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JOHN GARCIA
A CERTAIN RATIO
THURSDAY 4TH DECEMBER
SATURDAY 13TH DECEMBER
ARCH ENEMY / KREATOR
CHAMELEONS VOX
CAST
FRIDAY 19TH DECEMBER SATURDAY 20TH DECEMBER
SUNDAY 21ST DECEMBER
KING CREOSOTE
NAZARETH
TRAGEDY
TUESDAY 27TH JANUARY
FRIDAY 30TH JANUARY
SUNDAY 15TH MARCH
GUN TAKING ON THE WORLD
EVIL BLIZZARD
FM
+ GRAMME + DIRTY NORTH
URBAN VOODOO MACHINE SUNDAY 14TH DECEMBER
DECEMBER John Garcia Thursday 4th At The Gates + Tryptikon + Morbus Chron Friday 5th Professor Green Friday 5th Mostly Autumn Friday 5th TWE1V3 + The Rubys + George Borowski & Lewy Bodies + Cautious Retreat Saturday 6th Black Spiders + Turbogeist + Rival State Sunday 7th The Beards Monday 8th Reckless Love – The First Tuesday 9th Gramatik Thursday 11th Paul Heaton & Jacqui Abbott Friday 12th Behemoth Saturday 13th A Certain Ratio + Gramme + Dirty North Saturday 13th UK Foo Fighters Saturday 13th Soul Boutique with Paul Mac + B.I.Z.Z.Y. B Saturday 13th The Urban Voodoo Machine Sunday 14th Heffron Drive Tuesday 16th Parkway Drive + Heaven Shall Burn + Northlane + Carnifex Wednesday 17th Arch Enemy + Kreator + Shining & Marty Friedman Friday 19th Chameleons Vox + Dub Sex Friday 19th Chameleons Vox + Ian McNabb Saturday 20th Cast + John McCullagh & The Escorts Sunday 21st
JANUARY Aaron Carter Wednesday 14th Alex Goot Saturday 17th Empire Signal + Tom Walker + No Sunlight + Ink Friday 19th Tove Lo Friday 23rd Amon Amarth Sunday 25th King Creosote Tuesday 27th Nazareth Friday 30th Kosheen Saturday 31st Jagged Edge & Ginuwine Saturday 31st Burgaboy + King Burga Saturday 31st
FEBRUARY Neck Deep + Knuckle Puck + Trophy Eyes + Seaway Sunday 1st Dillon Francis Friday 6th Crown The Empire + Set It Off + Dangerkids + Alive Like Me Friday 6th Hudson Taylor Saturday 7th The Dunwells Saturday 7th Scott Bradlee & Postmodern Jukebox Sunday 8th Kerrang Tour 2015 with Don Broco & We Are The In Crowd Saturday 14th Chelsea Grin/ Veil of Maya Wednesday 14th Saint Raymond Sunday 15th The Decemberists Tuesday 17th Black Label Society Thursday 19th Jack Savoretti Friday 20th Gus G + Arthemis + Skarlett Riot Saturday 21st
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FRIDAY 19TH DECEMBER
25TH ANNIVERSARY TOUR FRIDAY 27TH MARCH
SATURDAY 18TH APRIL
RUBY LOUNGE
+ JOHN McCULLAGH
SATURDAY 9TH MAY
SLEAFORD MODS
BAD MANNERS
BIG COUNTRY
FRIDAY 15TH MAY
SATURDAY 13TH JUNE
SATURDAY 12TH DECEMBER
P.49 Immix with Lucy Pankhurst
P.34 Caroline Dowsett
December 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
Issue 21, December 2014 © Radge Media Ltd. Get in touch: E: hiya@theskinny.co.uk T: 0161 833 3124 P: The Skinny, Second Floor, Swan Buildings, 20 Swan Street, Manchester, M4 5JW The Skinny is distributing 24,680 copies across Liverpool and Manchester, a wide range of advertising packages and affordable ways to promote your business are available. Get in touch to find out more.
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Editorial Northwest Editor Film & Deputy Editor Events Editor Music Editor Art Editor Books Editor Clubs Editor Comedy Editor Deviance Editor Fashion Editor Food Editor Tech Editor Theatre Editor Travel Editor
Lauren Strain Jamie Dunn Simon Jay Catling Dave Kerr Sacha Waldron Holly Rimmer-Tagoe Daniel Jones John Stansfield Tasha Lee Alexandra Fiddes Jamie Faulkner Cathleen O’Grady Alecia Marshall Paul Mitchell
Production Production Manager Designer Sub Editor
Amy Minto Thom Isom Kristian Doyle
Sales Commercial Director Sales & Digital Marketing Analyst Sales Executive
Nicola Taylor Caroline Harleaux Issy Patience
Lead Designer
Sigrid Schmeisser
General Manager
Kyla Hall
Editor-in-Chief Chief Operating Officer Publisher
Rosamund West Lara Moloney Sophie Kyle
Printed on 100% recycled paper
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Contents
THE SKINNY
Photo: Jon Halliday
P.24 Jung Chang
Photo: Michael Sheerin
Photo: Jassy Earl
P.12 Mogwai
Contents Up Front 06 Chat & Opinion: Hear last-minute
shouts in Stop the Presses; find EVEN MORE on our website with your Online Only guide; play a game of Spot the Difference, and allow BALLS. to propel you unceremoniously into 2015.
08
10
18
Heads Up: There are other things going on in December than your existential crisis on the eve of a new year, you know. As is traditional, our crack team of music critics have put their heads together to whittle down their favourite Albums of the Year into a compact list. We’ve had words with most of the players in our top ten, PLUS for the first time ever – the results of our readers poll are in. Turn to page 16 to see our democratically elected Readers’ Choice. Is this the year Michael Bay gets the credit he deserves? Find out by flicking the pages to our film team’s Films of the Year. (Spoiler: no.)
32
Fashion: A spread of lovely ideas for Christmas gifts! Also: beard oil.
34
Showcase: The annual artists’ Christmas Cards return, with two spreads of specially made designs from some of our favourite creatives.
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40
43
Theatre: Jane the Foole are working towards greater gender equality in theatre; plus, previews of Little Shop of Horrors and Sex and the Three Day Week for those still unconvinced by our celebration of panto.
57
30 Travel: Our editor takes a trip to the
‘world’s happiest city,’ Copenhagen, and muses on what all this contentment is doing to the nation’s youth. Deviance: Section ed Tasha looks at the implications of recent abortion legislation, while Matthew Bobbu continues his one man march on bigotry.
December 2014
11 BC CAMPLIGHT
30 THE PAPERHEAD
THE SHIPPING FORECAST
FEBRUARY
LEAF
20 THE HANDSOME FAMILY LEAF
01 RAE MORRIS
MAY
THE KAZIMIER
W/ MELLOWTONE AND CEREMONY
01 CALEXICO
LIVERPOOL PHILHARMONIC HALL
TICKETS AVAILABLE ONLINE: SEETICKETS / EVENTIM / TICKETLINE IN PERSON: PROBE RECORDS (SCHOOL LN) & THE BRINK (PARR ST) The Skinny December 2014_Layout 1 26/11/2014 12:47 Page 1 FOLLOW ON TWITTER: @HARVEST_SUN @LPOOLPSYCHFEST
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Books: A rundown of the finest literary events happening this festive season; plus, in review, Peter Carey’s latest Amnesia and new/old Haruki Murakami. Art: If you only see one show in London this season, make it the Barbican’s Constructing Worlds. Plus, win a trip to Glasgow Film Festival and a £100 bar tab at the Hold Fast Bar in Competitions. Comedy: Standup Will Setchell recently swapped the dreich of Glasgow for the rain of Manchester. The two benefits of the move: 1) less stabbing threats from his audience members and 2) he gets to be this month’s Comedy Spotlight. Plus, Manchester start-up WEDG tell Tech about their plans for a more secure future. Listings: Close that festive copy of the Radio Times, put down that quart of Advocaat and get off the sofa – there’s all this lot going on!
Your NEW Liverpool Philharmonic Hall opens in November David Gray Monday 1 December 7.30pm
Imelda May Friday 5 December 7.30pm
Christmas with the Royal Liverpool Philharmonic Orchestra
DadaFest International 2014
Staff Benda Bilili
White Christmas: The Greatest Holiday Hits
Saturday 6 December 7.30pm
Saturday 13 December 7.30pm
Seth Lakeman
The Spirit of Christmas
Wednesday 4 February 7.30pm Thursday 18 / Saturday 20 Tuesday 23 December 7.30pm
!
56
Lifestyle
31
LIVERPOOL ANGLICAN CATHEDRAL
as
55
29 Make your family Christmas dinner more festive/awkward (delete as applicable) with the worst cracker jokes* in the world, lovingly compiled by our Comedy editor. *crackers not included
JANUARY
06 TUNE-YARDS
tm
You didn’t ask for it, you may not even have wanted it, but for this festive issue we sent our Art editor on a Christmas art marathon. It’s like a real marathon, just with less sweating, more gin, and a crummy hotel. Oh, and art. A bit of art.
54
THE KAZIMIER
MARCH
is hr
28
Twenty years after launching his seminal M-Plant label, techno pioneer Robert Hood expouses his minimal techno philosophy, the spiritual revelation guiding his recent work and his respect for his roots.
DVD: As well as our stocking filler recommendations, catch great new Blu-rays of Raoul Walsh swashbuckler The Thief of Bagdad and D. W. Griffith’s epic Intolerance.
W/ MANCHESTER CAMERATA STRING QUARTET
rC
27
Celebrated author Jung Chang discusses the Empress Dowager Cixi, escaping censorship and the enduring influence of Chairman Mao.
53
13 BILL RYDER-JONES & SAINT SAVIOR
RECSHEDULED FROM 4 NOVEMBER ALL ORIGINAL TICKETS REMAIN VALID
fo
24
Film: Alejandro González Iñárritu’s Birdman takes flight, Wong Kar-wai’s The Grandmaster finally arrives on UK shores and Stephen Hawking biopic The Theory of Everything isn’t as smart as its subject.
W/ LIVERPOOL MUSIC WEEK 2014
DECEMBER
w
Aussie actor Ben Mendelsohn talks us about his beginnings in television, getting advice from Anthony Hopkins, and how he’s made a career for himself playing complex and dangerous characters.
52
02 ACADEMY
no
23
Clubs: If NYE hasn’t already bankrupted you for the rest of the year, why not invest in some of our team’s fave 12-inches of the past 12 months? Symmetry. Elsewhere, Dusky brings us a DJ Chart
16 THE WAR ON DRUGS
EPSTEIN THEATRE
ok
We have the age-old yuletide debate: “Panto is rubbish!” “Oh, no it is!” “Oh, yes it isn't!”
50
Music: There are still albums being released in December, you know! Here are some of them; plus, Ira Kaplan looks back at Yo La Tengo’s magic Hanukkah moments.
FEBRUARY
29 BY THE SEA
Bo
21
Things get pretty festive in the middle of the magazine, with a deluge of interestspecific Gift Guides offering an impartial helping hand for your Christmas shopping. We kick off with Food, followed by Books on p41, Tech on p42, and DVD way back on p53.
Review
20 Talking of films of the year, you could
get the jump on next year’s best films by heading to Glasgow Film Festival – we speak to its director to find out what makes the festival tick. Plus, Theatre meets Nassim Soleimanpour who tells us about his nomadic production, White Rabbit, Red Rabbit.
Food & Drink: Did you figure out that it’s Christmas yet? In case you weren’t sure, here’s everything you wanted to know about making the perfect Christmas dinner; plus, how to mull everything.
NOVEMBER
Family Concert
Rudolph on Hope Street Saturday 20 & Sunday 21 December 11.30am & 2.30pm Monday 22 December 2.30pm
Swinging in the New Year with Jacqui Dankworth
Wednesday 31 December 7.30pm
Disney Fantasia Live in Concert Saturday 3 January 2.30pm & 7.30pm
Box Office liverpoolphil.com 0151 709 3789
Contents
5
Y
O and welcome to a somewhat bumper Christmas edition of The Skinny. Rather than hide under our duvets listening to Serial or whatever it is the kids are into these days we have this year embraced the holiday season wholeheartedly, some might say maniacally, offering everything from to tips on how to moisten your turkey – an injection of milk and apple juice is recommended, apparently – to guidance on where to procure a phial of comparatively affordable beard oil (the jury’s out as to what that says about us, or indeed, you). And while personally I would recommend the fifth and most recent album from Taylor Swift, you may prefer to peruse the selections of gifts possibly more appropriate for your brethren, thoughtfully* compiled by our Film, Books, Food and Tech teams. *under duress. The Skinny writers and staff simply love having to start thinking about which albums and films they’ve most enjoyed over the past 12 months in October, so they voluntarily democratically put their heads together to come up with the lists you see adorning pages 10 to 18. We say lists, but we wouldn’t do that to you – over said eight freshly hashtagged pages, you may find analysis and reflections on artists and movies that have already found space in The Skinny over the past year, and others that have newly stepped into the spotlight (hello, The Lego Movie). Hopefully there’ll be some names in there you might have missed, and can take advantage of the holiday to check out. Elsewhere, our Comedy editor has rounded up some emergency replacement jokes for those shit crackers you bought; and in the latest in her series of ambitious, Icarus-like undertakings, our Art editor finds herself on a gin-fuelled Blackpool bender taking in as many of the major exhibitions on in the Northwest as she possibly can. Turn to page 28 to find out just how successful this was. Don’t worry – it’ll all be over in January. And while admittedly this issue may be stuffed to the gills with a) recommendations of undoubtedly desirable cultural artefacts that nevertheless cost money and b) advice on how to get pissed with the aid of spices, ultimately – and you might wanna get the biscuits for cheese out – the greatest gifts that can be given are of course
those of peace, love and understanding (awwwwwargggggh). But seriously: as every day our walk to work is populated with increasing numbers of those our society is failing, we would encourage you to join us in pausing amid the blizzard of lights and noise, and take a moment to extend the compassion and camaraderie of the season with those beyond family and friends. ANYWAY! Somewhere amid all this funny business is what you might consider our ‘normal’ stuff, though it’s no less diverting: Books speaks to Jung Chang about the changes she’s seen in China since she began writing poetry under Mao, where she had to rehearse and refine her phrases only in her mind, never committing them to paper; Film meets the wiley Ben Mendelsohn, who discusses his remarkable repertoire of characters on the edge; determined young company Jane the Foole speak to Theatre about gender equality on and around the stage; and in Clubs, Detroit techno head Robert Hood gets spiritual. And after all that, if you’re still stuck for something to do over the festive break – what do you mean, you’ve finally engineered a truce between your third cousin and your uncle’s Doberman Pinscher? – why not turn to page 7 to find out all about our very exciting Travel writing competition? We’re inviting submissions for our debut Travel edition, which comes out in February; before you embark on a new one, why not relate what you did last year with wit, panache, and a seismic hangover? From all at The Skinny, thanks for picking up this magazine – a very merry Christmas and a happy New Year to you. [Lauren Strain] x
www.jockmooney.com
Editorial
Spot the Difference
This month’s cover illustration is by Rachel Davey. An illustrator based in Liverpool, Rachel says, “I love creating weird worlds, crazy characters and am a bit pattern mad. I am also one half of Jonzo, a Risograph print and design studio also based in Liverpool.” www.racheldaveyillustration.co.uk @rachel_davey_ @hellojonzo
Check out these rabbits. Aren't they festive? This month we're offering one lucky person the chance to win a copy of In Real Life by Chris Killen courtesy of our good friends at Canongate. For your chance to nab it, head along to theskinny. co.uk/about/competitions and tell us what subtle difference sets these two bunnies apart. Competition closes midnight Sun 4 Jan. 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
BEST IN SHOW Here are a few of our favourite responses from September’s owl-based conundrum. If you’ve got some animals you’d like us to spot the difference between, email them to competitions@theskinny.co.uk.
Shot of the Month Bird at Eagle Inn, Fri 21 Nov, by Alexander Bell
6
Chat
The one on the right is a shy but determined yes voter (it's trying to conceal the well thumbed SNP whitepaper behind it) and the one on the left is a proud and staunch no voter just trying to protect his massive estate (in the background) from the anti-capitalist machinations of the Nationalists. Oh, and the one on the right's a fucking cat. – AM
Answer: There is no difference. We are all essentially part of the same owl and nothing matters. – CJ The one on the left prefers Radiohead's earlier material, while the one on the right leans towards the proggier stuff from Kid A onwards – PD Only one of them knows what's going on. – ET Scotland, Day 36 – no one suspects fowl play. The cat outfit is fooling everyone. – AO The owl on the left is hard as fuck, the one on the right is a bit of a pussy –M Hahaha. one purrs a lot and the other is a Hoot at a party. (cat and an owl in case you need me to be more specific!!!) I stay in Scotland – SR One is a cat... – HR
THE SKINNY
From 1 Dec, Manchester-based artist himHallows will perform a week-long live installation of his new artwork, Grand Tour, at Kosmonaut, culminating in a exhibition that’ll run in the Northern Quarter bar throughout December. Befitting of the venue’s name, the exhibition will draw on himHallows’ fascination with space – specifically the Voyager 1 and 2 spacecraft and their mission that began back in 1977. himhallows.co.uk
needs using? If so, you might be interested in joining the No Homers Club, which will be bringing together Simpsons-nuts to create a multidiscipline art exhibition inspired by Springfield, its people and its places. To send in a proposal, email sonofastonecutter@gmail.com. The deadline is 14 Dec. The exhibition will be held in Liverpool in Spring 2015. On 6 Dec – the biggest shopping day of the year, apparently – Small Business Saturday gives you the chance to get some Xmas shopping done and also celebrate Manchester’s small businesses. Everyone’s a winner! Included in the events is a pop-up market on Thomas Street in Manchester’s Northern Quarter, which will see a whole range
Travel Writers Wanted! In a bid to lift everyone’s spirits this winter, we’re launching a travel supplement in our February issue. As part of the special edition, we’re looking for short submissions telling favourite travel anecdotes in under 300 words. Make them funny, make them poignant, make them life-affirming or provocative, but most of all, make them readable. We’ll publish the best ones in our Feb edition, with more online. And there will be a lovely prize, on which more later. To enter, send your travel short to paul. mitchell@theskinny.co.uk by Friday 9 January.
Are you an artist with a profound love for The Simpsons and a shed-load of yellow paint that
Gein's Family Giftshop
Online Only
BALLS.
Eyes to the website
with Mystic Mark
Damien McGlynn
Clubs continues its love-in with Detroit (hello Robert Hood, p. 27) with a chat with metalhead Marshall Applewhite, and Axel Boman psychs us up for his collab with John Talabot (as Talaboman. See what they did there?)
December 2014
Who is RoboCop really? Is it, A) Aled Jones B) Alexei Sayle C) Alex Murphy? (Here’s that full list of what you could win! The Skinny's Albums of 2014: 1. Warpaint – Warpaint 2. The Twilight Sad – Nobody Wants to Be Here and Nobody Wants to Leave 3. St Vincent – St Vincent 4. The War on Drugs – Lost in the Dream 5. Angel Olsen – Burn Your Fire For No Witness 6. Mogwai – Rave Tapes 7. FKA Twigs – LP1 8. The Afghan Whigs – Do to the Beast 9. The Phantom Band – Strange Friend 10. Young Fathers – DEAD)
ARIES like to experiment in the bed Arians room, and are no stranger to introducing sex toys such a vibrators, handcuffs, car batteries and groin-mounted rat Thunderdomes.
Shit! You forgot the bacon-flavoured toothpaste for your stocking. Never fear: our Food and Drink team are on hand to advise you the hows, wheres and, more importantly, whys of purchasing those last-minute instant cheese slicers, carrot sharpeners and egg-cubers. Mmm, cubed eggs. theskinny.co.uk/food
And finally, the artists and illustrators we’ve had the joy of working with over the past few years sent us SO MANY Christmas cards (see right) that we couldn’t fit them all in this paper – check out their by turns delightful, disturbing and downright doolally designs over at theskinny.co.uk/art
WIN OUR ALBUMS OF 2014! Our friends at Fopp have 10 albums, yes that’s our entire critically acclaimed (in these pages anyway) top 10 of the year, to give to one lucky reader. For your chance to win, simply head along to theskinny.co.uk/ about/competitions and correctly answer this sophisticated festive question:
of arts, crafts and delicious food on offer. Follow the hashers #SmallBizSatMCR on Twitter to find out what’s going on.
Hayley Ellis invites you to Ellis’ Christmas House Party on 14 Dec – although cheekily she’s not using her own gaff, it’s at Three Minute Theatre, so don’t trash the place. Some of her comedy pals will be along too, including Skinny faves like sketch trio Gein's Family Giftshop, deadpan surrealist Liam Bolton and king of one-liners Danny Sutcliffe.
As gaming exhibition Game Masters comes to Europe for the first time, pitching up at the National Museum of Scotland with over 100 playable games and showcasing the work of more than 30 top videogame designers, our Scottish sister paper have pulled together a load of fascinating reading for gamers and beyond. theskinny.co.uk/tech
Illustration: Ria Fell
No Homers Club
Photo: Debs Marsden
Guerrilla Eats aren’t just mad about food. They love beer too! To get you in the festive spirit, they’re assembling keg and cask lines of some of the finest local craft breweries – including Magic Rock, Quantum and First Chop – for a Xmas Beer Bash on 19 Dec at their usual spot on Blossom Street, Ancoats. There’ll also be a carry-out bottle bar for you to stock up on your Christmas supplies, and the usual smattering of the Northwest’s best street food traders to keep you going as you work your way through those ales. guerrillaeats.co.uk
Emer Tumilty
TAURUS You like to think your body is clean but you’ve never once washed the inside of your stinking balls. It stinks in there. GEMINI You tell the man at your job interview that you work great by yourself, as part of a team, or submerged in a mass of sentient jelly. CANCER The robot dad you built out of Meccano on Christmas Day pops out to the shop for a packet of cigarettes and you never see him again.
LEO You know it’s Christmas when the popup adverts from your porn searches feature snow and holly on them.
VIRGO This month you are part of a team that successfully bring dinosaur legs back to life.
Competition closes midnight Sunday 4 January. Winners will be notified via email within two working days of closing and will be required to respond within 48 hours or the prize will be offered to another entrant. Our Ts&Cs can be found at www.theskinny.co.uk/about/terms Fopp store: Brown Street, Manchester www.fopp.co.uk @foppofficial
LIBRA The most important gift anyone can give at Christmas is presents. Lovely expensive presents.
SCORPIO This month you lay a demon egg.
SAGITTARIUS On the way home you pop into Boots to see if they have any more ostrich lube.
CAPRICORN Your offer of a handjob only angers the arresting officer further and attempting to bribe a policeman is added to your long list of charges.
AQUARIUS For the Lord said: “Come unto me, but keep it out of my eyes.�
PISCES It’s easy to forget these days, but the real meaning of Christmas is to BULK UP and increase MUSCLE.
twitter.com/themysticmark
Chat
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Franz Lehár's classic opera The Merry Widow comes to the RNCM, its colourful narrative centred against the backstory of the small, struggling Balkan state of Pontevedro, whose entire GDP has ended up in the young widow’s jewellery drawer. Royal Northern College of Music, Manchester, various dates between 3-13 Dec, from £20 The Merry Widow
Shobna Gulati
Sun 7 Dec
Mon 8 Dec
Tue 9 Dec
A smaller sibling of the Great Northern Contemporary Craft Fair, The Little Northern Contemporary Craft Fair nevertheless brings more than 40 of the finest practitioners and tradespeople from the region together, to sell a variety of homemade items perfect for Christmas. Altrincham Grammar School for Boys, 10am, Free
Two generations of acoustic wizardry collide for Mellowtone as Michael Chapman and James Blackshaw play a co-headline show. Chapman is a veteran folk songwriter, who can count Thurston Moore among his fans; Blackshaw is a virtuoso who can boast commissions by Yann Tiersen and tours with Swans on his CV. Leaf, Liverpool, 8pm, £12.50
Slava's Snowshow pitches up in Salford for its annual bonanza of confettilike explosions, colourful set-pieces and beguiling trickery. A show all about the spectacle, it can range from a cobweb enveloping the audience, to one tiny piece of paper beginning a heart-stopping blizzard of snow. The Lowry, Salford, 9-13 Dec, times and prices vary
Jennie Gill
Image: Aaron Groves
Christmas is upon us! Alongside traditional festive fun (including The Hallé presenting The Snowman), you can also expect some righteous endof-year parties (Swing Ting, Pagoda) and a smattering of comedians still toiling hard in the name of laughter.
White Rabbit Red Rabbit is a play by conscientious objector, Nassim Soleimanpour. Forbidden to leave his own country, Soleimanpour has written in English a piece that requires no director, no set and a different actor for each performance. Manchester's opening night will be performed by Shobna Gulati. Contact, Manchester, 2-3 Dec, 7.30pm, £9 (£5)
Photo: Veronique Vial
Compiled by: Simon Jay Catling
Wed 3 Dec
Slava's Snowshow
Michael Chapman
Sun 14 Dec
Mon 15 Dec
Tue 16 Dec
A truly RAD Christmas Double Bill sees a perfectly matched screen pairing of National Lampoon's Christmas Vacation and the Arnie-starring Jingle All the Way. Will Arnie be able to get his son the perfect Christmas toy? Of course he will – it's a Hollywood Christmas film! Gorilla, Manchester, 2pm, £8
The Manchester Shakespeare Company return for their third production, offering a twisted and riotous take on the Bard's classic Twelfth Night with their own Twelve Nights, telling the story of Horsina Pilton, a rich, successful businesswoman who’s desperately lovesick for the dishy film actor Oliver De Tabloids. Three Minute Theatre, Manchester, 7pm, £9 (£8)
A Laughterhouse special sees renowned funnyman Reginald D Hunter – whose sharp tongue and dray sardonic wit have, on the odd occasion, gotten him into a spot of bother in the past – call in for a festive show. Laughterhouse Comedy Club at The Slaughter House, Liverpool, 16-17 Dec, £18
Reginald D Hunter
Twelve Nights
Jingle All the Way
Tue 23 Dec
The final Swing Ting of the year sees the collective's revered MC Fox celebrate his 60th year on planet earth. All the 'Ting residents, including Samrai and Joey B, are going to be on hand to provide the birthday bumps for this most momentous of parties. Soup Kitchen, Manchester, 11pm, £5 (members free)
Today marks the last chance for you to stock up on your stollen, eat an oversized bratwurst or, um, buy one of those incongruous vinyl-shaped clocks. That's right, it's the last day of the Manchester Christmas Markets! You're cutting it fine if you've not got all your presents by now. City centre locations, Manchester, 9am, Free
Following the release of their third LP Herd Runners earlier this year, the Simon Aldred-fronted Cherry Ghost have announced a pair of Northwest Christmas shows to see out 2014, with this Kazimier slot following up a set at Band on the Wall the night prior. The Kazimier, Liverpool, 7.30pm, £15
The ultimate animated Christmas classic, The Snowman is given the live score treatment by The Hallé orchestra. A screening of the film short – adapted from Raymond Briggs' initial tale – will be accompanied by a no-doubt soaring rendition of Howard Blake's graceful arrangements. Bridgewater Hall, Manchester, times vary, £22 (£14)
Swing Ting
Manchester Christmas Markets
Cherry Ghost
Sat 27 Dec
Sun 28 Dec
Mon 29 Dec
Comedian Alex Boardman can bizzarely count being a warm-up for Paul Hollywood's Great British BakeOff tour among his diverse CV. The man certainly deserves respect for getting back on stage just two days after Christmas day, although perhaps laughter is the best exercise to shift the post-turkey stodge. Comedy Central at Baby Blue, Liverpool, 6pm, £18
It's the last chance to catch the Lawrence Batley Theatre's typically excellent festive offering, which this year is Olivier Award-winning writer Mike Kenny's update of the classic Aesop fable, The Boy Who Cried Wolf. Don't lie, else you'll get eaten by a wolf is the jist. Lawrence Batley Theatre, Huddersfield, times vary, from £10
Post-Christmas is the perfect time to catch up on any art shows you might've missed this year – such as DaDaFest's Art of the Lived Experiment. This group show takes inspiration from alchemy and explores whether an artist’s own subjectivity can be incorporated into their work. The Bluecoat, Liverpool, until 11 Jan, Free
Alex Boardman
8
Chat
The Boy Who Cried Wolf
The Snowman
Art of the Lived Experiment
THE SKINNY
Image: Snowman Enterprises Ltd
Mon 22 Dec
Photo: Mark Waugh
Sun 21 Dec
Photo: Kate Cooper
Sat 20 Dec
Photo: Jon Barraclough
Heads Up
Tue 2 Dec
Fri 5 Dec
Sat 6 Dec
When band members began falling by the wayside, it looked like the end for Los Campesinos! But here they are, eight years on, their indie-pop still as bright and bratty as ever, with their last album No Blues even breaching the UK top 40 in 2013. Sound Control, Manchester, 7.30pm, £12.50
Castlefield Art Gallery was never going to settle into easy nostalgia when it came to celebrating its 30th birthday. 30 Years of the Future sees artists who've previously exhibited at the space nominate others who they feel are at the cutting edge of contemporary art, to showcase their work. Castlefield Art Gallery, Manchester, 5 Dec-1 Feb, Free
The right and proper folk at Pagoda host their final free party of the year, going out with a bang with the help of Ruf Kutz producer Glowing Palms, who'll be sure to bring with him a funky blend of 80s-themed disco and house. 24 Kitchen Street, Liverpool, 10pm, Free (£3 after midnight)
Jay Delves - Training in Falling (2013)
Thu 11 Dec
Fri 12 Dec
Sat 13 Dec
As part of Human Rights Day (something that, for now at least, we thankfully still have in the UK), Musicians Without Borders present a special Acoustic Amnesty show. The evening features Stone Flowers, a group made up of refugees who've gone on to crowdsource enough funding to record their debut album. Sacred Trinity Church, Salford, 7.30pm, £8
Arguably the funniest Geordie to have ever lived, Ross Noble has managed to become a near-household name without losing any of his anarchic, often improvised wit. Those who struggle with multiple plots, be warned: Noble isn't a man to keep to a single tangent. Philharmonic Hall, Liverpool, 8pm, from £25
A pair of emo power-punk comebacks sees Norway's Beezewax and Liverpool's own Grampus 8 return, several years after they last completed their noisey critical ascent. If that's not enough, Superchunk-inspired pop punks Good Grief are among the supports, as are Mersey brethren Caves. Maguire's Pizza Bar, Liverpool, 7.30pm, £5
With much talk of venues facing closure in Liverpool, it's refreshing to have one open. The Invisible Wind Factory opening party provides a first unveiling of the docklandbased renovated space, with the former factory opening its doors to local analogue-driven experimentalists Dogshow. The Invisible Wind Factory, Liverpool, 9pm, £10
Ross Noble
Stone Flowers
Beezewax
Photo: Julia Naglestad
Wed 10 Dec
Dogshow Greg Wilson
Wed 17 Dec
Thu 18 Dec
Fri 19 Dec
Christmas is all about giving, of course, and there aren't many bigger festive charity events on Merseyside than Radio City's annual Christmas Carol Concert. Several local groups come together for a night of festive fun and fundraising for the Cash for Kids charity. Anglican Cathedral, Liverpool, 7pm, £5
Prolific Chinese video artist Sun Xun launches his new exhibition, Stately Shadows, featuring the UK premiere of recent video piece What Happened in the Year of the Dragon? – originally created for his Brave New World exhibition as a response to Aldous Huxley's novel of the same name. Centre for Contemporary Chinese Art, Manchester, 18 Dec-22 Mar, Free
It's the final night at the pop-up Great Northern Playhouse, which also means it's the final chance to enjoy A Christmas Carol. Food and drink courtesy of the Manchester Catering Company accompanies this classic tale of Ebeneezer Scrooge's volte-face to the festive side. Great Northern Playhouse, Manchester, 7.30pm, £35
Sun Xun - A Historic Moment (2014)
Liverpool Anglican Cathedral
A Christmas Carol
Thu 25 Dec
Fri 26 Dec
Sure, there's the unmitigated horror of Michael Caine attempting to sing, but apart from that we defy anyone to claim a more heartwarming, rib-ticklingly funny family Christmas film than The Muppet Christmas Carol. Caine is Scrooge, Gonzo is Charles Dickens. Bless us. Every one. FACT, Liverpool, 1pm, £9
Merry Christmas from all of us here at The Skinny! The only event we'll be partaking in is the choreographed performance piece 'To Stealthily Unbuckle a Groaning Belt', to take place at our parents' dinner table. Whatever you choose to do today we hope you have a wonderful time.
As most of us tuck into the first of two weeks' worth of cold turkey sandwiches, Craig Charles is making the most of being back home to bring his legendary Funk'n'Soul Club to Liverpool. It's still a Friday after all. The Shipping Forecast, Liverpool, 10pm, prices vary
Illustration: Thomas Hedger
Wed 24 Dec
The Muppet Christmas Carol
Craig Charles
Wed 31 Dec
Thu 1 Jan
It's The Hallé's final concert of the year and they're going to let their collective hair down and have a ruddy disco. Expect orchestrally suited and booted versions of Kool & the Gang, Sister Sledge and Bee Gees classics, as well as many other 70s favourites. Bridgewater Hall, Manchester, 7.30pm, from £17
Having released probably one of 2014's finest LPs in Angels & Devils, who better to see the year out than Ninja Tune mainstay The Bug? He's joined by regular collaborator Flowdan on vocals, for a no-doubt blistering year's finale. Don't expect any Auld Lang Syne. Islington Mill, Salford, 10pm, from £20
We've not featured much of The Warehouse Project in Heads Up lately, mainly because it keeps selling out before we've reached for our keyboard – but they shut the door on their return to Store Street with the mother all lineups, with a b2b Daphni and Four Tet set among the many highlights. The Warehouse Project, (Store Street), Manchester, 5pm, £45
The Bug
The Warehouse Project
Disco Inferno
December 2014
Photo: Tom Connolly
Tue 30 Dec
Chat
9
Photo: David Howarth
Glowing Palms
Photo: Flanagan Collective
Los Campesinos!
Photo: John Lewis
Thu 4 Dec
Albums of the Year Our Music team laughed in the face of democracy’s failings and compiled this handy guide to the best records we heard over these last 12 months. Then asked for your opinion just in case
#10
When The Skinny last spoke to Young Fathers at the start of the year, their triumphs at the SAY and Mercury awards lay ahead of them. Now, ten months on from releasing their remarkable debut album DEAD, they remain just as hungry for success Interview: Chris McCall
A
s the late Soho dandy Sebastian Horsley once observed, it’s essential to piss off the right people in life. Young Fathers may not have intended to annoy a sizable section of London’s music hacks following their Mercury win in October, but it’s unlikely they’re bothered. The Leith-based trio have enjoyed an extraordinary year following the release of their dazzling full-length debut album, DEAD, which has seen their international profile soar. But when Nick Grimshaw announced the band as winners of the Mercury Prize at Camden’s Roundhouse, there was – judging by some of the debate that subsequently appeared online and in print – a sense of bafflement among some music industry observers. While it’s par for the course that an outsider wins at this event, it’s usually an act based in or around London who’s already on speaking terms with media pundits. The technicolor, bass-heavy sound created
by Alloysious Massaquoi, Kayus Bankole and G Hasting has been variously described as like De La Soul, Method Man or a psychedelic boy band throughout Young Fathers’ various incarnations thus far. Whichever genre-based sloganeering you want to slap on its back, DEAD was a worthy winner. But in the aftermath of their win, the major talking point was not this stand-out record but the fact the group had chosen not to speak to several correspondents representing right-ofcentre tabloid newspapers. “Life is a compromise and especially in the music business,” explains Massaquoi. “But if you find yourself in any given situation where you don’t have to make a compromise then don’t. It’s as simple as that. As a group we have a knack for learning and putting ourselves in uncomfortable situations over and over again. So much so it becomes normalised. Whether it be in creating the music, performances or in a media circus.”
Signature Moves
Photo: John Graham
A Year of No Compromise
“We have a knack for learning and putting ourselves in uncomfortable situations over and over again” Alloysious Massaquoi
Young Fathers have yet to decide how to spend their £20,000 prize money – “the cheque is still lying around” – but they gained most satisfaction from their performance on the night. “We were recording in the studio at the time and our manager mentioned it briefly to us that we had been nominated,” Massaquoi continues. “We were like ‘That’s good... now let’s get back to recording.’ After winning the award the mood was the same – it was definitely a positive thing for
the group as more people will tune in to us. But the main focus throughout was the performance. We came across well and that was it. End of.” The group made no bones about their desire to become popular when we spoke to them ahead of the record’s release in January. Ten months on, there’s still an understated sense of urgency in the camp. “You get there when you get there,” Massaquoi says now. “Creative people are never satisfied.” Young Fathers are currently in Berlin to record the follow-up LP to DEAD. “It’s going well. Once everything is done we can get a better perspective on it. There will be an album release in the early part of next year.” What more can expect from the trio in 2015? “The crossover album. A UK/American tour, and parts of Africa too. More interviews and more work.” Their work is finally being rewarded, perhaps, but Young Fathers remain unwaveringly occupied by the task at hand. Young Fathers – DEAD (Big Dada/Anticon) young-fathers.com
#9 Photo: John Duncan
With Strange Friend cementing a hat-trick, we spoke to Rick Anthony and Duncan Marquiss of The Phantom Band for a look back at their glorious trilogy and a glance to the road ahead Interview: Darren Carle
W
ith a gap of almost four years, the wait for The Phantom Band’s third long-player felt particularly arduous after the sucker punch of 2009’s debut Checkmate Savage and the swinging haymaker of 2010’s The Wants. Yet if the hiatus was enough time to pick ourselves up off the floor, shake our heads clear and open our bloodcaked eyes again, then our first sight was that of Strange Friend coming right back at us with a flying neck-breaker. Hopefully such a lowbrow introduction will go down well with the boys, being keen as they are for listeners not to overthink their output. “We get frustrated if people talk about how ‘cerebral’ our music is or how it’s like an intellectual exercise,” claims frontman Rick Anthony. “That has never, ever been our intention, so this time there was a desire to make that more apparent.” Guitarist Duncan Marquiss expands on this while showing the Glaswegian sextet are unlikely to rest on their laurels. “It feels closer to how we play live than The Wants or Checkmate Savage did,” he offers. “We’re getting a bit closer to making a Phantom Band record.”
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Feature
“I’m not sure we could ever not sound like The Phantom Band, even if we went death metal” Rick Anthony
After the darker, claustrophobic brood of The Wants, Strange Friend signalled a bit of a return to The Phantoms’ roots, drawing more flattering comparisons with Checkmate Savage’s lighter touch and playful nuances. “I would probably agree to an extent,” says Anthony of the general perception amongst listeners. “Strange Friend is certainly a little more ‘up’ in mood than
The Wants was. I think all three have their own atmosphere. They’re all in the same country but Checkmate and Strange Friend have more similar postcodes.” It’s a fitting analogy for a band who, more than most, sound in and of themselves more than any external influence. Strange Friend continues in such a vein, being something of a measured progression while maintaining that core eclectic, indefinable sound we’ve come to love. “I’m not sure we could ever not sound like The Phantom Band, even if we went death metal,” claims Anthony. “There is a degree to which you need to accept what the band is and what it’s good at and play to those strengths rather than try and force it to be something other.” However, ‘something other’ is perhaps what The Phantoms will be offering fans in January with Fears Trending, seven tracks largely gathered from the Strange Friend sessions that didn’t quite feel at home on the record. “Maybe it’s the evil twin of Strange Friend,” suggests Marquiss
MUSIC
with regards to the anagram title. “They’re stranger friends, oddball vestiges and hybrids.” Anthony is less dramatic. “There was a desire with Strange Friend to come back with no baggage attached and release a record that seemed really straight to the point,” he says. “This record is straight to the point too, but it’s just making a different point.” One point to take from Fears Trending is how rich, varied and enchanting a record it is in its own right, further highlighting the quality of its parent album. It seems futile to fight it. Just over half a year since Strange Friend, The Phantom Band are careening towards us, arms flailing as they gear up for a devastating windmill punch. We submit! The Phantom Band – Strange Friend (Chemikal Underground). phantomband.co.uk
THE SKINNY
Crime Scene Part Two
#8 Photo: Ross Gilmore
With their first album in 16 years, The Afghan Whigs proved that style never goes out of fashion. Greg Dulli looks back over an eventful year Interview: Gary Kaill
A
ll told, it was a league apart from your typical, cynical reformation. When The Afghan Whigs amicably called it a day in 2001, their reasons (geography, family) were such that regrouping at some point couldn’t be ruled out. So when they stepped back on stage for a run of shows in 2012, that seed was surely sown. A rejuvenated Greg Dulli and fellow founding member John Curly (alongside longstanding guitarist Rick McCollum) received rave notices for their new touring lineup. Would new material be forthcoming? Whigs fans crossed everything. They got their wish this past April with the release of Do to the Beast, a scorching reminder that Dulli still knows better than most how to conjure up a uniquely soulinfluenced blend of guitar rock. The Whigs were back and – surprise, surprise – taking prisoners wasn’t an option. Dullli calls The Skinny from New Orleans to discuss the album, taking a moment before answering each question passionately and at length. As ever, even down a transatlantic telephone line, he’s a compelling presence and a class apart. He takes up the story of the album’s
origins: “Here’s the thing: John Curley has always been a big supporter of mine and I would send him my songs before I let anyone else hear them. He’s remained a great sounding board even when we weren’t in a band together. I’ve always had a collaborative friendship with John and once we’d decided to make a record, we did three tracking sessions over the summer of 2013 and I was mixing the record by the end of the year. It happened really quickly and organically and so I took that as a sign that it was meant to be.” With his new record finding a top ten position in The Skinny’s albums of the year, what new music did Dulli enjoy in 2014? “Oh I liked a whole bunch of records this year,” he says. “I really like this band called Protomartyr, out of Detroit. They put out an album called under Color of Official Right. The Sinkane record, Mean Love. Love that record. Oh, and my dear friend Mark Lanegan released one of the greatest records he’s ever made this year. Knowing him and being so close to him and watching him develop has been fascinating.”
