime Street), for an evening of chuckles with their resident compere leading the way.

Sat 19 Jul

Thu 24 Jul

COMEDY CENTRAL, 18:00–22:00, £18

Sceptical when told climb every mountain, reach for the skies and follow your dreams? Then this is definitely for you! Star of BBC1’s We Won’t Drop the Baby tours with his new show, Moments of Instant Regret.

SEAN MEO (JOHN LYNN + DANNY DEEGAN + MC KAREN BAYLEY)

The ex-snooker champion turns his attention to comedy, picking apart the fabric of our daily lives with his sneering wit.

ALUN COCHRANE (KEVIN DEWSBURY + ANDY ASKINS + MC NEIL FITZMAURICE)

THE SLAUGHTERHOUSE, 20:00–23:00, £17.50

Alun Cochrane does his thinking aloud, chatty style of stand-up.

You do the laughing.

BOILING POINT (MC PAUL SMITH)

HOLIDAY INN, 19:00–22:30, £10 (£5)

New and established comics take to the stage (found upstairs at Holiday Inn, Lime Street), for an evening of chuckles with their resident compere leading the way.

Sun 20 Jul

TESTING THE WATER (MC PAUL SMITH)

HOLIDAY INN, 19:00–22:30, £3 (£1.50)

Showcase night for up-andcomers and undiscovered stars, offering a great value night out if you don’t mind being a comedy guinea pig.

Tue 22 Jul ROB DEERING

UNITY THEATRE, 21:00–23:00, £8

The comedian and multi-instrumentalist tours as a one-mansupergroup, chock with songs and silliness. Part of Unity Theatre’s Edinburgh preview shows.

Wed 23 Jul SARA PASCOE

UNITY THEATRE, 21:15–22:00, £8

Clever comic Sara Pascoe turns her attention to history in her latest stand-up show, which contains wars, witches, Kim Yong-Il and your ex. Part of Unity Theatre’s Edinburgh preview shows.

LAURENCE CLARK

LEAF, 19:30–23:00, £7

TOM WRIGGLESWORTH (TONY JAMESON + PAUL JAMES + MC DAVE WILLIAMS)

COMEDY CENTRAL, 18:00–22:00, £15

Following a sell out run at the Edinburgh festival, stand up comic Tom Wrigglesworth presents his latest show, exploring this profound relationship with his grandfather through storytelling and anecdotes.

Fri 25 Jul GLENN WOOL

UNITY THEATRE, 19:00–20:30, £8

The Canadian-born, UK-living comic performs a special set of jokes cherrypicked from his personal favourites. Part of Unity Theatre’s Edinburgh preview shows.

LIVE FOREVER

UNITY THEATRE, 21:00–22:30, £8

Francis Tucker performs under the direction of Robert Farquhar, playing a Britpop hanger-on in September of 1997 as the nation mourned the loss of the people’s princess.

TOM WRIGGLESWORTH (SMUG ROBERTS + BRENNAN REECE + MC DAVE WILLIAMS)

COMEDY CENTRAL, 18:00–22:00, £15

Following a sell out run at the Edinburgh festival, stand up comic Tom Wrigglesworth presents his latest show, exploring this profound relationship with his grandfather through storytelling and anecdotes.

MARTIN MOR (SILKY + DAMIAN CLARK + MC CHRIS CAIRNS)

THE SLAUGHTERHOUSE, 20:00–23:00, £15

The bearded comic uses his neardeath car crash experience as the basis for his latest comedy outing, as you do.

BOILING POINT (MC PAUL SMITH)

HOLIDAY INN, 19:00–22:30, £8 (£4)

New and established comics take to the stage (found upstairs at Holiday Inn, Lime Street), for an evening of chuckles with their resident compere leading the way.

Sat 26 Jul

MENSWEAR COLLECTION

UNITY THEATRE, 20:00–22:00, £10 (£8)

Lad culture goes under the microscope, as two new plays are brought to the stage to dissect male relationships, taking on spiders, super heroes, Socrates and sex as they go.