“There’s no backstory to invent. It is what it is” Greg Dulli
We close by reflecting further on a remarkable return and a “hugely joyous, hugely satisfying year” for The Afghan Whigs. “Every night we play,” Dulli continues, “we play pretty much the entire album. The audiences have been wildly accepting of the new songs and that’s how it should be. It’s really the only way I would have done this. You continue on doing what you’ve always done or you have the decency to offer your audience something new. John and I started the band. So it’s no disrespect to Rick [McCollum, original guitarist
but not currently part of the group] or any of the eighteen drummers we’ve had over the years, but I’ve known John since we were teenagers. There’s something incalculable about playing with someone you’ve known that long. There’s no backstory to invent. It is what it is. It’s been a really exciting year – we’re gonna play another European run next year and we’re really looking forward to it.” Is it too soon to ask about their next steps in the studio? “Well I’m in New Orleans right now and we’re working on an EP,” Dulli reveals. “We’re very much an ongoing concern. I’m still going to do other things but I love this group and I do love playing with these guys, so it’s absolutely an ongoing concern. How quickly something will come out, album-wise, I have no idea, but we’re here. And we’re going nowhere.” The Afghan Whigs – Do to the Beast (Sub Pop) theafghanwhigs.com
For Those About to Twig
#7
Six months on, FKA Twigs’ commanding debut LP1 will still make you work for it. Complicated, heated and completely rewarding, Twigs transcends R&B in her “own damn way” Interview: Katie Hawthorne
I
n 2014 FKA Twigs has starred in a much-debated Google Glass endorsement, been the bookies’ front-runner for the prestigious Mercury Prize (although was eventually pipped at the post by Edinburgh’s own Young Fathers), and her relationship with the world’s most famous vampire (R-Patz) saw her attacked by a shockingly racist Twi-hard-led Twitter storm. But, more importantly, in among all this noise, Twigs – aka Tahliah Barnett – released a jaw-droppingly innovative debut album.
Photo: Kirstin Kerr
“This is R&B for libidinous future aliens”
December 2014
LP1 dropped in August and saw Barnett become a critics’ darling. In a year that’s been pockmarked by artists misguidedly dabbling in retro-kitsch synthy-y R&B, LP1 is an album that stuffs two fingers up at all that 90s-infused nonsense in favour of a genuinely futuristic gaze. Dark, deep and heated, the record fidgets and fascinates, scattering ideas and beats across a tasting platter of almost-industrially-tinged kindof-trip-hop. This year’s mainstream media fizz has worked hard to make Tahliah Barnett, the woman from Gloucestershire, a little less of a mystery.
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But when Barnett performs, the artist formerly known as Twigs becomes an entirely different being – hypnotic, theatrical and completely in control. Lyrically blue and brazenly vulnerable, Barnett wraps her NSFW sentiments in a smokescreen of angelic, pearlescent vocals. When she commands “motherfucker get your mouth open, you know you’re mine” on lead track Two Weeks, she does it with such wide-eyed, unabashed aplomb that, somewhere, Prince must be nodding approvingly. Twigs talks about sex in a manner so intensely personal that it becomes almost confrontational: whispered confessions and half-heard intimacies are sharpened by Barnett’s assertive autonomy: “I just touch myself and say, I’ll make my own damn way.” And come the end of the year FKA Twigs is singular, still. This is R&B for libidinous future aliens, the genre reworked and transcended by Twigs’ incisive, precise deliberateness. LP1 is soulful, unafraid to get slow, and – six months on – it’s still insistently hard to grasp. That’s the best part, though, because we’re all still many steps behind Tahliah Barnett’s individual brand of quirk. FKA Twigs – LP1 (XL Recordings) fkatwi.gs
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Remurder Ballads #6
Mogwai’s latest opus Rave Tapes saw them applying electronic menace to their beguiling post-rock template, before unexpectedly yet heroically gatecrashing the charts. Stuart Braithwaite discusses the album and beyond Interview: Will Fitzpatrick ll things considered, it’s been quite a year for Mogwai. By anyone’s standards, their eighth ‘proper’ album Rave Tapes was a certifiable success, drawing near-ubiquitous praise across an increasingly fractured music press and crashing the UK top ten in the process. “A pulse-quickening return from a band that’s still evolving, and still amazing,” cried these very pages, while triumphant performances at Glastonbury and London’s Royal Festival Hall provided the sumptuous icing to an already-well-garnished cake. And if that wasn’t enough, the Glasgow quintet look set to crown 2014 with yet another exemplary release, in the form of new EP Music Industry 3 Fitness Industry 1. Impressed? You will be. Guitarist, de facto leader and occasional singer Stuart Braithwaite isn’t letting it go to his head, of course. “We just write the best music we can and see what happens,” he explains cheerfully, leaving The Skinny pondering how deliberate their sonic experiments have ever been. What of their new-found electronic focus? “The truth is that Barry got a modular synth and the songs he wrote with it were the mainstay of the album. There wasn’t any planning to speak of. It’s always nice when it looks like we had a plan though.”
“It’s always nice when it looks like we had a plan”
Photo: Jassy Earl
A
Stuart Braithwaite
Any Mogwai album will inevitably introduce new cornerstones to their blisteringly loud live sets, and the blood-pumping horror of advance track Remurdered seems to have slashed its way to becoming a particular fan favourite. Do these mainstays become obvious during the writing process, we wonder? “It’s a bit random, to be honest,” Stuart admits. “I thought people would like that song, which is one of the reasons we put it out first. That said, there have been other songs I thought people would be into which didn’t work so well. The opposite has happened a few times too.” Deliberate or no, Remurdered is one of several tracks on Rave Tapes to invite comparisons
Blaze of Glory
to the soundtrack work of Vangelis and John Carpenter. Of course, the mighty ’Gwai are far from strangers to this subtle art, having scored Darren Aronofsky’s The Fountain and Douglas Gordon’s portrait documentary Zidane, as well as being nominated for this year’s SAY Award thanks to their work on acclaimed supernatural TV drama Les Revenants. This aspect of Mogwai’s extraordinary oeuvre shows no signs of slowing: “We have a pretty busy soundtrack schedule over the next year – the second series of Les Revenants, as well as another few films. So far the projects we’ve worked on have been quite compatible with our musical style so we haven’t had to change too much. I’m sure that’ll change in the future though.”
Speaking of which, 2015 will mark the 20th anniversary of Mogwai’s existence as a band. A marvellous achievement, some might suggest, although Stuart’s stoicism remains uncowed. Almost. “I’m normally pretty unsentimental, but I think that us continuously making music for twenty years is pretty remarkable,” he concludes, adding that the band have “a few things planned to mark the occasion.” From one memorable year to another, then. Rave on.
off the grid from everyone and I haven’t answered the phone in weeks – because when I’m in the mode, it is the most complete experience.” It’s the Olsen live experience, though, that best demonstrates her developing artistry. Her second UK tour of the year saw her audience grow and venues upgraded. Onstage, she’s almost inscrutable – a serious and studied performer. At her Manchester show, there were catcalls from the audience, caused perhaps by a late start as much as by alcohol. It seemed to unsettle her on the night, but it’s something Olsen now recalls with amusement: “Well, the man in the back told me he had a bus to catch, and I thought it was a very funny thing to yell out at a show. He then said ‘Play Unfucktheworld!’ so in a way, I was relieved. I try to do all I can to perform well for people who are coming to see me and my friends. I want to also give them an honest performance. I’m not going to play the album front to back. It’s not how I like to do things. I’m not trying to replicate a recording. I want to exist on the stage inside these songs. But of course sometimes when people interact or we mess up, there’s a bit
of humanity and irreplaceable realness in that as well and I am not ashamed or afraid of experiencing that when it happens.” Talk turns to the future. A newly-expanded version of Burn Your Fire For No Witness seems the perfect entry point for those playing catchup but Olsen is hesitant to claim the new material offers any clue as to her future direction. “The songs released on the extended edition don’t necessarily follow any chronological order,” she says. “May As Well was written the summer before Half way Home was released.” And with the album campaign continuing (US through December, Australia and New Zealand in the new year), will UK audiences get to her see her again? “I’m not sure. I’m gonna sleep a lot and think a lot and do some crazy shit with some friends. I hope to swing by!”
Mogwai – Rave Tapes (Rock Action) mogwai.co.uk
#5
With her second album winning over UK audiences, Angel Olsen explains how collaboration is the key that unlocks her singular vision Interview: Gary Kaill
he clues were there all along, perhaps: her 2013 debut Half Way Home gave notice of a unique voice in every sense of the word. Laid bare on follow-up Burn Your Fire For No Witness, that voice fuelled her best work to date. Supported by stark, elegant poetics and spectral melodies, it cemented her place in the hearts of UK audiences in 2014. With the sound suddenly fuller, and her live shows fired by a crack touring band, Angel Olsen became a hugely relatable artist. “It surprises me,” she admits. “I feel like I haven’t had much time to reflect on what’s breaking through to people. I have been really busy working with the band and making plans for the future but I never know what to expect, even now.” The genre-hopping Burn Your Fire For No Witness resists compartmentalisation. Those keen to file Olsen away as nu-Nashville had their hopes dashed with her newly-electrified sound. Lead single Forgiven/Forgotten was as much Liz Phair as it was Loretta Lynn, but Olsen’s fuller arrangements were arrived at organically: “Well I never woke up knowing what my next project would sound like, nor did I have a vision. I just found myself writing a lot following the release of Half Way Home, and by then I had met Josh [Jaeger – drums] and Stew [Bronaugh – guitar]. We started playing my older songs and Half Way Home live with some of the newer, not yet recorded, material and it synched really well. Eventually you hear their personalities brought to the songs in Burn Your Fire For No Witness. It was a very natural change. I wrote the structure and they would add to it.” She’s gracious about their contribution: “They gave my songs new elements.”
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Feature
It is, however, fair to say that Burn Your Fire For No Witness is probably not for everyone. Olsen eschews the sugary elements that might have propelled her record deeper into the public consciousness. Where a lesser artist might bulk up the sound with warm keys and cheap strings, it’s often spare, elementary, raw. Her voice – a remarkable, craggy instrument, all treble and vibrato – is upfront and exposed, often brutally so. Presentation and styling aside, the songs
“I want to exist on the stage inside these songs” Angel Olsen
survive – bloom, even. “I feel like each song was written and then recorded based on the style of the words or the point of the conversation it was leading,” Olsen explains. “And so I was hoping to cover different tones through that process as well. I wanted to make something that could be listened to as a whole. I’m always writing words and melodies but not always at once. I’ve spent months in the past without writing one thing, but I’ve made the effort this year to keep in practice even when it’s not for music. My dream is to have a room that I’m in for hours or days drinking iced coffee and recording with wires and microphones everywhere. To be at that point where I’m
Photo: Vito Andreoni
T
MUSIC
Angel Olsen – Burn Your Fire for No Witness angelolsen.com
THE SKINNY
SAT 29 NOV 10PM 18+
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FT. TEN WALLS (LIVE), YOUSEF, MATTHIAS TANZMANN, PATRICK TOPPING, ACID MONDAYS THURS 4 DEC 7.30PM £10 ADV
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December 2014
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THE SKINNY
Funeral for a Friend
#4
A confident fourth album, a fierce new visual style, a band that is – by one account – the best in the world... St. Vincent has had a pretty good year, all told
“I
wanted to make a party record you could play at a funeral.” That’s how St. Vincent, known to her parents as Annie Clark, announced her self-titled fourth solo album at the end of last year, succinctly self-summarising an artist who always seemed to thrive in that in-between: hovering between light and dark.
“I wanted to make an audio scrapbook of where I’d been, just so that it felt even more real” Annie Clark
With one hand, St. Vincent offers lyrics that seem to scoff cynically at the world (‘Oh what an ordinary day... take out the garbage,
masturbate’), often plummeting into a certain brand of gloominess (‘Morning, pry the windows open, let in what’s so terrifying...’) that jars. And with the other hand, she presents a singular version of spiky pop-rock, thrown recklessly into a blender of styles: funk, baroque, noise, punk, and new-wave (the similarities with frequent collaborator David Byrne are obvious). Bleak, pessimistic words are aligned to ferociously funky rhythms, sometimes only, it seems, for the simple and cathartic purpose of dancing. If there has to be funeral, you’d want Annie Clark hosting the wake. No stranger to these pages (she topped The Skinny’s year-end poll with Strange Mercy in 2011), Clark told us back in August that she took a mere 36 hours of holiday from the end of her last tour, before deciding to springboard straight into work on album number four. 2014, you could argue, has been something of an annus mirabilis for the Texas-born musician. There have been no accidents. The year seemed to usher in an era of new-found self-confidence, borne out in a series of carefully stage-managed moves for St. Vincent, the pseudonym, the band, the art project, or all of the above. Clark bleached her hair, for one thing, transforming her black curly locks into a shock of white, and started wearing clothes that
Playing the Classics
Photo: Ross Gilmore
Interview: John Nugent
appeared to be from another time and place entirely, all angles and pastel hues. This aesthetic continued in her music video for first single Digital Witness: a dazzling, bizarre, Lynchian future-vision, in which you find yourself looking for meaning in a head movement or a blink. She also enlisted a choreographer to prescribe strange, specific, jaunty new dance moves for her and her band during their lengthy tours, dance moves she’s described as “violent and weird, a celebration and fight at the same time.” And then, most importantly, she released her fourth album, in some ways her most personal – it is self-titled, after all – but also her most barnstorming, laced with attitude and dark mystery (the track Severed Crossed Fingers,
for example, seems to be a terrifying eulogy for Clark’s own future). In July, Vice magazine called St. Vincent the “best rock band in the world.” In all the critical fuss, St. Vincent has not quite translated to chart-bothering mainstream success; the latest record did not quite crack the top 20 in the UK. Her experimental art-rock stylings seem destined to leave Annie Clark the eternal outsider. You get the impression she wouldn’t have it any other way.
For a while there, I would get up in the morning, make coffee and sit there for hours and play piano, sometimes pressing record, sometimes not.” Lost in the Dream has proven to be his most naked expression of that yet. Red Eyes was a natural pre-album single, The War on Drugs’ most immediate work to date and an irresistibly euphoric ascent through widescreen rock’s most instantaneously rejuvenating effects. Eyes to the Wind feels at once deeply personal and yet completely opaque, allowing the listener to map their own nostalgic path through its narrative even as its creator explores his. There’s enough subversion to keep things interesting too; An Ocean in between the Waves stretches out towards eight minutes and yet contains the sort of quick-fix
earworm hooks that linger in the memory long after the track’s moved on. The last album to so successfully embrace the oft-derided notion of classicism, Destroyer’s 80s-indebted smooth rock opus Kaputt, did so with the underlying sense of a tongue at least tickling the inside of its cheek. Lost in the Dream similarly turns a façade of homage inside out to fit its new wearer, elevating the band to a realm all of its own.
St. Vincent – St. Vincent (Loma Vista / Caroline) ilovestvincent.com
#3
They might’ve sounded like Dylan and Springsteen to many, but Adam Granduciel ensured The War on Drugs adopted classic tropes in order to ultimately do their own thing
I
f Adam Granduciel hadn’t already come up with one of the last decade’s killer album openers with Best Night’s effortless push-off into Slave Ambient’s woozily tranquil waters in 2011; then Under the Pressure sealed the Philadelphian’s reputation as an artist in possession of that intrinsic ability to transport his listeners onto his own parallel plane at the flick of a switch. Amidst a sense of spatial bliss, punctuated by a few whirring clicks and drip-fed guitars, Under the Pressure quickly takes on Lost in the Dream’s overriding semiotics, to plunge deep into a crisply hi-fi world of textural passages that stretch, yawning out before you like a quiet highway in the dead of night, with flickering motifs briefly registering before sputtering out in the mind’s eye; these are shimmering vestiges of rock classicism re-imagined. Classicism is the key word; as The War on Drugs’ stock inevitably rose since Lost in the Dream’s March release, they’ve found the Springsteen/Dylan comparisons that’ve always lingered, levelled at them at ever-more resounding volume by fans and detractors alike, gleefully pounced upon as though they’ve been sussed out amidst their blending FX-laden shades. There’s nothing to necessarily expose here though; a certain school of thinking on the band posits
December 2014
“For a while there, I would get up in the morning, make coffee and sit there for hours and play piano, sometimes pressing record, sometimes not” Adam Granduciel
that, with Lost in the Dream, they’ve edged away from a past as a psychedelia-orientated jam band towards a more centrally-placed pop act; but the centre pivot of Granduciel’s songwriting has always been its base intention to connect on a truly universal level. As he told The Skinny earlier this year, “I love sitting down at the piano in the morning writing songs and picking up melodies.
Photo: Neil Jarvie
Interview: Simon Jay Catling
MUSIC
The War on Drugs – Lost in the Dream (Secretly Canadian) Playing Albert Hall, Manchester on 18-19 Feb thewarondrugs.net
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What You Said We asked you, dear reader, to tell us which LP rocked your globe these past 12 months. Here’s how that went... 1. The Twilight Sad – Nobody Wants to Be Here and Nobody Wants to Leave “Their best album to date, beautifully combining elements of all three previous LPs into a truly special record” – Fraser Smith, Liverpool 2. Death from Above 1979 – The Physical World “Fantastic comeback album after ten years, here to show young pretenders like Royal Blood who originated the drum/bass duo sound!” – Simon Mason, Glasgow 3. The War on Drugs – Lost in the Dream “The War on Drugs are one of the few bands who aren’t afraid of sounding classic or cheesy; instead they sound accessible and true” – Gonçalo Correia, Lisbon
#2
Down but far from out, The Twilight Sad have recovered from “tough times” and delivered their finest album to date. James Graham explains where things go from here
W
hen it comes to christening new work, The Twilight Sad have always had an ear for evocative and ambivalent turns of phrase. From debut single At Home, I Had Become the Invisible Boy onwards, their appellations have captured something of the music’s gloomy essence: long winters, cryptic confessions, haunted hearts. Nonetheless, when details of their fourth album were first announced, something about its title seemed a shade glummer than usual – particularly in light of comments in these very pages. “We don’t know how long things are going to last,” said vocalist James Graham during April’s studio visit, going on to explain how he approached the album “as if they were the last songs I would ever write.” With October’s follow-up chat bringing further sober assessments of the band’s situation, the words ‘nobody wants to be here and nobody wants to leave’ seemed to convey defeat and stasis; an expression of flagging spirits and lost momentum. The music, however, tells a different story. Nobody Wants to Be Here… is the sound of a band pushing themselves to bigger, bolder, and more bruising heights than ever before, setting a monumental benchmark for whatever The Twilight Sad do next. It sets off from a dark place, with Graham ominously promising a point of no return (“you’re not coming back from this”), and the tracks that follow maintain this tense energy in multiple ways: through propulsive melodies, fraught emotions, and a canny interplay of tones and textures ranging from brooding guitars to spare synths to bleak piano lines at the close. “There’s nothing left for us,” sings Graham in the
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Photo: Crimson Glow
Infinite Sadness
Photo: Jassy Earl
Read e r s’ Choice
4. Swans – To Be Kind “The most complete LP since their return. All the plans and sketches of The Seer and My Father Will Guide Me up a Rope to the Sky honed down into a mesmerising LP” – Darren Anderson, Manchester
Interview: Chris Buckle
in all, the warmth of the welcome has been something of a shot in the arm. “The support we’ve seen for the band,” Graham concludes, “has really shown us how much our music means to people.” The Twilight Sad last featured in our albumsof-the-year list back in 2012, for third album No One Can Ever Know. In the accompanying interview, Graham stated “our fourth album will be very important in deciding the future of this band.” Now that the milestone has passed, where does that leave The Twilight Sad? “The record has been out for about three weeks now as I write James Graham this,” Graham responds, “so there is a long way to go and a lot of work to be done/gigs to be played “I had so many sleepless nights over how this before I can truly answer this question. What I will say is that it has been an amazing start to record would be received, because it was so important to us,” writes Graham, emailing between the album campaign and, if things carry on this way, it’s going to be the most successful album dates of the band’s recent US tour. “One thing I we’ve produced. I’ve said it before, but all we relearned a long time ago,” he notes, “was that you ally want is for this album to be as successful as can’t please everybody,” but Nobody Wants to Be it needs to be for us to be able to make another Here… proves you can sometimes come darned new record. We want to do this as long as we posclose, with the album garnering near-universal sibly can – we love doing this and we have a lot acclaim. But while critical praise is more than of things we want to do and say within our music welcome, it’s the reaction from fans that has that we haven’t done yet… We’re still in the early meant most to the band. “The main thing is that stages of seeing what this album will do for the people who liked the band before are loving the new album,” Graham writes. “It’s also introducing band in the overall picture, but at this point we’re a lot of new people to the band, which is great as only taking positives from it.” well.” Indeed, early support for Nobody Wants to The Twilight Sad – Nobody Wants to Be Here… was almost enough to push it into the Be Here and Nobody Wants to Leave (Fat Cat) top 40 – unfamiliar territory for a band of Twilight Sad’s ilk. They’ve since triumphed in our readthetwilightsad.com ers’ choice poll, by successfully shake-shaking off competition from Taylor Swift (whose concerted fans very nearly squeaked it for the megastar). All album’s bitterly beautiful dying moments, but in terms of the band’s prospects, the opposite appears true; right now, The Twilight Sad seem poised to go anywhere and everywhere.
“We want to do this as long as we possibly can”
MUSIC
5. Young Fathers – DEAD “This record has its claws all over me. It is at the same time both ferocious and tender, soulful and dark, militant and spiritual” – Andy Robertson, Glasgow 6. Warpaint – Warpaint “This is no ‘difficult second album,’ it's a band moving forward to even better things.” – Robert Jamieson, Edinburgh 7. Aphex Twin – Syro “There's just nobody that comes close!” – Philip Doyle, Cambridge 8. Future Islands – Singles “They’ve released a lot of great albums over the years, but I was just utterly taken by Singles. I feel very protective over Future Islands as all my friends seem to think they’re kind of old and therefore make ‘uncool’ music. But they’re just wrong. And this album is proof!” – Meredith Stewart, Glasgow 9. Mastodon – Once More ’Round the Sun “These guys have matured with each release and in my opinion, this album balances the shreddy/ riff metal that made Mastodon famous and the complex, well-orchestrated rock and roll that has defined their sound. They are are getting better with every release” – Brody Dube, Ontario 10. The Phantom Band – Strange Friend “Strange it may be, but it's been my best mate this year” – Wendy McAngus, Tain
THE SKINNY
Soul Power
#1 And the runnersup were...
Warpaint on re-thinking and re-imagining Warpaint, their most effusively eclectic record to date
Interview: Katie Hawthorne
“I
t might sound eclectic to some people, this record, but other people don’t give a fuck,” laughs Warpaint’s drummer, Stella Mozgawa. “They’re just like, ‘Oh, what are those four witches on about this time?” Warpaint are one of those bands that have a strange sonic signature, a definite something that’s entirely theirs. This kind of suggestion is often flung at vaguely avant-garde bands, but with Warpaint there’s an aura or an atmosphere which, although hard to precisely pin-point, is always present. This year, Stella and band-mates Emily Kokal, Jenny-Lee Lindberg, and Theresa Wayman released an album that’s a shapeshifter; transportative, smoky, seductive and a tiny bit intimidating, all in one. If this sounds hyperbolic, it isn’t... Stella might self-deprecatingly describe the band as a bunch of “witches”, but the selftitled Warpaint is total magic. The Skinny has a long love affair with the band; the magazine was among the first in the UK to cover the LA four-piece when they hit the ground running with 2007’s Exquisite Corpse EP, and they even graced the cover of our 100th issue back in January. So, it’s not remotely surprising that Warpaint, released way back in January, should feature so highly in our best-ofthe-year rankings. It’s an album that just gets even better with time, making it very much a pleasure to invite Stella’s commentary on how Warpaint – and the band – has grown over the last eleven months. Stella’s opening reflection is that, although it’s formally the second album from Warpaint, it’s their first self-titled release for good reason: “It was the first record that we all made together,” she emphasises. “This incarnation of Warpaint… it seems to be the legitimate version.” As Stella herself is the most recent addition to the band, joining in 2009, she jokingly worries that she sounds like a “new bride saying, ‘I’m the one’” – but, as she explains, “this album kind of felt like – not wiping the slate clean, by any means – but it certainly feels like an affirmation, solidifying that this is what everybody feels like.” Hesitant to talk as a solo spokesperson, she describes the four as having a strictly “democratic” approach to band life, having developed a powerful “barometer for bullshit” that’s in place to nip any wayward behaviour in the bud.
December 2014
“This album kind of felt like – not wiping the slate clean, by any means – but it certainly feels like an affirmation”
MUSIC
You’ve read about our top ten favourite albums of the year – but who was floating under the radar among the 40 below them?
S
o that was our albums of the year and, while we doff our collective cap to those up top, the joy of such lists is always about making new discoveries, even as we re-visit the already critically-adorned. Allow us, if you will, to share a few of our own. Two very different American rock bands, bonded by a fiercely DIY streak, released irresistibly energetic firecrackers of six-string joy. Baltimore trio Dope Body further refined their post-hardcore maelstrom on the breath-snatching Lifer (#20); Ex Hex’s Rips (#43), meanwhile, mixed a familiar DC hardcore urgency – they hail from historical punk hotbed Washington – with an uncanny knack for writing effortlessly infectious choruses.
Dope Body
Different sides of the synth-pop coin saw Fire Records’ Virginia Wing explore themes of anxiety and self-medication on Measures of Joy’s (#34) mesmerising Broadcast-flecked mutations; while TR/ST’s booming soundscapes offered a crisp update on 80s revivalism, Joyland (#21) a more nuanced, dancefloor-leaning alternative for those who found Future Islands’ ubiquitous breakthrough (#35) a little overwrought. German producer Glitterbug’s brooding hauntology Dust (#47) was inspired by Gold Panda’s Half of Where You Live’s celebration of ‘man-made urbanity’, instead re-imagining cities as layers of past memories – manifesting itself in murmuring deconstructed techno. Sharing a penchant for drone, though hoisting their textural washes to the forefront, A Winged Victory for the Sullen’s Atmos (#13) resonant piano and plaintive stringwork moved mountains even while giving the impression of barely shuffling an inch. What of the regions The Skinny calls home? In Manchester, Gizeh Records’ Shield Patterns cut a shadowy silhouette, but the pair’s minimalistic electronica on Contour Lines (#27) maintained a sense of intimacy amid the space around them; and in Liverpool, Ninetails fleetingly burned brightly with their otherworldly collage of R’n’B beats, field recording patchworks and afterdark pop on Quiet Confidence (#44). From Glasgow’s Randolph’s Leap and Highlands-dwelling Bronto Skylift came two vital additions to the narrative of Scotland’s music scene in 2014. The former came good with second LP Clumsy Knot (#49), an endearing slice of quick-witted, warmly-executed chamber-folk. The latter’s Date With a Ghoul (#50) – featuring Phantom Band stickman Iain Stewart – bludgeoned listeners into submission with the panache of a DFA1979 from a decade ago. Questions of 2014 being a vintage year for music invariably come down to the individual – but you won’t find us decrying a lack of musical nutrition over the past 12 months. [Simon Jay Catling] Read the full Top 50 rundown at theskinny.co.uk/music
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Photo: Alexander Bell
Photo: Daniel Harris
sound like it’s coming from so many different directions: but that’s just the truth. That’s the truth of the matter, in terms of our band, and how our band sounds and functions. Those four tracks especially, I feel, live in a different world – in a good way.” For Warpaint, touring an album proves vital for keeping those “different directions” open. Stella describes their live performances as something nearer to a jam session, saying that it’s about “finding ways for ourselves to re-structure, to re-imagine those songs. It keeps it exciting for us… to do things on the road, to take that risk, rather than playing to a script.” The band have seen certain tracks take on a new personality over time, too – apparently CC, amongst others, was “a little late to the party,” says Stella, “there’s been lots of little surprises.” An unbelievable amount of care (or “babying,” as Stella puts it) went into Warpaint. The band wrote it over several months of seclusion in the mystical Joshua Tree National Park and collaborated with world-renowned producer Flood, but it’s strikingly clear that the band themselves had huge personal expectations of this record – let alone the expectations of the fans and critics clamouring for a release in the four years it’s been since debut album The Fool. Exhaling, she says, “this album, for me, is really close to the Cautious of potentially alerting that barom- end of the [perfectionist] journey. But! It’s very possible that every artist has that kind of... finite eter for nonsense, I suggest to Stella that this goal, and you’re never going to reach it? That’s record might be the most Warpaint-like yet. It’s as if all the qualities we’d expect from a Warpaint the point of being prolific and continuing to make music because... in the back of your mind, release have been distilled: there’s a refinement you know you’re never going to be totally satisand concentration at work, taking those complex, rhythmic journeys and compelling, spectral fied?” So, essentially, Warpaint is a crystalised encapsulation of the band at a precise point in harmonies and making them more Warpainttime – but for a band this driven, that mythical sounding than ever before. Luckily, she agrees. “perfect” album, that kind of artistic “end point” “Yes. I like that, a lot! I mean, ultimately, in our will forever be elusive. own interpretation of that, that’s exactly what With this in mind, how does the future look we’re going for. We’ve made an album that we’re to Warpaint? For one, they’ve already started all like, yes.” She pauses. “All four of us put absowriting: a new song, No Way Out has already been lutely every little bit of our soul into this.” woven into their live sets, and the band are extremely eager to be “a little quicker” with future releases. Drawing a comparison with the way electronic artists release single tracks or EPs without feeling pressured towards a full album, Stella enthuses, “I think that’s the future of the band, for sure. We’re just ready to re-imagine that format. It doesn’t have to be so homogenous all the time. But... I don’t want to spoil too much.” And, even in the week since we spoke, an announcement of a secretive collaboration between Warpaint and the equally ethereal Daughter has surfaced online: it looks like this “incarnation” of Warpaint has barely even got started. Stella summarises: “I think, ultimately, if I could make a conclusion about the record, it Stella Mozgawa would be that it’s the next step. It seems like we’re just about to fully realise what... what... On surface value the record feels softly cowhat we’re capable of, and if we’re capable of all hesive – swelling from Intro into Keep It Healthy the things that we want to do. Our visions are and then conducting a rich, intricate journey lofty, we take everything quite seriously; hopethat’s completely and utterly immersive. But now, fully we’ll be able to live up to our own expectaafter nearly a year’s worth of re-listening, the tions of ourselves, eventually? I think we all, as album sounds a whole lot more disparate: the a group, just feel insanely grateful. Sometimes eclecticism and character in the individual tracks [the response to the album] just feels… it feels floats to the surface, sounding at times as if each unwarranted, you know? But at the same time it’s one belongs to a wholly different body of work. extremely humbling, and gives us the strength to Using as examples the grungy CC, the delicate, do something that we hope will be even better. fluttering rhythm of Go In, Disco//Very’s eerie, And to continue to do so.” grooved take on a dance track, and the balladry Warpaint – Warpaint (Rough Trade) of closer Son Stella explains: “We just didn’t want Warpaint play Manchester Albert Hall to leave certain ways of being, unrepresented. on 22 Mar Especially if [the album] was going to be a real warpaintwarpaint.com reflection of where we’re at, creatively. I think if people invest themselves in the album, it can
Films of 2014: Aliens, A.I.s and Adolescence
1. Under the Skin (Jonathan Glazer)
2. Boyhood (Richard Linklater)
From reptilian alpha males (Godzilla, The Wolf of Wall Street) to females fighting the patriarchy (Under the Skin, We Are the Best!), and from troubled pasts (12 Years a Slave, ’71) to troubling futures (Her), the movies of the year are full of contrasts
Under the Skin is a film that shows you things you’ve never seen before. Jonathan Glazer’s extraordinary and singular picture blends footage shot covertly on the streets of Glasgow with vivid and nightmarish images to create a wholly original and deeply unsettling experience. It is a film about being an alien in a human world, or perhaps being a woman in a man’s world, and Scarlett Johansson’s work as the film’s enigmatic protagonist constitutes the year’s most imaginative use of an actor’s particular star quality. Under the Skin is a most apt title for this remarkable film. Once it has seduced us into its dark world, there is no escaping it. [Philip Concannon]
3. Inside Llewyn Davis (Joel Coen, Ethan Coen)
4. Her (Spike Jonze)
5. We Are the Best! (Lukas Moodysson)
6. The Grand Budapest Hotel (Wes Anderson)
7. 12 Years a Slave (Steve McQueen)
8. The Wolf of Wall Street (Martin Scorsese)
9. ’71 (Yann Demange)
10. Godzilla (Gareth Edwards)
The Next Ten:
The Coen brothers don’t trade in success stories, and Inside Llewyn Davis is one of their most perceptive and resonant studies of a person failing at life. The eponymous folk singer is a man with some undeniable talent, but he’s also an irascible and self-destructive individual who lacks whatever that indefinable quality is that propels an artist from one level to the next. Instead, Llewyn Davis just keeps wandering in ever-decreasing circles; it’s a futile odyssey in which the bleakness is offset by the filmmakers’ customary wit and attention to character, and by the evocative cinematography and music. This is a most wintry, melancholy and mysterious comedy, and one of the Coens’ very best. [PC]
At first glance, The Grand Budapest Hotel is a typical Anderson confection. This breakneck caper, which centres on the escapade of the eponymous establishment’s rakish concierge (mischievously played by Ralph Fiennes) after he’s been wrongly accused of murdering his much older lover, would get you a full house in a game of auteurist bingo, what with its meticulous set design, deadpan performances and camera work so precise to suggest it was composed with a compass and set square. For the first time, however, real-world peril penetrates the fastidious framing. Namely, the brutality of war. If Rushmore was Anderson’s Catcher in the Rye, this is his For Esmé – with Love and Squalor. [Jamie Dunn]
This feature couldn’t be further removed from the Britney Spears and Eric Clapton promos on which Yann Demange cut his teeth. A suspenseful historical thriller set during a period of conflict that continues to resonate in the present day, it imbues the basic premise of Carol Reed’s classic Odd Man Out with a modern, nightmarish intensity. Fresh from an impressive turn in Starred Up, Jack O’Connell continues his ascent as the British soldier cast adrift in Belfast at the height of the Troubles. The scenario plays out like Die Hard but with a real sense of jeopardy and danger. [LP]
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In a year of souped-up superheroes, psychokinetic posthumans and glassy body-snatchers, Her’s Samantha provided Scarlett Johansson with her most recognisably human role of 2014 (paperthin Chef cameo included). That Samantha is a disembodied, artificially intelligent OS barely matters, such is the quality of both Johansson’s vocal performance and Spike Jonze’s script. The result is an original and warmly rendered love story that doubles as a diagnostic overview of 21st-century solipsism and technological dependence. As the flesh-and-blood half of a very modern romance, Joaquin Phoenix sells Her’s conceit with sensitivity and subtlety, resulting in a ROM-com that’s not only witty, but plausible and painfully poignant too. [Chris Buckle]
A film of unparalleled aesthetic beauty about almost unimaginable ugliness, Steve McQueen’s ferocious adaptation of Solomon Northup’s memoir was the most emotionally intense cinematic experience of the year. Drawing an extraordinary performance from Chiwetel Ejiofor, more great work from regular collaborator Michael Fassbender, and one of the most astonishing debuts in living memory from Lupita Nyong’o, McQueen presented an insight into slavery devoid of sentimentality or respite; he delivers a relentless and horrifying account of a barbarism that barely seems human anymore. It’s a work of immense historical and artistic importance, a work that will be discussed with the greats for as long as the greats are discussed. [CF]
Heavily informed by Steven Spielberg in his better blockbuster days, Gareth Edwards’ horror-tinged Godzilla update is a big effects movie with genuine poetic craft behind its visual storytelling. Intense, disorienting, intimate, and often rousing in its apocalyptic take on the green giant and company, it has palpable emotion that evades so many blockbusters, mainly thanks to its eschewing of many of their trappings through restraint, patience, and giving every shot actual meaning and weight. And its (muchcriticised) decision to stick with bare, archetypal characters absolutely works for its grander preoccupation with how humanity’s personal concerns amount to frivolity in the face of annihilation. [JS-W]
FILM
Everyone was rightly dazzled by the technique and sheer commitment of Richard Linklater’s 11-years-in-the-making journey through a boy’s life, from elementary school to college and with all the growing pains in between, but the real wonder is how intimate the finished article is. While the tribulations of young Mason (Ellar Coltrane) and his family themselves elicit pure empathy, Boyhood also acts as a time capsule to a difficult and ever-changing recent history; its discussions, moods, concerns are instantly recognisable to anyone who has lived alongside Linklater’s subjects. It’s as close to reality as fiction can get – messy, sad, funny, mad – and as revolutionary in the medium as when Méliès took that Trip to the Moon. [Chris Fyvie]
Set in 1982, when disaffected Swedish youth was gripped by the sound of derivative post-punk, this sharply observed coming-ofage tale shies away from nostalgic kitsch in favour of something altogether more substantial. Like punk itself, outsiderdom has long been diluted and commodified. We Are the Best! is no more innovative than any number of inferior, coldly calculated movies, but it impresses with its utter lack of affectation. Lukas Moodysson clearly feels an affinity for the three pre-pubescent girls around whom his graphic novelist wife’s story revolves, while 11-year-old Mira Grosin’s star turn is played to precocious perfection. [Lewis Porteous]
The Wolf of Wall Street is Scorsese’s Satyricon, an epic of excess that is both riotously, morbidly funny and actually kind of terrifying. Leonardo DiCaprio verges on the vampiric in parts of his mesmerising performance as real-life tyrant stockbroker Jordan Belfort. This scabrous, unhinged odyssey is its lead actor’s best work and yet another triumph for its legendary director, and it draws real blood in its examination (all horrified fascination, never endorsement) of the home-grown monsters America makes with its mantras of creating as much prosperity for yourself as possible. Greed is good; this is incredible. [Josh Slater-Williams]
11. Leviathan (Andrey Zvyagintsev) 12. Two Days, One Night (Jean-Pierre Dardenne, Luc Dardenne) 13. Maps to the Stars (David Cronenberg) 14. The Lego Movie (Phil Lord, Christopher Miller) 15. Ida (Paweł Pawlikowski) 16. The Golden Dream (Diego Quemada-Díez) 17. 22 Jump Street (Phil Lord, Christopher Miller) 18. Gone Girl (David Fincher) 19. Blue Ruin (Jeremy Saulnier) 20. Guardians of the Galaxy (James Gunn)
THE SKINNY
Dive In Inspired by our top 20 films of the year? Then why not get a head start on 2015 at the 11th Glasgow Film Festival in February? We speak to its co-director, Allison Gardner, to find out what makes GFF tick
“P
otholing Expedition Seeks Recruits,” read an ad in Glasgow Film Festival’s 2014 brochure. “Recruits must be ready for anything, have a strong survival instinct and cope well within confined spaces. Claustrophobics should not apply.” These recruits (read: audience members) didn’t need crampons or hard hats, however, only an adventurous spirit. This expedition turned out to be a surprise screening of Neil Marshall’s 2005 horror The Descent in the caverns underneath Central Station – and one of the many highlights of GFF 2014. “We had two complaints,” deadpans Allison Gardner, co-director of the festival. “Somebody who thought they were actually going potholing, and someone who said, ‘Because it was in Central Station, I thought it was going to be a season about trains.’” Gardner is speaking to us down the phone from GFF’s base, Glasgow Film Theatre, a few days after some early GFF 2015 programme announcements were made, including a new strand, Strewth!, showcasing the best new (and classic) Australian cinema, and retrospective Here’s Looking At You, Kid, which pays homage to Ingrid Bergman’s life and work. “We’ve refreshed the strands to make sure that we’re on the right track,” says Gardner. “We listen to what people say to us in terms of feedback, what worked, what didn’t work.”
One thing that the GFF attendees do seem to crave is unique experiences like the one above. As well as attracting big-name guests (last year’s attendees included Richard Ayoade, Jonathan Glazer and Terry Gilliam) and a diverse range of mint-fresh films (68 UK premieres screened last year), GFF is characterised by the inventive one-offs that pepper its programme, from live scores of silent classics to pop-up screenings in unusual locations. “It’s experiential cinema without the experiential cinema prices,” says Gardner when I bring up GFF’s skill at pulling off these ambitious pop-ups. “No disrespect to Secret Cinema – I’m sure what they do is very difficult – but we’re not charging those sorts of prices.” Part of the reason for these reasonable prices is a tight control on scale. “We’re not having those huge events. The max we go to is around 300, so it’s still quite intimate.” Intimate is a good way to describe the festival overall. Despite over 40,000 admissions last year (making it the third biggest film festival in the UK, behind London and Edinburgh), it still feels playful and accessible. “When we’re putting together the programme we always think of it this way,” says Gardner when I bring up the festival’s feeling of inclusivity: “what’s your point of access as an audience member?” Looking around at the crowds hanging
Photo: Stuart Crawford
Interview: Jamie Dunn
around Glasgow Film Theatre while the festival is in full swing, you realise these access points are many. Turn up to one of those Ingrid Bergman retrospective screenings in February and you’ll find a queue of pensioners round the block; head along to a midnight screening and you’ll find a student crowd; attend during GFF’s final weekend and you’ll find a horde of gorehounds hungry for some horror at FrightFest. “The age range is really important to us,” says Gardner. “That’s about diversity of audience. And we do think we’ve something for everyone. I think it’s important that we keep hold of that ethos. I’m sure there’s not a massive age range at somewhere like South by Southwest, for example. We hope to be a bit broader than that.” And you can see this reaching out to a wider audience in some of these latest announcements, like the Nerdvana strand, which will focus on cult cinema, gaming and comic-book culture. “It’s just about trying to tap in to those audiences that never thought a film festival was for them,” says
Gardner. “But actually, of course it’s for them: film is a very accessible medium.” This last point gets to the core of GFF’s success: its focus isn’t premieres or celebrities on red carpets (although it has that too), it’s on the films themselves. Each and every screening at GFF is introduced by a member of the team, most of the time it will be by Gardner or her co-director, Allan Hunter, and every time there’s a palpable sense of excitement about bringing the film in question to the festival audience. “If you’ve got a little film that you’ve loved and cherished and you’ve nurtured it all the way through and you’ve got it on the screen, and then people come out and say, ‘Oh my God, that is so brilliant!’ – that’s the best part of the job,” says Gardner. “That validation that you’ve made the right decision, and that you’ve fought to bring something unique to people’s lives.” Glasgow Film Festival takes place 18 Feb-1 Mar www.glasgowfilm.org/festival
The Rabbit That Keeps on Running Travelling the world without him, conscientious objector Nassim Soleimanpour’s play White Rabbit, Red Rabbit is never performed the same twice. He explains its unique effect on those it touches Interview: Andrew Anderson
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magine you’ve written a play and you can pick anyone you want to be involved – who would you choose? How about Hollywood legends John Hurt or Stephen Rea? If it’s a comedy, maybe Marcus Brigstocke or Tamsin Greig would be good? Perhaps Ken Loach might offer to help out, if he’s not too busy? Or what about if all of these people got on board: what would that be like? Well, that is exactly what has happened with the play White Rabbit, Red Rabbit, which is coming to Contact this month. Writer Nassim Soleimanpour tells a story that explores obedience, self-expression and an artist’s mission that has toured the world over. But how exactly did he get hold of such starry collaborators? The answer is, he didn’t – or at least, not all at once. Soleimanpour lives in Iran and back in 2010, while working at Tehran University, he refused military service – which is quite a common thing to do in Iran – and as a result was not allowed to travel abroad. For most people, that would be the end of that, but not for Soleimanpour, who came up with a plan for a play that could travel the world in his place. In order to keep things uncomplicated he kept the script to one actor, who would not be allowed to see it in advance and who could only perform it once.
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This meant organisation was minimal, rehearsal nonexistent and that each night would be unique. The result is White Rabbit, Red Rabbit, which has now been on tour for four years and has been performed by all of the artists mentioned above and dozens more. Shobna Gulati, the former Coronation Street actor who has a long history of involvement with Contact, will add her name to this illustrious list when she takes the stage on 2 December. “When I was living with my brother while writing the play I used to brag, ‘it’s going to tour forever,’” says Soleimanpour when I ask him about Rabbit’s extraordinary achievements, “but I never imagined it would be like this.” The play has had a profound effect on Soleimanpour’s life, allowing him to leave his job and become a full-time writer. But while Rabbit may have moved his career on, his interests remain the same: “The situation of not being able to travel was the trigger to write Rabbit, but I had always had these kinds of thoughts,” he explains, alluding to Rabbit’s unusual approach. “Rehearsals are spoilers: you fix all of the mistakes, but end up with something that isn’t as fun.” It is not only Soleimanpour’s life that Rabbit has affected; the show has been performed by
White Rabbit Red Rabbit
hundreds of people and seen by thousands more, and it is one of those works that has a lasting impact. “I get dozens of emails each day from audience members and performers which are heartening and beautiful,” says Soleimanpour. “I never thought that writing Rabbit would lead to me becoming a writer, but it has.” It has also inspired some memorable moments, like when Soleimanpour – finally granted a passport in 2013 – saw the show and decided to get up on stage to interrupt it, or when an audience member brought a carrot to give to the actor. “We’re really excited to be bringing this to
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Contact,” says Matt Fenton, the theatre’s artistic director. “It’s been programmed by our young programming team, and they have their finger on the pulse of what is innovative and radical.” Ultimately, whatever words you use to describe Rabbit, there is one thing that can be guaranteed: this performance won’t be like any that has happened before, and will never be repeated. White Rabbit, Red Rabbit is at Contact, Manchester, 2-3 Dec, 7.30pm. The performance features Shobna Gulati on 2 Dec and another actor yet to be announced for the 3 Dec performance www.auroranova.org/white-rabbit-red-rabbit
THE SKINNY
Oh, No It Isn’t! Words: Alecia Marshall Illustration: Emily Tilzey
Bought your pantomime ticket yet? Let us tell you why you should’ve
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hristmas: the only time of the year when overtly patterned jumpers are acceptable and copious amounts of food can be guiltlessly consumed. Television becomes cheesier, Slade rake in their royalties and Quality Street’s Green Triangles become a staple of your diet. It is the time for family, tradition and warm fuzzy feelings – it is the time for pantomime. Gender-crossing actors, garish costumes, slapstick humour and sexual innuendo are just some of the ingredients that contribute to the hugely successful (and yet ultimately ridiculous) British pantomime. Throw in a white-toothed Ray Quinn and a couple of water pistols and you’ve got yourself a sold-out house. Pantomime has a rich history in Western culture dating back to classical theatre: it was developed partly from the 16th-century commedia dell’arte tradition of Italy, as well as other European and British stage traditions such as 17th-century masques. The timing of the British pantomime at Christmas and the role reversal of the lead characters may have evolved from the Tudor ‘Feast of Fools’: an unruly event presided over by the Lord of Misrule (who was usually a specially selected commoner with a questionable reputation). No ‘Feast of Fools’ was complete without excessive drinking, general revelry and role reversal – much like the plot of every American Pie film ever made. Yawn. Unfortunately, contemporary pantomimes are a little less like an undergrad social and tailored more specifically towards a family audience – but fear not, there is fun to be had if you embrace the silliness. And there is a lot of silliness to be embraced… Take audience participation – arguably the golden key to pantomime’s continued success. Four hundred years ago it may have been acceptable to throw a rotten vegetable at Iago as he
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plots Othello’s downfall, but nowadays – and call me cosmopolitan – it is just not the done thing. Imagine catching an RSC actor in the head with a cut-price Sainsbury’s tomato or voicing your opinion on Dame Judi’s speech from the front row of the circle – before she had finished it. Equity would have a nightmare. Actors would riot in the streets. We all know the sorry tale of Morrissey and the flying bottle… Pantomime, on the other hand, commits wholeheartedly to audience participation, and that can extend way beyond the usual prompted chorus of ‘he’s behind you.’ A friend of mine from Sheffield recently told me that her childhood pantomime experiences included a large batch of homemade dough that was subsequently thrown onto the stage at the designated ‘dough-throwing moment.’ The audience were invited to make the dough as creatively as they wished – the friend in question describes hers as pink and glittery – before literally lobbing it around the auditorium. The musicians leave the orchestra pit to avoid the line of fire but over the years the audience have grown wise and many people hang on to their bits of dough and bombard the band the moment they resume their seats. I kid you not. While dough throwing may not have caught on in the microcosm of Northwest pantomime (yet) there are plenty of other ways to engage. While most pantos invite you to boo, hiss and cheer to your heart’s content, Liverpool Everyman’s iconic Rock’n’Roll pantomime (which returns to the building this year in the guise of Little Red Riding Hood after transferring to the Playhouse during the Everyman’s rebuild) is more party than production, with a live band that has the audience on their feet year after year. The pantomime has become a staple of the theatre’s programme, with the demand as high now as it has ever been.
There is also, of course, the promise of a celebrity lead. Imagine Warwick Davis in a leading role as one of Snow White’s seven dwarfs, red velvet cap and all. That’s enough to make anybody’s Christmas, right? Pantomime has long been the playground of the struggling actor, unwilling to relinquish their taste of fleeting celebrity. They know it, we know it, and they know that we know it – and with a concoction like that hilarity is bound to ensue.
“Double entendre flows through the veins of the genre, with Widow Twankey’s steaming buns mentioned at least once” Dressed in a colourful costume and peaked hat, the pantomime hero is the most coveted role of all, winning over their audience with a mixture of charm and desperation. Ray Quinn and his pearly whites take the title role in Liverpool Empire’s Aladdin this Christmas, with Claire Sweeney on hand to appease any rowdy Liverpudlians.
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Elsewhere, Warwick Davis stars in Manchester Opera House’s forthcoming production of Snow White and the Seven Dwarfs, alongside none other than Priscilla Presley. Occupying the role of the Wicked Queen for the second time, Presley’s pantomime debut occurred two years ago at the New Wimbledon Theatre. Elvis would be proud. Jack and the Beanstalk has proved a popular choice this year, with productions appearing at the Epstein, Theatre Royal St Helens and Salford Arts Centre. It may seem like careless programming, but pantomime has never been known for its extensive repertoire. After all, there are few stories strong enough to carry a pantomime dame and an assortment of colourful wigs. Reliant on slapstick humour worthy of a Carry On film, pantomime appeals to our British sensibility. Double entendre flows through the veins of the genre, with Widow Twankey’s steaming buns mentioned at least once if the performance is to be deemed a success. The characters are strictly one dimensional: the good are good, the bad are bad and Daisy the wide-eyed cow is as lovely as she seems. The point is, it is all just bloody good fun. No other production caters equally to your 73-yearold granddad and five-year-old sister. No other production invites you to boo at the top of your lungs at the sheer hint of Priscilla Presley’s name. No other production has quite the same feelgood factor – and that’s the thing to remember. Little Red Riding Hood, Liverpool Everyman, until 17 Jan Aladdin, Liverpool Empire, 13 Dec-4 Jan Snow White and the Seven Dwarfs, Manchester Opera House, 5 Dec-4 Jan Jack and the Beanstalk: The Epstein Theatre, Liverpool, 11 Dec-4 Jan; St Helen’s Theatre Royal, 5 Dec-11 Jan; Salford Arts Centre, 11 Dec-3 Jan
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glasgowfilm.org/festival @glasgowfilmfest #GFF15
Faking Bad A sweetheart in real life, a psychopath on the screen, live-wire Aussie actor Ben Mendelsohn talks about how he became Hollywood’s go-to nutcase and his new role in Kevin Macdonald’s U-boat thriller, Black Sea
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ver the past few years, Australian actor Ben Mendelsohn has become a familiar face to British cinemagoers, often playing variations on a particularly unhinged theme. From his brief role as an unwitting pawn for the big bad Bane in the finale of Christopher Nolan’s Batman series, to the conflicted and violently protective father of Jack O’Connell’s young offender in British prison drama Starred Up from earlier this year, there’s always an edge to his performance. It’s a rich vein he mines again as the explosive Fraser in Kevin Macdonald’s new nautical thriller, Black Sea. When we meet in a London hotel ahead of this latest film’s UK premiere, we ask the 45-yearold Melbournian if he likes playing these types of characters? “I think they’re very watchable. Generally, if the audience feels that someone is a dangerous person, they’re going to watch them, hopefully closely. So yeah, they’re good to play.” It seems only natural to get his take on why he’s always cast as a psycho. He sits back in his chair with a chuckle and scratches his head through tousled hair. “It’s that type of thing, isn’t it?” he muses. “You do a job like Animal Kingdom [David Michôd’s 2010 crime drama set in the Melbourne suburbs] and that’s going to be what comes to people’s minds whenever they’re looking at doing a film with you. You’re going to get a kind of association. Now, is that because of the person, or because of the role? That’s probably best answered outside [of this setting], but I will say that I think there has been variation in there. Animal Kingdom cast a shadow. Something makes an impression, and then one gets offered this job and that job.” It is certainly his electrifying turn as the terrifying Pope in Michôd’s film that put Mendelsohn on Hollywood’s radar. His position as its go-to nutcase wasn’t immediate, though. After Animal Kingdom, he says, “there was a bit of fuss and bother, then nothing happened for a while.” But, after appearing alongside Brad Pitt in Killing Them Softly and Ryan Gosling in The Place Beyond the Pines, the last couple of years have been, by his own admission, “a busy time.” It wasn’t always like that, however. “I’d gone back and forwards
December 2014
Interview: Ben Nicholson
[from Australia to the US] a lot, y’know, just going there to try and jag a job. There was a lot of that, for a very long time. Look, of the 30-odd years that I’ve been doing this, 25 are principally – almost purely – Australian.”
“Characters are puzzles in a way, and the job of the actor is to take the writing, and solve how it’s going to work” Ben Mendelsohn
Cutting his teeth in Australian television seems to have given him a fine grounding for the kind of actor he has become; intuitive and intense. “It’s sink or swim,” he says of working on TV. “It teaches you to come up with something, and to come up with something quickly. Once I started acting, I wanted to keep going and I was very concerned that I wouldn’t get another job. That upset me a great deal, so I tried very hard to get better at it. I’ve seen some of the stuff that I did early on – there’s a certain something there, but it’s pretty shonky. So I tried to learn, and I’d ask actors that I liked how they did it.” In 1990, he found himself on set with Anthony Hopkins in The Efficiency Expert, in which the Welshman plays a character attempting to teach an Australian factory (as well as Mendelsohn, workers are played by future Aussie stars Toni Collette and Russell Crowe) how to improve their productivity. It allowed the young Mendelsohn an opportunity to pick the brains of the man who had just finished shooting his iconic turn as Hannibal Lecter in Silence of the
Lambs. “I’d been doing it for seven or eight years by that time. He just said, ‘Well you don’t want to push things too much. You want to try and keep it simple, and just try and be there when it’s going on.’ That meant more and more to me as time went on. “He also said that he didn’t prepare anything before he got there, he didn’t do any of that stuff. He just got there, and felt what it was like, and tried to make it work. That’s been something that I increasingly tried to concentrate on: just being there. I think the hardest thing to do in acting is to have, roughly, the feelings that you’re supposed to be having on screen. A lot of people will do a rehearsal and it’s fucking amazing and then you’ll do a take and you’ll feel something slipping away. It’s very easy to have your best performance not on screen.” For a man so often portraying anxious and fiery, Mendelsohn is a wonderfully warm and relaxed interviewee, unhurried and almost reluctant when the time finally comes to sell his new film. Black Sea revolves around a submarine crew who take on a mission to purloin some gold bullion from a sunken Nazi U-boat. Mendelsohn’s Fraser is an expert diver, but referred to as a psychopath before he’s even on screen. As with all of the actor’s dangerous alter-egos, there is a lot happening beneath the surface. Fraser’s default is hot-headed killer, but he also finds himself wracked with guilt and fear. “Those shifts are hard,” says Mendelsohn of portraying Fraser’s conflicting qualities. “I think in gear changes like that, you just sort of have to weave in that idea that [Fraser] is someone who gets overwhelmed, does stupid stuff and immediately regrets it. [Characters] are puzzles in a way, and the job of the actor is to take the writing, and solve how it’s going to work. In terms of someone like Fraser, the idea is that these are people that are essentially fucked on land; they’re not good at normal life. I think there are many specialists who have that relationship with their work, who feel ‘there’s one thing I can do, and when I do this everything else seems to fall into place.’” It’s a sentiment to which Mendelsohn can certainly relate. “It does feel like me being on a set somewhere. I think it’s transposing that ease in one’s work environment over on to Fraser” – he unleashes a devilish grin that may hold the key to his recent spate of unsavoury roles – “but, y’know, with the occasional stabbing.” Black Sea is released 8 Dec by Universal
That three-decade career has produced an actor of fantastic skill and no little magnetism, yet his beginnings were inauspicious. “I took [drama] initially as an easy subject,” he reveals. “I thought you wouldn’t have to do a lot of homework.” The slacker soon became the star pupil, though. “We did a little play in class, and my memory is very good on certain things, and I could remember all of the lines. So I’d muck around with the others doing the lines of the play at ten times the normal speed and I’d do the whole thing. They got me to do that in front of the school and everyone applauded – they liked me and, y’know, it felt good.” An Australian TV show, The Henderson Kids, had an open casting and Mendelsohn and his friends decided to audition. “I got an interview time, and I asked ‘What’s yours?’ and none of them had actually done it, so I was like ‘Fuck… Oh, fuck it, I’ll go.’” That first meeting landed him a job and the rest is history.
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Untold Stories Literary superstar Jung Chang educates The Skinny on Cixi and Mao, controversial parents of modern China and subjects of her past and present biographies
Photo: Alan Richardson
Interview: Alan Bett
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ung Chang is a glamorous 62 years of age, easily surpassing stars of the silver screen on the style front – unusual for a writer, living in the world of ideas over image. Today she is urbanely attired in a chic turquoise dress, luxurious hair bunched up in parts while luxuriously flowing in others, nails perfect, face ageless. She looks a product of the decadence and elegance of 20s Shanghai society rather than the solemn homogenisation of Mao-era People’s Republic, where individualism and femininity were cut as uniformly as the regulated hair length. To sit across the table from her you might believe she’d lived a life of ease and privilege. Jung’s writing began in Sichuan province in 1968. Some years before, her father lost his sanity and eventually his life as a result of political persecution. Some years before, her mother was publically ridiculed and tortured at the hands of Red Guards; forced to kneel in broken glass, her arms strung painfully behind her. Poetry was so dangerous on paper that a frantic Jung threw her fledgling scribblings in the toilet when government officials hammered upon her door. Thought was the most dangerous contraband in the fevered chaos of the Cultural Revolution, when fervent youth were encouraged to criticise the old world in order to create the new. “In those days in China writing poetry was an offence,” she states so matter-of-factly as the conversation begins. “You could only write propaganda poems
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in praise of Mao; it’s unimaginable now.” From that day she only composed and edited internally, her mind the sole safe parchment. She would use what she calls an ‘invisible pen’ while climbing electrical poles or nursing the sick, whatever mandatory role the regime set her. “[The poems] weren’t fully formed. Some were poetry in the classic Chinese form, very short. Some were sort of more outlines, narratives... If you can put it down on paper it’s much better, but otherwise your mind… when it has space you are writing there.” It’s a tradition of creativity under persecution which Bulgakov would well recognise, manuscripts hidden beneath floorboards or in the furthest corner of the mind. Jung travelled to the UK during Deng Xiaoping’s post-Mao political relaxation, one of the first in her country to earn such a scholarship. This new-found freedom allowed the realisation of those long-stifled dreams of becoming a published writer. Using hours upon hours of tapes recorded with her mother, Jung constructed the harrowing personal history of her debut, Wild Swans – the tale of her grandmother, mother and herself, three daughters of China. The book went on to smash best-selling records worldwide and make Chang a literary superstar, not something she or her mother had envisaged. “We weren’t thinking about these things. My mother, like many, I believe, bottled up all these things inside her, she was dying to talk. I mean in
China it was impossible for her to talk, even to me… In 1988 it was her first trip abroad and she was able to open her heart and her mind… so in a way she was giving me the materials to enable me to become a writer.”
“In China writing poetry was an offence... it’s unimaginable now” Jung Chang
Her most recent work is a vast biography of Empress Dowager Cixi (1835-1908) which both complements and contrasts with her earlier work, Mao: The Untold Story, revisionist treatments of two parents of modern China. While Cixi – long presented as an incompetent despot – is rehabilitated through Chang’s words, Mao has his very dirty washing hung out to dry. “They were all condemning [Cixi] as this tyrant, this hopeless woman, this diehard conservative who dragged China behind and was the cause of all China’s troubles, so to speak.” Therefore Chang polishes Cixi’s image, highlighting a progressive stance
BOOKS
on Western relations and a liberal banning of the brutal practice of feet binding – although she did murder the young emperor the day before her own death. “It’s not just the Communist party,” Chang suggests, revealing the tangled source of Cixi’s image. “Before that the Nationalists also gave her a very bad press. I think one reason was that three years after she died China became a republic and so the Republicans, Nationalists and Communists all wanted to say they had saved China from her.” She laughs. “And the other thing was that because she was a woman; women rulers always have a bad press.” The day before this conversation Jung took to the main stage at Edinburgh International Book Festival, adorned in extravagant embroidered silks from Cixi’s era. She was painted across the next day’s newspapers, as it’s easy to imagine she knew she would be. It’s the tangible manifestation of a personality which seems to crave individualism; perhaps a reaction to those early years when it was banished. It’s possible to sense an element of harmless vanity, certainly not a spirit prepared to be unduly curtailed or ruled. So, for her biography of the Chairman, Chang’s personal suffering under his reign makes her both a priceless primary source yet a less than objective witness. Just as it would seem feeble to take issue with Solzhenitsyn – a man who survived the Soviet prison camps – for his vitriolic releases in The Gulag Archipelago, it’s impossible to feel qualified when questioning the position of somebody with the unenviable justification to state: “…for example the famine, I of course experienced the famine, I wrote about the famine.” But the question of bias remains. Cixi, while ruling over similarly brutal times from behind a sheet of yellow gauze – yet unconnected to the Chang family’s immediate suffering – fares far better. It’s an accusation she is happy to tackle head on. “I think perhaps for some of the readers and reviewers of the books, my two biographies seem to be too personal. The thing is that’s my style, I’m incapable of writing an academic, emotionless, to me bland biography. I have to be involved, to know the character.” While her interpretation may help to mould Western perceptions of Mao, China itself has never conducted a true and critical evaluation of his rule. The sun had hardly set on Stalin before Khrushchev initiated his denunciation. Yet Mao’s spectre looms large in China to this day. Is this due partially to the shame of complicity for many who lived through the era? Chang herself was briefly a Red Guard, taking the popular pilgrimage to Tiananmen Square for a strained distant glimpse of Mao, the totem she was later to hollow. She may grudgingly accept an element of this claim but the full blame is clearly placed in a statement which makes Scotland’s recent sibling rivalry feel trivial. “Of course the main thing is the regime. It’s not as though there is a referendum about what we should examine now. It’s the leaders who made the decision. So we can only talk about what’s in their mind. People of course go along with it.” It’s a cult of personality long ingrained, still prevalent and highly visible. “The thing is that Mao, in China his portrait is still on Tiananmen, his corpse is still in the centre of Beijing, his face on every Chinese banknote. The current regime, this very one, is actually trying to rehabilitate him in a way that hasn’t happened since Mao’s death…It’s linked to their legitimacy.” Empress Dowager Cixi: The Concubine Who Launched Modern China is available now in various formats, published by Vintage
THE SKINNY
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THE SKINNY
Rhythm, Roots and Spirituality Twenty years after launching his seminal M-Plant label, techno pioneer Robert Hood discusses his minimal techno philosophy, the spiritual revelation guiding his recent work and his respect for his roots Interview: Ronan Martin etroit techno is many things to many people. It’s a form that has evolved from the earliest experiments of Juan Atkins, Derrick May and Kevin Saunderson – through the fast-paced and militant interpretations of Underground Resistance, the space-gazing otherworldliness of Jeff Mills and the infinitely diverse musicality of Carl Craig. Each producer has applied their own flavour to the sound; each has acquired their own place in its history. Yet, if you’re looking for a figure that has increasingly carved a solitary path through several eras and myriad permutations of the genre, Robert Hood seems a particularly fitting candidate for the role of techno’s lone wolf. Having entered the scene as a collaborator with Mills and ‘Mad’ Mike Banks as UR, Hood’s career has since been marked by a particularly inimitable personal vision – one which has seemingly evolved in ever more spiritual ways over the years. “I guess I compare myself with Robert Neville from The Omega Man,” says the producer down the phone from his base in Alabama – a rural outpost he has held for the past decade or so, many hundreds of miles away from techno’s decaying urban birthplace in Michigan. His identification with that character played by Charlton Heston in the 1971 sci-fi film comes as no surprise – in 2010 Hood produced the Omega album which was intended as a reinterpretation of the film’s score. The story, one of a man who finds himself on his own in a post-nuclear landscape, strikes a particular chord with Hood when he thinks of how his approach to music developed from early on in his career. “I felt like I was alone in my own world at that time, and I still am. “A lot of people probably have felt that way, at some time or another. Nobody else can really understand your vision and the way you see things. For me, it’s been a one-man journey, literally, in trying to express myself and convey to the listener just who I am as an artist – not just somebody that’s in a group such as Underground Resistance, or belonging to this camp or this record label.” That’s not to say Hood doesn’t cherish the time he spent working with UR and his early forays into production – he speaks warmly of how emotional it was recently, to see for the first time a video of himself performing live with Mills and Banks on stage. But it’s from the time at which he stepped out on his own that we can really pinpoint the makings of Hood’s career in techno – namely his influential involvement in the minimal scene. Stripped back, rhythmic, but always imbued with soul, the minimal techno sound advanced by Hood has become his defining contribution over the years. His 1994 record Minimal Nation became more or less the blueprint for an explosion of minimal music in subsequent years, though much of it was lacking the Detroit producer’s ingenuity and depth. When asked about such watered-down imitations, Hood rather commendably avoids directly critiquing the work of others, in favour of reinforcing the philosophy which guides his own work. “Minimal is artistic expression,” he states assertively. “It’s diminutive, simple artistic expression and to me it’s like a place of solitude. “It’s not just about [using] a kick drum, a
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hi-hat, a bassline or some Morse code sound, for the sake of being minimal. It’s about identifying with your soul and with your spirit and finding a way to convey that and express that to whoever is listening. It’s about finding rhythm inside rhythms. If you listen closely to some of those tracks, such as The Rhythm of Vision or Unix and Station Rider E, you sort of find other hidden rhythms inside of the rhythm. It can be very hypnotic. To me that’s the true trance music; you find yourself really lost in it.” True, more than most techno producers, Robert Hood sculpts engrossingly repetitive tracks which draw you in fully, each miniscule development allowing you to reconceptualise the last, until it seems there is much more to be found in this music than there is, perhaps, in more varied arrangements crafted by less gifted producers.
“I could feel the presence of God when he was using me to produce the Floorplan record” Robert Hood
“I’ve always been drawn to the simplest beats,” Hood explains. He talks of a love of the most basic elements in songs such as Tainted Love by Soft Cell or the music of Man Parrish and Gino Soccio. “I would sit and watch people at basement parties and watch how they reacted to the breakdown on some of these records – 70s and 80s soul records. It’s almost psychological, but it’s also spiritual.” Spirituality is a prominent theme, both in Hood’s personal life (he is a trained minister) and increasingly in his music too. Where it was perhaps always possible to speak of a general spirituality in his mesmerising music and the way people connect with it, Hood’s personal faith in God has more recently become much more evident in his productions. His increasingly popular Floorplan alias – a warmer, housier take on techno which merges elements of disco and gospel music – has taken Hood in a much more intimate direction musically. This development is one he strongly attributes to becoming more spiritual and he clarifies this by recounting a now familiar tale. “God literally woke me up in my sleep one night,” he affirms with conviction. “He spoke to me and said ‘I want you to put the Gospel message in the music.’ “God told me, ‘I want you to do a record that’s blatantly speaking about who God is and magnifying God.’ I immediately went into the studio and started listening to artists like James Cleveland, Andraé Crouch and gospel artists I grew up on like Aretha Franklin. This message started to form easily. It was just heaven sent.” There is an authentic air of emotion in Hood’s voice as he recalls his eyes filling with tears in the studio when he was putting together
Photo: Marie Staggat
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Floorplan’s joyous We Magnify His Name and the Aretha Franklin-sampling Never Grow Old. “It was recorded in ’73,” he says of the latter. “I believe it was in LA, in a typical black church setting. To reach back and grab that from ’73 and bring it into 2013/2014 is just amazing and I could feel the presence of God when he was using me to produce this record.” Whether you identify with the religious dimension or not, that idea of connecting with the past is something that has always run through even the most futuristic of Detroit techno music and for Hood there is a family link too. His father was a jazz musician and his mother was a singer in the Motown era and he has said there was always music around when he was a kid. Yet, he has also remarked in the past about how his parents and grandparents, while proud of his achievements, failed to make the link between their era and the techno scene Hood was involved in. Is the Floorplan material partly a way for him to make a more tangible link with his roots in things like Motown and jazz and with earlier generations? “Absolutely,” he confirms. “I guess I can not only speak for myself, but everybody in Detroit techno. Our parents, for the most part, came from the south and came from the black church. They migrated here in search of a better life. They afforded us the opportunity to not only go to college and get a higher education and a better way of life but also, unwittingly, they made a way for us to be creative and be what we want to be. “Now, me personally, I feel I owe it to my grandparents and to my parents to connect the dots between that period of migrating from the south, and the sharecroppers coming to the north, facing racism in the automotive industry and so forth – and with the civil rights movement. I guess it’s just paying respect to their struggle in order for their children and grandchildren to be whoever we want to be – astronauts, basically. We’ve become space travellers; time travellers. They probably never imagined that we would forge these new paths in music.” That Hood has been instrumental in forming new paths in music is without question. This year he celebrates 20 years of his M-Plant label and his vision for that outlet has been as focused as
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you might imagine. Formed as a way to further establish his own route, rather than following in the footsteps of his contemporaries, Hood says the intention of the label was to “plant new seeds of a new way of thinking as far as how we approach music.” He speaks of wanting to establish a sound that had immediate resonance with the listener – “that way of just attacking the neural system immediately and getting right inside your head” – in a similarly ‘potent’ manner to James Brown tracks, which Hood points out can be identified as soon as the needle hits the record. Few would dispute that he has achieved similar distinction within techno. Hood commemorates the life of M-Plant this month with a three-CD collection of some of his most seminal tracks released over the last two decades. Yet, he is quick to point out that this will be no farewell compilation. “I wanted it to feel fresh and I wanted it to not only speak of events that happened in the past, but sort of foretell what’s going to happen with M-Plant in the future – lay out new possibilities. This is not just a collection of greatest hits of M-Plant to chronicle this 20-year journey but to say this is only the beginning; the first chapter. The best is yet to come.” When asked about what we might expect in 2015 and beyond, he answers with one word in a rather declarative fashion – “Monobox.” With a markedly more introspective and dark flavour than Floorplan, this alias dates back to the mid90s and its reintroduction earlier this year indicates that Hood still has considerable flex left in his approach. He is quick to admit that there may be some persona juggling involved though, in order to properly execute another shift in perspective. “Floorplan has taken on a life of its own and I find myself competing with myself. It’s just a matter of making chess moves and trying to find a way for everybody to co-exist in the same studio,” he says, laughing at the thought. “You know, it’s getting a little bit crowded. “We’re working it out, but it’s a matter of just meditating on it, praying about it and I’ll let God dictate to me what plans he has for me.” Robert Hood releases M-Print: 20 Years of M-Plant on Mon 8 Dec
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Trip Advisor One weekend, 30-odd shows, twinkling lights, a turkey dinner, crackers cracked with a partner in crime and... gin, a whole lot of cheery festive gin. That was the plan for our Art editor’s ‘Christmas Art Marathon.’ And it seemed like a Really Good Idea... Words: Sacha Waldron Illustration: Camille Smithwick
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y partner in crime is a friend from uni, now artist and carnival organiser extraordinaire. A typo on her website describes her as ‘The Sculpture (insert name),’ so, in the style of restaurant reviewer AA Gill whose shadowy dining partner is only referred to as ‘The Blonde’ – she will be referred to accordingly as ‘The Sculpture.’ The responsibility of The Sculpture is to turn up on time and be generally jolly. My responsibility is to book tickets, design a tight itinerary and steer the ship with military precision. Alas, the previous designated ‘planning’ night had been spent gatecrashing a Christmas party and imbibing a certain amount of tequila. This means that when The Sculpture finally turns up I have had little sleep and, train tickets aside, have only the skeleton of a clever and organised plan. So we’re going to wing it. It’s Christmas, right? Fuck it. Our adventure was one of indecision, missed trains, un-open shows, delightful distraction and… well, gin. At least we got that bit right. Day One – Saturday 09.00. London. I’ve been in Margate and The Sculpture lives in London so we meet at Euston. Virgin Trains are chucking away first-class tickets at silly (i.e. reasonable) prices and I am rather partial to all the fuss and pomp of the hierarchical system so we are travelling, remarkably, not by Megabus but in style. We raid the first-class lounge and come away with three chocolate cookies, two lemonades, two bottles of water, four croissants, two cappuccinos, two apples, a banana and some butter which undoubtedly will be forgotten and ruin various items of technology in my bag at a later date. 11.00. Canoe Death. Find Friday’s Metro on the train. Much horror over the story of the man accidently locked in the oven of a canoe factory and baked to death by his son-in-law. 11.40. Cornerhouse. There is a crowd outside Manchesyer’s Cornerhouse. We have stumbled upon Naomi Kashiwagi’s performance for the Playtime exhibition, which opened last night. The exhibition asks artists to respond to Jacques Tati’s 1967 film Playtime, which has just been reissued, and this performance is inspired by the film’s last scene. Four groups of people, carrying orange umbrellas, are stationed at the junctions outside the gallery. Francis Lemarque’s L’Opéra des Jours Heureux plays into the streets as the performers stop at the red lights, adopting theatrical poses before skipping around the umbrellas. The whole thing is quaint but rather underwhelming, less Tati and more Von Trier’s The Idiots. Upstairs in the show proper, Gabriel Lester’s series of saloon-like doors take up the first gallery. You walk through them and they shut behind you like a clacker toy. More interesting is Rosa Barba’s empty projection upstairs – a hole has been cut in the floor for the film to be sucked up into a plastic tube. We spend some time playing on another Kashiwagi work, Swingtime. Two swings make funny (not funny-ha-ha) noises as you gain momentum. As we start to try to get them to make increasingly weird noises the steward starts to look worried. “Do you want us to stop?” we ask. “Kind of… I just don’t want to set a precedent.” Fair enough. We clear off. 13.00. Castlefield. Manchester is starting to wind
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down after ATM14 and it’s the last day of Hardeep Phandal’s Maggots… exhibition. Neon pink, some old men, stuff about Camp Coffee. They served it at the opening, I remember; it was fairly nasty. 13.20. Deansgate. The Atlas Bar has a sign outside: ‘Gin of the week: Whitley Neill.’ We’re sold. Start talking about the scariest certain-deathtype activities – potholing, diving in the world’s deepest holes... diving in general actually. Being in the middle of the ocean and, on surfacing, discovering that your boat has gone off without you… 14.00. Manchester Art Gallery. The Sensory War, on ’til February, is great. Horrible, disturbing, depressing and great. 15.00. The Lowry. Tram off to The Lowry to see Akram Khan’s One Side to the Other. The exhibition apparently brings together performance, painting, film, sculpture. I say ‘apparently’ because we get to the front desk and the man says, “Oh what a shame, we shut the exhibition on Saturdays to do live performances… If you had come five minutes earlier I could have let you in.” We spend the next 20 minutes listening to promising sounds emanating from the forbidden gallery space while we look at photographic portraits of Keira Knightley on the balcony. 17.45. Korean BBQ. Ban Di Bul. We get the leftovers boxed up and the box leaks all over The Sculpture’s rucksack and, later, all over the sheets in the B&B. The girl next to us has lined up a little army of cute baby squid on her plate which seem to blink at us.
“Our adventure was one of indecision, missed trains, un-open shows, delightful distraction and… well, gin. At least we got that bit right” 22.20. Blackpool. The plan is to stay in tonight so we can be at the Grundy first thing, then take the train to Southport for the Atkinson, then go on to Liverpool. The Christmas lights have just been turned on. They are sponsored by Beaverbrooks. The taxi man entertains us with stories about drunk people getting in his cab having forgotten which hotel they live in and only remembering details like “It’s red” or “It begins with W.” 22.57. Hotel. Get to the hotel three minutes before check-in closes. Lobby is bathed in those
blue lights you use to stop people shooting up. Our room is through at least seven clacky doors which are not unlike, and a bit better than, Gabriel Lester’s work at Cornerhouse. There’s no heating, no towels and, bizarrely, a chair is placed Poltergeist-style on the bed. Think about hitting the town but, instead, fall asleep watching Samantha Morton as a strange water-creature in Minority Report. Rock and roll. Day Two – Sunday 10.20. Blackpool South Beach. Wake up late. Watch Benjamin Zephaniah on breakfast TV moan about how crap Christmas is. The sea is dark and evil-looking. 11.00. The Grundy. Over £3.75 breakfast, check my phone to see when the Grundy opens. “Closed on Sundays,” it tells me. Super. The Grundy is the only art gallery in the whole of the UK to be closed on Sunday but open on Monday. Decide to visit the Blackpool Tower, stop off at Southport, then Liverpool. Wakefield had been part of the plan at some stage. It is now definitely not. 12.00. Blackpool Tower Ballroom. The Ballroom is like a warm delicious cake crossed with a doomed Titanic. Lots of couples are dancing. The Sculpture prefers the sexy dances like the Salsa and the Samba – lots of leg and drama. I prefer the Emmerdale Waltz and the ones that look like old people just walking around. Strictly Come Dancing was here last week and the filming took eight hours according to yesterday’s taxi man. Apparently, good old BBC hospitality meant after four hours the audience got a “cup of orange juice and a biscuit.” We order two gins and it comes to an amazing £7. 14.30. Tower Eye. Realise Southport is now out of the question. Not quite ready to leave Blackpool so procrastinate and go up to the Tower Eye where we watch a 4D film that involves being sprayed with water and a lot of cleavage.
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15.00. Supermarket. Now really late. Run-walk to the station, stopping off at the world’s biggest Sainsbury’s for snacks. They are selling Christmas dinners for £5.49. If you buy a coffee you get a free mince pie. 16.00. Blackpool North. Finally on train to Liverpool. Check Tate website on phone and realise it closes at 17.00. No Andy Warhol today then. If we get in on time we should have half an hour to see Art of the Lived Experiment at the Bluecoat. 17.40. The Bluecoat. Train is delayed into Liverpool. Run to Bluecoat. The DadaFest show is better than expected. Brian Catling’s awkward bodily machines upstairs are good, nasty flappy tongues slapping on bony jaws… wish we could look at them for longer, wish they weren’t up all those bloody stairs. 18.00. Crackers. There is not a Christmas cracker to be had in the whole of Liverpool. Everything’s shut. We give up and look for Christmas dinner. 18.30. Yates’s Wine Lodge. With a train back to London in one hour we have now been to no fewer than eight pubs (the only ones with a festive menu in November). Yates’s and Wetherspoon’s have all run out! Disaster! Finally we get to the last Yates’s on Queen Square and they have a couple left. Hurray! We order two turkey dinners, extra cranberry, a much-needed bottle of wine and, on the suggestion of The Sculpture, a woowoo cocktail that is served in a Christmas bauble. It tastes of plastic and sweet battery acid… 19.30. Liverpool Lime Street. On the train with minutes to spare. We polish off our Christmas dinner wine with cheese biscuits and congratulate ourselves. We did it. Kind of… well not really at all, actually, but it’s been fun. Happy Christmas! All of the shows mentioned are either open or not open at various times in the week
THE SKINNY
The Skinny’s Christmas Crackers We’ve got industrial-strength puns, rocksolid punchlines and grincredible (watch out) jokes for when your supermarket crackers fail Words: Edy Hurst
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hristmas is upon us. Unless you’re reading this mid-December, in which case pretend it’s next week and continue. Yes! The festive season is here, more heavily filled with merriment and cheer than a spoilt child’s stocking – and we decided that this year we’d throw a comedy Christmas meal. Not like having a turkey with the Groucho Marx glasses on, but a real meal, with comedians! We’ve invited all our Spotlighters from over the past year, along with some of our other favourite comics. Liam Pickford is trying to smooth-talk the turkey over a glass of brandy and a charity shop suit; Gein’s Family Giftshop are insisting that they all sit on one chair and Will Setchell has gone off the whole idea of an organised sitting system, or any system at all. Anarchist, he’s an anarchist, that’s the joke bit (see page 57). Jayne Edwards and David Stanier are drawing pictures of eggs with moustaches on the tablecloth – it’s totally adorable! But enough insular references for one introduction – it’s time for the crackers! We’ve rummaged through our super-mega-bestfriends-definitely, comedy connections and a few choice readers to find the best remedy for the Christmas joke blues. Read on, and bathe in the glory of festive chuckle!