TOM WRIGGLESWORTH (SMUG ROBERTS + BRENNAN REECE + MC DAVE WILLIAMS)

COMEDY CENTRAL, 18:00–22:00, £18

Following a sell out run at the Edinburgh festival, stand up comic Tom Wrigglesworth presents his latest show, exploring this profound relationship with his grandfather through storytelling and anecdotes.

SILKY (MARTIN MOR + DAMIAN CLARK + MC CHRIS CAIRNS)

THE SLAUGHTERHOUSE, 20:00–23:00, £17.50

Regular triple headline show, with three comics lined up to tickle your funny bone.

BOILING POINT (MC PAUL SMITH)

HOLIDAY INN, 19:00–22:30, £6 (£4)

New and established comics take to the stage (found upstairs at Holiday Inn, Lime Street), for an evening of chuckles with their resident compere leading the way.

Sun 27 Jul

TESTING THE WATER (MC PAUL SMITH)

HOLIDAY INN, 19:00–22:30, £3 (£1.50)

Showcase night for up-andcomers and undiscovered stars, offering a great value night out if you don’t mind being a comedy guinea pig.

54

Listings

Mon 28 Jul

THE INGENIOUS GENTLEMAN DON QUIXOTE OF LA MANCHA

UNITY THEATRE, 19:00–21:00, £10 (£8)

Cervantes’ famous novel is brought to life by a fat Spanish lady, a moustached lady and a lost Englishman, struggling to get to grips with the language: as is our way.

THE ART OF FALLING APART

UNITY THEATRE, 21:15–23:00, £8.0000

As part of Unity Theatre’s Edinburgh preview shows, Big Wow present their sell-out show about being out-of-sorts and off-kilter.

Manchester Art Bankley Studios & Gallery UNMADE IN ENGLAND

VARIOUS DATES BETWEEN 14 JUN AND 5 JUL, 12:00PM – 4:00PM, FREE

Amanda Whewell brings her Unmade in England project to Manchester’s Bankley Gallery.

PETER SEAL

18 JUL, 19 JUL, 20 JUL, 26 JUL, 27 JUL, TIMES VARY, FREE

The winner of the inaugural Bankley Open Call claims his solo show at the gallery.

Centre For Chinese Contemporary Art

CHRIS SHEN: FIRST STEP SHOWCASE

VARIOUS DATES BETWEEN 10 MAY AND 13 SEP, 10:00AM – 5:00PM, FREE

The Manchester-based artist takes over the CFCCA stairwell with his innovative project exploring our day to day relationship with technology, encouraging the viewer to consider the impact.

NIE ZHENGJIE: URBAN FARMERS

VARIOUS DATES BETWEEN 4 JUL AND 30 AUG, 10:00AM – 5:00PM, FREE

Following a month-long residency, Nie Zhengjie – winner of the Liverpool John Moores Painting Prize China – presents his first UK solo exhibition, exploring the personal narratives of migrant workers through his practice. Part of Liverpool Biennial.

Art

Manchester Museum

FROM THE WAR OF NATURE

11 APR – 31 AUG, 10:00AM – 5:00PM, FREE

Imperial War Museum North

An exhibition exploring conflict and resolution in nature – from boxing hares to prowling wolves – challenging the notion that war must come from conflict.

27 JAN – 31 JUL, 10:00AM – 5:00PM, FREE

Museum of Science and Industry

FROM STREET TO TRENCH: A WORLD WAR THAT SHAPED A REGION

12 MAR – 7 SEP, 10:00AM – 5:00PM, FREE

WOMEN AND INDUSTRY IN THE FIRST WORLD WAR

An open air photographic exhibition of work by George Parham Lewis, revealing images of women during the First World War as they took on roles in industry during the conflict.

5 APR – 1 MAY, 10:00AM – 5:00PM, FREE

An exhibition of over 200 objects, photographs, diaries, letters and artworks from the First World War, revealing the lives shaped by the conflict. Marking the centenary of WWI. REACTIONS14: VERTICAL ECHOES

BY BILL FONTANA

16 MAY – 21 SEP, 10:00AM – 5:00PM, FREE

Sound artist and composer Bill Fontana presents a specially commissioned installation, as part of the Imperial War Museum’s Reactions14 series, inviting artists to commemorate the centenary of the First World War. REACTIONS14: THE SLEEPING GREEN BETWEEN BY JENNIFER VICKERS

14 JUN – 21 SEP, 10:00AM – 5:00PM, FREE

Textile artist Jennifer Vickers presents a specially commissioned quilt inspired by her connections to the past – part of the Imperial War Museum’s Reactions14 series, inviting artists to commemorate the centenary of the First World War.