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I got a Nigel Farage action figure for Christmas. Ironically, my first thought was how I could send it back. @FreddyQuinne How long does it take to walk a dog in Mexico? Chihuahuas. @RachelFairburn How do you make an apple crumble? SHOW IT A PICTURE OF ITS FAMILY TIED UP IN YOUR GARAGE @dannysutcliffes Did you hear about the man who had his head knocked off by a crisp? He was decapotatoed. @netmvaster Dutch inventor of inflatable footwear has died in a tragic accident aged 94. Seems like he popped his clogs. @TheFCUMBaglady How do you get a panther out of the bathtub? Seriously...... guys? @EdyHurst
Why do calculators make good drummers? Because they have a built-in algorithm. @caddyisdaft What do you call a deer with no eyes? I AM THE NIGHT STABBER. I CAN NOT BE STOPPED. @FRED_FLETCH What does a Christmas pudding have for pudding? People – because it is time for revenge! @DavidStanier Why don’t you automatically get a job in Santa’s Workshop just because your dad’s Chief Elf? Because it’s a Merry-tocracy. @RikkyWiley
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What is Father Christmas’s wife called? Mary Smith (she kept her surname, it’s the 21st century). @whiteleyjon What’s a duck’s favourite TV show? Twin Beaks. @johnwinsagain How many surrealists does it take to change a lightbulb? QUICK! FILL THE BATH WITH MACHINE TOOLS! @willsetchell What’s Dean Martin’s favourite eel? That’s a moray. @liam_ohare
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Fly by Night A weekend in the ‘world’s happiest city’ reveals that, far from being content to rest on its laurels, Copenhagen is a place of experimentation, discussion and even dissent
Words: Lauren Strain
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Charlottenborg København
inviting you to place lost gloves in a box to help their bar staff get into design school (quite how, it’s not clear), to a neighbourhood shed where locals leave unwanted items so others can pick up free clothes, pushchairs and furnishings. You feel, almost instantly, that this is a country that cares: indeed, education is free, healthcare is free, the job market prides itself on upholding a healthy work-life balance, and Denmark boasts one of the most generous welfare states in the world – funded through high taxation – leading as a result, it is claimed, to the lowest inequality. Everywhere you go, everything is eco – from the tapas in Torvehallerne food hall to the cosmetics counters; even the hairdressers bill themselves as ‘økologisk.’ (The barman at Bæst, lingeringly stirring a – locally sourced – sea-buckthorn daiquiri, explains that, as it’s no more expensive to opt for ‘bio,’ the preference is ingrained.) So far, so rosy. Interestingly, however, we do hear cynicism. While to the outsider life may seem paradisiacal, some critical residents feel that they are too comfortable; that many of the young are, at best, just coasting; at worse, victims of ennui. “Have you noticed anything about the twentysomething males here?” a friend who’s been working in the city for a couple of years asks wryly, minutes after we meet; she means
Dark Matters - Skammekrogen installation
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Photo: Åsmund Sollihøgda
mid the deserted car parks and flat, empty units of the Meatpacking District, fires burn against the whip-sharp cold. A box of flame marks the cloaked entrance to Kødbyens Fiskebar; inside, couples chink thick wet drinks, and watch fish swim in table-mounted tanks. At Bæst, a new basement place on Klosterstræde, our voices sink into alcoves carved from dark wood and metal; we drink alone, early doors, shrouded in the velvety eeriness of a haunt not yet haunted. In a den in København K, a grey-pearl smog cushions the 18th-century ceiling. This is Byens Kro – a timeworn warp in the otherwise slick, smart central district – and there is no bar-hopping here; instead, ideas come slowly into focus through the rare indoor smoke. Copenhagen at night is a different, sharper, meaner animal to Copenhagen by day; and it’s kind of a relief. In sunlight – all wide, windy promenades, candy-painted townhouses and the whispered sweep of wheels – it can seem a utopia, and thus perhaps by definition, too good to be true. Except that it is (true), of course: for the second year running, this summer the Danish capital came top of Monocle magazine’s agenda-setting list of the top 25 liveable cities in the world, ranked according to things you might imagine like architecture, employment, and greenness, as well as other less conventional factors like the number of murders, daily newspapers, and McDonald’s. (One, 13 and 11, respectively. Hmmm.) The title comes as no real surprise: since the publication of the first World Happiness Report in 2012, which found that the countries with the highest ‘life evaluation score’ were all in northern Europe – Denmark, Norway, Switzerland, the Netherlands and Sweden – much fuss has been made, and many thinkpieces penned, about this relatively low-populated metropole having been granted the stature of happiest city on the planet. Certainly there are a lot of folk looking proper chuffed skating about in the middle of the afternoon, the plentiful leisure space even stretching, in one case, up the wall of a block of flats that doubles as a ramp – and the sense of community spirit seems strong, from cafes
to point out a placidity, a sort of floating...ness. The last year in the international press has seen arguments about entitlement: a New York Times story sparked debate (and defence) after it summarised alleged anxieties in Denmark itself as to ‘whether their beloved welfare state... had become too rich, undermining the country’s work ethic,’ creating ‘dawdling university students’ and ‘young pensioners.’ Things are too easy, the friend insists, and, somewhat ludicrously, at traffic lights we find ourselves more closely studying the calm, inscrutable faces of strangers, as if this inchoate and unsubstantiated notion is something that could really be known (though ultimately, we reckon, given the choice between a less equal society in which struggle might occasionally, inadvertently lead to a sense of purpose and urgency as byproduct – or a more equal society in which there could be a fine line between comfort and torpor – we’re pretty sure which one we’d choose). Besides, we’re here to sample the cultural scene, which, happily enough, seems far from lethargic, sharing with the city’s nightlife a desire to stimulate and unsettle rather than entertain – and goes some way towards rubbishing the suspicion that Copenhagen might just be a bit too, well, nice. Our awareness that the nexus of art, technology and social comment is perhaps more a part of everyday discourse here than at home in the UK begins with the discovery, down a quiet street in Nørrebro, of Dark Matters. Rune Brink Hansen and Lasse Andersen’s enigmatic ‘studio for time space and light’ creates visual concepts that arise from experimenting at the intersection of architecture, scenography, design and art; their office, when we visit, is unpeopled and cobwebbed, but streets nearby proffer partpeeled posters for their most recent project, Skammekrogen, an immersive theatre performance that utilises the Oculus Rift. In it, participants enter a white room, sit at a table set for dinner, put on their virtual reality headsets and arrive at a family meal with all its attendant tensions and intimacies. “The magic happens when the audience remove their goggles,” explains director and writer Johan Knattrup Jensen in a video. “They’re seated with a group, who before were strangers, but now... they have formed a bond.” The company’s shopfront door, meanwhile, directs us towards their next engagement, Naesus, a collaboration with the Tycho Brahe Planetarium to turn its 1000-square metre Space Theatre into an ‘audio/visual research dome’ as part of the cross-Atlantic Festival of Endless Gratitude. Later, in a cafe we pick up Scenario magazine – a bimonthly ‘briefing on trends, ideas,
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visions and possible futures’ published by the Copenhagen Institute for Futures Studies – and are equal parts interested/alarmed to discover the ‘17 megapatterns’ governing our lives; elsewhere, its lead story argues that competitiveness is the enemy of innovation, making us focus “on the same parameters as everybody else, rather than focusing on where we are different.”
“The nexus of art, technology and social comment is a part of everyday discourse here” Browsing the shop of the Kunsthal Charlottenborg art museum reveals it to stock exclusively existential reading matter – favourites are tiny publishing house Eros’s biannual journal ‘dedicated to the subject of desire,’ and a compendium from Berlin’s Sternberg Press that explores ideas of ‘the body, the self, as a spirit micro-region with borders that cannot hold’ – while billboards across town preview an upcoming music programme that spans the coruscating sonics of Tim Hecker (at the Jazzhouse), fine Berghain techno (an Ostgut Ton label night at Culture Box), and a clutch of broody, mindful producers including Peanut Butter Wolf and Om Unit (at Rust). There is a levity to be found in the fairground lights of Tivoli Gardens and in frequent moments of silliness – such as when, on one evening’s walk home, an electric rickshaw festooned with lanterns and blaring out Avicii drunkenly lurches across our path, the driver melting into giggles in his seat. But overall, the impression that’s left is one of a consciously cerebral city: communitarian, self-analytical, and concerned about the future rather than coddled in cotton wool, as some might have it. Sure, Copenhagen may have a lot of things right already – but it doesn’t feel like it’ll be resting easy anytime soon. Dark Matters: darkmatters.dk Copenhagen Institute for Futures Studies: cifs.dk Festival of Endless Gratitude: facebook.com/endlessgratitude Norwegian airlines operates a service to Copenhagen from Manchester and Edinburgh airports
THE SKINNY
The Silent Rise of the British Anti-Abortionists A cross-party group of MPs recently introduced a bill to clarify that gender-based abortion is illegal. Our Deviance editor takes a look at some of the troubling consequences of beginning to limit access to legal abortions Words: Tasha Lee Illustration: Nele Anders
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ed by an Evangelical Christian MP, Fiona Bruce, the cross-party group seized upon suggestions that sex-selective abortions are taking place in Britain to argue that the practice is discrimination against women. While the British Medical Association recognises gender-based abortions could be justified on the grounds of protecting the mental health of pregnant women, the bill wasn’t really about sex-selective abortions at all. It was about reducing access to abortion generally. Fiona Bruce is the chair of the all-party parliamentary pro-life group. They are supported primarily by the Pro-Life Research Unit, which provides research, document drafting and access to specialist medical, ethical and legal advisors. The group and the research unit are funded by Christian Action Research and Education (CARE), who receive more than £2,000,000 in donations a year that they spend on pushing a fundamentalist Christian agenda. Taking inspiration from the pro-life lobbies in the United States, organisations like CARE spend a lot of time and resources trying to chip away at access to abortion. Although they are explicitly against abortion itself, instead of campaigning for the Abortion Act 1967 to be repealed completely they seize on particular aspects of abortion legislation. For instance, last year Fiona Bruce chaired a parliamentary inquiry into abortion on the grounds of disability. Using the Equality Act 2010, the subsequent report argued for the extended time limit in cases of disability to be removed. She claimed the issue was about ending
discrimination against disabled people, saying at the time: “I do not accept that a disabled baby should be aborted purely because of the existence of the disability. Lives of disabled people are in general of great value and quality and medical advances are such that it [abortion on grounds of disability] seems unnecessary.” However, aborting a foetus on the grounds of disability is sometimes necessary after the standard 24-week limit. Abnormality scans are generally offered when a woman is between 18 and 20 weeks pregnant, but results take time to come back, young children in the woman’s care can become unwell, demands and deadlines at work might delay the appointments, or it might just take a woman a few weeks to make a decision whether to abort an unborn child with severe disabilities. In the same way, campaigning for the law to be clarified in terms of gender-based abortion shows an astonishing lack of sympathy or empathy with the pregnant women involved. At its core, whatever reasons a woman might have for wanting an abortion are valid. Abortion doesn’t exist in isolation – sex education, domestic power dynamics, societal expectations all influence the options a woman has and how she may approach her fertility. And without the option of safe abortion on demand, women are condemned to carry and birth a child against their will or to seek out an alter-native way of inducing a miscarriage. Either way a woman’s mental and physical health is put at risk, for the sake of someone else’s moral compulsions.
They Are Called Alex Words: Matthew Bobbu Illustration: Nele Anders
Living outside the gender binary
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y friend Alex has excellent taste in suits. A slim-cut jacket, a clean shirt, well-pressed trousers, a well-chosen tie; they really know how to dress sharp. And I bet you assumed that they are a man, right? Or maybe you consider yourself pretty modern, and tried not to make any assumption about whether they are a man or woman. What if I told you that they are neither? Alex is genderfluid; they don’t identify as solely male or female, but rather they consider their gender to be in flux between both. Sometimes they feel more like a man, and they dress in their suits. Sometimes they feel more like a lady, and they wear dresses. Sometimes they feel like a man and still wear dresses, because they damn well can if they want to. There are so many people who, like Alex, live outside the gender binary – people who don’t identify as simply male or female. Now I’m not talking just about biologically intersex people here, though certainly some of those born with
December 2014
indeterminate external sexual features identify as non-gender-binary people. Gender is not about what’s in people’s pants you see, gender is about what’s in people’s heads. Chances are you never heard of genderfluid people before now. Or genderqueer people, who tend to have a stationary identity somewhere between male and female, or as completely neither. These are just two roughly defined segments of the socially invisible gender spectrum, but you should try to get used to them, and aim to find out more. Because awareness is important. Being aware that people live outside of what you expect people to be like is so important, not just for them, but for you and the people you care about. Because one day your best friend may turn around and tell you that they are not comfortable being called “she” any more, and prefer gender-neutral pronouns, like “they.”
If they do, it will be your job not to declare that it doesn’t make grammatical sense (it does, by the way – just read the title of this article to find perfectly acceptable usage of a singular ‘they’). It will be your job not to say, “but you have to be one or the other,” because just as people can fall outside the orientation binary of gay or straight by being bisexual, pansexual or asexual – people can fall outside a binary gender identity, too. It will be your job not to say, “but you dress like a woman,” because how someone dresses does not necessarily indicate their gender. It will be your job not to ask, “don’t you have a vagina?” because not only does someone’s genitalia not define their gender, but it’s also none of your business. So when you meet anyone like Alex, it’s your job not to assume their gender by their clothes, what they keep underneath it, or anything. The only thing that matters is what Alex says their gender is, and whether you will respect that or not.
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Fashion Gift Guide 2014 Looking for a stylish Christmas present? We kick off our gift guides with a hand-picked selection of goodies from independent designers and stockists Photography: David Anderson Styling: Alexandra Fiddes This Page Watch – WeWood £89 Headphones – Bang & Olufsen £109 Moustache Wax – Bearded Bastard £14 Sunglasses – Finlay & Co £150 Scarf – Edition Scotland £149 Pen – Lamy £16 Beard Oil – Bearded Bastard £30 Pocket Watch – MMT £245 Bow Tie – Fiona Heather £30
Opposite Bracelet – Georgia Wiseman £90 Card Holder – Fun Makes Good £16 Ring – Georgia Wiseman £150 Scarf – Hilary Grant £75 Sunglasses – Finlay & Co £120 Necklace – Wonderhaus £29 Scarf – Karen Mabon £110 Earrings – Patience Jewellery £150
Stockists The Brotique thebrotique.co.uk Twisted Time twistedtime.com Fiona Heather fionaheather.co.uk Georgia Wiseman georgiawiseman.com Hilary Grant hilarygrant.co.uk Glasgow School of Art Shop gsashop.co.uk Karen Mabon karenmabon.com Wonderhaus wonderhaus.co.uk Patience Jewellery patiencejewellery.com dnanderson.co.uk alexandrafiddes.co.uk Location: Hill Street Design House hillstreetdesign.house
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Merry Christmas!
The Showcase invited artists and illustrators to design a Christmas card for Skinny readers – and oh, ho ho, did they respond
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Caroline
Lesley Guy
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Inga Line viciute
Jayco Anthony
Clio Isa dora
The Skinny Travel Shorts From hiking in Myanmar to a particularly memorable trip to Millport, we want to hear your stories about travel far, wide, and very close indeed. We’re open to all sorts, so long as they’re short, snappy and engaging. A selection of our favourites will be published in our debut Travel Supplement in the February edition, with more online. Hard facts: Submissions should be no more than 300 words long. Deadline: Fri 9 Jan 2015 Email your writing to paul.mitchell@theskinny.co.uk Head along to theskinny.co.uk/travel for more info and a lovely interactive map.
@TheSkinnyNW
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/TheSkinnyMag
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Illustration: Studio Monik
THE SKINNY
Christmas Dinner 101 Need tips to make your festive meal into some serious gourmet shit? Our Food and Drink ed – still slaving away for your pleasure – has culled the best culinary advice and chipped in some of his own to make the day go as smoothly as possible Words: Jamie Faulkner Collage: Amy Minto
Don’t Skimp on Your Turkey To begin with, we canvassed opinion for good turkey suppliers the easiest way we know: Twitter. The Copas breed cropped up, with @FTTBYD suggesting Evans in Didsbury as the place to get one; the Eagle & Child pub recommended Burybased Albert Matthews; @Heisenburger1 praised Fosse Meadows’ birds, while @FoodGeekUK swears by Paul Kelly’s bronze turkeys. Don’t like turkey or want something different? Go for goose, a glazed ham, or Beef Wellington. Brine Time Food writer Harold McGee (known simply as ‘Da Man’ in my house) had a dig at brining in a New York Times article a while back. The issue here is: though it will lead to moist meat, that moisture comes from added salty water, which dilutes the flavour of the bird. Nevertheless, the result will be tender, more evenly seasoned meat. You can also try injecting a milk and apple juice brine full of tenderising phosphates a la Modernist Cuisine
if you’re feeling (experi)mental. For a large bird, low-concentration brines (2% salt to water) can take a while to have an effect, so be warned. Take Tips from Keller Thomas Keller recently shared his tips with Epicurious for a great Christmas turkey and they including brining (you can’t escape it!) but also an important reminder that a day of air-drying in the fridge post-brine is a very necessary in-between step before roasting, if you want ultimate skin crispiness. Basting with clarified butter also gives a better result than simply basting with regular butter or oil according to the French Laundry chef. Cooking the crown and the legs separately is a tried-and-tested technique that lessens the risk of ruining your prized meat. Crisper Drawers and Ziploc Bags Even a small turkey will need a large container to brine in. We advise commandeering the crisper drawers at the bottom of the fridge, assuming
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they’re not jam-packed with veg, or using a huge Ziploc bag (look online; IKEA do some reasonably priced ones if you live near one). If you spatchcock your turkey, as Kenji from Serious Eats does, then you’ll save on more space. Don’t Stuff the Cavity Okay, you can if you want, but you’d be better adding a layer of protective stuffing under the skin. Mix some breadcrumbs with some softened butter, herbs like sage, and whatever else springs to mind (cranberries/chestnuts?) and use a piping bag to work it into the hard-to-reach areas. Daniel Humm, chef at New York’s Eleven Madison Park, does a pretty good job on a chicken (YouTube it) if you need some pointers. Save Oven Space by Frying Roasties Most domestic ovens don’t cope very well when you cram them with food. Have you ever
impatiently waited for honeyed parsnips to caramelise, potatoes to crisp and stuffing to brown? It’s a bit like overcrowding a pan. If you have a deep fat fryer you can use it to finish off your fully cooked or par-cooked spuds to free up valuable oven rack space for aforementioned items. Prep Way in Advance If you brine your turkey, you’ll need to plan that into your schedule. Think about making stuffing a while ahead and freezing it; homemade cranberry sauce has high levels of sugar and will keep in the fridge for a good stretch. Potatoes will turn out better if they’re cooked, frozen, then roasted or fried. Remember if you’re defrosting lots of things at once in the fridge, all those frozen and half-thawed items will lower the ambient temperature and cause everything to defrost that bit more slowly.
Mulling It Over Forget mulled wine – add wassail, sloe gin, and brandy flips to your Christmas repertoire Words: Thomas Ingham
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he last time I drank mulled wine was with my university lecturer; he had a load of the stuff to boot and decided to whack it in the microwave. As you might guess, it came out tasting like lukewarm piss, but it was more (not less) disappointing than what I’d had before. This greatlyextolled festive treat has always been as bland as Boxing Day and a frightful waste of red wine in my eyes. People bang on about being lonely at Christmas, but what really worries me is being sober. As the year draws to an end, it’s naturally a time for reflection, but who has time for that? Mankind has knocked up enough hearty recipes to make sure you won’t even remember watching the John Lewis advert. Here’s just a few. Wassail is not only a drink, but a centuriesold tradition in which villagers would go out into the orchard to pray for a good year, and more importantly good cider apples. Roughly translated as “good health,” wassail is a rich, rousing drink comprising cider apples, sugar, ale, ginger and nutmeg – on occasion topped up with a healthy slug of gin. Its appeal has somewhat diminished over time but some villages do still
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practise wassailing in areas like Gloucestershire, decorating the apple trees with cider-soaked toast – no, me neither. Wassailing is all well and good if you’re into choirs and community spirit, but it’s not much cop when it’s just you and a long, biting winter’s walk – step up sloe gin. Criminally overlooked at Christmas, this ruby red delight is a quintessential festive drink as the sloes are picked around October, when at their ripest. There’s not much to it other than soaking the sloes in gin for two to three months, using sugar to help extract the juices. When done right, it’s a full-bodied blast down the back of the throat, not as harsh as a whisky, but still sweet and powerful enough to bring back the feeling in your toes. The next booze-filled offering is the brandy flip, a versatile and adaptable recipe historically heated with a red hot poker. Mix egg yolks, cinnamon, cloves, ginger, beer and a good pouring of brandy for instant satisfaction. This recipe dates back hundreds of years and therefore there’s some discretion needed when it comes to your ale of choice. Likewise the brandy can be interchanged with almost any spirit that takes
your fancy; bourbon and rum work particularly well. Designed to be a soothing bedside companion, this flip can be enjoyed hot or cold, in the evening or at the crack of dawn (in moderation, of course). The closest I come to a compromise on mulled wine is the Scandinavian drink glögg. Unfairly considered a facsimile of its boring cousin by most, this Nordic tipple is an altogether more robust and boozy affair. Notable mentions also go out to the simple snowball, a mix of lemonade and the Dutch creamy gloop advocaat. And if you’re in the mood for a seaman’s speciality, try buttered rum.
FOOD AND DRINK
Regardless of what’s in your glass, the one thing we all want to avoid is a Christmas Day hangover. If there was an actual cure you wouldn’t be reading this in a coffee shop, but in keeping with the theme of this piece, here’s an old Puerto Rican wives’ tale to try out: take a lemon and a lime, cut them in half, rub the juices into your armpits and smack your arms against your body. Supposedly this prevents dehydration and its subsequent side-effects; psychologically the physical exertion may lead to feelings of freshness, but, whether this constitutes a cure, the jury’s still out.
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Sindhoor
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Location, location, location. A well-trod phrase when it comes to buying a house, though equally important when opening a restaurant. I remember when I dreamed of rejuvenating an area by opening a community-led, co-operatively run, sustainable restaurant. Ah, the dreams of youth. A few years later and I’ve realised I don’t have the Midas touch of the Adrià brothers. Next year, they plan to complete their 5.0 project, a ‘culinary amusement park’ in Barcelona’s traditionally working-class district of Sant Antoni. The fact that I spent more than half of my time there on my last visit to Barcelona suggests the chef siblings are contributing to its economic development. While we may not have such gastronomic rollercoasters in the Northwest, location is still a topic worth pursuing when it comes to dining here. A recent visit to Sindhoor in Whitefield left me pondering the impact of location on a restaurant’s profits. Worlds – nay, light-years – apart from the molecular edibles over in Catalonia, Sindhoor sits opposite Slattery’s (apparently the queen of chocolate and afternoon teas), creating north Manchester’s very own project 2.0. Situated in a row of rundown-looking takeaways and solicitors, and – let’s think practicalities, here – right by a conveniently located bus stop, the exterior offers little clue as to what the palate might expect inside.
While we’re being critical, the interior gives little away, too. Feeling like we’re sitting in someone’s living room, we have to remind our drunken companion to keep her voice down when affectionately commenting on the gentle pace of the service. It feels tiny, though the website assures me it seats 40. Get the dosas: they’re are laughably large, barely able to fit on the table with the seventeen hundred other dishes we’ve ordered. We go back to basics with a masala dosa, spicy potatoes stuffed inside the pancake-thin lentil vehicle. There are more potatoes in the form of mysore bonda: the deep-fried mash is lightly spiced, comforting and oddly reminiscent of the ‘bombas’ in Spain. Chicken chettinandu, a recipe originating from Tamil Nadu, the southernmost state in India, is a deeply rich affair that balances coconut with a multitude of spices. Despite the Kumarakom prawn curry also using coconut milk as its base, the flavours of the two dishes are distinct – the latter tangier, suggesting a background hint of tamarind. Chilli chicken dry and paneer pakoda sate our deep-fried cravings, while the malabar lamb masala is mopped up with buttery, flaky keralan parotta. Everything is delicious, apart from the location. A week later, we visit its counterpart, similarly housed in a row of drab-looking shops, just off the A34. The restaurant is bigger and the food just as good. It's unlikely Sindhoor is going to catalyse the kind of rejuvenation seen by the Adrià brothers’ restaurants – but either way, for food that puts a smile on my face, the location don’t bother me at all. [Anna Tully]
Phagomania: Edible Christmas Drinks Take those chestnuts off the open fire, and throw on a pan of deep-fried alcohol* as we look at Amy Erickson’s edible alcoholic treats Interview: Lewis MacDonald
If you liked Sindhoor, try: Mayur, Liverpool Mughli, Manchester Master Chef, Liverpool Sindhoor, 180-182 Bury New Rd, Manchester, M45 6QF ww.sindhoor.co.uk
Berry and Rye
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Tucked away amid an array of trinket stores and noodle bars on Berry Street is an unassuming black shop front. Knock on the door; wait nervously. A stern-faced, broad-shouldered man will demand how many are in your party and after stuttering a response your fate will be decided. If they have room and ‘the man’ feels kind, you will be granted entry into one of Liverpool’s most poorly kept but well-respected secrets. Probably about 50 people could fit inside, maximum, and that’s with several peeps perching on others’ knees. As you enter, there’s a lot of detail to take in for such a small space. While you’re digesting the exposed brickwork, salvaged church pews, well-thumbed books, candlecorked bottles and the generally rustic aesthetic of the place (not to mention the whosits and whatsits galore behind the beautiful bar), two lovely and efficient servers will greet you, seat you and gift you an old, antique, book inside which treasures untold await your perusal. Take a look at their drinks list by candlelight or ask the advice of the well-informed staff who will endeavour to enrich your experience as much as possible. Berry and Rye offer table service, which immediately sets it apart from the establishments of Concert Square, merely a stone’s throw away, though this seems more of a practicality given the confined quarters. They specialise in whiskey and gin cocktails, as well as blues and jazz music, and they boast enough bottles of Scotch to make Hemingway sweat. It’d be remiss not to order the classic Whiskey Old Fashioned, which comes served with an orange peel and, un-classically, a ‘dock off’ ice cube so as to keep your drink cold rather than dilute it. For something sweeter try the
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Clover Club; for something refreshing, a Mint Julep. When your drink arrives, sip it as slowly or as fast as you’d like and absorb the live bluesy piano, Billie Holiday or Muddy Waters, as you are transported to a chic speakeasy in 1920s New York or Chicago. Three Old Fashioneds into your best Don Draper impression and you’ll be wanting to sink down into your seat, make a blanket out of bar napkins and stay the night. But sadly, you cannot. When you’re done you’ll emerge back into the Liverpool night air with a yearning desire to return. Walk by this inconspicuous place the day after and marvel at how unremarkable it appears. Berry and Rye is the reason why you should never judge books, or bars, by their covers. [Mary Kate Menear] If you liked Berry and Rye, try: From Dusk Til Pawn, Manchester Some Place, Liverpool The Gaslamp, Manchester Berry and Rye, 48 Berry St, Liverpool , L1 4JQ @berry_and_rye
henever December hits, all culinary thoughts move towards one thing… Christmas. No debates about how to do turkey, or whether there should even be a turkey, round here – this is Phagomania. For us, one thing comes to mind when it comes to the festive season. Same thing as you were thinking? If that thing was ‘booze,’ you’re in good company. When it comes to festive boozy treats, most of the press will resort to either incredibly elaborate recipes, or a pretty tame wine list to accompany all that eating you are going to do. But wait… why would you expect Phagomania to draw the line at eating? What if you could combine the two gluttonies of Christmas – eating AND drinking? Sure, most have tried eating alcohol, even if it hasn’t directly occurred to us as an idea. We investigated the views of some regular readers and sure enough, some staple favourites arose. “Vodka Jelly – yum at 16 and still yum at 29.” Agreeably a classic, although enthusiasm was not the consensus view. Cakes featured highly, with the ubiquitous boozy Christmas cake securing our hypothesis. “My uncle’s attempt to light a Christmas pudding once failed even after most of a half bottle of brandy was poured on it. Best Christmas pudding ever.” We also came across gin cake and mojito cupcakes (surprisingly good, may we add). Then there was the odd. Pernod sandwich, anybody? “It’s horrible,” we hear, but it sounds like an experiment for another article for another time. But let’s cut to the chase, to the showstopper, to the reason you all started reading when you saw those pictures. The deep-fried tequila. We all need to step up a notch and take heed from one Amy Erickson of New Mexico, USA,
FOOD AND DRINK
creator of the deep fried tequila shot. No snorting salt and getting lemon in your eye – simply eat your shots of tequila as easily as popcorn to bring a bit of ‘zing!’ to the ‘ding’ and ‘dong’ of Christmas. These little critters are deceptively simple to make; simply cut a basic sponge cake into cubes, soak briefly in tequila, throw into a deep fryer or pot full of hot oil, and dust in sugar and lime zest. And yes, they do hold their alcohol. If that isn’t Christmassy enough for your taste, creator Amy’s favourite festive tipple is eggnog. She says: “With or without booze, I love to bake with it, cook with it… and drink it! Ironically, I’m really not a drinker! But I do enjoy the depth of flavours it brings to food,” she reveals. Shock, horror, never meet your heroes, etc, but if you give Amy’s website Oh Bite It a browse you are bound to find the edible booze for you. Our favourite after the tequila shots are eggnog rum balls. How can you go wrong with that?! “As far as what’s up and coming in the tipsy treat world,” Amy forecasts, “I think there might be some bourbon pumpkin pie in my near future.” Oh God, this is turning into a boozy, seductive Hansel and Gretel. Just give us the pie Amy and shove us into the oven! We couldn’t leave a Phagomania guest without asking them about the visual side of their creations. How important is this for the audience? “All they have is what I show them,” Amy offers. “I do like the fact that people can come to my page and just indulge in the fantasy side of the food with no intention of ever making or eating it.” But don’t do that; instead go forth and make yourself some edible booze this Christmas! ohbiteit.com *please don’t really
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The Alternative Foodie Gift Guide What’ll it be this year: sous vide tools, a zombie survival guide or a slice of French vineyard? Welcome to a world of Christmas presents for the foodie in your life...
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t’s rare that a sequel outdoes the original – but we’re hoping this Christmas food and drink gift guide will be to last year’s what The Dark Knight was to Batman Begins, Desperado was to El Mariachi, and Bill & Ted’s Bogus Journey was to their Excellent Adventure. And if you think that was a mouthful – yes, we did just go there – then wait ’til you get your gob around this list. We’ve gone slightly less alternative this time around, insomuch as we’re not recommending you buy the foodie in your life shares in anaerobic digesters or round-the-world trips. And we’ve put some handy categories in place for your viewing pleasure.
covers cookware, gadgets and obscure ingredients: think chef tweezers, Himalayan salt plates, achiote paste, and cherry wood smoking chips. Tapas Lunch Company (thetapaslunchcompany. co.uk) and French Click (frenchclick.co.uk) are also great bets for country-specific produce from raclette to Padrón peppers. If your giftee is into a particular cuisine, be it Thai or Polish, try to find a shop or deli in your area too.
Wine, and more wine! The next one will suit Mancunians best, but it’s a gift worth purchasing for anyone interested in wine who can get to Manchester – so quite a few of you, then. What you do is: you walk into Salut Things to cook with! Wines in the city centre, you buy a shiny white Do you cook stir fries at home? Do you fail to get pre-pay card and you put a non-miserly amount the proper wok hei, or ‘breath of the wok’? Do you of pounds on it. Then give it to the wino, ahem, even know what that means? Then you need/don’t oenologue, and tell them they are now the proud need a WokMon, a device created by Glen Lee owner of potential wine and that Salut has a suthat supercharges traditional gas burners into perlative range of wines carefully stored in their something that resembles Ryu’s Hadouken attack fancypants Enomatic machines. So they should or a jet engine (pick your favourite analogy). be grateful. www.wokmon.com Sticking with the wine theme: it seems counterintuitive, but getting someone a gift that can Beer for drinking! only be enjoyed in the future isn’t a Christmas It was only a matter of time before someone took cop-out. Through the site www.vintagewionline grocery shopping and the craft beer trend, negift s.co.uk, you can make a lucky someone the and spliced them into an alcoholic’s dream (no, pleased owner of a very small patch of vineyard that’s not lifted straight from the press release). on the Château de la Cour estate. Just north of Beer 52 send you eight different brews every £150 gets you several vintage bottles, a nice litmonth, chosen by their experts; and though their tle certificate, a bunch of other stuff and, most range isn’t wildly adventurous as yet, it’s either a importantly, preferential rates on future vingreat introduction to, or steady supply of, craft tages. If your giftee doesn’t like the grape, book beer at a pretty reasonable £24 per month. them onto a Sipsmith gin tour in that London in www.beer52.com January, because gin is just so hot right now. Just make sure they’re not planning a dry month. Magical baking aids! It’s somewhat inevitable that there should be Reading materials! a baking tool on this list. Recently, it’s come For the cerebral and creative folk, we’ve a trio of to our attention that a good way of baking bread good reads to suggest also. We thought we’d go is in – that’s right, inside – a heated Dutch oven for one that’s fetishistic, coffee table fare; one or casserole. The ideal vessel is really a Lodge practical, and one that’s downright hipster. The Photography of Modernist Cuisine, Double Dutch because the lid is flat, unlike a by Nathan Myhrvold, will send quivers of delight Le Creuset for example, meaning you can put through anyone whose hobbies converge on your bread on the upturned lid, then cover to food and cameras. This tome features 300 giant bake, rather than having to get your loaf into images of things like blueberries, salmon, and a roasting-hot tall-sided pot. You could also grilled-cheese sandwiches like you’ve never seen gift a baking stone but a Dutch oven is more ‘em before, many from the original Modernist versatile – they’re available from Amazon and Cuisine book, the new foodie ‘bible’ – and there various stores. are tips for aspiring food photographers too. A subscription to Lucky Peach is also pretty Inspiration-dispensing specialist online shops! much guaranteed to please. It’s the self-indulgent Here in the food corner, there are also a few websites we e-frequent that will give you a wealth but well-written quarterly food and drink jourof options for when a chocolate orange and a se- nal founded by David Chang, owner of the now lection box won’t do. Sous Chef (souschef.co.uk) legendary Momofuku. At $90 for a year’s worth
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Words: Jamie Faulkner Illustration: The Genius Bureau (Michael Morrell)
of mags (eight issues shipped to the UK from the States), it’s pricey territory but delicious and Good Food magazines just don’t compare. For fans of The Walking Dead and George A. Romero’s oeuvre who also enjoy a spot of gastronomy, there’s Lauren Wilson’s The Art of Eating through the Zombie Apocalypse. It’s a tongue-in-cheek survival-guide-slash-recipebook that covers inventive cooking, guerrilla gardening and scavenging tips in a world where there’s no more takeout or regularly re-stocked supermarkets. Also good for any doom-mongerers and people with fallout shelters.
“It seems counterintuitive, but getting someone a gift that can only be enjoyed in the future isn’t a cop-out” Viewing experiences! Does anyone still buy DVDs? If you do, gift a hard copy of the following movies or just do it through iTunes or whatever platform you like. There’s nothing like eating Christmas food while watching a film about food, trust us!
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Jon Favreau’s Chef is the most obvious and least taxing choice, and one of the better fictional examinations of modern food culture, for all that it jars a little with reality. Noma: My Perfect Storm follows René Redzepi (founder of the two-Michelin-starred, best restaurant in the world, Noma) for 12 months through markets, kitchens and board rooms as he tries to push boundaries and deal with annoyances like norovirus outbreaks. And if you want a movie to put you off the overindulgence of the festive season, Fed Up will do the job (save it for the first of January perhaps). Four obese teens, including 212-pound (15-stone), 12-year-old Maggie, open up about being overweight to their flip cams as director Stephanie Soechtig and journalist Katie Couric try to find out where it all went wrong. SCIENCE! Last of all, we’ll handle the foodie whose kitchen looks like... well, like they’ve been on the good end of a Christmas gift guide or two. Heard of sous vide? It’s a method of cooking ingredients, often in vacuum-sealed pouches, to exact temperatures in a heated water bath – and it’s something that modernist-minded cooks can have great fun with. You can get a good setup by buying a thermal or immersion circulator, which you can attach to most pots and large containers, but the main, cheap iterations, like the Sansaire and Nomiku, tend to be American and hard to come by over here. You could order them to the UK (if there’s still time) or you could try the PolyScience Discovery at a competitive £250. Get it for your significant other and just think of all those perfectly cooked steaks (in reality: cold turkey sandwiches) coming your way. And that’s it for this year. Happy Christmas!
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Gifts for a Bookish Boxing Day The Skinny Books team melt celebrity ego before the open fire, looking past inane memoirs to suggest the finest literary offerings to gift the family this Christmas scene. With the likes of Irvine Welsh and Denise Mina contributing, there’s a familiarity for those who’ve so far stuck to the pictureless side of the literary globe and with the eclectic collision of styles provided by the illustrators – from cuddly cartoons to noirish nightmares – something’s sure to click with every sort of reader. Maybe more importantly, with a full-throttle plot and a sharp-edged humour, the novel itself is just a hell of a lot of fun. [Ross McIndoe]
IDP:2043
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arlier in the year Sunday newspapers across the nation were soaked in regurgitated coffee, a result of discovering that Joey Essex had somehow managed to place multiple words in order and top the UK bestseller list with his autobiography Being Reem. A number one bestselling author; this was not ‘reem’ at all. In fact it felt that things might never be ‘reem’ again. But as we approached the festive season things deteriorated further. Christmas can be a tough time for the lonely, the destitute, the Skinny Books editor. Bookshops’ Super Thursday (this year 9 Oct) – the starting pistol for the Christmas bestseller list – heralds a season of discontent and unwanted puppies, of vacuous celebrity memoirs flooding the publishing schedules. They teem with weak sporting word play – Rio Ferdinand’s #2sides, Roy Keane’s The Second Half – and uninspired variations on My Story, My Autobiography, My Life; or, in the case of Tulisa, the additional veiled threat …So Far. These tomes of self-absorption should not just be for Christmas, but for the bonfire and purification at 451 Fahrenheit. But, The Skinny Books team have been working hard to bring inspired gift ideas to our dear readers, our personal choices of titles published within the year. So instead of stuffing stockings with banal confessionals sprinkled in the cheap glitter of celebrity, take a look at some literary works of wonder 2014 has offered. For the drunken vagabond uncle in need of salvation, there is The Book of Strange New Things by Michel Faber. The advent of mobile phones ruined many a movie script. How can we now suppose any pretence of true isolation? Extreme conceptual measures must be taken to have characters feasibly unaware of the plots building around them. For his most recent (and tragically final) novel, Faber simply blasts his protagonist into deepest space, creates a black and endless void in which only rudimentary communication is possible. These are the unspoiled laboratory conditions under which human communication and one particular relationship is studied. Peter, a Christian minister, spreads the Gospel among the alien population of the planet he has been sent to help colonise: a population with a hunger for the good book, who swallow it whole and blindly accept – a perfect and malleable flock. Yet they remain as unreadable and inhuman as the foreign legion of misfits who, for their own reasons, have sought out this emotional desert. This story is told in tandem with the electronic written communications between Peter and his wife, Bea, back on earth facing apocalypse. The
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belief they must hold in one another compares with the unwavering faith of the alien congregration. This is a work of mood and emotion, deep and weighty themes very lightly worn by a haunting and immersive narrative and written in perfect polished marble prose. Many books take decades to mature into acknowledged masterpieces; The Book of Strange New Things was born as one. [Alan Bett]
Get a gift right and you can open up a whole new world to someone and spark an interest that they’ll run with for years to come (which also makes it way easier to buy their presents next time round). Graphic novels are currently in a weird little limbo between being majorly in fashion and as niche as ever. Characters clad in Kevlar and all manner of multi-coloured spandex have leapt from between the pages to storm the big screen and batter their way to the front of the pop-cultural hive-mind, but for all the attention their yearly multi-million-dollar heroics are attracting, the books that birthed them remain terra incognita to most. The existence of the vast lands outwith the domain of superheroes is often forgotten altogether, like a kind of literary Wales. IDP: 2043 might make the perfect entry point for newcomers to the graphic novel
“Remember your granny was saying how rare it is to find metaphysical, witty takes on our universe?”
Zadie Smith may ‘need them “like crack,” but the books of literary sensation Karl Ove Knausgaard prove far more suitable Christmas gift ideas than the rock; easier to score in Waterstones, simpler to wrap. Although in comparison, some might argue that the publication of this six-volume autobiography – the third title translated from Norwegian and published this year – has also ruined lives. They have attracted death threats and fuelled more domestic carnage than Buckfast with Christmas dinner. Knausgaard himself claims to have sold his soul, swapping family harmony for the vast success these books have brought. Boyhood Island, while third in order of publication, is the first chronologically and a departure in many ways. While his other titles muse over adult experience through the prism of his older self, Boyhood Island is a straight firstperson narrative of youth – the fears, anxieties, joy and pain implicitly connected to childhood. Apart from family concerns, the series title has provoked on a more universal level. My Struggle
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(Min Kamp – Mein Kampf) has been used previously of course, by someone less literary minded. But the notoriety of Knausgaard’s work should in no way detract from this fascinatingly normal life put under the microscope – an everyday epic in which ‘The flames of truth and beauty burn.’ This is a man reading the patterns of his own life, attempting to understand it. Boyhood Island can be bought alone or as part of a pack containing the first three series titles; just depends how much you like your Secret Santa. And if they like it? Well with three still to be translated into English, you know what to get next year. [James Allen]
Remember your granny was saying how rare it is to find collected short stories from 20th-century Italian authors, how she’s starved of metaphysical, witty takes on our universe and our planet’s lives, how Italo Calvino, author of that one she liked, the one about a chilly nocturnal rambler, Italo Calvino, dead near three decades, should get off his tanned Mediterranean toosh and publish again, how she couldn’t even remember, I mean, when, really, was the last time anyone had entertained the notion that our universe may well have burst into life at the very moment an immortal being resembling a gorgeous and kind Italian matriarch exclaimed, ‘Oh, if I only had some room, how I’d like to make some tagliatelle for you boys,’ and you’ll remember how desperate she was for four hundred pages, give or take, of playfulness and of genius, the sort that can encapsulate everything – truly everything – as, say, ‘that little that was generated from nothingness, the little that is and that might very well not be, or be even smaller, even more meagre and perishable,’ words perhaps related by a narrator with an unpronounceable name – ‘Qwfq,’ for instance – variously a subatomic particle, a subterranean giant and a dinosaur, remember how she said all this before gesturing at the nearness of Christmas and the importance of satisfying the whims of the elderly, remember how she said all that over mince and buttery tatties last Sunday? Well here you have it, a new edition of The Complete Cosmicomics. [Angus Sutherland] All books mentioned here are available from the usual bookshops and online
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Socket Fillers: Gifts for Tech Lovers What to buy for the gadget-obsessed this Christmas, from modestly priced essentials to the truly covetous unnecessaries, and everything between
Gifts under £50 1. Shoulderpod S1 – A thoughtful, specialist gift for the digital chronicler in your life, the Shoulderpod S1 is a portable rig designed for increased control in smartphone photography and/ or filmmaking. This kit consists of a smartphonefriendly clamp for tripods, handstrap for steady grip, and travel stand. (£23.90, shoulderpod.com) 2. Urbanears Plattan Headphones – Urbanears create stylish, durable in- and on-ear headphones that come in an array of attractive colours at various affordable price points. Plattan is a classic on-ear headphone which offers rich, secluded sound, and features the ZoundPlug socket, which allows a friend (or passer-by, whatever) to plug their own headphones into yours. Why not. (Various colours, £49.90, urbanears.com) 3. FroliCat BOLT – What Christmas is complete without the chance to watch a cat freak out while chasing a laser? BOLT from FroliCat is an interactive toy that can be used handheld for creating laser patterns, or placed on a surface to project automatic patterns at random. Assured fastpaced, multi-species fun for hours of entertainment, or at least until your cat gets fed up of the ridicule. (£19.99, iwantoneofthose.com) 4. The Innovators: How a Group of Inventors, Hackers, Geniuses and Geeks Created the Digital Revolution by Walter Isaacson – Walter Isaacson is back with another weighty tome following his bestselling biography of Apple cofounder Steve Jobs. This time Isaacson charts the birth and growth of the digital age through its greatest creative minds, ranging from Ada Lovelace to Larry Page. If you have a tech lover in your family with a dual penchant for history, you can’t go wrong with this book. (Simon & Schuster UK, 2014, hardcover, 528 pages, £11.99, amazon.co.uk) Gifts between £50-£100 5. iKettle – Have someone on your Christmas tobuy-for list who can’t get out of bed without the imminent promise of a hot beverage? Consider the iKettle, the world’s first WiFi kettle that wakes you from sleep, or welcomes you home, with the automated offer of brewing up a coffee or tea to the perfect temperature. The stainless steel kettle comes with WiFi dock and a range of colourful insulating skins for £14.99 each. (£99.99, firebox.com) 6. Babyliss Curl Secret – If this contraption looks scary enough to make your hair curl then you’re not far off, since that’s what it’s designed for. This device is not designed for Earth’s demise, but is in fact an innovative hair-curling product that’s taking the beauty world by storm. The Curl Secret from Babyliss draws hair into its ceramic chamber (sinister) and gently creates perfectly formed curls in seconds, with multiple heat and timer settings. (£101.99, johnlewis.com) 7. Skylanders Trap Team Tablet Starter Pack – If there’s a kid you really want to please, and a parent you really want to annoy, then grab a Skylanders Starter Pack. The set comes with software, two figures and traps and, crucially, a traptanium portal, which the toy figure is placed
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Lifestyle
Words: Julie Danskin
on to make it appear on-screen and allow it to go into battle. Or something. (Various kits available for all mainstream consoles and tablets, £52.99, toysrus.com) 8. Pebble Smartwatch – Know someone who loves Kickstarter? The Smartwatch from Pebble is finally available in the UK to pair up with Android or iOS and display texts, tweets and other notifications using an e-paper display. The highly customisable and water-resistant Smartwatch has a battery that lasts five-to-seven days and even has its own app store. A sure winner this Christmas. (Various colours, £99.99, firebox.com)
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Stocking Stuffers: Small but Special Gift Ideas 9. Lumsing 10400mah Harmonica Style Portable Power Bank – For anyone who constantly bemoans his/her smartphone’s lack of longevity through the day, a portable charger is essential, and is a Christmas gift that you can rest assured will be gratefully received. This favourably reviewed portable charger from Lumsing is suitable for copious USB-chargeable devices, comes at a very decent price, and is far more attractive than similar products on the market. (£21.99, amazon.co.uk)
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10. Logitech X100 Portable Speaker – This is a handy little gift idea for anyone you know who has a penchant for impromptu music sharing. With a 30-foot wireless range and enabled for any Bluetooth device, the Logitech X100 speakers are equipped with clear, rich sound. Better yet, it fits in the palm of your hand and comes in a variety of colours. (£39, amazon.co.uk)
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11. Mimobot Darth Vader USB Stick – Everyone knows a Star Wars fan who also appreciates portable data storage and, since it’s Christmas, why not combine the two? These hilarious flash drives from Mimobot are available in various characters and capacities which come pre-loaded with fun icons and wallpapers, and are absolutely perfect for stockings. (from £24.95, amazon.co.uk)
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12. Gift Vouchers, various – Ah, gift vouchers. Constant life-saver for the rushed, the forgetful and the undecided. There are some great tech-related gift cards for all budgets, including for iTunes/Google Play stores, Spotify, or more bespoke voucher ideas such as Casetify, which allows your recipient to design their own gadget case. Who says gift cards can’t be thoughtful?
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The ‘Money’s No Object’ Gifts 13. Sonos Wireless Music System – The droolworthy Sonos system is enough to make anyone with an appreciation for high-end audio technology weak at the knees. From the Play: 1 hi-fi speaker that’s compatible with all streaming services and controlled by a smartphone or laptop, to the TV Playbar for the ultimate home entertainment experience, any gift bequeathed with a Sonos logo is likely to make you very popular indeed. (from £169, sonos.com) 14. Romo – This loveable little robot on wheels will not only entertain any kid (or let’s face it, adult) for ages on end by making it chase after a ball or prodding it mercilessly, but the user will
also learn basic programming skills while playing. Completing different missions unlocks Romo’s characteristics and abilities, and the software allows video calls, making it easy to forget that Romo is also a really fancy remote car which, by the way, can be controlled from an enabled iOS device anywhere in the world. (£129, firebox.com) 15. Amazon Kindle Voyage – Undisputed despot of the e-readers, Amazon recently released their most expensive Kindle yet: the Voyage. Complete with 300ppi high resolution, a new front light, the rebirth of the bezel page-turn and the promise of book-sharing technology, it seems pretty much like the very decent Kindle Paperwhite, and yet
TECH
more covetable. If you have a big budget for an eager reader with a love of the most up-to-date technology, they’ll thank you for this. (from £169, amazon.co.uk) 16. Parrot AR. Drone 2.0 Elite Edition – For the person who genuinely has everything, there’s always a drone. The Parrot 2.0 Elite Edition comes complete with high-definition camera and video recording direct to your smartphone, GPS tracking, pilot mode with absolute control, acrobatic abilities and programmable movements. What else can we say: you’ll either really not see the point of one of these, or really, really want one. (£319.99, amazon.co.uk)
THE SKINNY
Gig Highlights Say goodbye to 2014 on a gigging high. This month sees Run the Jewels, Wiley and The KVB head to the Northwest, while local gems Francis Lung and Bernard + Edith take a step forward ecember’s a funny time of year for gigs. Not in the sense that everyone’s walking between venues holding their sides with irrepressible mirth; more that, with your man Jesus lording it over everyone with the fact his birthday’s on the way, there isn’t much of a look-in for anyone else. Fear not, though, because a smattering of pre-Christmas treats are in store for those wide-eyed in disbelief at still somehow having some shrapnel in their pockets despite the big festive consumerist drive they’ve been bullied, peer-pressured and shamed into. (Merry Christmas everyone!) It was pleasing to hear that the soaring dark pop of duo Bernard + Edith recently found a home courtesy of the respected Bella Union label. They’re subsequently releasing new single Wurds with a big ole launch for it at the Eagle Inn in Salford (3 Dec), though we presume they won’t be smashing a big bottle of champagne into it. Maybe they will. Meanwhile, Francis Lung finally comes to bloom after a couple of years spent planting new seeds following the demise of his old band WU LYF. His Sacred Trinity show (18 Dec) sees his delicate balladry bolstered by a full live band for the first time, which should hopefully release the richness of his studio recordings to their full extent. Sticking with the 18th and also Manchester, Soup Kitchen team up with Interstellar Overdrive for their third annual night of psychedelic Christmas mayhem. Psychmare Before Christmas is headlined this year by London duo The KVB, who place their hazy shoegaze aesthetic atop minimalist electronic beats. A few days
earlier at Islington Mill, Samarbeta Records bear the fruits of their labour with an album release party for Anonymous Bash (12 Dec), a series of recordings made during This Heat drummer Charles Hayward’s month-long residency at the space earlier in the year. Mill favourites including Gnod, Locean, Tombed Visions and 2 Koi Carp all popped up during Hayward’s initial stay, and expect them to do so again as the record is performed live in full. A couple of remarkable groups come to Liverpool this month, in the form of Staff Benda Bilili and Hypnotic Brass Ensemble (more on the latter below). The former appear at the Philharmonic Hall on 6 Dec as part of DaDaFest, a three-month festival across the city showcasing international talent in Disability and Deaf Arts, and are surely one of the most anticipated acts of the season, their reputation preceding them; a band of street musicians that formed around the grounds of Kinshasa zoo, the Congolese collective arrived at global fame a few years back. They’ve had a bit of a turbulent time of it recently – with speculation in the press as to how that attention was being handled, and two key members of the group quitting – but we’re sure the band’s roots in peaty, chunky rumba and their volition in documenting the extraordinariness of ordinary daily experience will still ring true. Those in the mood for some down-home storytelling and guitar work may want to look to Jesse Malin at The Kazimier on 3 Dec; though less in the spotlight than he was in his mid-2000s glory days – The Fine Art of Self Destruction (2003) is as fondly remembered by sensitive punks
Bill Ryder-Jones
Bernard + Edith
Photo: Andrew Ellis
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Words: Simon Jay Catling and Laura Swift
and early noughties alt.country acolytes as a smudged journal, still with the faintest tint of perfume – he’s been continuing to wear his heart on his leather-clad sleeve ever since. The expunk’s spikier days – first fronting D Generation, and then tearing up New York with Ryan Adams – may be behind him, but the sentiment still hugs his huffed, uncomplicated songs; and though he’s not put out a record for a while, his love of the rock club – he owns a couple of New York’s finer grubby drinking holes himself – is evident from his continued touring. Further honest songwriting comes from Bill Ryder-Jones (joined by Saint Saviour) – also at The Kazimier, on 13 Dec – while James Blackshaw ditches the poetics entirely for his silvery, Tacoma-influenced instrumental guitarwork at what will likely be a spellbinding gig – perhaps edging into seance territory – at Leaf on 8 Dec. (He’ll be joined by Yorkshire-born wandering spirit Mike Chapman.) A couple of heavyweight hip-hop shows rumble through the region within a few days of each other. First up, Run the Jewels come to Manchester’s Academy 2 (14 Dec), with the pairing of veteran MCs Killer Mike and El-P combining
together with spine-tingling precision on October’s Run the Jewels 2. These winter shows mark their first time in the UK as a unit. Then, at the O2 Academy in Liverpool on 14 Dec, Method Man & Redman take to the boards. Method Man of course barely needs introducing as one part of the legendary Wu-Tang Clan, while Redman came to the fore as part of rap supergroup Def Squad; however the two have worked together for 20 years and been pals for longer than that, both seemingly able to get the most out of each other even when they’ve been in a creative lull elsewhere. Last up pre-Christmas before we drown amid turkey, nutloaf mince pies and pudding is one of the original dons of grime, Wiley, playing Gorilla in Manchester to support his tenth and possibly final album Snakes & Ladders (19 Dec). Initial sessions for the record were scrapped in February after the producer felt they weren’t truly epic; that’s something that the resultant record most definitely is, and with the Bow-born artist possibly bowing out, these final live shows are set to be nothing if not full-blooded.
Do Not Miss Hypnotic Brass Ensemble The Kazimier, Liverpool, 9 Dec
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ight brothers, four trumpets, two trombones, one baritone: this is Hypnotic Brass Ensemble, a Chicagoan force to be reckoned with, as promised by the name of their current jaunt – ‘The Bad Boys of Jazz Tour.’ The sons of jazz musician and past Sun Ra Arkestra trumpeter Phil Cohran, their hotblooded brewings of hip-hop, rock, calypso and beyond have taken them through several albums and tours with artists as storied and varied as Wu-Tang Clan, Prince and Femi Kuti; their sound really breaking through with their self-titled LP
December 2014
for Honest Jon’s in 2009. Perhaps what most impresses on the live stage is that that the physicality of their shows never compromises their consummate musicianship; this manages to be loud, chunky, heavy-sweating stuff that retains the lightness of touch of the virtuoso. There are many reasons for seeing this band: for the infectious endorphin rush of watching, and participating in, such a bodily performance; for the heaviest boogie you’re likely to find in Liverpool this side of Christmas; and, if the idea of being on the road with seven of your siblings strikes horror deep into your very core, to watch and learn from some true pros. [Laura Swift] Hypnotic Brass Ensemble
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Under the Influence: Yo La Tengo’s Eternal Hanukkah Since 2001, indie veterans Yo La Tengo have hosted an annual series of Hanukkah shows in their home town of Hoboken. Here, frontman Ira Kaplan selects the songs that remind him of his favourite guest performers to have lit up the Maxwell’s stage
1. Hanukkah 2001: NRBQ – Dig I think I first heard this played by NRBQ, but the second time I heard it would have been in Female Trouble, John Waters’ movie – he used Nervous Norvus’ version on the soundtrack. Anyway, it was a real thrill to have Terry Adams sitting in after so many years of being devoted to his band. That was the first night of the first series of Hanukkah shows, and he played the whole set with us. He probably wasn’t familiar with our band… well, we’d covered his song Magnet for a tribute album, so he knew us that way, but I’m sure he did not know of our music.
“The Glands only made two records – their second is just a masterpiece” Ira Kaplan
3. Hanukkah 2004: Chris Stamey – The Summer Sun [K Records founder] Calvin Johnson came and did an opening set, then it was his idea to sing The Summer Sun with us, and we were all for it – I love that song. Alex Chilton produced it, and in some ways, you could argue that’s his greatest record after Big Star. It was made as he was running away from that way of playing music – he’s not running very fast on that record. 4. Hanukkah 2005: The Move – Don’t Make My Baby Blue That was pretty amazing. We knew Terry Adams a little bit, and Calvin, but we do ask lots of strangers who we musically admire. David Johansen was one of them. The first song I wrote down was After the Fox, from the movie where Peter Sellers and The Hollies perform the theme song. He was really amenable to all of our suggestions with the exception of Don’t Make My Baby Blue by The Move. It was cool; he said there was something about the song that he didn’t respond to.
Photo: Adam Akins
2. Hanukkah 2002: Karen Kilgariff – Chelsea Guitars Chelsea Guitars is this store in New York. When Karen was here for Hanukkah, she did stand-up one night, and another night she did this show with Mary Lynn Rajskub as The Girls Guitar Club of Greater Los Angeles. And then the two of them joined us – they sang Walk Like an Egyptian. But we saw her at another show in New York, and she did this song about going to buy a guitar, and how uncomfortable an experience that was: just dealing with the attitude of that guitar shop.
5. Hanukkah 2007: The Clean – Back in the Day The Clean are one of my favourite bands. We met them in 1989, and played with them at the last show of tour in this pub in London. We’ve stayed in contact ever since. We’ve all played with them at one time or another – Georgia [Hubley, YLT drummer] played guitar on their most recent album – so it was a big deal when they were able to play one of our shows. They were wearing wigs, and one of the features of Maxwell’s is the very low stage, so if it’s crowded the sightlines are far from perfect. Between the tricky sightlines and the wigs, you weren’t quite sure who was up there.
7. Hanukkah 2010: J. Geils Band – Pack Fair and Square A conscious curveball. A friend of ours in Boston had an inkling that if we approached Peter Wolf, he might say yes. That was probably more meaningful to me than it was to the other members of the band – in the early days of the J. Geils Band I was a pretty big fan. Peter definitely wanted us to perform in crack showbiz style, following him as he signalled for cymbal smashes and James Brown moves… but it was fun! We followed him by bringing my mom on stage. I think our notion of pacing the show was slightly at odds with his.
6. Hanukkah 2008: Willie Alexander – Walk Away Renee Willie is a friend of a friend, and we love him. I don’t think he performs extensively, but we asked him about doing Walk Away Renee, which he did on a compilation record. He was really uncomfortable doing it, but he said he’d give it a try. So he came to Hoboken, and we tried it in soundcheck. We also did Maybe More Than You by his 60s band The Lost. It was great! We didn’t do any post-Lou Velvets songs though – you know, I’m not sure I’ve ever heard them.
8. Hanukkah 2011: The Glands – Lovetown The Glands only made two records – their second is just a masterpiece. I’ve never met anyone who’s heard it and didn’t fall in love with it. We saw them when we were in Nashville recording and we loved their set. In 2011 we heard that they were back together and coming to New York to play, and they wanted to know if we could do something. So we struck a deal that our alter-ego Condo Fucks would play some shows with them – we drove a hard bargain. But I can’t recommend that record enough.
9. Hanukkah 2012: Man Forever with So Percussion – The Clear Realization Oneida had done a show with us a few years earlier, and then Kid Millions started his Man Forever group. James [McNew, YLT bassist] ended up doing a lot of the shows with them, so Kid was in the forefront of our minds. We invited him to come play drums with us one night, so we set up two drum sets on stage, and he played probably the whole set. And then when Fade came out we went on the Jimmy Fallon show with Kid and Fred Armisen, so we had three drummers. But Man Forever is amazing! It sounds very organic; just a lot of rhythms bouncing off each other. It’s beautiful. 10. The Qualities – It’s Christmas Time Heh, I promised I’d pick a Christmas song. One year we did a three-song Christmas EP that we pressed up and gave out to people who came to the show. This is from the Sun Ra singles collection. The Sun Ra Arkestra in its current, magnificent form has played this… maybe three times…? We’ve yet to hear them do it. But the songs we did on the EP were more novelty with the exception of that one. To celebrate Yo La Tengo’s 30th anniversary, a deluxe version of their Matador debut, Painful, will be released on 1 Dec www.facebook.com/TheRealYLT
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THE SKINNY
28-34 HIGH ST, NORTHERN QUARTER, MANCHESTER, M4 1QB
Fri 5th Dec • £15 adv
The Anfield Wrap Live and In Conversation + The Tea Street Band + Sugarmen + 35 Summers
NOV 28: BBC MANCHESTER INTRODUCING LIVE featuring BLOSSOMS + LUCKY T JACKSON + 1234’S +
Sat 6th Dec • £20 adv
DJ sets from MICHELLE HUSSEY + NATALIE-EVE WILLIAMS
The Enemy & The Twang Tues 9th Dec • £19.50 adv
Gogol Bordello + Mariachi El Bronx
Sun 14th Dec • £26.50
Method Man and Redman Mon 15th Dec • £25 adv
The Game
Thu 18th Dec • £10 adv
The Jagermeister Music Tour ft. Me First and the Gimme Gimmes + The Skints
Fri 19th Dec • £22.50 adv
Fish
A Moveable Feast Tour
Sat 20th Dec • £18 adv
Cast
The Skinny needs you
Wed 28th Jan 2015 • £15 adv
Hayseed Dixie
Mon 16th Feb • £16.50 adv
The War On Drugs Wed 18th Feb 2015 • £16.50 adv
Kerrang! Tour 2015
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Jungle
Mon 9th Mar 2015 • £23 adv
Damien Dempsey + Ian Prowse
Fri 20th Mar 2015 • £18.50 adv
Reef
Tues 31st Mar 2015 • £13.50 adv
Fuse ODG
Sat 11th Apr 2015 • £10 adv
Circa Waves Prong
Mon 25th May 2015 • £20 adv
Chas & Dave
The Jesus & Mary Chain
Mon 16th Feb 15 - £25 adv
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Ryan Adams
Sun 1st Mar 15 - £28.50 adv
Placebo
Tues 10th Mar 15 - £29.50 adv
Catfish & The Bottlemen
Sun 5th Apr 15 - £12.50 adv I N D E P E N D E N T
C U LT U R A L
J O U R N A L I S M
Illustration: Sophie Freeman
December 2014
DILEGO
DEC 5: THE PINEAPPLE THIEF DEC 6: THE COURTESANS DEC 11: REN HARVIEU CHRISTMAS CONCERT (FULL BAND SHOW)
DEC 12: THIS FEELING featuring ASYLUMS + SLYDIGS + GLASS CAVES + TWO WEEKS RUNNING + DJS HATTIE PEARSON (XFM) + AMELIA GIGSLUTZ
THE NATION’S SAVING GRACE OF ALTERNATIVE ROCK’N’ROLL
THIS FEELING EVERY 2ND FRIDAY I 7.30PM I £5 ADV THE UK’S MOST ROCK’N’ROLL NIGHT OUT FEATURING NEW BANDS + THIS FEELING DJs + GUESTS
POP CURIOUS? EVERY 2ND SATURDAY I 11PM I £6 OTD IT’S POP MUSIC. PLAYED LOUD. BESPOKE POP PLAYLISTS EACH AND EVERY MONTH
DEC 13: CLASSIC SLUM present MUSIC FROM HOWLING RHYTHM THE BIG MIDWEEK featuring BRIX AND THE EXTRICATED EVERY 3RD SATURDAY I 11PM I £4 OTD - SONGWRITERS OF THE FALL REUNITED + guests KILL PRETTY + POPPYCOCK
DAVIES (CORONATION STREET / BOP LOCAL) DJ SET + TONY
DEC 31: THE REMAKE REMODEL NEW YEAR’S EVE BALL JAN 10: CLASSIC SLUM present J MASCIS JAN 17: LUCIGENIC JAN 18: CLASSIC SLUM present J MASCIS @ THE CLUNY / NEWCASTLE JAN 23: THE WEEKS + guests THE APACHE RELAY JAN 28: JADE ANN JAN 30: BBC MANCHESTER INTRODUCING LIVE JAN 31: BAD ELEPHANT RECORDS SHOWCASE FEB 1: BAD ELEPHANT RECORDS SHOWCASE FEB 6: CLASSIC SLUM present RAE MORRIS @ GORILLA FEB 12: CLASSIC SLUM present MINERAL FEB 15: HAMMEL ON TRIAL ‘CHOOCHTOWN AND OTHER STORIES FROM THE STREET’ UK TOUR
Email your CV to jobs@theskinny.co.uk to find out more.
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DEC 1: THE WYTCHES DEC 3: JANET DEVLIN + guest ROBBIE CAVANAGH DEC 4: JESSE MALIN + guests HOLLIS BROWN + DON
60’S SOUL + MOTOWN + GRITTY RHYTHM & BLUES + FUNK
HUSBAND CARTOON WORKSHOP (DAYTIME SHOW)
Wed 22nd Apr 2015 • £15 adv
We are recruiting in both the Northwest (Liverpool and Manchester) and Scotland (Edinburgh and Glasgow).
NOV 30: DRIVEN APART + BRIMSTONE + SEARU + AGENT 47
REMAKE REMODEL EVERY 1ST SATURDAY I 11PM I £3 GUESTLIST £5 OTD
Sun 22nd Feb 2015 • £16 adv
Sat 14th Mar 2015 • £18.50 adv
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GIRL SWEAT + O>L>A
THE BIGGEST ALTERNATIVE ROCK NIGHT IN THE UK PLAYING ALTERNATIVE ROCK + METAL IN THE MAIN ROOM / CLASSIC + HARD ROCK IN THE BACK ROOM
Hudson Taylor
Fri 20th Feb 2015 • £11 adv
The Stranglers
Can you think on your feet?
NOV 29: REMAKE REMODEL DAYTIME VINTAGE MARKET NOV 29: INTERSTELLAR OVERDRIVE + CLASSIC SLUM present SILVER APPLES + guests
VOODOO ROCK EVERY 1ST FRIDAY I 11PM I £4 NUS + CHEAP LIST + FLYER + B4 MIDNIGHT
DEC 14: A CONCERT IN AID OF FOOD BANKS BBC MANCHESTER INTRODUCING LIVE featuring TOM HINGLEY + BIRD TO BEAST + LITTLE SPARROW + QUARTERLY EVERY LAST FRIDAY I 7.30PM BONE-BOX + SUNLIGHTER + PICNIC AREA + IAN PULESTONI FREE ENTRY
ft. Don Broco + We Are The In Crowd + Bury Tomorrow + Beartooth
Singing For Strangers Tour
Do you like people and chatting?
THERUBYLOUNGE.COM H @THERUBYLOUNGE H @CLASSICSLUM H CLASSICSLUM.COM
Ticketweb.co.uk • 0844 477 2000
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THE VERY FINEST BRAND NEW BANDS FROM MANCHESTER & HEREABOUTS CURATED BY THE BBC MANCHESTER INTRODUCING TEAM + DJ SETS FROM MICHELLE HUSSEY + NATALIE-EVE WILLIAMS + SPECIAL GUESTS
PUMP UP THE JAM EVERY LAST FRIDAY I 11PM I £4 OTD BACK 2 THE 90’S FROM THE HOWLING RHYTHM TEAM
SPECIALS… REMAKE REMODEL DAYTIME VINTAGE & ARTS FAIR SATURDAY 29 NOVEMBER I 12 NOON I £1 OTD EXPECT FASHION + ILLUSTRATION + CAKES + VINYL + CINEMA + HENNA + PHOTOGRAPHY + MORE #SHOPWHILEYOUROCK
ABSOLUTE SH**E SATURDAY 29 NOVEMBER I 11PM I £3 ADV
FEB 20: THE MOODS MARCH 7: THE BURLESQUE BALL TOUR “OVER 4 HOURS OF NPN-STOP GARBAGE” “THE WORST NIGHT OF YOUR LIFE” NOT OUR WORDS, BUT THOSE OF THE PEOPLE IN THE MARCH 9: FOZZY + guests THE DIRTY YOUTH KNOW. YOU’RE NOT IN KETTERING NOW DOROTHY, THERE ARE MARCH 10: LONELY THE BRAVE NO GUILTY PLEASURES HERE - ARE WE UP NORTH OR WHAT? SAY MARCH 14: ORPHAN BOY IT PLAIN, AND SAY IT PROUD - THIS THING IS ABSOLUTE SH**E. MARCH 22: BILLY LOCKETT A PROPER PARTY - CHEAP ENTRY, CHEAP DRINKS, AND THE MOST WONDERFUL PARTY TUNES EVER PLAYED AT YER AUNTY’S 3RD MARCH 28: AN AUDIENCE WITH ARTHUR WEDDING. LEAVE YOUR CREDIBILITY AT HOME, COME DOWN AND BROWN EMBARRASS YOURSELF. APRIL 18: EVIL BLIZZARD APRIL 25: CLASSIC SLUM present SKINNY ADV TICKETS LISTER @ THE CLUNY / NEWCASTLE TICKETLINE: 0161 832 1111 / TICKETLINE.CO.UK APRIL 30: CLASSIC SLUM present PUBLIC SERVICE BROADCASTING @ THE RIVERSIDE SEE TICKETS: 0870 264 3333 / SEETICKETS.COM SKIDDLE.COM / NEWCASTLE AND OVER THE COUNTER AT THE SUPERB PICCADILLY RECORDS, MAY 26: NEEDTOBREATHE + guest ELLA THE BIRD OLDHAM ST, MANCHESTER
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The Dark Is Rising As compelling Manchester collective Hartheim prepare to release their debut EP, they tell The Skinny why challenging the mainstream is high on their agenda
Interview: Gary Kaill Photography: Alexander Bell
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hat’s in a name? For Hartheim, everything. The Manchester five piece – uncommonly eloquent, astutely politicised, uncompromisingly combative – dare to reverse the tired notion that band name = mere label. Hartheim could never be The Somethings. For Hartheim, that name is their modus operandi, their spirit, their ambition. Hartheim. The Austrian euthanasia centre that oversaw the killing of at least 18,000 mentally ill and handicapped prisoners during WWII. The name is something they’re working towards; something they intend to earn. Without it, they’re nothing. We gather in Salford’s Eagle Inn, with the band having recorded and mastered their debut EP, bound for a January release. Singer Mike Emerson leaves the rest of the band to decide who’ll join us for the interview. “What do you want? Music or books?” asks keyboard player Nick Townley. No hesitation: books. “Right – then you’ve got me.” (Bassist George Heaton – “more of a music guy” – can go back to his pint.) At first glance, Hartheim are so, so wrong – certainly for our corporate, mass-consumption times. But it’s this characteristic that makes them so, so right. The music guy, the books guy: Hartheim do not appear at all like a gang. Guitarist Gaz Devreede looks like he’s just come off tour with The Cramps. Drummer Conor Lawrence looks like he’s with the band rather than in it. But spend time with them – see how they interact, how they violently disagree one moment and finish each other’s sentences the next – and they confirm the truism that it’s always a group of unique individuals, with wildly varying influences, that is best positioned to form a distinct whole. Later that evening they will support Bird at their ‘final’ show (“an honour and a privilege,” Emerson will confirm when onstage), but it’s difficult to imagine Hartheim building allegiance with too many alleged peers. We skirt around the subject of “the Manchester glitterati” (“Seriously, we’ll fucking come back to that,” growls Emerson) and we explore where Hartheim might fit: a difficult proposition. Their handful of releases to date fuse guitar and keyboards around Emerson’s baritone burr. The songs are stately; elegant, even: Yellow, an angular document of the Nazi’s ‘plan yellow’; the blackened, mournful sweep of Welcome to Hartheim. It’s not easy finding reference points. In the way they eschew cheap sentiment in favour of vivid historical depiction, there’s lineage back to The Holy Bible, perhaps. Sonically? That’s tougher. The percussive rumble of their live show has a hint of The Birthday Party,
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Preview
while Emerson’s vocals will surely draw comparisons with Ian Curtis in time. But right now, Hartheim sound like no-one. “We’ve all been in different bands, individually,” says Emerson. “I was in a band a couple of years ago with Sways records, and that didn’t go very well at all. But I’d invited George to be in a new band and I met Gaz but he was upfront about not wanting to be in a band full stop. Then I told him that it had to be called Hartheim, explained to him why that had to be the name and he’s like: ‘I’m in.’ Then I got George in, our bassist, and this bastard here.” He turns to Townley, who continues: “I put an advert on the internet saying I wanted to be part of something – something that exists outside my room. Something real. And we started to come together at that point.” “It’s more of an idea than a band,” says Emerson, warming to his theme. “Hartheim is a concept. It doesn’t have to even be a band.” By making a statement so bold, a name so clearly designed to challenge and discomfort, it surely makes demands on what the band will ultimately communicate. “I think it’s actually the opposite,” says Emerson. “The name, the band, leads to what it means, you know? Not the other way around. It’s always been this concept of light and dark. For me, the very essence of Hartheim, the name, the idea, going from this beautiful Renaissance building to this decaying, horrific, evil death camp, that’s the very essence of light and dark. I want to be a guitar band but I want us to be able to play with light and dark. I want an almost Perfume Genius vibe – an airy, celestial feel. If that had been in design, then it might have been Brutalist architecture. So, rather than
Hartheim leading where we go, I think we feed into it, come to discover what it wants from us. There are so many times when we’re playing and we come up with something really beautiful, but then we stop and we have to acknowledge that it’s not right. It’s not serving the purpose of what this is.”
“In this parade of nonsense, where Capital Radio play the same ten songs each day and it just numbs your soul, I hope Hartheim will make you want to look beneath the surface for something more” Mike Emerson
“We went to Wales recently, to write the songs that will eventually form the album,” says Townley, taking up the story. “We were all sat around having dinner and we were listening to Bach. Next thing, we go in and do some really heavy stuff. We stop, we’re tired, we’re having a cig break but then I start playing the piano and Gaz starts his thing and suddenly we’ve got this classical tune. It’s probably the best thing we’ve done, and that relates very much to how we came together. I believe in logic and the laws of the universe. But, as philosophically weak as this sounds, maybe fate and destiny are playing a part here. Maybe we have to do this and that’s why we’ve come together.” Emerson agrees: “Absolutely. If you’d have asked us two years ago what we wanted to do, I don’t think any of us would have said that we would have wanted to be in a band. But we just knew. When we wrote Yellow, we had the ending of the song, but then we flipped it. When we finally had it down, that was when we all knew that this was what it was meant to be.” Townley confirms the band’s democracy: “A song is never done until everyone has had their input.”
MUSIC
“That thing you were saying about us looking like five distinct individuals, I think that’s amazing,” says Emerson. “No-one else has picked up on that. George is into hip-hop, Gaz is into quite dark rock, Nick’s into Kate Bush, I’m into really obtuse singer-songwriters. We did this BBC radio interview recently and they asked us what we were into and this one here [he points at Townley and shakes his head] says, ‘Oh Mike’s into anything new’ and I’m like ‘Fuck off!’ Seriously, you know that scene in Monsters Inc. where they find the sock on the monster’s back and they immediately shut everything down and shave him? It was just like that. They had us out in five minutes. Interview over. Thirty minutes interview done in thirty seconds. Brilliant.” We could talk all night and, once done with the interview proper, we almost do. Much of what we touch on offers ever more intriguing routes into Hartheim’s heightened aesthetic, their illuminating worldview. Mention of Band Aid raises Emerson’s ire (“I fucking hate Bono. His tactics – how he deploys his music as some weapon to fix the ills of the world. Bullshit”) and a question about what being a ‘political’ band means in the current climate fires up both him and Townley. “I’m more likely to write my lyrics in a way that presents a subject and asks our audience what their view is, rather than cheap rabble-rousing,” he says. “We’re speaking for a time,” adds Townley, “where nothing really means anything anymore, and you have to search for meaning, so in some way, maybe we are a political band. In this godless, secular society, this parade of nonsense, where Capital Radio play the same ten songs each day and it just numbs your soul, I hope Hartheim will make you want to look beneath the surface for something more.” Later that night, the band are buzzing from their performance, another audience duly captured. As we shuffle from the venue, local electronic duo Shield Patterns befriended and plans made to reconvene for their show the next week, their singer is in buoyant but reflective mood: “You really get it, don’t you?” It’s not that difficult to get. As others will find over the coming months. “No, but you get it. I was watching you while we were playing, making sure you weren’t drifting off.” He flashes a wry smile. It’s hard to imagine that Mike Emerson, locked into the naked, twitching commitment of his performance, could even remember his name at that moment, let alone keep an eye on individual audience members. “Oh, I can do that,” he says. “Never take my eye off anything. Never. Always see what’s going on around me. Always.” Hartheim support Blossoms at Manchester Night & Day on 31 Dec. Their debut EP is due for release on 26 Jan www.soundcloud.com/hartheim
THE SKINNY
Album of the Month
Teho Teardo
Ballyturk [Specula, 1 Dec]
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An accompaniment to Enda Walsh’s play of the same title, Teho Teardo’s latest offering is a beguiling, befuddling and downright captivating work. The sumptuous misery of I Thought We Knew Everything There Was to Know showcases this collection at its best: portentous bass tones, courtesy of Fugazi’s Joe Lally, ring out mournfully before decaying underneath gentle chimes and minimalist guitar motifs. It’s eventually all swallowed up in ethereally beautiful chaos, deftly playing with our senses of unease and curiosity, while the voices of Cillian Murphy and Mikel Murfi add to the desolate gloom by intoning solemn excerpts from Walsh’s script at tactful
intervals. “I didn’t know dust buzzed,” confesses the former worriedly, with the ridiculousness of the phrase engulfed in a murky despair as thick as winter fog. To describe it as ‘majestic’ feels somehow inadequate. You could tie this into post-rock if you really wanted; the dominance of texture over melody certainly places proceedings in that vein, and there are times when the darkness of mood recalls Godspeed You! Black Emperor at their most subtle. It’s worth remembering, of course, that soundtrack music is designed to light the background rather than fully occupy the consciousness. Still, even in the shadows, Teardo simply dazzles. [Will Fitzpatrick] tehoteardo.com
The Grand Gestures
Lotus Thief
Githead
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Third [Chute Records, 19 Dec]
Rervm [SVART, 1 Dec]
From monochrome artwork to functional title, The Grand Gestures’ third album in three years deviates little from the mould cast by parts one and two, yet tops the trilogy with its most satisfying instalment. As before, ringleader Jan Burnett has crafted a spread of lo-fi instrumentals and invited collaborators to add vocals – and once more, a top-drawer offering from Sparrow and the Workshop’s Jill O’Sullivan sits proudly at the top of the track-listing. Sanjeev Kohli also makes it three-for-three, though his latest portion of darkly comic spoken word is perhaps the album’s one show of fatigue: having walked a similarly silly/sinister line on each prior contribution, the storytelling has lost some bite. Luckily, refreshment is supplied by debutants Gary Clark (emoting over ghostly piano chimes) and The Hazey Janes’ Andrew Mitchell (on the softly sublime Into the Darkness We Go): just two arguments for extending the GG franchise a little longer. [Chris Buckle]
An epic metal opus, based on ancient Roman philosophical verse – Spinal Tap levels of hubris and folly, right? Well, no, as it turns out. Rervm is rather good. Pulling from doom, ambient and slowcore stylings, with more than a few nods towards the spaced-out shimmer of nupsych, San Francisco’s Lotus Thief pull no punches in their sonic vastness. Inevitably bombastic – well, it is based on Lucretius’ De Rerem Natura – this thoroughly impressive debut transcends the supposedly-ugly facets of crushingly heavy music. Take Miseras, with its furious blast-beats: a technique not exactly renowned for its proclivity towards ethereal grace, and yet that’s exactly how it’s deployed here. The cinematic sweep of the melody refocuses power as texture, rather than sheer brute force – surely black metal’s greatest trick. Elsewhere, the gloomy dropout that tears Discere Credas wide open points to an unexpected grasp of subtlety, generously garnishing the album’s solemn wonder. [Will Fitzpatrick]
thegrandgestures.bandcamp.com
svartrecords.com
Malcolm Middleton and David Shrigley
Neu Gestalt
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Inside the Rain Chamber [Alex Tronic Records, 5 Dec]
Music and Words [Melodic, 15 Dec] Perhaps not the most unlikely collaboration: visual artist Shrigley lives and works in Glasgow, where his new musical partner rode to semi-fame with Arab Strap. If the formula sounds familiar – Middleton creating moody backdrops for potty-mouthed, tragicomic narratives – then the sound is rather more distinct. Here, words veer more towards comic sketches, particularly on the bleakly farcical Story Time, in which a Jackanory-style woodland adventure goes uproariously awry. Shrigley tropes such as misanthropy and skewed perspective are thrown up throughout, while Middleton’s cues broadly come from the electronica of his Human Don’t Be Angry project – the stuttering synth coda of A Toast provides a heroically anthemic climax to the narrator’s sweary salute. Sunday Morning’s brainscrapingly irritating knob jokes outstay their welcome, but on the whole this is a fine work, shredding nerves and tickling funny bones like a lo-fi Blue Jam. [Will Fitzpatrick]
Alex G
DSU [Lucky Number, 1 Dec]
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Most of what goes on in student halls is best left unknown. But over at Temple State, Philadelphia, behind one particular dorm door, a 21-year-old by the name of Alex Giannascoli has spent his college days casually becoming a low-key songwriting sensation. For some, this is old news: DSU is his sixth album (or thereabouts), with each of its predecessors uploaded straight to Bandcamp, earning him a select following whose ranks are now set to explode. Giannascoli continues to record at home and alone, but the audio has been professionally mastered and released physically for the first time, opening his music up to a wider audience – and boy are we grateful. Tales are skilfully revealed in half-glimpses ('I’ll get my cure, wait in the car / I won’t remember who you are'), while musically, the album covers considerable ground – from Promise’s goofy slap bass to the breezy melodies of Harvey and Boy. A raw and refreshing talent. [Chris Buckle] sandy.bandcamp.com
Waiting for a Sign [Swim, 8 Dec] The unlikely four piece with the equally unlikely moniker return with their first album in five years. Led by Wire’s Colin Newman, Githead are Malak Spigel and Max Franken from Minimal Compact and Robin Rimbaud from Scanner. This time around, they reconvened with the blankest of pages: Waiting for a Sign was recorded in improvised sessions, as the band explored little more than chords and arrangements. Well that’s their story. On this evidence, they’re either stretching the truth just a little or they really do connect intuitively and deeply. Sure, To Somewhere and Slow Creatures have a sense of little more than a groove being teased and explored. But elsewhere, as on Not Coming Home and For the Place We’re In, Githead’s angular guitar pop feels too accomplished by far to have been cobbled together on the hoof. But, ultimately, when the end product tastes this good, who cares about the recipe? [Gary Kaill] githead.com
Wild Billy Childish & CTMF
Acorn Man [Damaged Goods, 8 Dec]
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Neu Gestalt’s third record finds inspiration in recalling a year-long stay in Singapore, where his Uncle was stationed with the RAF, and in classic sci-fi thriller Blade Runner’s subtle orientalist aesthetic. Subsequently, the Edinburgh-based producer spent hours on hours cutting up and re-configuring Far Eastern language samples which drift in and out of Inside The Rain Chamber’s spatial beat-shy electronica. Unfortunately such micro-management hasn’t been applied elsewhere, and though there’s a forlorn prettiness to the likes of Island’s stuttering piano motif and Tokyo Tipping Point’s half-sleep wooziness, too much of the record is let down by an over-reliance on production that’s indistinguishable from the next bedroom producer with Ableton. It could be argued that minimalism is Gestalt’s angle; but with such predominantly leaden elements, this LP soon becomes a tedious exercise in thematic repetition. [Simon Jay Catling]
“Always different, always the same,” as John Peel famously described his perennial faves The Fall, but only the latter is required to sum up Billy Childish. One hundred-plus albums have followed since The Pop Rivets’ 1979 debut, typically displaying a knack for imaginary Sonics riffs alongside a Bukowski-esque sense of artistic purity. Acorn Man continues to drag his garage clatter down ever-more rickety avenues, and in a fortuitous twist, it also happens to rank among his finest hours. Former single Punk Rock Enough for Me is the centrepiece; a sprawling, bawling beat manifesto (Louis Armstrong’s Hot Five, Star-Club-era Beatles and “a cup of tea” rank among the items to uphold the titular credo). It’s the dance numbers that’ll getcha though – A Flame from the Fen is all top-down groove and glorious chorus, while bassist Julie Hamper sneers snappily through the brilliant Zero Emission. With a blueprint this good, evolution seems an unnecessary extravagance. [Will Fitzpatrick]
neugestalt.com
damagedgoods.co.uk/bands/billy-childish
EP Reviews Mogwai
Music Industry 3. Fitness Industry 1. [Rock Action, 1 Dec]
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With the aftershock of their triumphant Rave Tapes yet to settle, Glasgow’s noisiest sons offer a new collection to close out the year. Subtle beauties History Day and HMP Shaun William Ryder wouldn’t feel too out of place on that record, each displaying a different balance of electronic texture and their trademark elegiac menace. Opener Teenage Exorcists is the most welcome diversion, however; building on the muscular crunch of their 2011 single San Pedro, it’s a rare combination of post-hardcore pop and Mogwaiwith-vocals. Music Industry 3 also offers remixes of Rave Tapes favourites – Blanck Mass and Pye Corner Audio duly acquit themselves with typical panache, but Nils Frahm provides a standout moment, amplifying the fragility of The Lord Is Out of Control to breathtaking effect. Another victory. [Will Fitzpatrick]
Deathcats & New Swears
Split EP [Fuzzkill Records, 5 Dec]
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The transatlantic union between Glasgow’s Deathcats and Ottawa’s New Swears is a grungepunk Christmas come early. With four tracks apiece, this Split EP is two bands sharing a love of fun, restless fuzz. It’s also not the first split with Deathcats on Fuzzkill, having ridden shotgun to Manchester’s Fruit Tones earlier this year on Thplit Tape, and both EPs shine in their straightforward allying of kindred sounds. Here, the Canadians proffer plenty reverb beside their wailed vocals (Scru Bar’s House has actual screaming) and impatient drums (when you’ve got two-minute-long tracks called Satan Loves You and Sloppy Blackout you’ve got no time to idle). Scotland matches their fervour, crafting walls of noise with the defiant Liquid Gold and the confessional Sprint. The cooing You has a big Stateside quality to it, and in the end it’s the Cats who provide the muscle, but the Swears know when to flex too. [George Sully]
mogwai.co.uk
December 2014
RECORDS
Review
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Static, 19 Nov
White Lung
White Lung
Soup Kitchen, 5 Nov
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Fireworks schmireworks. The fifth of November it may be, but White Lung’s punka racket is far from short of explosive qualities. Take the scorching heat of Down It Goes, with its pure pop fires burning brightly at the centre of Kenneth William’s venomous guitar scree. Or the nearcasual glory of Just For You, where Mish Way’s peroxide insouciance works in tandem with tubthumping blasts of gleefully dumb noise. In fact, take pretty much any track from their all-toobrief Deep Fantasy opus and get ready to duck for cover – yessir, Vancouver’s loudest make for one helluva combustible live act. It’s just a shame noone told a cautious Wednesday night gathering. Way does her best to ignite the crowd, of course. “If I’m gonna fuck you, you have to fuck me
Photo: Alexander Bell
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In the concluding session of Immix’s highly commended collaboration series, composers John McGrath and Lucy Pankhurst provide a suitably engaging suite, relatively accessible in comparison to the ensemble’s progressive outlook. John McGrath’s reputation is still bubbling underground, however his appearances in various guitar ensembles and scratch orchestras, as well as his Lanterns EP, have made him known for dexterous guitar work and the ability to work folky melodies in with complex arrangements. With the help of fellow composer Chloe Mullett, McGrath’s work with Immix is less of an overhaul and more of a tasteful augmentation of his music, as if to highlight the ornate nature of his work
that is more subtle in a solo capacity. Bringing to mind the likes of Owen Pallett and Grizzly Bear, John McGrath is an artist capable of balancing classical and folk textures to great effect. Texturally complex yet playful, Lucy Pankhurst’s compositions highlight her fantastic understanding in blending technology with her studies in brass and wind instrumentation. Despite opening with a fanfare reminiscent of Benjamin Britten’s neoclassicism, Pankhurst’s musical approach is anything but conservative, evident on her performance of Cantabiles, playing tenor horn and singing simultaneously. Finishing her suite with the amusing M6 Troll and Signal. Lost., using a stopwatch instead of a conductor, Pankhurst is another example of the rude health in which modern composition is in the UK. [Jon Davies]
back!” she taunts, as the bemused Soup Kitchen giggles nervously and stares awkwardly at its shoes. Later, she demonstrates her observations of English audiences (to wit: natty dressers with a tendency to stand perfectly still, arms tightly folded across the chest) in a bid to generate some antagonism. But whether borne of polite discomfort, respectful awe or standard midweek blues, the moshpit manages little beyond nodding heads and cheery whoops. Once resignation sets in, White Lung get on with the business of being brilliant instead, which suits everyone just fine. “Don’t take me,” growls Way during the incendiary I Believe You, “I’ll always win.” Such is her wide-eyed conviction, you’d be a fool to suggest that even these trying circumstances could possibly deny her victory. [Will Fitzpatrick]
Immix with John McGrath
Tim Hecker
Camp and Furnace, 19 Nov
Bird
Bird
Eagle Inn, 21 Nov
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Oh so cruelly, just as it starts, it ends. After an extended prologue that saw them cycle through lineups, Bird’s opening chapter exceeded expectations by some distance. My Fear and Me managed the dual elements of mood and songcraft with canny ease, emerging as one of 2014’s most compelling and essential debuts. But now, as legal issues around their name threaten to spoil the party, Bird pucker up for one final show in their current guise. The set list is enlivened by their spirited take on a Manchester favourite, Adele Emmas screaming “I! Wanna! Be! Adored!” – and Iggy Pop fronting the Stone Roses suddenly sounds like a plan. But it’s their own expansive songbook
December 2014
that fires the blood, and they deliver it tonight in gutsy, uncompromising fashion. The album’s elegant arrangements receive a perfectly judged kicking, but these songs can take it: Ghost, as ever, the dizzying opener; a delicate, barely there Rain Song; the tribal thrum of Oh My Love. They tease their way into I Am the Mountain, the album’s epic, euphoric centrepiece, and then drive their finest moment to a brutal coda, a whitefire crescendo that sets hairs on end across the room. Spent, they gather centre stage for one last celebratory huddle. Tellingly, no tears – just smiles. As they exit to a sustained ovation, the prospect of Bird dusting themselves off, picking themselves up and starting all over again adds immeasurably to 2015’s promise. But for now, this Bird has flown. And how. [Gary Kaill]
Photo: Alexander Bell
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So when exactly did ‘ambient’ become conflated with ‘chillout’? Funny how such lazy approximation can be such a waste of effort: on this near-pitch-black stage, devoid of spotlight, Tim Hecker is the living, breathing antithesis of the latter term. Those adjectives aren’t used lightly, incidentally – Montreal’s very own techno wunderkind creates music that belies its electronic origins. Compositional movements like In the Fog feel thoroughly organic; it rises and swells like lungs pumping thick, toxic air, before expunging clouds of simple chemical waste into increasingly noxious atmospheres. Boards of Canada were often tagged with words like ‘bucolic’ thanks to the pastoral qualities of their breakbeat-infused serenity, but they never felt as tragically, humblingly human as this.