MMU: Special Collections

TIGERS, CATERPILLARS AND OTHER WILD THINGS: CHILDREN’S BOOKS IN THE 1960S

16 JUN – 5 SEP, NOT SUNDAYS, TIMES VARY, FREE

An exhibition of much-loved children’s books of the 1960s, featuring well-known publishers such as Ladybird and Puffin, and authors and illustrators including Eric Carle, Roald Dahl, Alan Garner and Dr Seuss.

COME CLOSER: WINNERS OF THE WELLCOME IMAGE AWARDS 2014

An exhibition of images from the Wellcome Image Awards 2014 – from an x-ray of a bat, to a cross section of a flower bud – showcasing the scientists, medical professionals and image makers traversing science and art.

OPEN FOR BUSINESS

23 MAY – 3 AUG, 10:00AM – 5:00PM, FREE

A touring exhibition of work commissioned by Multistory and Magnum Photos arrives in the Northwest, with the artist assigned to the Northwest – Argentinian photographer Alessandra Sanguinetti – displaying a collection of photographs documenting contemporary British industry, from wig makers to engineering.

COLLIDER

23 MAY – 28 SEP, 10:00AM – 5:00PM, £7 (£5)

An immersive experience, transporting visitors to the Large Hydron Collider located at the CERN facility in Switzerland, offering a behind-the-scenes glimpse at the world’s leading particle physics lab.

Paper Gallery PAPER #13: JEMIMA BROWN: UNTITLED PROFILE PICTURES

VARIOUS DATES BETWEEN 26 APR AND 26 JUL, 11:00AM – 5:00PM, FREE

The latest exhibition from PAPER will see artist Jemima Brown to share her ongoing drawing project for which she produces drawings of her friends public Facebook profile pictures.

PAPER #14 (FRANCES DISLEY: EXPLORING PAPER)

VARIOUS DATES BETWEEN 14 JUN AND 26 JUL, 11:00AM – 5:00PM, FREE

NORMAL POOL LEVEL

Manchester Art Gallery

VARIOUS DATES BETWEEN 3 JUL AND 6 SEP, 10:00AM – 5:00PM, FREE

Artist in residence opens her studio to the public, sharing her exploration of the gallery’s themes, paper and place.

20–1 SEP, TIMES VARY, FREE

Piccadilly Place

Spanish artist Jorge Manes Rubio presents an exhibition of work following a two-month residency in China, during which he explored the impact of the Yangtze River and its role in creating a disconnect between past and future.

Common

SAILING THROUGH THE TREES: CAROLINE DOWSETT + ALEX T. FRAZER

4 APR – 24 SEP, TIMES VARY, FREE

The latest exhibition to take over Common will see local illustrators and makers Caroline Dowsett and Alex T. Frazer tell the story of a man lost at sea and his heartbroken wife.

Cornerhouse

CLIFFORD OWENS: BETTER THE REBEL YOU KNOW

VARIOUS DATES BETWEEN 10 MAY AND 17 AUG, TIMES VARY, FREE

For his debut European exhibition, Clifford Owens will display existing work alongside two new commissions: a UK version of a piece he developed for New York’s MoMA PS1, and a participatory piece involving Manchester residents.

Harvey Nichols LAYLA SAILOR: KOKOSHNIK

24 JUN – 4 AUG, TIMES VARY, FREE

Head to the second floor of Harvey Nics to catch an exhibition of work by Manchester-based artist and fashion photographer Layla Sailor, inspired by cinematography and religious iconography and presented in her usual hyperrealistic style.

A HIGHLAND ROMANCE: VICTORIAN VIEWS OF SCOTTISHNESS

A collection of 19th century paintings and works on paper by Scottish artists displayed alongside visions of Scotland by artists from England: exploring changing views of Scotland and Scottishness over the past two centuries.

SCULPTURAL FORMS: A CENTURY OF EXPERIMENT

13 MAR – 7 SEP, TIMES VARY, FREE

A three part exhibition – split into The Human Condition, Abstraction and Transformations – exploring the boundaries between sculpture, craft and design, and the ways the form has been re-invented over the years.

BERNHARD SCHOBINGER

5 JUN – 7 SEP, TIMES VARY, FREE

An exhibition of jewellry by avantgarde contemporary designer Bernhard Schobinger, utlising precious stones alongside salvaged scraps – including poison bottles and worn erasers – cementing his reputation as something of an alchemist.

COTTON COUTURE

19–14 JUN, TIMES VARY, FREE

A collection of designer dresses and suits donated by the Cotton Board, a Manchester-based organisation tasked with increasing the use of cotton in couture to bump up cotton exports.

Manchester Jewish Museum FOUR FOUR JEW: FOOTBALL, FANS AND FAITH

VARIOUS DATES BETWEEN 18 MAR AND 21 SEP, TIMES VARY, £3.95 (£2.95)

An exhibition exploring the ways Britain’s Jews have taken to the beautiful game, tracing football’s roots from the 19th century to the present day.

SOCIETY OF ISLAND UNIVERSES

17–20 JUL, 1:00PM – 6:00PM, FREE

Lisa Denyer and Michael Thorp present an exploration of the ideology of abstraction, bringing together a range of artists and makers with a strong interest in the nature of materiality and the interaction between a work and its environment.

Salford Museum and Art Gallery RANDOM VISUAL POEMS: CHARLIE HOLT

5 APR – 6 JUL, TIMES VARY, FREE

An exhibition of work drawing influences from pop art and surrealism, and comprising cut and paste collages and digital montages inspired by Manchester and Salford.

The International 3

HANNAH DARGAVEL-LEAFE : SMALL CONNECTING PART

VARIOUS DATES BETWEEN 28 JUN AND 1 AUG, 12:00PM – 5:00PM, FREE

Solo exhibition of work by artist Hannah Dargavel-Leafe, exploring her diverse practice which often focusses on the structures of the city.

The Lowry

IN THE FRAME: DANCE ON FILM

8 MAR – 27 JUL, TIMES VARY, FREE

Releasing dance from the constraints of the stage, this exhibition of film work explores how visual artists, choreographers and dance companies can use moving image to capture the art form.

THE SKINNY

HERE’S ONE WE MADE EARLIER 19 JUL – 12 OCT, TIMES VARY, FREE

An exhibition bringing together 90 years of BBC Children’s broadcasting – from Children’s Hour in 1922 to our present day state of grubby fingers on interactive tablet screens – showcasing the programmes, characters and presenters of the past and present.

The Portico Library

CONFLICT AND COMMUNITY

10 JUL – 29 AUG, NOT SUNDAYS, TIMES VARY, FREE

Liverpool Art Central Library

AN EXHIBITION OF ARTISTS’ BOOKS

2 JUN – 6 JUL, TIMES VARY, FREE

An opportunity to paw through the work books of various artists, creating an eclectic exhibition of contemporary work, displayed alongside rare works from the library’s special collection.

Community project and exhibition exploring the impact of conflict on individuals and families, particularly those displaced by conflict.

Dot Art

Twenty Twenty Two

Multi-disciplined artist Jefferson Waters presents a collection of paintings offering literal interpretations of popular scouse sayings.

VARIOUS DATES BETWEEN 5 JUN AND 5 JUL, 4:00PM – 11:00PM, FREE

Exhibition Research Centre

WE MADE THIS EXHIBITION

An exhibition of Spanish post-digital design comes to Manchester, with the WeMadeThis.ES project at the centre of the showcase, displayed alongside daring artworks by Spanish artists, including Alex Trochut, Brosmind, and Hey Studio.

GOL!

VARIOUS DATES BETWEEN 12 JUN AND 5 JUL, 4:00PM – 11:00PM, FREE

Studio DBD and Barcelona’s Hey present their limited edition World Cup book, featuring illustrations of players from all 32 teams involved. Also catch all of the World Cup games at the venue, accompanied by DJs.