Ben Frost
Gorilla, 14 Nov
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With his searing sci-fi effort A U R O R A, AussieIcelandic electronic composer Ben Frost is aiming to take us to a laser-scorched future. There’s an otherworldly atmosphere around a misty Gorilla this Friday night, and after luring us in with soothing minimalism Frost opens with the brutally fast blast of Diphenyl Oxalate armed with a seizure-inducing strobe light, the type of intentionally terrifying experience that Frost has, eight albums in, made his own. The mechanical influence of Frost’s cohorts Swans and Tim Hecker is clear as Frost toils at his workstation in a vest, letting drummer Greg Fox build the pulsing clanks of Secant before the song explodes with Terminator synths. Fox’s black metal pedigree lends itself to such relentlessness, with his unerringly precise rhythms
MUSIC
Latest opus Virgins – the chief basis for tonight’s set – perfectly demonstrates Hecker’s textured genius: soft bleeps jar against silence like radio static, while organ swells and bass tones ebb and flow violently like turbulent waves in slow motion. Melody is background here – crescendos colour the sound above all else, with ears constantly widened and tightened by the unrelenting tonal wash. It’s beautiful, yet somehow tinged with sadness and menace. This isn’t music for relaxation. It’s barely music for enjoyment. Instead, in near-total darkness, dimmed only by the pale, soft glow of barlight and electronic dials, we stand facing a man we can barely see, playing songs we can barely hear amid the roar of tones; of sound; of noise. Some might compare that awed, blind reverence to religion. We’ll settle for plain ol’ fascinated wonder. [Will Fitzpatrick]
impressive throughout and close to stealing the night. However, Frost’s reliance on inhuman practice prevents him from ever being immersive. Impaired by the sheer exhaustion of the strobe light and Frost blowing a piece of equipment mid-set, the concert never really gains a sense of shape as the processed noise often seems stuck on track, relying heavily on Fox to inject sudden purpose and heave him off the production line. Frost’s set jerks awake when Híbakúsja’s sounds of a snoring beast surprisingly decline into distressed wheezing, a reminder of the vulnerability of Frost’s previous album, By the Throat, which is largely missing here. A U R O R A highlight Nolan proves to be a haunting finale, its heartbeat thump and witch house twists reminiscent of a John Carpenter soundtrack where no one is safe. It goes to show any apocalyptic visionary: the future only fascinates if there are people around to be scared of it. [Chris Ogden]
Review
49
Photo: Michael Sheerin
Immix with John McGrath and Lucy Pankhurst
Clubbing Highlights It’s Chriiiiiiiiistmas. Peace and goodwill to all mankind and all that shite
The Best Dance 12’’s of 2014
Words: E. Jon Lanside Illustration: Amy Minto
As picked by our Clubs team, a selection box of delectable bars we’ll be raiding again far beyond 2014 Compiled by: Daniel Jones
I
t’s that special time of year again when trees start dressing like wanton mistresses, street saxophonists blare tooted versions of Let It Snow outside heaving marketplaces, and dear old St. Nick reluctantly makes his way out to the barn with a tub of reindeer grease. What’s more, it’s also a chance to delve into the past 365 days to recall what exactly has been spewing out of The Skinny’s system this year. So, without further ado, allow us to present this patchwork of our top 20-ish EPs/singles of 2014, in no particular order... Leon Vynehall – Music for the Uninvited [3024] Returning to Martyn’s label for the second time, Vynehall reached another level with this record. Inside the Deku Tree might be the best opener of the year, a catalyst for goosebumps that nods to Zelda in the process. [Daniel Jones] MannMadeMusic – Rough Times [Shadeleaf] Operating out of Sheffield, Shadeleaf are definitely a label to keep your peepers on, as is the forger of this awesome Motor City-inspired EP, Ian Mann. If You Don’t Do It is a slice of low-end mastercraft that KDJ would’ve probably come up with had he been a native of Wearside. [DJ]
S
ven Vath brings a special Cocoon takeover to the Albert Hall on 5 Dec for the venue’s final club event of 2014. It sees the legendary techno figurehead follow a debauched Ibiza season with an exclusive four hour set, his first appearance in Manchester for over a year. (£25) Throughout the many layers of his winding journey in electronic music, Holland native (now Washington DC resident) Martijn Deijkers, aka Martyn, has always stood in a genre-less scene of his own. Based on musicality and energy in equal parts, his tracks are a rapt exploration of melancholy, futurism and dancefloor hypnotism. Catch him at Soup Kitchen. (5 Dec, £12.50) Over in Liverpool, mUmU residents Ryan Elliott and Lee Rands join forces for an all night long session at Magnet. The party goes on ’til eight in the morning with last entry at 4am, so even if you think your night’s over there’s still time to get yourself down, ya blurt (6 Dec, £12.50). Space Dimension Controller brings his live laser show to Joshua Brooks in Manchester on the same night. With massive releases on R&S and Clone records, SDC has built a global reputation as a DJ and live performer with sets that fuse disco, funk, house and techno. (6 Dec, £10) Meanwhile, Hi Ku have a very special celebration planned to celebrate their second birthday. Veteran of electronic music, Luke Vibert began his career in the early 90s along with his school mate and close friend Richard D James, otherwise known as Aphex Twin. He’s joined by Funkineven and Romare to complete a lineup at 1 Primrose Street that should have you salivating. (6 Dec, £12.50) Craig Charles joins Stevie Wonderland at Manchester’s Roadhouse for their last party of the year. I know what you’re thinking; “Craig Charles? Surely not – I could swear he’s in an Australian rainforest eating cockroaches and
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getting covered in crap!” Apparently not. Fans of Red Dwarf, Takeshi’s Castle and soul music needn’t miss out for £8. (11 Dec) A couple of days later on 13 Dec, Hunee, king of boogie, treats Magnet to a night a sure-fire aural treats, which you can’t go wrong for £7. (He also plays in Manchester under the Fever 105 banner.) One of the pioneers of techno, Robert Hood, makes his debut at Selective Hearing and a long-awaited return to Manchester at Joshua Brooks on 13 Dec . He’ll be playing a 3hr set from 1-4, with support from Selective Hearing resident and ascending techno head, Reflec, who’s also playing a 3hr set. (£13.50) Potential night of the month goes to the lads at Electric Chair, as they host a one-off return at Factory (of all places). With a line-up that includes Maurice Fulton, Unabombers, Mark Seven, Paul Woolford and French legend Francois K, this one is bound to get very, very, very sweaty. (£23) Right then, business time. Mr. Scruff teams up with Floating Points for a Keep it Unreal NYE special at Band on the Wall – anybody who has witnessed the pairing in recent times knows that this is a duo who know how to build a mix from the ground up. Sankeys bring 2014 to a close with everybody’s favourite, Move D, to accompany the seminal figure of Kerri Chandler (£25). Hustle welcome back Freerange head honcho Jimpster for another extended set, bargain at £10. Spend £15 more to see Chibuku host Julio Bashmore and Breach (£25). Shipping Forecast brings in Lewis Boardman and Scott Lewis for their shindig (£10). Wet Play and Full Beam are sure to bring the heat below Soup Kitchen for a measly £7. Last but certainly not least, why not take your ‘rents down to The BUG ft. Flowdan at Islington Mill. Y’know the drill, papa in a suit and mama in a frock. (£20)
Waldemar Schwartz – La Taza De Oro [Golf Channel] Golf Channel were already one of the best in the biz before Bogdan Irkük got involved under his WS alias. Perfectly timed in early July, two nudisco burners fuelled by a warped perception of sexiness. [Jack Burns] Ruf Dug – Ruf Kutz #009 [Ruf Kutz] Ruffy and his label always have tricks up their respective sleeves, but Ask Me After Midnite by Glowing Palms is the best yet. A cover of Skream’s seminal Midnight Request Line, reimagined as an ESG-style post-punk disco bumper, with full approval from the Croydon disco convert himself. [John Thorp] San Proper – Leave It Up to All of Us [Voyage Direct] Despite being long-time mates with Tom Trago this was San Proper’s first donation to the Voyage Direct cause. A record that proves the Amsterdammer is more than just a pretty set of nails; he’s a master of extended grooves. [JB] The Black Madonna – Stay/Venus Requiem [Nite Owl Diner] The Black Madonna books Chicago’s Smart Bar, so she’s very knowledgeable about oft-forgotten US dance scenes. The Barbara Mason sample subtlety deployed on this is spine-tingling. [JT]
Jack J – Looking Forward to You [Mood Hut] Vancouver’s Mood Hut brought in one half of Pender Street Steppers, Jack J, to roll out some therapeutic vibes on one of the most popular releases of the year. That B-side bassline could easily go on ’til kingdom come. [JB] LK – Ruff Draft #002 [Ruff Draft] Cottam scored a winner by getting attention-shy LK to donate three tracks to the second incarnation of Ruff Draft. Flick it to 45 for lead track Valentino, a bustling, eyes-down affair spread over the course of twelve minutes. [DJ]. Floating Points – Sparkling Controversy [Eglo] Sam Shepherd conquered us all with King Bromeliad back in March, and followed up perfectly with this dubby garage re-fix of his 2011 behemoth ARP3. Despite the single-sided disappointment, its added punch is intoxicating. [JB] Jitterbug – Workers [Uzuri] Approaching most six-track EPs is like opening a bag of Revels, not every selection is to taste. Hats off to Lakuti for getting Jitterbug back on board to prove this theory wrong. Versatile revelry on both sides. [DJ] Jouem – Episodes ⅜ [Mojuba] The third instalment of Sven Weisemann’s epic Episodes octaptych. Organic, evolving and emotional as always, Weisemann cuts to the dancefloor core on the A, leaving room for more easygoing fare on the flip. [JB] Traumprinz – All the Things [Giegling] One of the most beautiful club records I’ve ever heard, the cathartic title track is also accompanied on the flip by an electro-acoustic spoken word piece during which an ex-acid fiend called John finds peace in Jesus. [JT] Unknown Artist – Silver Ash #002 [Silver Ash] Sophomore release from the mysterious imprint. Everyone banged on about the Fluxion remix but, for me, Karri is a class above. Beautifully pressed on a clear 10” slab – (who needs the extra few inches?) – a must for any fans of pulsating dub. Bouncy one. [DJ] Johannes Heil – Transitions [Figure] Four ‘Transitions’ of thumping, transcendent techno, first heard on Daniel Avery’s stellar Essential Mix and pitched deep down by myself and many others for the remainder of the year to still energetic effect. Massive. [JT]
Floorplan – Never Grow Old (Re-Plant) [M-Plant] 2014 marked 20 years in the game for M-Plant, Various Artists – Voyage Sampler #001 [Voyage] and it seemed only fitting that bossman Robert Andy Hart’s fledgling imprint got out of the traps Hood stepped forward with some hot-to-trot well with this sampler of lo-slung jams. Max Graef Floorplan material. Never Grow Old was huge and Tartelet boss Muff Deep also do themselves last year, and the Re-Plant version speaks for justice on a hypnotic track that roughly transitself. [DJ] lates as Shit Sausage House. [DJ] Moleskin – Turnt On [Goon Club Allstars] Hauke Freer – XK [Oye] Goon Club seemingly specialise in a sort of As 50% of Session Victim, Hauke Freer is no leftfield grime sound that I’ve only scratched stranger to directing vibey arrangements. the surface of, but this is technicolour bonkers: Stepping away from the duo’s live work ethic, sounds like a Soundstream record that Wiley this release sees Freer veer into serious chopmight adore. [JT] chop territory. Must-have stuff. [DJ]
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DJ Chart: Dusky The production and DJ duo share ten tracks ahead of their appearance at The Warehouse Project Words: Alfie Granger-Howell & Nick Harriman Deetron – Photon [Unknown] Deetron is on fine form here with a peak time floor-filler of a track. The bassline harks back to classic mid 00s electro-house, but the piano stabs add a different, more classic house flavour when they appear. The two snare-roll filled breakdowns in the middle of the track provide some big room madness. Lorca – Calcutec [Naked Naked] This track works great either in a warm up or a peak time set. The bassline is the focus at first, giving way to swirling, gliding pads and melodies reminiscent of James Holden, Nathan Fake and the Border Community label, all the while underpinned by the aforementioned bassline. The combination manages to be both tender and aggressive at the same time.
been starting almost all our recent longer sets with this. The beautiful pads in the intro reset the vibe of a dancefloor nicely. The arrangement is crafted carefully, with different sections weaving in and out with plenty of understated details. Jonny Cade – Get Off My [Music Is Love] This track channels speed garage, post-garage, and techno flavours. Stabs very similar to those in Shed’s classic 10001 2” track (under his vinyl only WAX alias) filter up and down, while angular bass hits provide some grit. A couple of string filled euphoric breakdowns appear throughout the track, while diva-style vocals provide a big lift at the right moments.
Dense & Pika – Lazy Wayne [Hotflush] A pretty mental track, this one. Trippy vocal snippets are sped up and down in the intro (and later the breakdown), giving way to a bassline and groove that sounds like someone making rhythms by hitting industrial pipes and pieces of broken machinery. We usually play it sped up quite a lot, giving it a more frenetic feel.
Traumer – Underlying [A-Traction] This French producer provides a solid techno number here, proving simplicity can often work wonders when it comes to techno. Pads build up and up for the first couple of minutes, travelling further and further into a reverb wash, before some dry crusty stabs come in sharply, leaping out of the speakers. These move around and build up in another crescendo, before doing it all again. At the right point in the set this one can do some serious damage.
Flowers & Sea Creatures – The Very Next Day feat. Wrong Jeremy (Eric Volta’s Navigate the Untold Cosmos Remix) [My Favorite Robot] A long number with a long name to boot. We’ve
Patrice Bäumel – Vertigo [Speicher] When the crowd needs waking up, we play this track. It’s a twisted monster, with its drunken riff going in and out of tune with itself, creating
a trippy, disconcerting effect that propels the groove. It builds up massively over time, and every time you think it’s reached a climax it keeps upping the stakes, until it finally reaches a huge peak guaranteed to get people dancing. Dan Curtin – Bassius [Transit] Dan Curtin is a master of wonky techno, and this one does the business. Strange atmospheres complement the groove, with the random jazz samples that get thrown in a particular favourite for us. It gets quite dark in the second breakdown, but brings it back with the return of the rubbery bassline. When we need a deeper, quirky moment in our sets, we’ve been reaching for this. Outboxx – Feel Your Love [Futureboogie] We’ve been playing this in the deeper parts of our sets, and it always gets a good reaction. The
focus is a keyboard riff that repeats, only occasionally going through the whole chord progression. Similarly the vocal is kept short throughout, only played out in full here and there. Some 303 acid style delayed hits come in later, rounding it all off nicely. Locked Groove – Enigma (Scuba’s Warehouse Mix) [Hotflush] We can hear the unlikely combination of grime, techno, progressive house, and a nod to Ten Walls’ recent use of brassy synth sounds in this one. It’s got a couple of surprising twists and turns that keep the ear interested throughout. The euphoric pads in the breakdown are unexpected but work brilliantly, leading us neatly back to the main riff. Dusky present... The Next Step at The Warehouse Project, Store Street, Manchester, 6 Dec
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I N D E P E N D E N T
December 2014
C U LT U R A L
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December Film Events As expected, this month’s film events have a Yuletide vibe, with classics like Die Hard, Gremlins and The Muppet Christmas Carol heading to a big screen near you Words: Simon Bland Birdman
Eastern Boys
Black Sea
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Director: Robin Campillo Starring: Olivier Rabourdin, Kirill Emelyanov, Daniil Vorobyov Released: 5 Dec Certificate: 15
Director: Kevin Macdonald Starring: Jude Law, Scoot McNairy, Ben Mendelsohn Released: 5 Dec Certificate: 15
Daniel (Rabourdin) gets a lot more than he bargained for when he spends an afternoon cruising a Parisian shopping centre for a teenage boy to bring home, and viewers sitting down to watch Eastern Boys will find themselves taking a similarly surprise-laden journey. Just when you think you’ve got a handle on Robin Campillo’s singular film, the writer-director abruptly changes course, handling his twisting narrative with a bracing confidence. A long sequence in which Daniel watches his whole life being gradually stripped away from him by a gang of thugs (led by the effortlessly charismatic Daniil Vorobyov) is masterful, but then Campillo brings Marek (Emelyanov) into the picture and Eastern Boys develops into a surprisingly tender and convincing love story. The most jarring change of pace occurs in the climactic third, with Campillo leaning a little too heavily on contrivance, but by this stage the film has successfully drawn us deep into the heart of this complicated relationship, and so it remains an uncommonly exciting experience. [Philip Concannon]
In Black Sea, a muscular Jude Law adopts a Scottish accent and a salty persona to lead a submarine crew looking for lost Nazi gold. The mariners evade Putin’s navy, fight to keep a decrepit ship alive and navigate a battle of personal egos, while the filmmakers face an even harder struggle – make a major submarine movie, a subgenre that hasn’t produced one decent entry for almost 20 years. Macdonald’s thriller tries to channel everything from Das Boot to The Treasure of the Sierra Madre, but never finds its sea legs. Law nails the accent but feels ill-fitted to salt-of-the-earth toughness. Plot pivots around Mendelsohn’s character inconsistently paint him as both a psychopath and a principled moralist. And attempts to establish a theme about working men adrift in a world of cold globalisation feel insincere, and are confirmed as such in a hackneyed 11th-hour twist involving the stock corporate villain. But by that point the film has become a confused mishmash about greed, madness, violence and sentimental redemption. [Ian Mantgani]
The Theory of Everything
Birdman
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Director: James Marsh Starring: Eddie Redmayne, Felicity Jones, Charlie Cox Released: 1 Jan Certificate: 12A
Director: Alejandro González Iñárritu Starring: Michael Keaton, Edward Norton, Emma Stone Released: 2 Jan Certificate: 15
What can you do with a film like The Theory of Everything? It’s exactly what it intends to be: a straightforward potted history of a real-life figure that delivers emotional uplift while making eyes at awards voters. We should probably accept it for what it is, but it’s still deflating to watch director James Marsh carefully guide his portrait of Stephen Hawking from one clichéd scene to another, displaying no artistic ambitions beyond that. Must a film about an extraordinary man be so ordinary? What elevates The Theory of Everything above mediocrity is the chemistry between its two leads. Redmayne is remarkably convincing and charming in this most challenging of roles, and Jones is very moving, even if she is too often pushed to the margins and forced to play the dutiful wife. A more interesting and courageous adaptation of Jane Hawking’s memoir would have stuck to her perspective. We’ve seen so many similar films about the struggles of great men; perhaps it’s time for a film celebrating the unsung women in their lives. [Philip Concannon]
The two consistent traits in Alejandro González Iñárritu’s body of work are his directorial virtuosity and his ability to get 100% commitment from his actors. What makes Birdman such a refreshing change of pace is that he turns these gifts towards comedy rather than wallowing in despair. The result is one of the most unexpected and richly enjoyable larks of the cinematic year, even if the director’s occasional grasps for profundity threaten to puncture the fun. While Emmanuel Lubezki’s constantly swooping camerawork and the gimmicky single-take structure is technically impressive, the film really comes alive when everything settles down and Birdman’s ace ensemble goes to work. Keaton is perfect as the actor trying to escape the shadow of his superhero past, but the real star turn here is from a hilarious Edward Norton as a self-important thespian whose commitment to reality is taken to absurd lengths. Iñárritu doesn’t pull off all of his grand gestures and he unfortunately fudges the ending, but when this strange bird is flying it really is something to behold. [Philip Concannon]
The Grandmaster
Manakamana
Director: Wong Kar-wai Starring: Tony Leung, Zhang Ziyi, Chang Chen, Zhao Benshan Released: 5 Dec Certificate: 15
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A sort of biopic of renowned martial artist Ip Man, Wong Kar-wai’s The Grandmaster finally arrives after a European debut at the Berlin Film Festival way back in February 2013. It’s far from the misunderstood masterpiece many still prayed it might be, but Wong can’t really do duffers; almost every shot is predictably jaw-dropping and metaphor-dripping. Taking broad liberties with the actual story of Mr Ip (regular collaborator Leung), the director is more concerned with presenting a philosophical and cultural history of China in the first half of last century and back, and of course his own recurring tropes of romance and longing. With a bunch of fancy fighting thrown in. Leung is brilliant as the taciturn Master, with Zhang Ziyi striking as ever as his unrequited love, and their soulful arc complements the stunning Yuen Woo-ping-choreographed battle scenes. Unfortunately, you’re left wanting more of these successes as the on-the-nose pontification and wuxia cliches pile up, but third-rate Wong is still better than most at the top of their game. [Chris Fyvie]
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Review
Director: Stephanie Spray, Pacho Velez Released: 12 Dec Certificate: U
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From Harvard’s experimental Sensory Ethnography Lab, which gave us 2012’s haunting fishing vessel doc Leviathan, comes Manakamana. This is an altogether different beast from that previous effort, with a new directing team: while Leviathan was a forceful sensory overload, Manakamana is more tranquil in tone and visual setup, but it’s no less affecting for it. Spray and Velez’s film is ostensibly made up of a dozen or so vignettes following various groups of pilgrims (ranging from locals to North American tourists to... goats) as they make trips to and from the legendary Manakamana Temple in Nepal using cable cars, with a stationary camera positioned in the cable cars documenting their journeys. An intimate humanist experiment, the film provokes much delight in its playful structure and in how its rotating ‘protagonists’ act and interact for the omnipresent cameras, with absorbing, sometimes funny mini-narratives created for all of them despite their limited screen time. And with the goat section it’s the closest we’re going to get to an Abbas Kiarostami remaking of Le Quattro Volte. [Josh Slater-Williams]
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hat do you want for Christmas this year? If your answer is “movies, movies, movies,” then you’re in luck. December has a sackful of festive offerings and your name is on every single one of them. First up, we head to Manchester Central Library for a crafty screening of seasonal favourite Elf (6 Dec). Hosted by Spectacle, Spectacle, this event kicks off with a creative workshop inviting you to make your very own pair of ‘Magic Lenses.’ You’ll then be able to watch Buddy’s fumbled attempts to reconnect with his grouchy father in headgear that’d make any elf envious. PVA and glitter at the ready, people. Cornerhouse have a great little film season in store for you this month with Merry 80s Christmas. While not all technically Christmas movies, they do evoke the sense of fun we associate with the holidays. Join Atreyu and Falkor on 6 Dec for The Neverending Story, followed by Thanksgiving gem Planes, Trains and Automobiles (7 Dec), the irrepressible Ghostbusters (11 Dec), action classic Die Hard (12 Dec), muppet-tastic Labyrinth (13 Dec), fantastical adventure Willow (14 Dec) and the campy Big Trouble in Little China (20 Dec). All of them are cinematic time-capsules not to be missed. In Liverpool, FACT have a scattering of festive films throughout December and there’s some real crackers. Joe Dante’s devilishly delightful Gremlins (12 Dec) is bound to get you in the seasonal spirit as smalltown boy Billy Peltzer discovers his cute new pet has a dark side. You’ll then be able to catch Robert Zemeckis’s motion capture version of A Christmas Carol (13 Dec), the original Miracle on 34th Street (14 Dec) and of course, that holiday staple, The Muppet Christmas Carol (20 Dec). It wouldn’t be Christmas without it, right?
Gremlins
After a Christmas chuckle? Get yourself down to the latest double bill from Retro and Dangerous at Gorilla, Manchester. They’ve got the Griswolds round for a special screening of National Lampoon’s Christmas Vacation followed by Arnie’s notorious 90s kids-flick Jingle All the Way (14 Dec). Written by John Hughes, Christmas Vacation is a series highlight with true family spirit. Talking of spirit, hopefully the festive cocktails will be flowing by the time Turbo Man takes to the screen – you’ll need them. Meanwhile, Jack Skellington swaps Christmas Town for Manchester to jump start Grimm Up North’s Tim Burton season, celebrating the atmospheric chill of one of Hollywood’s most distinct and enduring voices. The Nightmare Before Christmas (Odeon Printworks, 11 Dec) is your lot this month but expect more from this season in 2015.
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Goodbye to Language
The Keeper of Lost Causes
Nekromantik
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Director: Jean-Luc Godard Starring: Héloise Godet, Kamel Abdeli Released: 8 Dec Certificate: 15
Director: Mikkel Nørgaard Starring: Sonja Richter, Eric Ericson Released: 22 Dec Certificate: 15
Godard’s first 3D feature is, as you’d expect, unlike any other we’ve seen, with one confounding (and eyeball-straining) effect that’s sure to linger in the mind. It’s hard to think of another film in which 3D is absolutely integral – it’s impossible to imagine seeing Goodbye to Language in any other format. That’s why the decision to release the film direct to Blu-ray is so bewildering – and a damning indictment of the current state of cinema culture. How many people will be denied the opportunity to view the film as intended because they lack the necessary 3D paraphernalia at home? And how many of the lucky few who’ve seen it in cinemas will be unable to enjoy the repeat viewings? Even at a brisk 70 minutes, Goodbye to Language is dense with ideas to unpick. One thing’s for sure: this old dog still has plenty of new tricks. [Philip Concannon]
The latest slice of pulp to make its way over the North Sea, Danish thriller The Keeper of Lost Causes is a nicely shot exercise in moody brooding and lascivious torture porn, slavishly ticking all the genre trope boxes while it sleepwalks through an icky narrative that could've been lifted from any slick crime drama. Carl, a homicide investigator traumatised by a police ambush gone wrong (oh, why don’t they ever wait for backup?), does most of the brooding. He’s assigned a desk job in Department Q rubberstamping cold case files. But instead, in true rogue-cop fashion, Carl decides to actually solve one of those cases. Based on the 2013 novel by Jussi Adler-Olsen, the film is an obvious setup for a series of Department Q follow-ups. Too bad this opener feels like an atmospheric exercise in sucking all the air out of the genre. [Michelle Devereaux]
Intolerance
The Thief of Bagdad
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Director: DW Griffi th Starring: Elmer Clifton, Mae Marsh Released: 8 Dec Certificate: PG
Director: Jörg Buttgereit Starring: Harold Lundt Released: 8 Dec Certificate: 18 Jörg Buttgereit’s infamous boundary-defying horror comes to Blu-ray looking slightly bewildered but with a wealth of extras to justify its existence. Filmed over two years, this is a love story of sorts between a traumatised young man, his creepy girlfriend, and a stolen corpse. It’s strong stuff, it’s less of a story and more a succession of loosely connected unpleasant scenes involving necrophilia, cannibalism and (most shockingly) animal deaths. The cadaver effects are admittedly impressive, but despite Buttgereit’s transgressive sensibilities the relentless attempts to shock eventually become dull. While it would be difficult to recommend on its own, the high-quality extras, including interviews, behind-the-scenes features and director’s commentary, are fascinating. This is undoubtedly the best way of seeing one of cult cinema’s most divisive nightmares. [Scott McKellar]
Spione
Director: Raoul Walsh Starring: Douglas Fairbanks Released: Out now Certificate: U
Watching a DW Griffith film is like watching Shakespeare indite his first couplets. Griffith didn’t invent cinema any more than the Bard invented language, but his command of the medium determined the way today’s directors still articulate themselves. Larger than its ambition, and the literal white elephants in frame, is Intolerance’s hypocrisy. Griffith’s notorious Birth of a Nation, made a year earlier, indelibly marred his legacy, proving even the grandest vision cannot surmount impoverished principles. This follow-up, essentially an epic apology, stratifies and shuffles four epochs. Audiences were unprepared for its complexity; it landed at the box office with an Icarian splat. So why watch a hypocrite’s three-hour flop? Intolerance is undoubtedly cinematic paradigm, but more than this, it’s a window through which we can peer 100 years into the past. It celebrates film’s unique power to transport us to a different age, and this is one sentiment of Griffith’s on which we can all agree. [Kirsty Leckie-Palmer]
Raoul Walsh is now best remembered for the gruelling location shoots that lent High Sierra and The Big Trail their sense of epic, distinctly American poetry. Entirely studio-bound and set in a mythical Middle East, this uncharacteristic fantasy nevertheless stands as one of the director’s greatest achievements. Douglas Fairbanks’ performance as Ahmed, the titular thief, anticipates the swashbuckling heroism found in Walsh’s future collaborations with Errol Flynn, and the movie ultimately serves as a vehicle for his bravado. Whether committing petty crimes or proving his worth against a series of terrifying beasts (spoiler: there’s no obstacle our hero can’t overcome by a bit of face stabbing), Fairbanks oozes preposterous, child-like charisma. Lavish, hugely expensive sets, charming special effects, and a cameo from a howling, diaper-wearing ape all threaten to steal the star’s thunder, but it’s a supporting role from the iconic Anna May Wong that modern audiences are likely to respond to with most interest. [Lewis Porteous]
Director: Fritz Lang Starring: Rudolf Klein-Rogge Released: Out now Certificate: PG
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At a breakneck pace, Spione, Fritz Lang’s follow-up to Metropolis, lays out the template for all spy actioners that would follow. Rudolf Klein-Rogge plays Haghi, the wheelchair-bound Mabuse-lite archvillain intent on intercepting government plans while a series of German, Russian and Japanese spies whirl around evading his machinations. One of the many thickenings of the plot includes his minion Sonya’s (Maurus) inconveniently falling in love with enemy agent No. 326 (Fritsch). Spione is stepped in gadgety modernism and stuffed with dazzling set pieces, including heists, chases, a train crash and even a boxing match that becomes derailed by ballroom dancing. While initially thrilling, the cartoonish derring-do and Haghi’s unexplained motivation become wearying over the two-and-a-halfhour running time. Without the depth of early Lang, its dizziness eventually plays like too much running around. It’s still fascinating, however, both as further proof of its director’s technical proficiency and as a landmark in genre entertainment. [Ian Mantgani]
DVD Survival (Erm, Gift) Guide Thanks to a combination of Netflix, iTunes and Pirate Bay, you’ve probably not bought a DVD since last Christmas. Help save this flailing industry by splurging on some hard copies for your loved ones this festive season Cold in July / The Guest (for children of the 80s) There was a distinctly 80s vibe on our cinema screens this year. Not that we’re complaining if the results are as wry as Jim Mickle’s neo-noir Cold in July or Adam Wingard’s blackly comic thriller The Guest. These young horror filmmakers have embraced the garish visuals and the grisly violence of the decade, but they also smuggle in its sharp social satire and inventive camera work – two qualities desperate for a comeback in modern genre cinema. Both are on Blu-ray and DVD from Icon Home Entertainment
Words: Jamie Dunn
The Day the Earth Caught Fire / The Glitterball (for those who like their sci-fi home grown) One of the highlights of the cinematic year has been the BFI’s nationwide Days of Fear and Wonder sci-fi season. Its pleasures aren’t confined to cinema screens, though, as evidenced by this brace of BFI DVD releases. H-bomb disaster flick The Day the Earth Caught Fire has the fear part covered, while delightful zero-budget alien adventure The Glitterball, which would go on to inspire Spielberg’s ET, provides a low-key wonder (the alien is played by a spray-painted ping-pong ball).
The Werner Herzog Collection (for fans of chaos, hostility and murder) “I believe the common denominator of the universe is not harmony, but chaos, hostility and murder.” So says the imitable Werner Herzog in voice-over in Grizzly Man. After spending the festive period with your family, you’re sure to agree. Ease into the New Year with more of the Bavarian maverick’s doom-laden wisdom.
“A nun and a chain-smoking Jewish prostitute go on a road trip…” This isn’t the start of a bawdy joke, it’s the abbreviated plot synopsis to Paweł Pawlikowski’s extraordinary comeback, Ida. It narrowly missed out on a place in our top ten films of the year, but it deserves a place in your DVD collection.
On Blu-ray and DVD from BFI
On Blu-ray and DVD from Artificial Eye
How to Train Your Dragon 2 / The Lego Movie (for parents who’ve seen Cars 2 one too many times)
On DVD from BFI
22 Jump Street (for those who still think Channing Tatum is a wooden pretty boy) Talking of the 80s, Phil Lord and Christopher Miller’s reboot of the Johnny Depp-starring TV show 21 Jump Street, about young-looking cops going undercover in high school, proved an unexpected delight. That its sequel, 22 Jump Street, is even better is a minor miracle. Even more unbelievably, Channing Tatum, once thought no more than a serviceable hunk in films like Step Up and GI Joe, gives the year’s most joyous comic performance. On Blu-ray and DVD from Sony Pictures Home Entertainment
December 2014
Six Gothic Tales (for those who like their horror to be retina-searing) Film history will remember Roger Corman as the visionary B-movie producer who nurtured so many of America’s finest filmmaking talents, including Francis Ford Coppola, Martin Scorsese and Jonathan Demme. But he’s a great director in his own right. The best of his films include this sextet of Edgar Allan Poe adaptations. What recommends them are their eye-popping colour schemes and their star, Vincent Price, who could send a chill down your spine with a raise of his eyebrow.
Ida (for fans of both Sister Act and the Polish New Wave)
Time was, whenever you needed to pick up a movie for a little ‘un, Pixar had you covered. Not any more: the once inventive studio has been running on empty since joining forces with Disney. No animated film this year delivers the heart-stirring emotions with the whip-smart comedy of Pixar at its very best, but in tandem the above double bill will do the trick: Dragon 2 lifts the hairs on the back of your neck; The LEGO Movie has the belly laughs.