JEFFERSON WATERS: DEAD BOSS

7 JUL – 29 AUG, WEEKDAYS ONLY, 12:00PM – 6:00PM, FREE

LIVERPOOL BIENNIAL: TOTAL ART

7 JUL – 24 OCT, WEEKDAYS ONLY, 10:00AM – 5:00PM, FREE

A showcase of work by Liverpool artist Adrian Henri, shining a light on his work from the 60s and 70s – a highly collaborative and creative period of his life.

FACT

ELLIE HARRISON: EARLY WARNING SIGNS

9 MAY – 31 DEC, TIMES VARY, FREE

Touring exhibition of Harrison’s four signs that utilise brash marketing techniques to draw attention to climate change.

LIVERPOOL BIENNIAL: SHARON LOCKHART

5 JUL – 26 OCT, TIMES VARY, FREE

The American artist and filmmaker presents a solo exhibition of new and existing work, including a new commission created for the Liverpool Biennial in which she explores the politics of labour and leisure.

July 2014

International Museum of Slavery Museum Liverpool LAURA FACEY: THEIR SPIRITS...

APRIL ASHLEY: PORTRAIT OF A LADY

31 JAN – 7 SEP, 10:00AM – 5:00PM, FREE

27–21 SEP, 10:00AM – 5:00PM, FREE

Jamaican artist, Laura Facey presents an exhibition exploring the cruelty of slavery and the transcendent nature of the human spirit, with her 2006 piece, Their Spirits Gone Before Them sitting at the heart of the exhibition.

BRUTAL EXPOSURE: THE CONGO

24 JAN – 7 SEP, 10:00AM – 5:00PM, FREE

A distressing exhibition of photographs by missionary Alice Seeley Harris, documenting her time in the Congo and exploring the brutality experienced by the Congolese people in what was probably the first photographic campaign for human rights.

LIBERTY BOUND

4–5 APR, 10:00AM – 5:00PM, FREE

An exhibition of artifacts from one of the most important archaeological finds of recent years, unveiling a recently discovered burial ground fro ‘liberated’ African’s in Rupert’s Valley, St Helena.

Lady Lever Art Gallery ROSSETTI’S OBSESSION

20 JUN – 21 SEP, 10:00AM – 5:00PM, FREE

A collection of work by PreRaphaelite painter Dante Gabriel Rossetti’s, bringing together his numerous depictions of Jane Burden Morris – the wife of poet and designer William Morris and Rossett’s favoured model.

Merseyside Maritime Museum

SAIL AWAY: LIVERPOOL SHIPPING POSTERS

16 MAY – 1 JAN, 10:00AM – 5:00PM, FREE

An exhibition charting the evolution and design development in shipping posters between 1888 and 1980.

A exhibition exploring the life of April Ashley, the Liverpool-born Vogue model and actress and one of the first people in the world to undergo gender reassignment surgery.

FROM THERE TO HERE

2 MAY – 13 JUL, 10:00AM – 5:00PM, FREE

Wicked Fish present an exhibition exploring the changing family, social and cultural history of Merseyside residents with learning disabilities, examining how these groups often find their stories excluded from history.

KEN. TO BE DESTROYED

13 JUN – 7 JUL, 10:00AM – 5:00PM, FREE

Sara Davidmann presents an exhibition delving into her family archive to tell the story of Ken, her transgender uncle – with vintage photos and letters showing how her family concealed their family secret.

FIRST WORLD WAR

23 JUL – 31 DEC, 10:00AM – 5:00PM, FREE

A special display reflecting on Liverpool’s Home Front, exploring some lesser-known stories; did everyone rush to support the war effort? And were all women empowered by the experience?

Just some of the questions asked and answered.

Open Eye Gallery

NOT ALL DOCUMENTS ARE RECORDS: PHOTOGRAPHING EXHIBITIONS AS AN ART FORM

VARIOUS DATES BETWEEN 5 JUL AND 31 OCT, 10:30AM – 5:30PM, FREE

As part of the Liverpool Biennial 2014, curator Lorenzo Fusi presents an exhibition of work documenting three key international art platforms through the lens of a camera, asking questions if this practice can be elevated above documentation to art form.

Sudley House

20TH CENTURY CHIC: 100 YEARS OF WOMEN’S FASHION 10 MAY – 31 DEC, 10:00AM – 5:00PM, FREE

A collection of 12 evening outfits spanning 1900 to 2000, charting the changing role of women in society throughout this period, and how these changes were reflected in the fashion of the time.

ENIGMA

3 JUN – 31 JUL, 10:00AM – 5:00PM, FREE

An exhibition of work by participants from the Merseycare NHS Trust, exploring ideas of identity and personal journeys of recovery.

Tate Liverpool DLA PIPER SERIES: CONSTELLATIONS

2 JUN – 26 OCT, 10:00AM – 5:00PM, FREE

An exhibition displaying ‘trigger’ artworks surrounded by groups, or ‘constellations’, of artworks from the same period. With the first floor open you’ll be able to see five ‘trigger’ artworks from before 1960, from artists including Picasso and Pollock.

NASREEN MOHAMEDI

6 JUN – 5 OCT, 10:00AM – 5:00PM, £10 (£7.50)

Paintings, drawings and photographs by celebrated Indian artist Nasreen Mohademi are set to go on display for her largest solo exhibition in the UK, introducing visitors to her varied practice within the modernist tradition.

MONDRIAN AND HIS STUDIOS

6 JUN – 5 OCT, 10:00AM – 5:00PM, £10 (£7.50)

Marking 70 years since his death, Tate Liverpool brings together a special exhibition of work by Dutch abstract artist Piet Mondrian, complete with a life size reconstruction of his Paris studio.

A NEEDLE WALKS INTO A HAYSTACK: CLAUDE PARENT

5 JUL – 26 OCT, 10:00AM – 5:00PM, FREE

Parent’s radical intervention transforms the Wolfson Gallery with ramps and slanted floors, creating a new platform for viewing the existing works housed at the Tate. Part of Liverpool Biennial 2014.

TATE COLLECTION: SPECIAL DISPLAY 5 JUL – 26 OCT, 10:00AM – 5:00PM, FREE

A new collection on display from the Tate’s collection, making links between the gallery space and the familiar interior of the home. Part of Liverpool Biennial 2014.

DAZZLE SHIP

24 JUN – 31 DEC, 10:00AM – 5:00PM, FREE

Venezuelan artist Carlos Cruz-Diez presents a contemporary dazzle ship – a technique used throughout WWI and WWII to camouflage ships – dazzling The Edmund Gardner, situated in the dry dock adjacent to Albert Dock. Part of Liverpool Biennial 2014.

BLUEPRINT

18–20 JUL, 10:00AM – 5:00PM, FREE

Young artists and performers from across the Northwest take over Tate Liverpool for a three-day festival of visual art, performance, music, dance, live music and workshops. Part of Flux Liverpool.

The Bluecoat ON NEW GROUNDS

3 JUL – 3 AUG, 10:00AM – 6:00PM, FREE

An exhibition of intaglio prints produced by a range of artists exploring the potential of the traditional print method and taking inspiration from Whistler’s drypoint and etching work.

THE CARAVAN GALLERY

4–6 JUL, 10:00AM – 6:00PM, FREE

The travelling gallery returns to Liverpool with its ever-growing exhibition of photographs exploring the theme ‘Is Britain Great?’ with thought-provoking and distressingly perceptive imagery.

A NEEDLE WALKS INTO A HAYSTACK: JAMES MCNEILL WHISTLER

5 JUL – 26 OCT, 10:00AM – 6:00PM, FREE

A collection of paintings, prints, drawings, sound, ephemera and key correspondences by American artist James McNeill Whistler (1834-1903) exploring his varied practice and how he paved the way for abstract painting.

The Cornerstone Gallery

Walker Art Gallery

7 JUL – 10 OCT, WEEKDAYS ONLY, 9:00AM – 5:00PM, FREE

16 MAY – 10 AUG, 10:00AM – 5:00PM, FREE

TEN

The Cornerstone Gallery mark their tenth year with a special exhibition, showcasing some of the 200 artists who have seen their work up on the walls over the past ten years.