Guardians of the Galaxy (for those looking for a new Han Solo) Christmas wouldn’t be Christmas without a smattering of derringdo. Instead of watching The Great Escape or Raiders of the Lost Ark for the umpteenth time, Marvel has come to the rescue with its most flat-out fun film yet. Much of the pleasure stems from Chris Pratt, whose goofy charisma puts all the other movie Chrises – Evans, Hemsworth, Pine – in the shade. On Blu-ray and DVD from Walt Disney
On Blu-ray and DVD from Twentieth Century Fox Home Entertainment and Warner Home Video respectively
On Blu-ray and DVD from Arrow Video
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In Good Company: Jane the Foole
With women significantly underrepresented in UK theatre, we look at one company who are aiming to redress the balance Interview: Alecia Marshall
performers and 38% of directors were female, with woman filling a mere 17% of sound design and 22% of lighting design posts. Due to their efforts a number of welcome initiatives have emerged to address the problem: leading venues including the West Yorkshire Playhouse, Sheffield Theatres and the Young Vic have committed to new measures for improving gender equality in creative and backstage roles, with companies such as Headlong, English Touring Theatre and the Royal Shakespeare Company agreeing to support female writers in their efforts to break away from the studio and stretch their legs on the main stage. But what is being done in the Northwest? It is a question that Manchester-based Charlotte Rhodes is keen to answer with Jane the Foole, a young company dedicated to the production of challenging and confrontational work by female playwrights. “I had had the idea for a female company that addressed the lack of
Little Shop of Horrors
Little Shop of Horrors
by power and negative influences. If you can look Royal Exchange Theatre past the music and the farce, it is a story which carries a cautionary message for its audience: we If you’ve grown weary of the traditional festive must be wary about which parts of our nature we cheer and merriment that so characterises panto choose to ‘feed.’ season and prefer your Christmas with a little The spectacle is brought to life – quite more bite, then what better way to satisfy your literally – on the Royal Exchange’s classic round cravings than with the newest production of the stage, where audiences are granted a 360-dehit musical Little Shop of Horrors? Based on the gree view of writers Howard Ashman and Alan 1960 cult film of the same title, the plot revolves Menken’s bloodthirsty bush (christened Audrey around Seymour Krelborn, a floundering florist Two by the love-struck Seymour). Director David whose fortune dramatically changes when he Bond describes the production as “a gory, scary, comes into possession of a rare species of plant glitter and sequins treat for all the family.” Adults with a sinister appetite. How far will Seymour go and younger viewers alike are sure to find ento keep his new-found fame and the woman of his tertainment in the musical numbers – and if the dreams, Audrey? idea of a giant carnivorous herb wreaking havoc Instead of presenting its audience with the seems a bit gruesome for your taste, Audrey clichéd good-and-evil character divide we come Two’s foulmouthed gags and Seymour’s desperto expect of Christmas pantomimes, Little Shop ate attempts to appease its thirst for blood proof Horrors instead serves as an allegory of how vide a lighter comic balance. Is it silly? Yes. But easy it is for even the most meek and well-mean- we still love it. [Lauren O’Hara] ing of people to become increasingly corrupted Runs 5 Dec-31 Jan, from £14.50
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parts for women in the theatre for some time,” says Rhodes, artistic director of the company. “There remains a visible shortage of female roles for both aspiring and existing female actors. The demand is there but there are neither the parts, the opportunity, nor the work to embrace it. My vision was to change that.” The company takes its name from history’s first – and quite likely only – female court jester, Jane the Foole, who occupied the Tudor court and entertained Catherine Parr, Queen Mary and possibly Anne Boleyn. Though there is little evidence of her existence, Rhodes feels a distinct affinity with the forgotten female entertainer: “I wanted the company name to embody its values. Jane the Foole does that for us.” The company’s opening play, My Baby Girl, runs at Three Minute Theatre this December. Written – as promised – by female playwright Amy McCauley, the piece explores a sinister rape allegation in a darkly comic meditation on power,
revenge, class, sex and race. “My Baby Girl has a strong feminist subtext,” explains Rhodes, “so it is a nice fit with the vision I have for the company. It examines attitudes towards women and also explores how gender relates to race and class.” Although the play is written, produced and directed by women, Rhodes is firm that men will not be excluded from Jane the Foole’s work: “We already have a guy working for us who is a completely invested in our ethos – I was surprised by the number of men who are. The male actors performing in My Baby Girl are fully supportive of our vision.” I think I speak on behalf of all females – theatre lovers or not – when I agree with Jane the Foole’s aims. My Baby Girl runs at Three Minute Theatre, Manchester, 3-4 Dec
Sex and the Three Day Week
Sex and the Three Day Week
for during their stay, classical comedy lovers everywhere will feel a familiar comfort at being greeted with their favourite farcical archetypes, In 19th-century France, Georges Feydeau’s including Fanny the French maid and a detecL’Hôtel du libre échange delighted audiences tive inspector (no doubt employing all of his best with its depiction of the farcical mayhem hidtactics and most useless knowledge to get to the den within a Parisian hotel. Its combination of bottom of the strange antics). mistaken identities, sexual deviance, bizarre It will be interesting to see if Sharkey scenarios and hugely exaggerated characters successfully marries the social and historical served as both a source of entertainment for context of 1970s Britain with the dramatic techthe audience and a recipe for disaster for the niques of farce. Can drama which is heavily relionstage characters. Like most examples of farce, ant on comic brevity and laughs per minute also the unfortunate victims subjected to such ruthprovide a commentary on the weighty themes less parody were members of the upper classes – of austerity, strikes and political upheavals that in this case, Parisian. Fast-forward a hundred characterised 70s Britain? Or will it merely poke years and place the action in 1970s Britain: here fun at the gaping disparity between the upper we have Stephen Sharkey’s Sex and the Three Day and working classes? Sharkey might have taken Week. inspiration from 19th-century divides, but does Not so happily married Angela and Philip his portrayal of 1970s Britain offer us an insight check in for a night of unexpected surprises into our own present-day society? It is worth a and outrageous mishaps at the ironically named watch to find out. [Lauren O’Hara] Paradise Hotel. While the sexually dissatisfied Runs 5 Dec-10 Jan, £12-25 couple might get more than they bargained Liverpool Playhouse
THEATRE
THE SKINNY
Photo: Brian Roberts
t is an indisputable fact that woman are underrepresented in our theatres. A quick browse through the season brochures of many a UK theatre will highlight the startling lack of female names in both the cast list and the creative team. While staff in theatre administration and education departments (and increasingly stage management teams) are female-heavy, their employment fails to mask the immediate problem: when the curtain rises, the production occupying the stage is still significantly less likely to have been written, directed, designed, or performed by women. Gender equality organisation Tonic Theatre recently embarked upon a six-month exploration of females in theatre, shaping their research into a shocking set of statistics. Monitoring productions staged in the top 20 theatres in receipt of the highest proportion of Arts Council funding, Tonic found that only 8% of the productions were written by women. Only 37% of onstage
Photo: Anneka Morley
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Jane the Foole
BOOK OF THE MONTH
Amnesia
N0S 4R2
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By Peter Carey
The Strange Library
Stone Soup
By Joe Hill
By Paula Rego and Cas Willing
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By Haruki Murakami
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Hitting Japan in 2008, The Strange Library spins a dark modern-day fairytale about a boy who finds himself drawn into the shady labyrinth beneath his local library by an old man with a taste for human brains. The book abounds in oddness met with the kind of calm bewilderment and quiet humour Murakami has spent decades refining. Murakami’s writing lives inside strange in-between places, otherworldly borderlands where cultures, times and realities blur together. Eclectically illustrated with diagrams, drawings and assorted artwork plundered from the vast stores of the London Library, The Strange Library creates a visual journey to match the weird pastiche of Murakami’s prose. A word on one page is spun out into an image on the next like a pictorial stream-of-consciousness, each odd thought-tangent followed up by an illustration from a relevant library book. As the boy’s mother always told him, ‘if you don’t know something, go to the library and look it up.’ The translation by Ted Goossen gives the dialogue a slightly British flavour that’s just a little at odds with Murakami’s Americana-infused style, but it’s not enough to seriously detract from a little book that stands out as a curiosity even in the incomparably curious library of Murakami. [Ross McIndoe] Out 2 Dec, published by Harvill Secker, RRP £12.99
Peter Carey is one of the few writers you could expect to pull off a sprawling tale about hackers, global capitalism and Australian politics. He’s got that pedigree, so rare, of producing meaningful and readable books. Amnesia is certainly readable, but while it strives for meaning at every turn it often feels drab. Gaby Baillieux, daughter to a politician and an actor, infiltrates the Australian prison system’s computers such that asylum seekers are let loose. American penal facilities, sharing the same private backers and software, are similarly affected. Embattled lefty journalist Felix Moore is commissioned, by Gaby’s mother and dodgy property man (and mate) Woody Townes, to pen a redemptive book on the accused. At about the halfway point, Moore quotes Tolstoy: ‘All happy families are alike; each unhappy family is unhappy in its own way.’ The problem is, the family of which Felix writes – Gaby, mother Celine and father Sando Quinn – are unhappy and alike. That is, they’re familiar. There are glimmers of that rugged pizzazz Carey trades in, but so often this feels procedural. There’s plenty going on, and the personal and political strands are neatly woven together, but what might have been a spicy cyberpunk yarn is instead a slightly pedestrian tale of middle class family strife. [Angus Sutherland]
All books are page-turners by default, how else might they be read? But it’s the velocity of turning which provides some sort of measure. N0S 4R2 lives at the higher end of the scale. A deliciously horrific fantasy in which a young girl with supernatural gifts confronts the similarly empowered Charlie Manx, a dangerous and evil child abductor in a Rolls Royce Wraith bearing the vampiric registration N0S 4R2. Its finest creation is a dark fairytale henchman who incapacitates victims with gingerbread-scented gas – the results are grimmer than Grimm. This is the third novel of Joe Hill, son of Stephen King. While his earlier – and excellent – book Horns set him out as a writer of individual talent, N0S 4R2 shows that he’s also his father’s son. The influence feels inherited rather than replicated here and not only takes the voice of King classics The Shining and IT, but also inhabits his universe, with references to Pennywise and his Derry home. It is a more ambitious book than Horns, but also more sprawling and unruly, with less structural discipline. The story walks a tightrope of believability at times, often saving itself through sheer force of narrative. While lacking some depth – a serious subtext of child neglect proves mere window dressing – it remains the work of a talented and evolving storyteller whose pages sure do turn. [Alan Bett]
Out now, published by Faber & Faber, RRP £18.99
Out now, published by Gollancz, RRP £7.99
Uncountable variations already exist of this tale of supposed Portuguese origins, with popular retellings coming from China and Ireland and ‘Nail Soup’ and ‘Axe Soup’ variations from Scandinavia and the Baltics. What then, could be left to do with the folktale? Well a lot, it would seem. The combination of Rego’s powerful illustrations and a complete overhaul of the protagonist’s role allows for a fresh and unique look at the tale. The painter’s inks and watercolours create a highly evocative world of wiggling sea creatures, starved dogs, mythological horses and women and men scaled up and down according to their behaviour and relationships. Mother and daughter team Rego and Willing have turned the classic idea of the wise man (or trickster) manipulating the shrewish woman or innocent girl on its head. Their female protagonist is sent to find food, still a child. Having no luck, her father decides to sexualise her and we see the girl dressed in red, begging around the village from tiny roving-eyed men. In the end it is the girl herself who comes up with the idea to make ‘stone soup’ and it miraculously appears by way of chillies, cabbage, butter and paprika sausage. This story, however, is not about the soup at all but the journey of one girl from childhood to womanhood and of learning to survive in the harsh but magical sun-baked world of Rego’s imagination. [Sacha Waldron] Out now, published by Enitharmon Press, RRP £12.99
Have Yourself a Literary Christmas Wintertime, writing and wordsmiths: here’s our guide to the literary events on this month, from Paul Muldoon to a modern take on traditional penny readings Words: Holly Rimmer-Tagoe Illustration: Sophie Heywood
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ecember is perhaps the only time of year when clichés and platitudes become acceptable, or even welcomed. And whether it’s a warming fire, a comforting mulled wine or a heartening cinematic offering, much of what we now think of as Christmas has a literary character at its centre: Charles Dickens. Dickens’ novel A Christmas Carol popularised many Yuletide traditions – so, in this spirit, we’ve taken look at the wintery writing events on offer this month. If you feel in need of a temporary escape from the toxic combination of decorating/shopping/cooking, or simply want to evade the usual ambush of Christmas parties, read on. Discussion: Science Fiction and Apocalypse The industrial, bare-brick walls of The International Anthony Burgess Foundation host an evening dedicated to all things sci-fi. Why has there been an explosion in the production of apocalyptic literature since 9/11? Is sci-fi the only way in which humans can conceive of another world order, or the possibility of revolution? Andrew Sawyer, who is an academic authority on science fiction literature at the University of Liverpool, and Heather Morison, who has created a portable library of apocalyptic tales
December 2014
called Tales of Space and Time, lead a discussion into the ideas and anxieties that have motivated sci-fi since the 1930s. From Ridley Scott’s Blade Runner to JG Ballard’s The Drowned World, the experts will be debating the questions thrown up by the sci-fi genre: the dangers of technological advance, what it is to be human and the ethical dimensions of scientific research. It promises to be an informative evening. The International Anthony Burgess Foundation, Manchester, Wed 3 Dec, 6.30pm, free (advance booking required) The Heathens’ Christmas Party The team behind First Draft, Manchester’s bimonthly cabaret night celebrating local talent, return with The Heathens’ Christmas Party. First Draft’s anarchic mixture of spoken word, poetry and drama gets a Christmas revamp in a consciously non-traditional way. The clue is in the name; new writers and performers present fresh, recently drafted work to the assembled audience in the hope of a raucous reception. The Castle Hotel, Manchester, Mon 15 Dec, 7.30pm, free
An Evening with Paul Muldoon Paul Muldoon’s prominent reputation precedes him. As poetry editor at The New Yorker and a recipient of both the TS Eliot Prize (in 1994) and Pulitzer Prize for Poetry (in 2003), Muldoon has often appeared to be confined to the realms of academia and literary criticism. Don’t let this put you off. Although Muldoon’s poetry requires a sizeable amount of brain power, his work – littered with riddles and archaic references – is well worth the challenge. Muldoon joins the Liverpool Poetry Cafe for a reading, accompanied by music from Dominic Williams. Expect to hear about his new poetry collection, One Thousand Things Worth Knowing, published by Faber & Faber early next year. The Bluecoat, Liverpool, Thu 18 Dec, 7.30pm, £5 (£3)
BOOKS
The Penny Readings Returning for its 11th year, in the opulent surroundings of St George’s Hall, the Penny Readings Festival reimagines the Victorian tradition of large public reading tours. The good folks at The Reader Organisation have made this community event a stalwart of the Liverpool Christmas calendar. With previous guests including poet Jenny Joseph and comedian Alexei Sayle, this year the final chapter of Liverpool author Frank Cottrell Boyce’s ongoing online serial The Menlove Treasure will be revealed – all for a mere penny! St. George’s Hall, Liverpool, Sun 21 Dec, £0.01p firstdraftmcr.wordpress.com thebluecoat.org.uk thereader.org.uk anthonyburgess.org
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Constructing Worlds: Photography and Architecture in the Modern Age
Manchester Art Gallery
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Barbican, London
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Bas Princen installation image
We don’t often do reviews of London shows but sometimes the occasion warrants it. Constructing Worlds: Photography and Architecture in the Modern Age runs at the Barbican until 11 January and it’s well worth using the holidays as an excuse for a jaunt (or to escape the family), as this is one of the best exhibitions you will see this year. That’s just an opinion, of course, but it is the right one. The exhibition brings together 18 photographers from the 1930s to the present who deal with the representation and perception of architecture. Progressing through the show, layers of influence and collaboration are revealed; we see how a whole community of photographers and architects is built from the seeds of each other. Walker Evans and Berenice Abbott are the earliest photographers on show, both making work in the 1930s. Evans, was on assignment for the FSA (Farm Security Administration) during this period, undertaking a survey of rural America as part of President Roosevelt’s New Deal initiative. Abbot was on an initiative of her own making, arriving in New York from Paris. She became fascinated by the city and the radical changes that were occurring in the built environment. In 1935 she persuaded the Federal Art Project (part of the Works Progress Administration) to commission her project Changing New York, and in her images we see the Rockefeller Centre under construction, skyscrapers beginning to dwarf diners and shops below. Evans’ influence, particularly, on the next generation of photographers cannot be underestimated, with work from Ed Ruscha, Bernd and
Omer Fast - 5,000 Feet is the Best (2012)
A real gem in the WW1 creative commemorations this year comes from The Sensory War, on show at Manchester Art Gallery until February 2015. This group exhibition focuses on military conflict and explores how artists have communicated these often horrific impacts on the body, mind, environment and human senses over the last 100 years. A lot of the work is difficult to take in; you want to look away but are somehow continually drawn back in. There is a reason to look and remember, yet a reason to look away. A significant number of works – and there is a lot to see here – are taken from Manchester City Art Gallery’s own collection. Former director Lawrence Haward started to collect war art just after his appointment in 1914 and until his retirement, remarkably, in 1945; a career spanning two world wars. The exhibition starts with an exploration of the transformative nature of war on society and on the types of new experiences both men and women were exposed to. A whole generation of young men were introduced to a thrilling new world of adventure; to travel, to fly. Eric Ravilious renders these experiences in blues and greens, capturing the lights of early morning and twilight – the shapes menacing, the mood not. These atmospheric watercolours are in the same style as his earlier 1930s renders of greenhouses, pot plants, country lanes. The only difference is that the moths of nature have now become the Tiger Moths of the war-time skies. Though most of the work comprises painting
and drawing, photography takes up much of the middle section of the show. A key image comes from the iconic Marine Wedding series by Nina Berman. Here we see Marine Sgt. Tyler Ziegel, who had been seriously injured by a suicide bomber in Iraq, losing most of his facial features, standing beside his wife on their wedding day. Both of their expressions are inscrutable, albeit for different reasons. We learn from the panel that Ziegel and his wife divorced soon after this image was taken and Tyler later died from alcohol and heroin poisoning. Striking works, being shown for the first time in the UK, come from the ‘hibakusha,’ a name which refers to the survivors of the atomic bomb dropped on Hiroshima. The word literally translates as ‘exploded-affected people’ and these works were made in the 1970s. Blank ash landscapes populated by the – now sparse – lights of houses are shown against a backdrop of menacing red and black mountains in Lights blinking on in the atomic desert, from Gisaku Tanaka. Elsewhere, ragged people, their features just shapes and ideas, are shown caught among mauve swirls of poison. In a way a photograph can never achieve, these drawings provoke the imagination to imagine every burn, every sickness, confusion and future memory of the bomb. [Sacha Waldron] Until 22 Feb, Mon-Sun 10am-5pm (closed 24-26 Dec, 31 Dec and 1 Jan), free www.manchestergalleries.org
Hilla Becher and Stephen Shore all included. It is a rare treat to see Ruscha’s Thirtyfour Parking Lots in Los Angeles (1967), which sees him break from his ‘no-style’ style and photograph the parking lots from a helicopter. Elsewhere we find Thomas Struth, a student of the Bechers’ (another student, Andreas Gursky, pops up later on in the exhibition), with his typological examinations of his urban environment. In contrast are Julius Shulman’s sumptuous high-colour shots of modernist living in post-war California. Blue blue pools and golden bodies; these images not only document architectural change, but sell a lifestyle. The downstairs galleries take the story out of America with Iwan Baan’s puzzle-like images of Venezuela and Nadav Kander’s misty visions of the Yangtze River. Simon Norfolk takes the viewer all over the world, touching on sites of modern conflict, and Luigi Ghirri’s images of Italian architecture have a touch of the uncanny to them, half futuristic, half fairytale. The highlight of the whole exhibition, personally, comes towards the end in the haunting images from Hiroshi Sugimoto. His silver gelatins, semi-blurred shots of modernist monuments, require the camera lens to be set to ‘twice infinity.’ It is possible to get lost in his images; once-harsh structures are seen through a haze. We see the romance of the structures, the vision and the memory. [Sacha Waldron] Until 11 Jan, Sat-Wed 10am-6pm, Thu-Fri 10am-9pm, £12. Closed 24/25/26 December www.barbican.org.uk/constructingworlds
Photo: Sam Huddleston
Win a trip to Glasgow Win a £100 bar tab and exclusive use of Film Festival! the Hold Fast Cinema!
Win exclusive use of the Hold Fast Cinema room along with a £100 bar tab to spend for you and your friends this Christmas. The prize includes food and a selection of your favourite Christmas movies! Located at Hatters Hostel, 50 Newton Street, NQ, Manchester, Hold Fast celebrates a bygone era of Victorian exploration and discovery. A place of oddities, curiosities and mythical creatures, this unique Northern Quarter venue has travelled to the abyss and brought something back... HERE BE MONSTERS!
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Happy Hour is 4-7pm every day and includes free toasties, popcorn and drinks promos. To mark the opening, Hatters are offering you and your friends a £100 bar tab and exclusive use of the Hold Fast Cinema. To enter, simply head along to theskinny.co.uk/ about/competitions and follow the directions there. Entries close at midnight Mon 15 Dec. Entrants must be 18 or over. The winner will be announced on the Hold Fast Facebook at 12pm on Tuesday 16 December. Good luck!
Highly regarded and hugely anticipated in the UK’s film calendar, Glasgow Film Festival has grown massively in visibility and significance in recent years to leap into the top three film festivals in the UK. The festival’s 11th edition will feature a host of premieres and pop-up events, stretching out wider into the city than ever before, making use of even more cinemas and venues across Glasgow, while paying special tribute to the city itself. We've teamed up with Glasgow Film Festival to offer you a very special prize before the tickets have even gone on sale. To be in with a chance of winning four tickets to Glasgow Film Festival screenings, plus an overnight stay for two in
ART / COMPETITIONS
Novotel on Sat 21 Feb, simply head along to theskinny.co.uk/about/competitions and correctly answer this easy question: Which Glasgow-set film closed the 2014 festival? a) Comfort and Joy b) Under the Skin c) Krankies: The Movie Explore a world of cinema in Glasgow from 18 Feb-1 Mar 2015. Tickets go on sale on Mon 26 Jan. Competition closes midnight Sun 4 Jan. Winners will be notified via email within two working days of closing and will be required to respond within 48 hours or the prize will be offered to another entrant. Our Ts&Cs can be found at www. theskinny.co.uk/about/terms
THE SKINNY
Photo: Chris Jackson Getty Images
The Sensory War
Spotlight: Will Setchell Presenting: the first of our Spotlighters to take on a gibbon Interview: John Stansfield
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hreatening to be glassed by a drunken Glaswegian heckler and his wife for wishing ‘if only your ancestors had polio’ in an improvised song is not the best reason for moving to Manchester. But that’s why Will Setchell’s here in the Northwest – and Glasgow’s loss is certainly the rainy city’s gain. A firebrand anarcho-vegan who is not one to stand down from a fight (though he really should, he’s ever so slight), Setchell imbues his act with a genuine passion for his material. Thought-provoking and often quite filthy, his is a unique voice in a world of increasingly safe comics.
Worst gig: “I’ve been threatened with a glassing on more than one occasion for destroying hecklers too hard. Weirdly those weren’t awful gigs, just dangerous. I did one though at the Fringe in 2012 where I could just feel the hatred coming off the crowd. Utter fucking silence. For an hour. Dire.”
Favourite venue: “I’m a big fan of some of the Manchester nights (XS Malarkey is always lovely, Tony Basnett’s night in the Railway Inn in Didsbury, it’s a beautiful room and when the Comedy Store is on it’s on) but it’ll always be the Stand in Glasgow – I’ve had First gig: more good gigs there than I can even remem“It was at The Stand in Glasgow, when I was 16 and ber. Every time is a delight. Seriously, a delight. I have no idea how it went. According to my dad I PLEASE BOOK ME AGAIN!” looked ‘fucking terrified.’ I still am.” Best heckle: Best gig: “Recently while doing a bit of material about the “I did a gig at a certain large club where I was con- film Grizzly Man at the Fringe, when an American woman shouted, ‘I knew that guy!’ I asked what he vinced they would hate my brand of anarchistwas like. ‘He’s an asshole!’ she yelled. ‘Why?’ ‘He whimsy but instead I got applause and laughter. got eaten by a damn bear!’” I even got an applause break for pointing out sexism is rubbish, from the same crowd who What would you be doing if you weren’t doing were laughing at sexist gags a few acts before. It standup? shows the arrogance of a comic that, as I walked off, instead of thinking, ‘wow, I misjudged them’ I “Drugs.” thought, ‘you, Setchell, are a fucking God.’”
If you could be haunted by anyone, who would it be and why? “Caravaggio – he knew how to party and paint and party and get in fights and party and die in mysterious circumstances. Plus, I’d definitely get him to decorate my living room. Duck egg blue, nowt fancy.” If you were on death row, what would your last meal be? And why are you on death row? “Being vegan, my last meal would be inconvenient. I’d be in for Smashing The System though, smashing it hard then jumping up and down on the bits. Then sweeping them up; the cat comes in here.” What’s the largest animal you think you could beat in a fight? No weapons.
“I don’t believe in hurting animals. Mind you, if it smacktalked my mother I could certainly wail on a gibbon.” If you lived in medieval times what would you do for a living? “Probably have plague or something – if that’s even a job.” Question from past Spotlighter Adam Rowe: Why do you even bother? “Because one day I hope to earn more money than Adam Rowe.” Will Setchell plays Off the Rails Comedy Club, The Royal George, Saddleworth, 28 Dec @willsetchell
B of the Bang Inspired by Snowden, local start-up WEDG is riding on the power of crowdfunding to tackle data insecurity Interview: Jacky Hall Illustration: Sophie Freeman
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rom five million leaked Gmail passwords to stolen celebrity nude photos, personal security online is big news. As we store more and more information in the cloud, we face the challenge of keeping our information out of the sweaty paws of intelligence agencies, hackers, and 4chan. It’s a problem so desperate for a solution that a Manchester-based start-up building an innovative cloud solution hit its Indiegogo funding goal of £70,000 within a single week of launching. WEDG (pronounced ‘wedge’) is a device capable of storing self-hosted emails and files, making private data totally secure but still available in the cloud. “You can share your private photos without them becoming intellectual property of whatever cloud service that you’re using, like Dropbox or Twitter,” explains WEDG’s CEO, Shehbaz Afzal. “WEDG is capable of hosting websites, it can act as a Bitcoin wallet, and it can stream media – whether you’re on a local network, or you’re out and about on a business trip or holiday and want to watch a movie.” Following
December 2014
its recent crowdfunding success, it will be available to buy from March 2015. Being forward-thinking techies, Shehbaz and his team decided against the traditional route of putting on their best suits and asking the bank manager for a loan. Instead, they went to the people with the most support for the ideal: potential customers, using Indiegogo’s Go Crowdfund Britain campaign, which aims to raise over £1m to boost creative and technological innovation throughout Britain. Successfully funded projects so far include Aberystwyth-based Digital Diana Camera, an update of the cult film camera for the Instagram generation, and Edinburgh-based Tens, fashion-forward sunglasses promising a “real-life photo filter.” Shehbaz is grateful for his start-up’s strong business idea and skilled team, as well as Indiegogo’s mentoring and strategising, which ranged from support for a video explaining the product, to a strategy for a ‘stretch’ crowdfunding goal (an HDMI connection for streaming on TV, which will be added once the campaign hits
£90,000).“They’ve helped us not just from day one but from day zero,” says Shehbaz. “They’ve been a literal part of Team WEDG.” A graduate of the University of Manchester, Shehbaz speaks with a passion for all things IT and security – a spark ignited in June 2013, when former IT professional Edward Snowden blew the whistle on America’s National Security Agency and leaked classified government information to the world media. The ease with which anyone with the technical chops and determination can access private data stored in the cloud, and the signing away of intellectual property rights to cloud services, inspired Shehbaz to seek a solution. “I thought to myself that we don’t have to go into data centres in the cloud to store all our digital content,” he says. Finding no suitable alternatives, he began developing WEDG. Manchester has shaped WEDG. It was not only conceived and developed in the city, but will also be manufactured in Manchester. For Shehbaz, Manchester’s buzzing community of tech start-ups and entrepreneurs has been
COMEDY / TECH
instrumental in the development of WEDG. The team are based at Innospace, a co-working space run by Manchester Metropolitan University. As well as Innospace, Shehbaz praises Space Port X, a hub for tech start-ups in Manchester’s Northern Quarter. Sharing ideas and resources, he believes, is incubating Manchester’s tech scene as a world leader: “You only have to go on Twitter for a couple of minutes to see there are so many Manchester start-ups who are doing innovative things, whether it’s in mobile payment, Bitcoin or social media. For me it feels like the ‘b’ of the bang.” Another goal for WEDG is to provide a platform for some of these developers, with apps such as photo galleries in development. Today, with the successful crowdfunding of WEDG, Shehbaz is able to pass on knowledge and enthusiasm to others. “It’s great to partly mentor businesses or individuals who are at a stage that I was at a year or two ago, and see them achieving,” he says with satisfaction. “It’s a real buzz.” @WeAreWedg
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Manchester Music Tue 02 Dec TURBOWOLF
THE DEAF INSTITUTE, 19:00–22:30, £9
Bristol-based psychic noisemakers on guitars, drums and bass. RODRIGO Y GABRIELA
O2 APOLLO, 19:00–23:00, FROM £20
The experimental Mexican acoustic duo tour on the back of their latest LP, 9 Dead Alive, recorded at their Pacific Coast hideaway in late summer. STUART MCCALLUM RESIDENCY
MATT AND PHRED’S JAZZ CLUB, 21:00–00:00, FREE
Cinematic Orchestra guitarist trying out new material in the realm of beats, electronica, classical orchestration and jazz. KRISTYNA MYLES
THE CASTLE HOTEL, 19:30–22:30, £6
MOBO Award-nominated singer headlines Are We Strangers Now?’s final show of 2014. ANGEL AT MY TABLE
SOUND CONTROL, 19:00–22:00, £8
Luxembourg-based rockers loaded with lush guitars and catchy melodies. OMI PALONE (ILL + BLACK FUNGUS + RHYS BLOODJOY)
GULLIVERS, 19:30–23:00, £4
Faux Discx-signed post-punk from London supported by art-punks Ill and Milk Records garage rockers Black Fungus, among others. ANY TROUBLE
BAND ON THE WALL, 19:30–22:30, £12 EARLYBIRD (£14 THEREAFTER)
Former long lost Stiff Records Mancunian post punks, reformed in 2007 and playing in the wake of a fresh retrospective compilation, out on Cherry Red. RNCM BRASS ENSEMBLES WITH MARKUS STOCKHAUSEN
ROYAL NORTHERN COLLEGE OF MUSIC, 19:30–22:30, FREE
The in-house ensemble perform some classical selections.
Wed 03 Dec BEN HOWARD
O2 APOLLO, 19:00–23:00, £25
Devon-based folk rocker using his guitar to build percussive beats around his melancholic ditties. RODDY FRAME
THE LOWRY: LYRIC THEATRE, 19:00–22:00, £25
The founding member of 80s group and Rough Trade stars, Aztec Camera, performs songs from his new LP, Seven Dials. CATFISH AND THE BOTTLEMEN
THE RITZ, 19:00–23:00, £SOLD OUT
Indie rock’n’roll quintet full of guitars and songs about love an’ that. JANET DEVLIN
THE RUBY LOUNGE, 19:30–22:30, £10
Yeah, that bird offa the X Factor with the wailing bleedin’ voice. Look suitably busy. THE BLUES DUO
MATT AND PHRED’S JAZZ CLUB, 21:00–00:00, FREE
Tommy Allen and Johnny Hewitt unite blues guitar and harp to represent the music and soul of the 40’s and 50’s blues era.
ECLECTIC SESSIONS (AGE OF GLASS + PURGE + BARRON + SILENT DESCENT + MORE) SOUND CONTROL, 18:00–22:00, £5
Alderley Edge’s Castle Rock Studios presents a diverse litany of talent. //NIGHTS// (NIGHTOWLS + DANTEVILLES)
THE CASTLE HOTEL, 19:30–22:30, £5
Squeaky clean pop four-piece fresh from a tour supporting Erasure.
Thu 04 Dec LOS CAMPESINOS!
SOUND CONTROL, 19:00–22:00, £12.50
The energetic Welsh ensemble do their overwrought folk-punk thing, touring on the back of yet another album of indie gems. SAXON
THE RITZ, 18:30–22:00, £26
Power metal five-piece riding along on frontman Biff Byford’s howlin’ squawk of a vocal, out for their 35th anniversary tour.
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Listings
MAYBESHEWILL THE DEAF INSTITUTE, 19:30–23:00, £9
Post-rock instrumentalists from Leicester. RALEIGH RITCHIE
GORILLA, 19:00–22:00, £8
The Plan B-collaborating Columbia artist hits the road. RNCM CONCERT ORCHESTRA
ROYAL NORTHERN COLLEGE OF MUSIC, 13:15–16:15, FREE
The in-house orchestra perform some classical selections. JESSE MALIN (HOLLIE BROWN)
THE RUBY LOUNGE, 19:30–22:30, £10
New York singer/songwriter who began playing live at the tender age of twelve, in seminal hardcore band Heart Attack. KEY 103 CHRISTMAS LIVE (NICOLE SCHERZINGER + NEON JUNGLE + UNION J + LABRINTH + MORE)
PHONES 4U ARENA, 19:30–23:00, FROM £33.95
A host of pop, um, talent combine to celebrate the festive season. JOHN GARCIA (STEAK + KOMATSU)
MANCHESTER ACADEMY 3, 19:30–23:00, £14.50
After touring his old Kyuss songs under the name Kyuss Lives, stoner rock pioneer John Garcia returns to his solo guise. CHRISTMAS WITH THE FAIREY BAND
BRIDGEWATER HALL, 19:30–22:30, £24 (£21)
The award-winning brass band play all the festive classics, from Frosty the Snowman to White Christmas. RNCM CHAMBER ORCHESTRA
ROYAL NORTHERN COLLEGE OF MUSIC, 19:30–22:30, £15
The in-house chamber orchestra perform some classical selections. MATTHEW AND ME
FALLOW CAFE, 20:00–23:00, £3.50
The five-piece headline this I Love Live Events show. HACTIVIST
ROADHOUSE, 18:00–22:00, £9
The Milton Keynes-based fivepiece grime outfit embark on a UK headline tour. ANTONIO LULIC
THE CASTLE HOTEL, 19:30–22:30, £5
North East-raised half-Chilean songwriter hits the road. THE ANGRY MEN
MATT AND PHRED’S JAZZ CLUB, 21:00–00:00, FREE
GUY CONNOR (THE CREATURE COMFORT) ROADHOUSE, 19:30–22:30, £4
The Manchester-based singer/ songwriter delivers soulful melodies, chock full of pop hooks and heavy grooves. LAUREN HOUSLEY
MATT AND PHRED’S JAZZ CLUB, 21:30–01:00, £5
Singer Lauren Housley belts out the classics, taking in Bonnie Raitt, Dusty Springfield and tracks from her debut album, One Step Closer. DENAI MOORE
THE DEAF INSTITUTE, 19:30–22:30, £8.50
London-hailing singer/songwriter known for her captivating blend of folk and soul, touring with her latest EP, The Lake. BBC PHILHARMONIC (BACH AND BRUCKNER)
BRIDGEWATER HALL, 19:30–22:30, FROM £10
The BBC Philharmonic’s season continues with a journey through an array of compositional masterpieces. M.O.P
SOUND CONTROL, 20:00–22:00, £12
American hip-hop duo made up of rappers Billy Danze and Lil’ Fame. PAUL HEATON & JACQUI ABBOTT
O2 APOLLO, 19:00–23:00, £22.50
The collaborative duo continue to ride the wave of the first record they’ve made together since The Beautiful South. AT THE GATES (TRYPTIKON + MORBUS CHRON + CODE ORANGE)
MANCHESTER ACADEMY 2, 19:30–23:00, £18
Swedish death metal unit who’ve gone through a fair few break-ups and reformations in their time, with this tour seeing ‘em return with their first album in 19 years. CONCRETE WILDLIFE
THE CASTLE HOTEL, 19:30–22:30, £6
EP launch for the moniker of solo artist Matt Watkins. SHAMALAR (JEFFREY DANIEL + HOWARD HEWETT + CAROLYN GRIFFEY)
THE RITZ, 18:00–22:00, £25
Created by the booking agent for Soul Train, Dick Griffey, Shamalar reform again to go through their hit singles of the 70’s and 80’s. ROOF ST PETERSBURG CHARITY CONCERT
Jazz fusion group founded by electric bass player and Royal Academy of Music Jazz Course graduate Paul Robinson.
ROYAL NORTHERN COLLEGE OF MUSIC, 19:30–22:30, £6
GULLIVERS, 19:30–23:00, £5
JJ
KINGS (WE LIKE HUMANS + THE HYENA KILL + BLACKBALLED)
The local indie group release their latest EP.
Fri 05 Dec PROFESSOR GREEN
MANCHESTER ACADEMY, 19:00–23:00, £18.50
Simplistic electronic beats and paint-by-numbers rapping is the order of the day, as the Prof attempts to entertain the yoof. THE PINEAPPLE THIEF
THE RUBY LOUNGE, 19:00–22:00, £13
Progressive indie rockers formed by mainman Bruce Soord back in 1999. ALE-TERNATIVE #15 (DUKE AND THE DARLINGS + TRIP OF HARES)
BREWDOG, 19:00–21:30, FREE
A free night of alternative pop courtesy of the Duke and the Darlings bunch, gathering steam over the past year and offering a stage to up-and-coming talent.
XFM FIRST FRIDAY (JON MCCLURE + THE SLOW READERS CLUB + TIM COCKER + HATTIE PEARSON) BAND ON THE WALL, 21:00–03:00, £8 EARLYBIRD (£10 THEREAFTER)
The return of the monthly live XFM showcase with the dubiously ordained ‘Reverend’ Jon McClure headlining. MOSTLY AUTUMN
MANCHESTER ACADEMY 3, 19:30–23:00, £15
The prolific prog-folk group continue to be just that, with another UK tour.
THE HALLÉ (HANDEL’S MESSIAH)
BOYZ II MEN
BRIDGEWATER HALL, 19:30–22:30, FROM £11
ALBERT HALL, 19:00–23:00, £SOLD OUT
The renowned orchestra celebrate the festive season with some of the all-time classics. BASEMENT JAXX
O2 APOLLO, 19:00–23:00, £25
Electronic dance duo from London, made up of Felix Buxton and Simon Ratcliffe, out and touring with a selection of all-new tunes (and hopefully some golden oldies, too!). SHY NATURE
SOUP KITCHEN, 19:30–22:30, £5
Alternative rock quartet hailing from North London, navigating jangly 60s sounds and garage group influences. GREGORY PORTER
THE LOWRY: LYRIC THEATRE, 19:30–22:00, FROM £32
The multi Grammy-nominated jazz musician, and winner of the 2014 Grammy for Best jazz vocal album, embarks on his UK tour. DREAMER
MATT AND PHRED’S JAZZ CLUB, 21:30–01:00, £5
Eight-piece fun and soul outfit based in Manchester, playing a selection of 70s funk alongside more modern material. THE COURTESANS
THE RUBY LOUNGE, 19:30–22:30, £6
If you like your audio and video experiences sensual, then this London four-piece are the group for you. THE DAVID FORD ORCHESTRA
GORILLA, 19:00–22:00, £14
The former Easyworld singer tours with an extended line-up, now nearly a decade on from first going it alone. FLY 53 (KIMBERLY ANNE + JJ ROSA)
SOUND CONTROL, 19:00–22:00, FREE
The latest free Fly 53 Sessions sees Kimberly Anne headline in support of her latest EP Liar. JOHN K. SAMSON
KRAAK, 20:00–23:00, £9
The front man of Canadian indie heroes The Weakerthans plays one of just a handful of acoustic solo dates in the UK. TWE1V3 (THE RUBYS + GEORGE BOROWSKI & LEWY BODIES + CAUTIOUS RETREAT)
MANCHESTER ACADEMY 3, 19:00–23:00, £6
Heftily-numbered heavy rock troupe from Manchester plus a load of locals in support. SAMARIS
THE CASTLE HOTEL, 20:00–23:00, £7
The electronic Icelandic trio take their new LP on a wee jaunt. AGAINST THE CURRENT
ROADHOUSE, 18:00–22:00, £10
Showcasing the talents of Manchester’s Kalinka Youth Balalaika Orchestra and guests.
Three piece pop-rock band from New York.
SOUP KITCHEN, 19:30–22:30, £8
BOMBAY BICYCLE CLUB (SIVU + PEACE)
Swedish duo who emerged in 2009 with their debut single jj no. 1. They didn’t reach number one.
Sat 06 Dec METRONOMY
ALBERT HALL, 19:00–23:00, £SOLD OUT
Joseph Mount-led electro-pop pleasurists still riding the wave of their last LP, Love Letters. ALFIE BOE
PHONES 4U ARENA, 19:30–23:00, PRICES VARY
The Blackpool-born tenor, and one-time car mechanic, does his refreshing take on the classical genre. NINA NESBITT
CENTRAL METHODIST HALL, 19:00–23:00, £13.50
Half-Swedish, half-Scottish singer/songwriter in possession of a fine technical agility and emotive style, out on her acoustic Christmas tour. HUGH CORNWELL (HAZEL O’CONNOR)
MANCHESTER ACADEMY 2, 19:30–23:00, £20
The Stranglers frontman heads out on his own, joined by a select batch of musical pals. TEMPLES
THE RITZ, 18:30–22:00, £12.50
Neo psych bunch hailing from the midlands/the early 80s, built on frontman James Bagshaw’s impressively polished vocals.
Sun 07 Dec
O2 APOLLO, 19:00–23:00, £24
Expect the usual damaged affectations of indie from the north London-based four-piece, out on their UK tour. COASTS
SOUND CONTROL, 19:30–23:00, £8
Bristol-based five-piece known for making shimmery pop sounds that go well with cold cider and a sunny day. Or, y’know, beer and dark clouds. FOXES
MANCHESTER ACADEMY 2, 19:30–23:00, £12
One-woman band riding along on Louisa Rose Allen’s resplendent synths, industrial percussion and by-turns-searing-and-soaring vocals. BLACK SPIDERS
MANCHESTER ACADEMY 3, 19:00–23:00, £11
Rock lot from Sheffield, usually found rockin’ and/or rollin’, or in this case, touring with their latest album, This Savage Land. ASTROID BOYS
SOUND CONTROL, 12:00–14:00, £7
Hip hop, metal, dubstep and metal collective from Cardiff, mashing up their combined influences with MCs Benji and Traxx leading the way. THE ALTERED HOURS
FALLOW CAFE, 20:00–23:00, £5
Irish psych types, crossing the sea for their UK tour.
One of the greatest pop groups of all time descend on Albert Hall to belt some of the biggest hits from their 60 million-selling back catalogue. CHOIR OF THE YEAR 2014: THE GRAND FINAL
BRIDGEWATER HALL, 17:00–22:00, FROM £13
Who knew former CBBC presenter Jose D’Arby knew a thing or two about singing? She’s among the hosts for this six-name BBC-taped final. THE MERRY WIDOW
ROYAL NORTHERN COLLEGE OF MUSIC, 15:00–18:00, FROM £20
Franz Lehár’s The Merry Widow is, as ever, an intoxicating whirl of elegant ladies, eligible bachelors, Maxim’s can-can dancers, and ever-flowing champagne. THE CADILLAC THREE
THE DEAF INSTITUTE, 19:00–23:00, £10
Formerly The Cadillac Black, the trio flip between heavy rock and and Southern folk.