The Old Blind School

LIVERPOOL BIENNIAL: GROUP SHOW

5 JUL – 26 OCT, 10:00AM – 6:00PM, FREE

As part of Liverpool Biennial’s commitment to new work, a group of commissioned artists display new work alongside their previous projects, allowing a glimpse into a wider range or artistic language and practice.

Various Venues FLUX

17 JUL – 2 AUG, 10:00AM – 6:00PM, PRICES VARY

A three-week festival of creativity, curated by young people from across Liverpool – the jam-packed programme includes: live music; art and theatre events; skills workshops; and a festival within a festival, as Blueprint takes over the Tate.

Victoria Gallery and Museum

GRAYSON PERRY: THE VANITY OF SMALL DIFFERENCES

Inspired by William Hogarth’s A Rake’s Progress, artist Grayson Perry created six tapestries to tell the story of class mobility and the influence of social class on aesthetic taste.

JOHN BATES AT JEAN VARON

13 MAY – 31 DEC, 10:00AM – 5:00PM, FREE

A collection of 12 outfits from John Bates’ Jean Varon label go on display at the Walker Art Gallery, including a red velvet mini dress worn by Twiggy in a Vogue photo shoot in 1967.

JOHN MOORES PAINTING PRIZE

5 JUL – 30 NOV, 10:00AM – 5:00PM, FREE

The prestigious painting prize returns for another year, with an exhibition of work by the 52 shortlisted artists working across landscapes, portraits, abstract and sculptural works. See the full list of shortlisted artists here.

AZTECS IN LIVERPOOL: MICHAEL NYMAN

5 JUL – 26 OCT, 10:00AM – 5:00PM, FREE

Michael Nyman presents a two screen installation of still and moving images, including footage collected by Nyman over the past 20 years in Mexico, his newly adopted home. Part of Liverpool Biennial 2014.

NORTH WEST AND BEYOND: JAMES HAMILTON HAY

VARIOUS DATES BETWEEN 22 APR AND 30 AUG, 10:00AM – 5:00PM, FREE

An exhibition of drypoint prints by 19th century Merseyside etcher and painter, James Hamilton Hay, documenting his travels throughout the UK with his striking landscape prints.

Listings

55

APARTMENTS AND TOWNHOUSES AT SALFORD’S NEWEST AND COOLEST PLACE TO LIVE – VIMTO GARDENS – GO ON SALE ON FRIDAY 4TH JULY 2014

BE THE FIRST TO BUY AT VIMTO GARDENS

RSVP NOW

RSVP NOW FOR AN EXCLUSIVE LAUNCH EVENT APPOINTMENT Expected to sell out quickly, the apartments and townhouses have already received unprecedented levels of interest.

Located a stone’s throw from Manchester city centre, Chapel Street based Vimto Gardens brings luxury living to the new heart of the city.

Complete with communal gardens, high quality fixtures and fittings and amenities to the ground floor.

It is anticipated that the first of the 83 one and two bedroom apartments and 14 three bedroom townhouses will be ready to move into towards the end of 2014.

THE FIRST OFFICIAL SHOWCASE TAKES PLACE ON

Friday 4th July from 12noon–6pm

TO CELEBRATE THE EXCLUSIVE UNVEILING

Complimentary Vimto cocktails Canapés First Chop beer Local DJ sets

Saturday 5th July from 10am–5pm

TO BOOK AN APPOINTMENT Call 0161 300 8546 or email sales@vimtogardens.co.uk www.vimtogardens.co.uk Vimto Gardens sales office Islington Way Off Chapel Street Salford M3

Developer

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Agent

*The Help to Buy scheme is available on selected plots only. Subject to terms and conditions.

YOUR HOME IS AT RISK IF YOU DO NOT KEEP UP REPAYMENTS ON YOUR MORTGAGE OR ANY OTHER LOAN SECURED ON IT. Full terms and conditions are available on request. See more at www.vimtogardens.co.uk

BUY WITH JUST A 5% DEPOSIT*