Mon 08 Dec
BOMBAY BICYCLE CLUB (SIVU + PEACE)
O2 APOLLO, 19:00–23:00, £24
Expect the usual damaged affectations of indie from the north London-based four-piece, out on their UK tour. LAETITIA SADIER
CLIC SARGENT HOSPITAL CHOIRS CONCERT BRIDGEWATER HALL, 19:30–22:30, FROM £14
Choirs from local hospitals and primary schools join forces to raise money for the children’s cancer charity at this festive concert.
MATT & PHREDS CHRISTMAS NIGHT (RIOGHNACH CONNOLLY) MATT AND PHRED’S JAZZ CLUB, 21:00–00:00, £5
Christmas knees-up featuring a Matt and Phred’s fave.
Wed 10 Dec MARILLION
THE RITZ, 19:00–23:00, £25
Steve Hogarth’s longstanding band of rockers, currently also writing and recording their 17th studio album. MANIC STREET PREACHERS
ALBERT HALL, 19:00–23:00, £SOLD OUT
The veteran Welsh art-punk trio re-visit their critical highpoint, The Holy Bible, 20 years after its release – playing it live and in its entirety for the first time. THE HALLÉ (TCHAIKOVSKY’S NUTCRACKER)
BRIDGEWATER HALL, 14:15–17:15, FROM £11
The renowned orchestra celebrate the festive season with some of the all-time classics. THE DAVE LUVIN GROUP
MATT AND PHRED’S JAZZ CLUB, 21:00–00:00, FREE
One half of seminal post-rockers Stereolab, Ms Sadier shines as a solo talent in her own right. THE BEARDS
The Kansas City transplant presents his reflection of living in Salford for four years, in collaboration with three Salford University music graduates.
MANCHESTER ACADEMY 3, 19:00–23:00, £12
GORILLA, 19:30–23:00, £15 (£13)
THE DEAF INSTITUTE, 19:00–22:30, £8.50
Fuzzy-faced folk from South Australia, responsible for such beard-loving anthems as ‘If Your Dad Doesn’t Have a Beard, You’ve Got Two Mums...’ and ‘You Should Consider Having Sex With a Bearded Man.’ Nice. MORBID ANGEL
SOUND CONTROL, 19:00–22:30, £16
The metal four-piece perform 1993 LP Covenant live and in its entirety for one last tour. ALICE BOMAN
THE CASTLE HOTEL, 19:30–22:30, £TBC
Sparse songwriting arrangements recalling Perfume Geinus from this Malmo-based solo artist. SABATON (KORPIKLAANI + TYR)
THE RITZ, 18:30–23:00, £16
The Swedish heavy metallers drop in as part of a 10-date UK tour supporting their recent album Heroes. CLIC SARGENT HOSPITAL CHOIRS CONCERT
BRIDGEWATER HALL, 19:30–22:30, FROM £14
Choirs from local hospitals and primary schools join forces to raise money for the children’s cancer charity at this festive concert. BRYONY WILLIAMS
ROYAL NORTHERN COLLEGE OF MUSIC, 19:30–22:30, £10
One of New Zealand’s most promising sopranos. GRAVENHURST PLAYS FLASHLIGHT SEASONS
GULLIVERS, 19:30–23:00, £9
The Warp Records dark folk stalwart revisits his 2004 classic.
Tue 09 Dec TRIGGERFINGER
THE DEAF INSTITUTE, 19:30–23:00, £12.50
Fiery Belgian rockers led by guitarist and vocalist Ruben Block.
AMATEUR TRANSPLANTS
The Amateur Transplants frontman, Adam Kay presents a festive special selection of smutty songs, darkly re-imagining pop and rock classics. GNARWOLVES
SOUND CONTROL, 19:00–22:00, £8
The hard rock trio head out on their biggest headline tour to-date, after a summer hitting some of Europe’s biggest festivals. ACOUSTIC AMNESTY (STONE FLOWERS)
SACRED TRINITY CHURCH, 19:30–23:00, £8
Musicians Withour Borders present a special acoustic showcase including refugee ensemble Stone Flowers, shortly before they go and record their pledge-funded debut album having hit 130% of their goal. RE:WIRED (LITTLE SIMZ + OCD: MOOSH & TWIST + JUICY DJS)
MANCHESTER CLUB ACADEMY, 19:00–23:00, £11
A mighty end-of-year hip-hop package tour featuring some of the brightest new MCs in the game. RNCM BIG BAND
ROYAL NORTHERN COLLEGE OF MUSIC, 19:30–22:30, FROM £15
The in-house big band play some classic selections.
FALSE NINES (THE REVOLUTIONARY SPIRIT + COVES AND CAVES)
BOBBY AVEY GROUP FT. MIGUEL ZENON & BEN MONDER (ALICE ZAWADZKI)
BAND ON THE WALL, 19:30–22:30, £12 EARLYBIRD (£14 THEREAFTER)
The emerging jazz pianist and New Yorker crosses the Atlantic.
THE HALLÉ (TCHAIKOVSKY’S NUTCRACKER)
THE CASTLE HOTEL, 19:30–22:30, FREE
Warrington group based around a vocalist who sounds not unlike Jarvis Cocker or Paul Heaton.
ACOUSTIC AMNESTY CONCERT (STONE FLOWERS)
SACRED TRINITY CHURCH, 19:30–23:00, £8
RIVAL SONS (BLUES PILLS + JAMIESON)
THE RITZ, 19:00–23:00, £SOLD OUT
Long Beach-hailin’ Californian band of heavyweight rock’n’rollers. REN HARVIEU
THE RUBY LOUNGE, 19:30–23:00, £17.50
Manc songstress in possession of an impressive set of vocal chords, playing and hosting a special festive show.
HOPE AT CHRISTMAS (PAUL HEATON & JACQUI ABBOTT + THE LOTTERY WINNERS + GOLINSKI BROTHERS) MANCHESTER ACADEMY 2, 19:30–23:00, £20
The former Beautiful South duo headline a special charity fundraiser, with a host of locals lining up in support. CHRISTMAS IS COMING!
BRIDGEWATER HALL, 19:30–22:30, FROM £18
St. Ann’s Hospice host their annual concert of Christmas music.
BRIDGEWATER HALL, 19:30–22:30, FROM £11
GIRL FRIEND + THE TAHITIAN SONS (SEGA SATURNS + THE COLLECTED FICTIONS)
THE SHED QUARTET
Double headlining show including the Wild Beasts-inspired Girl Friend.
The renowned orchestra celebrate the festive season with some of the all-time classics. MATT AND PHRED’S JAZZ CLUB, 21:00–00:00, FREE
You’ll be unsurprised to know they practice in a shed. You’ll be less surprised to know that they play classical vocal jazz with a contemporary slant. RNCM CONCERT ORCHESTRA
ROYAL NORTHERN COLLEGE OF MUSIC, 13:15–16:15, FREE
The in-house orchestra perform some classical selections. GRAMATIK
MANCHESTER CLUB ACADEMY, 19:30–23:00, £12
Slovenian electronic muso (aka Denis Jasarevic) mixing it up across a palette of hip-hop, glitch, electro and dubst 68
SOUND CONTROL, 18:30–22:30, £9
Former front man of The Chariot, Josh Scogin brings his new vessel for all things noisy and guitarbased to the UK. RUN THE JEWELS
MANCHESTER ACADEMY 2, 19:30–23:00, £15
Killer Mike and El-P – aka Run The Jewels – make their debut in these parts, showcasing tracks from second LP, RTJ2, rekindling El-P’s alliance with Zack de la Rocha. MANCHESTER’S CHRISTMAS GOSPEL
BAND ON THE WALL, 19:30–22:30, £15
A host of London and Manchester gospel vocalists ring in the festive season under the guidance of Singing-Community founder Wayne Ellington. RNCM CHRISTIAN UNION CAROL SERVICE
ROYAL NORTHERN COLLEGE OF MUSIC, 19:30–22:30, £2
Well-loved carols propped up by RNCM musicians.
Fri 12 Dec KASABIAN
PHONES 4U ARENA, 19:30–23:00, £43.45
Expect more in the way of ballsy northern anthems from the Leicester boys.
THIS FEELING (ASYLUMS + SLY DIGS + GLASS CAVES + TWO WEEKS RUNNING) THE RUBY LOUNGE, 20:00–00:00, £5
The London rock’n’roll night takes a trip north with a selection of live bands taking to the stage.
MAN & THE ECHO
Thu 11 Dec
Assembled ‘supergroup’ duo of Bowling For Soup’s Jaret Reddick and Smile Smile’s Ryan Hamilton.
The veteran Welsh art-punk trio re-visit their critical highpoint, The Holy Bible, 20 years after its release – playing it live and in its entirety for the first time.
The new folk stylings of Michael Head and his Red Elastic Band.
SOUND CONTROL, 19:00–22:30, £12
PEOPLE ON VACATION
MANIC STREET PREACHERS
ALBERT HALL, 19:00–23:00, £SOLD OUT
ROADHOUSE, 19:30–22:30, £5
Marc Riley’s a fan of them, but are you? Find out tonight!
Merry metal outfit hailing from Finland, touring with their latest album, Spirit.
RECKLESS LOVE (THE FIRST)
North Wales singer/songwriter all sparkling melodies and deft lyrical turns.
MICHAEL HEAD & THE RED ELASTIC BAND
To celebrate Human Rights Day, Musicians Without Borders are hosting a special concert, featuring Stone Flowers - refugees who moved to the UK and have since managed to crowdfund enough money to record their debut LP.
MANCHESTER ACADEMY 3, 19:30–23:00, £11.50
SWEET BABOO (THE PICTISH TRAIL) GULLIVERS, 19:30–23:00, £10
GORILLA, 19:00–22:00, £16
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. FOREVER PAVOT
ROADHOUSE, 19:30–22:30, £5
The Parisian psych garage bunch play a live set.
THE CASTLE HOTEL, 19:30–12:00, £3
ALISTAIR GRIFFIN
SACRED TRINITY CHURCH, 20:00–22:30, £15
The traditional folk artist goes on a special Christmas tour with a host of new songs to boot. CHARLES HAYWARD: ANONYMOUS BASH LAUNCH PARTY
ISLINGTON MILL, 19:30–03:00, FREE
Following his month-long residency earlier in the year, the former This Heat drummer returns to perform the subsequent release of the material collected during his time at the Mill.
A CAREFULLY PLANNED XMAS PARTY (LAURA JAMES & THE LYRES + EMPHEMETRY + SEATOLLER + MORE) GULLIVERS, 19:30–23:00, £4
Carefully Planned round off their year with a typically eclectic line-up.
Sat 13 Dec WHITE CHRISTMAS
BRIDGEWATER HALL, 19:30–22:30, FROM £16.50
All of the Christmas classics you could ever wish for courtesy of the Canzonetta Choir, the Manchester Concert Orchestra and guests Laura Tebbutt and Tim Howar. 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. MOLOTOV JUKEBOX
GORILLA, 19:00–22:00, £11
Genre-bending six-piece outfit blending gypsy, samba, ska and dubstep influences into one danceable whole. MAMMA FREEDOM
MATT AND PHRED’S JAZZ CLUB, 21:30–01:00, £5
Manchester/ New York natives with a penchant for moody, beat-laden funk, served up with soul-soaked lyrics. THE WHO
PHONES 4U ARENA, 19:30–23:00, £67.75
Famous 1960’s rocker tour for what could be their final time, so expect all o’ the hits. SECRET AFFAIR
BAND ON THE WALL, 20:00–22:30, £15 EARLYBIRD (£17 ADVANCE)
Rock, soul and Mod revival act formed way back in 1978 from their previous incarnation as New Hearts. JACK GARRATT
THE CASTLE HOTEL, 19:30–22:30, £5
London-based singer songwriter starting to rise up the ladder towards a meagre amount of fame. BEHEMOTH
MANCHESTER ACADEMY, 19:00–23:00, £18.50
Polish death metal outfit, as blackened as you like. ANGUS AND JULIA STONE
ALBERT HALL, 19:00–22:30, £20
THE RITZ, 18:30–22:00, £18.50
The Australian brother/sister combo take to the road for a set of their acoustic folk-blues.
GODFLESH
MANCHESTER ACADEMY 2, 19:30–23:00, £17.50
TAKING BACK SUNDAY (MARMOZETS + BLITZ KIDS)
American rock unit formed by guitarist Eddie Reyes in Long Island back in 1999. SOUND CONTROL, 19:00–23:00, £17.50
The legendary industrial-metallers return to the road, helmed by Justin Broadrick and G.C Green.
A CERTAIN RATIO (GRAMME + DIRTY NORTH)
The veteran former Factory Records signees among the forebearers of post-punk. MICHAEL SCHENKER’S TEMPLE OF ROCK (WESTERN SAND)
THE RITZ, 18:30–22:00, £22.50
The German metal guitarist – best known as lead guitarist with UFO – returns to a live setting with his classic rock outfit, Temple of Rock.
THE SKINNY
Manchester Music THE KONTIKI SUITE (THE GILDINGS + MAT SKINNER)
THE SOCIETY OF STRANGE AND ANCIENT INSTRUMENTS
ROADHOUSE, 19:30–22:30, £5
ROYAL NORTHERN COLLEGE OF MUSIC, 19:30–22:30, FROM £15
A lovely line-up of alt country, Americana and harmony laden folk pop.
BLACK LIGHT WHITE LIGHT (NO HOT ASHES + VELOCETS + SEBASTIAN MELMOTH)
SOUP KITCHEN, 17:00–20:15, £5
Melodic psych rockers head this matinee show. TROJAN HORSE
KRAAK, 19:30–01:00, £4
The local prog rockers release their second album World Turned Upside Down.
Sun 14 Dec
THE URBAN VOODOO MACHINE
MANCHESTER ACADEMY 3, 19:00–23:00, £13.50
Bourbon Soaked Gypsy Blues Bop ‘n’ Stroll. MANCHESTER CAMERATA
ALBERT HALL, 13:30–17:00, FROM £10
The Camerata present their own unique festive event, The Trumpet Shall Sound, featuring Bach, Albinoni, Corelli and more. THE HALLÉ (TCHAIKOVSKY’S NUTCRACKER)
BRIDGEWATER HALL, 19:30–22:30, FROM £11
The renowned orchestra celebrate the festive season with some of the all-time classics. A CONCERT IN AID OF SALFORD FOOD BANK (BIRD TO BEAST + LITTLE SPARROW + BONE-BOX + SUNLIGHTER + THE PICNIC AREA)
THE RUBY LOUNGE, 13:00–16:00, £DONATIONS
A host of local talent come together in a special daytime concert to raise money for the Salford Food Bank. THE HELL
SOUP KITCHEN, 19:30–22:15, £7
The Watford-based masked hardcore 12-piece rock up to cause havoc in Manchester. THE HALLÉ CHRISTMAS FAMILY CONCERT
BRIDGEWATER HALL, 15:00–18:00, £19 (£11)
The renowned orchestra present a family-friendly concert primed for the festive season. CHINA DRUM
THE DEAF INSTITUTE, 19:00–23:00, £10
The 25th anniversary tour of the indie rockers formation.
Mon 15 Dec ONLY MEN ALOUD
BRIDGEWATER HALL, 19:30–22:30, £27.50
Welsh all-male voice choir who won BBC One’s Last Choir Standing in 2008.
XFM’S WINTER WONDERLAND (BEN HOWARD + GEORGE EZRA + WILD BEASTS + HOZIER + MORE)
O2 APOLLO, 18:00–23:00, £29.99
Wild Beasts are the clear pick of the bunch at this year’s annual Winter Wonderland bash. CHRISSIE HYNDE
THE RITZ, 19:00–23:00, £25
Part of a series of special one-off shows that sees The Pretenders front woman perform classics from her back catalogue as well as cuts from album Stockholm.
Tue 16 Dec MACHINE HEAD
O2 APOLLO, 18:30–22:30, £25
Californian metal-heads heavy on the paint-by-numbers guitar riffs. HEFFRON DRIVE
MANCHESTER ACADEMY 3, 19:00–23:00, £18.50
Electro-pop duo made up of Kendall Schmidt and Dustin Belt, birthed in a bedroom studio in Burbank, California back in 2008. JASON MANFORD AND GUESTS
BRIDGEWATER HALL, 19:30–22:30, £25 (£22.50)
Is Jason Manford known for his singing? The comedian is joined by The Piccadilly Symphony Orchestra to help us find out. Russell Watson is also scheduled to appear.
The five-piece ensemble pay tribute to Will Kemp’s dancing journey from London to Norwich in nine days. GYPSIES OF BOHEMIA TRIO
MATT AND PHRED’S JAZZ CLUB, 21:00–00:00, FREE
Britney Spears, Beyoncé and Iron Maiden get the new gypsy jazz treatment in this toe-tapping performance.
Wed 17 Dec
PARKWAY DRIVE (HEAVEN SHALL BURN + NORTHLANE + CARRIFLEX)
MANCHESTER ACADEMY, 19:00–23:00, £18.50
Byron Bay hardcore metal quintet. DEACON BLUE
O2 APOLLO, 19:00–23:00, FROM £29.50
The Glasgow-formed 80s popsters play tracks offa their seventh LP, A New House, some 25+ years and still going strong. THE PUPPINI SISTERS
ROYAL NORTHERN COLLEGE OF MUSIC, 19:00–22:00, £25
Vintage swing pop trio, formed around Marcella Puppini in 2004. LAUREN AQUILINA
SOUND CONTROL, 19:00–22:00, £SOLD OUT
Melancholic piano-pop from the teen Bristol dwelling songstress. VELODY & THE BASEMENT BLUES BAND
MATT AND PHRED’S JAZZ CLUB, 21:00–00:00, FREE
An appreciation of the old time clubs of Harlem via Velody & The Basement Blues Band, who mix golden era swing and blues tune with 80’s pop.
Thu 18 Dec
CAROLS BY CANDLELIGHT
BRIDGEWATER HALL, 19:30–22:30, FROM £16.50
The Canzonetta Choir and the Mozart Festival Orchestra team up for an evening of well-known carols. CANTERBURY
SOUND CONTROL, 18:30–22:00, £8
Stylistically various Surrey rockers perform their unique brand of melodic indie.
PSYCHMARE BEFORE CHRISTMAS (THE KVB + SAINT AGNES + ENEMIES EYES) SOUP KITCHEN, 20:00–03:00, £9
Some festive third-eye opening courtesy of The KVB and pals. TONY WRIGHT
GULLIVERS, 19:00–23:00, £12
The Terrorvision frontman takes to the road with his new solo acoustic project. FROZEN BY SIGHT
BAND ON THE WALL, 20:00–22:30, £10
New North-East dwelling project formed by celebrated art rockers, Maximo Park’s Paul Smith and Dave Brewis of Field Music. FRANCIS LUNG
SACRED TRINITY CHURCH, 19:30–22:30, £5
Former Wu Lyf clan member turned alluring solo performer plays his first full-band headline show,
BEVERLEY BEIRNE’S SNOW SNOW SHOW
MATT AND PHRED’S JAZZ CLUB, 21:00–00:00, FREE
The dynamic songstress, Beverly Beirne puts a jazz twist on all the classic Christmas songs.
Fri 19 Dec INSPIRAL CARPETS
THE RITZ, 18:30–22:00, £20
The psychedelic Manc rockers continue to tour the live circuit after re-grouping with original singer Stephen Holt, celebrating the release of their first LP in two decades. MADNESS
PHONES 4U ARENA, 19:30–23:00, £41
The longstanding Camden Town ska ensemble embark on their brand new UK tour.
WILEY GORILLA, 18:30–22:00, £13.50
The Godfather of UK grime returns to support his tenth album Snakes & Ladders. DREADZONE
BAND ON THE WALL, 20:00–22:30, £13 EARLYBIRD (£15 THEREAFTER)
Eclectic UK bunch fusing elements of dub, reggae, techno, folk and rock into their own musical soundscapes. TAYLOR JACKSON
MATT AND PHRED’S JAZZ CLUB, 21:30–01:00, £5
Taylor Jackson takes to the stage with her six-piece band, performing a mix of soulful original material along with some classic funk covers. JOOLS HOLLAND & HIS RHYTHM & BLUES ORCHESTRA
O2 APOLLO, 19:00–23:00, FROM £29.50
The former Squeeze piano tinkler does his thing, accompanied as ever by his 20-piece Rhythm and Blues Orchestra. KREATOR + ARCH ENEMY (SHINING & MARTY FRIEDMAN)
MANCHESTER ACADEMY, 19:00–23:00, £22.50
Germany’s biggest thrash metal export are joined by one of Sweden’s, with plans to abuse your eardrums (i.e. this will be loud). CHAMELEONS VOX (DUB SEX)
MANCHESTER ACADEMY 2, 19:30–23:00, £18
Mark Burgess plays the Chameleons’ 1986 album Strange Times. THE HALLÉ’S CHRISTMAS SINGALONG
BRIDGEWATER HALL, 19:30–22:30, FROM £17
There doesn’t appear to be a more hard-working lot than The Hallé this Christmas time. They spread some festive cheer with this run through some classic festive hits from pop culture. AN EVENING WITH TG ELIAS
THE KING’S ARMS, 19:30–22:30, £5
The local folk artist throws a special Christmas party at his favourite venue in Greater Manchester. FUMAÇA PRETA
ROADHOUSE, 19:30–22:30, £8
A heady mix of tropicalia, psychedelics, fuzz funk and more. PRESIDENT RAY-GUN
KRAAK, 19:30–22:30, £TBC
Lo-fi alt rockers hailing from all four corners of the UK. MISTY’S BIG ADVENTURE
THE DEAF INSTITUTE, 19:00–22:30, £10
THE CASTLE HOTEL, 19:30–00:00, £TBC
Manchester’s favourite garage rock duo return for another festive night of fun.
TURN IT OUT CHRISTMAS SPECIAL (DOCTRINES + WITH THAT KNIFE + TROJAN HORSE + THROWING STUFF + MORE)
The Mancunian songwriter returns for a special festive show.
Sun 21 Dec
CAST (JOHN MCCULLAGH & THE ESCORTS)
MANCHESTER ACADEMY 2, 19:00–23:00, £17.50
MANCHESTER ACADEMY, 19:30–23:00, £30
BRIDGEWATER HALL, 19:30–22:30, FROM £17
Dub reggae band formed in Birmingham back in 1978, with the original three founding members currently riding the wave of their revival years. THE HALLÉ (CAROL CONCERT)
BRIDGEWATER HALL, 15:00–18:00, FROM £11
The renowned orchestra celebrate the festive season with some of the all-time classics. THE HALLÉ (CAROL CONCERT)
BRIDGEWATER HALL, 19:30–22:30, FROM £11
The renowned orchestra celebrate the festive season with some of the all-time classics. ANDRÉ RIEU
PHONES 4U ARENA, 20:00–23:00, FROM £46.30
The violin master plays a special set of romantic melodies and catchy waltzes, ripe for the festive season.
Mon 22 Dec GLORY OF CHRISTMAS
BRIDGEWATER HALL, 19:30–22:30, FROM £16.50
The majestic Bridgewater Hall organ takes pride of place in this run through Christmas favourites from Adam, Adams, Rutter and more.
Tue 23 Dec
THE BOOGIE WILLIAMS TRIO GRANDE
MATT AND PHRED’S JAZZ CLUB, 21:00–00:30, FREE
Boogie Williams is joined by Alan ‘The Hat’ Whitham on bass and Richard young on drums, playing soul jazz, boogie and 60s groove. BAKED A LA SKA CHRISTMAS KNEES UP
BAND ON THE WALL, 20:00–22:30, £10 EARLYBIRD (£12 THEREAFTER)
THE HALLÉ PRESENT THE SNOWMAN
MATT AND PHRED’S JAZZ CLUB, 21:30–01:00, £5
BRIDGEWATER HALL, 16:00–17:30, £22 (£14)
SOUND CONTROL, 18:00–22:00, £10
The South Wales-formed DIY metal group continue their ascension from the underground.
Guests The Jiving Lindy Hoppers perform some Glenn Miller classics, plus some Sinatra for good measure.
Mon 29 Dec
UB40 (RADIO RIDDLER)
The renowned orchestra provide a live score to the much-loved Christmas animation.
BRUTALITY WILL PREVAIL
GLENN MILLER ORCHESTRA
BRIDGEWATER HALL, 15:00–18:00, FROM £16.50
Brit-pop also-rans still running two decades on.
BRIDGEWATER HALL, 13:30–15:00, £22 (£14)
Hailing from New Orleans, this tin pan alley three piece bring the sounds of the turn of the 20thcentury to the Northwest.
BRIDGEWATER HALL, 19:30–22:30, FROM £16.50
Sun 28 Dec
The renowned orchestra celebrate the festive season with some of the all-time classics. SPEAKEASY BOOTLEG BAND
LAST NIGHT OF THE CHRISTMAS PROMS
KRAAK, 19:30–22:30, £5
FINLAY
BRIDGEWATER HALL, 15:00–18:00, FROM £17
THE HALLÉ (CAROL CONCERT)
Hot Natured resident Richy Ahmed bring his evolutionary take on house to Manchester.
The almighty return of mathpunks With That Knife!
Sat 20 Dec
Eight-piece Birmingham-based mix of pop, ska, jazz, indie and even more.
RICHY AHMED GORILLA, 23:00–04:00, FROM £15
Get your Union Jacks out and wave ‘em hard for this run through some Proms favourites courtesy of the Manchester Concert Orchestra.
GULLIVERS, 16:00–23:00, £5
Manchester-based ska 11-piece – best known as the high-energy house band from monthly club night, Shake n Bake – presenting their take on Christmas cheer.
THE HALLÉ PRESENT THE SNOWMAN
The renowned orchestra provide a live score to the much-loved Christmas animation.
THE HALLÉ PRESENT AN EVENING WITH 007
All your Bond favourites in one concert.
Tue 30 Dec KYLA BROX
MATT AND PHRED’S JAZZ CLUB, 21:00–00:00, FREE
UK-based blues and soul singer/ songwriter, redefining her sound as a duo performance, joined by Danny Blomeley on guitar.
THE HALLÉ PRESENT HALLÉ DISCO
BRIDGEWATER HALL, 19:30–22:30, FROM £17
The Hallé go disco! Featuring Koolg and the Gang, Sister Sledge and Bee Gees medleys, as well as classics like Blame It On The Boogie and I Will Survive.
Wed 31 Dec
MANCHESTER CAMERATA: NEW YEAR’S EVE MUSICALS GALA
BRIDGEWATER HALL, 20:00–22:30, FROM £32
A host of favourites from the musicals ring by the Manchester Camerata. MATT & PHRED’S MARDI GRAS NYE EXTRAVAGANZA (THE NIGHTCREATURES)
MATT AND PHRED’S JAZZ CLUB, 20:00–03:00, FROM £20
An NYE bonanza featuring the half blues, half brass band playing New Orleans inspired r’n’b, inspired by the HBO series, Treme, equally comfortable leading a parade as they are leading a jam session.
Thu 01 Jan
MANCHESTER CAMERATA: NEW YEAR’S DAY VIENNESE GALA
BRIDGEWATER HALL, 15:00–18:00, FROM £18
The Camerata get 2015 off to a graceful start, including recitals of Stolz, Strauss and Lehar.
Liverpool Music THE ENEMY + THE TWANG
Tue 02 Dec SILVER APPLES
THE KAZIMIER, 20:00–23:00, £12
Groundbreaking 60s electronica duo, featuring surviving founder Simeon Coxe III.
Wed 03 Dec GRAHAM BONNET
O2 ACADEMY, 19:00–23:00, £15
The former Rainbow and Alcatrazz frontman does his solo-rockyvocal thing. JESSE MALIN
THE KAZIMIER, 19:00–22:00, £10
New York singer/songwriter who began playing live at the tender age of twelve, in seminal hardcore band Heart Attack. ACTION FOR CHILDREN CHRISTMAS CAROL CONCERT
LIVERPOOL CATHEDRAL, 19:00–21:00, £8 (£5)
A festive special all in the aid of raising money for Action for Children.
Thu 04 Dec ELECTRIC SIX
O2 ACADEMY, 19:00–23:00, £12
Detroit underdogs with enough joyful hooks, mischievous wordplay and unexpected pathos to worm their way into your heart. JANET DEVLIN
ARTS CLUB, 19:30–23:00, £10
Yeah, that bird offa the X Factor with the wailing bleedin’ voice. Look suitably busy. LARK ASCENDING
LIVERPOOL PHILHARMONIC HALL, 19:30–22:30, FROM £13
Vaughan Williams The Lark Ascending is given a faithful rendition.
SONGWRITERS AT THE SHIP (CAVAN MORAN + MATT BARTON + STEPHEN REILLY)
THE SHIPPING FORECAST, 20:00–23:00, £4
A triple header of fine acoustic songsmithery. OWEN LOWERY
THE BLUECOAT, 19:30–21:30, £8 (£6)
Lowery’s first collection of poems is performed with an orchestral backing.
Fri 05 Dec IMELDA MAY
Fri 26 Dec
O2 ACADEMY, 19:00–23:00, £12
Five northern blokes in flat caps singing songs about the wonders of modern day life. M.O.P
THE KAZIMIER, 21:00–02:00, £15
American hip-hop duo made up of rappers Billy Danze and Lil’ Fame. STEVE PILGRIM (ALEXANDER WOLFE + SOPHIE BEN-YOUSF + COMFORTABLE JUMPERS + KATY MCGRATH + JACK FLETCHER)
THE ZANZIBAR CLUB , 19:30–23:00, £6
The singer-songwriter drops in for a full band set. MATTHEW AND ME
STUDIO 2, 19:00–23:45, £6
STATUS QUO
ECHO ARENA, 19:30–23:00, £39.50
THE RITZ, 19:00–23:00, £25
THE HALLÉ YOUTH ORCHESTRA (ELGAR + RACHMANINOV + GRIEG + NIELSEN)
Mississippi-hailing r’n’b singer, drawing comparisons to the likes of Otis Redding.
Francis Rossi and Rick Parfitt continue to tour the Status Quo name for a special run of winter dates. Prepare yourself for the easiest air guitaring in the world.
BRIDGEWATER HALL, 19:30–22:30, £10 (£7.50)
Sat 27 Dec
Liverpool-based singer/songwriter playing a much-anticipated hometown gig.
Mark Burgess plays the Chameleons’ 1986 album Strange Times.
The Hallé Youth Orchestra, a group of musicians between the ages of 13-19, an evening of delectable classical cuts. SALFORD CHORAL SOCIETY
ROYAL NORTHERN COLLEGE OF MUSIC, 19:30–22:30, £17
ALEXANDER O’NEAL
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.
ARTS CLUB, 19:00–22:30, £7
The Liverpool based singer comes armed with big choruses and sing along anthems. STAFF BENDA BILILI
LIVERPOOL PHILHARMONIC HALL, 19:30–22:30, FROM £19.50
As part of DadaFest The Congolese super-band return for a psychedelic meandering across the Kinshasa style.
STEPHEN LANGSTAFF
EPSTEIN THEATRE, 19:30–22:30, £11
DREADZONE
O2 ACADEMY, 19:00–23:00, £15
Eclectic UK bunch fusing elements of dub, reggae, techno, folk and rock into their own musical soundscapes.
IAN PROWSE AND AMSTERDAM (RAIN + EOIN GLACKIN) ARTS CLUB, 19:00–22:30, £12
The Cheshire singer/songwriter reunites with his group Amsterdam after a stretch solo.
RADIO CITY CHRISTMAS LIVE (5 SECONDS OF SUMMER + THE SATURDAYS + DJ FRESH + ALEXA GODDARD + MORE) ECHO ARENA, 19:00–23:00, FROM £27.50
A load of much-hyped pop fodder get together for a pre-Christmas shindig. PASTORAL SYMPHONY
LIVERPOOL PHILHARMONIC HALL, 19:30–22:30, FROM £13
Andrew Manze conducts Mozart, Brahms and Beethoven. CHESHIRE & MERSEY NHS CHRISTMAS CAROLS
LIVERPOOL CATHEDRAL, 19:30–21:30, FREE
MARK CROZER & THE RELS
The annual celebration of carols performed by the choirs of the Cheshire and Merseyside NHS.
THE TRUE BLUES CLUB, 19:00–22:00, £DONATIONS
Thu 11 Dec
Pro-wrestling fans get excited! The band behind WWE superstar Bray Wyatt’s theme tune are on tour!  ONOE CAPONOE
THE SHIPPING FORECAST, 19:30–23:00, £5
Liverpool debut for Caponoe and his Funkadelic Mafia. HANDEL’S MESSIAH
LIVERPOOL CATHEDRAL, 19:30–22:00, £10
Handel’s festive classic is performed by the two Cathedral choirs. HENRY PRIESTMAN
THE LANTERN THEATRE, 19:30–22:30, £SOLD OUT
The singer-songwriter plays through cuts from latest album The Last Mad Surge of Youth.
Sun 07 Dec
NINA NESBITT (BILLY LOCKETT)
THE KAZIMIER, 19:00–22:00, £12.50
Half-Swedish, half-Scottish singer/songwriter in possession of a fine technical agility and emotive style, out on her acoustic Christmas tour. PETER GABRIEL
ECHO ARENA, 19:30–23:00, FROM £35
The former Genesis frontman continues to tour his 1986 classic LP Back to Front, following the acclaim for the tour the first time round. RAGING SPEEDHORN
O2 ACADEMY, 19:00–23:00, £8
The Northants-formed British heavy metal band continue to rock hard 16 years into their existence.
THE LANCASHIRE HOTPOTS
Sat 06 Dec
MANCHESTER ACADEMY 2, 19:30–23:00, £18
ANDREW METCALFE & THE WESTERN HILLS
Strings and Things celebrate the festive season with some of their favourite artists.
The sultry songstress and her rockabilly blues band play tracks from new LP, Tribal.
BRIDGEWATER HALL, 15:00–18:00, £16.50
CHAMELEONS VOX (IAN MCNABB)
Twa sets of once-much hyped indie rock types off on an indie rock lad tour together.
STRINGS AND THINGS CHRISTMAS SPECIAL (CHANEL SAMSON + BOWKER + THE LOVE TOES + NORA KONSTANSE)
The five-piece headline this I Love Live Events show.
CHRISTMAS CAROL SINGALONG
O2 ACADEMY, 19:00–23:00, £20
LIVERPOOL PHILHARMONIC HALL, 19:30–22:30, FROM £25
Wed 24 Dec
The Manchester Concert Orchestra and the Manchester Chorale take centre stage.
The choral group run through seasonal favourite, Handel’s Messiah.
December 2014
BROWN BROGUES CHRISTMAS PARTY
STUDIO 2, 19:00–23:45, £DONATION
Mon 08 Dec
MICHAEL CHAPMAN + JAMES BLACKSHAW
LEAF, 20:00–23:00, £12.50
An evening of acoustic wizardry as folk veteran Michael Chapman - who can count Thurston Moore among his fans - and the Yann Tiersen-commissioned James Blackshaw co-headline this special night.
Tue 09 Dec
HYPNOTIC BRASS ENSEMBLE
THE KAZIMIER, 19:30–23:00, £13.50
Youthful jazz renegades and band of brothers; pretty much as authentic as you can get, without Sun Ra trumpeter Phil Cohran actually being their father. Oh wait, he is. GOGOL BORDELLO (MARIACHI EL BRONX)
O2 ACADEMY, 19:00–23:00, £19.50
THE WHO
ECHO ARENA, 19:30–23:00, FROM £60
Famous 1960’s rocker tour for what could be their final time, so expect all o’ the hits. BY THE RIVERS
ARTS CLUB, 19:00–22:30, £7
The Leicester six-piece fond of crafting “real music” since their 2010 inception.
THE THREE HARPS OF CHRISTMAS
LIVERPOOL PHILHARMONIC HALL, 19:30–22:30, £25
An intimate concert paying homage to the Christmas carol, including Debussy and Piazzolla.
Fri 12 Dec
THIS FEELING (THE JACQUES + JUDAS + MEDICINE MEN + POLAR STATES)
THE MAGNET , 20:00–03:00, £5
The London rock’n’roll night takes a trip north with a selection of live bands taking to the stage.
GRAMPUS 8 + BEEZEWAX (GOOD GRIEF + CAVES)
MAGUIRE’S PIZZA BAR, 19:30-22:30, £5
A night of returning heroes as emo-punks Grampus 8 and Beezewax make their long-awaited live comebacks. ANDRÉ RIEU
ECHO ARENA, 20:00–23:00, FROM £40
The violin master plays a special set of romantic melodies and catchy waltzes, ripe for the festive season. NEON WALTZ
THE SHIPPING FORECAST, 19:00–22:30, £6
Psychedelic indie-rock ensemble from the wilderness of Caithness, where they write and play melodic, sun-drenched, sonic soundscapes in a remote croft.
SOME TIME TODAY (MIDNIGHT SUNS + THE D-TALES) THE ZANZIBAR CLUB , 19:30–23:00, £4
Ormskirk-based indie four-piece. CHRISTMAS AT ARTS CLUB
ARTS CLUB, 18:30–22:00, £7
The Arts Club ring in the festive season with a host of musical talent. Line-up TBA. HERE & NOW (POISONED + ELECTRICK HEAD)
THE KAZIMIER, 19:30–23:00, £10
Supposedly as mad as a box of frogs overdosed on Lucozade, the Here & Now Band drop into the Kaz. LIVERPOOL STRING QUARTET: CHRISTMAS CONCERT
THE BLUECOAT, 19:30–21:30, £10 (£5)
The quartet perform Peter and the Wolf by Prokofiev.
Sat 13 Dec
CATFISH AND THE BOTTLEMEN
O2 ACADEMY, 19:00–23:00, £SOLD OUT
Indie rock’n’roll quintet full of guitars and songs about love an’ that.
BILL RYDER-JONES (SAINT SAVIOUR)
Gypsy punk ensemble from the suitably cool streets of the Lower East Side of Manhattan, riding along on frontman Eugene Hutz lead vocals and twirly moustache.
The masterful Wirral songwriter plays a special homecoming show.
LIVERPOOL CATHEDRAL, 19:30–21:00, £10 (£8)
Space celebrate the festive period as well as their 20th years together!
CELEBRATE A LIVERPOOL LIFE
The Royal Liverpool Philharmonic choir take part in this special 90-minute seasonal concert.
Wed 10 Dec
GLASS CAVES (RED KITES + RED RUM CLUB)
THE ZANZIBAR CLUB , 19:30–23:00, £5
A blend of alternative rock and indie rock. Rock seems to be the theme there.
THE KAZIMIER, 19:30–23:00, £10
SPACE
ARTS CLUB, 19:00–22:30, £15
PETE WYLIE (TOM CARROLL)
THE ZANZIBAR CLUB , 19:30–23:00, £13.50
The Mighty Wah! frontman sings some songs and tells some tales. THE JACKOBINS
ARTS CLUB, 19:00–22:30, £5
Brit-pop recalling guitar troupe who wouldn’t sound out of place on one of those old Shine compilations – if anyone remembers those.
Listings
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Liverpool Music WHITE CHRISTMAS: THE GREATEST HOLIDAY HITS LIVERPOOL PHILHARMONIC HALL, 19:30–22:30, FROM £17
Richard Balcombe conducts Christmas classics from the likes of Frank Sinatra, Nat King Cole and Bing Crosby. RUSSELL WATSON
LIVERPOOL CATHEDRAL, 19:30–22:00, FROM £39.50
The popular classical artist hosts a special candlelit Christmas concert.
Sun 14 Dec
MUSIC IN THE AFTERNOON WITH STEVE MACFARLANE
STUDIO 2, 16:00–20:00, FREE
Enjoy an afternoon of music with the Liverpool-based singer/ songwriter, playing a mixture of originals and covers. METHOD MAN & REDMAN (NO FAKIN’ DJS + DJ 2KING + THE L100 LIVERPOOL + CYPHER + SCORZAYZEE)
O2 ACADEMY, 19:00–23:00, £26.50
American rap duo consisting of yer men Method Man (of Wu-Tang Clan) and Redman (of Def Squad), collaborating as a unit since 1994. LIVERPOOL WELSH CHORAL: LET IT SNOW
LIVERPOOL PHILHARMONIC HALL, 14:30–17:00, FROM £10
All the Christmas classics you could hope for, plus narration in between from news reader Huw Edwards!
Mon 15 Dec THE GAME
O2 ACADEMY, 19:00–23:00, £25
The American rapper – aka Jayceon Terrell Taylor, Dr Dre protégé and multi-platinum selling artist – takes to the UK.
Tue 16 Dec
NSPCC CHRISTMAS CAROL CONCERT
LIVERPOOL CATHEDRAL, 19:30–21:15, £10 (£5)
The NSPCC host a carol concert fundraiser.
Wed 17 Dec
RADIO CITY CHARITY CHRISTMAS CAROL CONCERT
LIVERPOOL CATHEDRAL, 19:00–20:30, FROM £5
The Radio City staple returns for its sixth year in the Cathedral, with all proceeds going to Cash For Kids.
Thu 18 Dec
THE JAGERMEISTER MUSIC TOUR (ME FIRST AND THE GIMME GIMMES + THE SKINTS)
O2 ACADEMY, 19:00–23:00, £10
The latest Jagermeister music tour rocks up with a glut of bands and a few gallons of the dark, sticky stuff. THE SPIRIT OF CHRISTMAS
LIVERPOOL PHILHARMONIC HALL, 19:30–22:30, FROM £17
Ian Tracey conducts the Phil and Choir in a full Orchestra concert of classic Yuletide tunes old and new.
Fri 19 Dec
CAROLS BY CANDELIGHT
LIVERPOOL PHILHARMONIC HALL, 19:30–22:30, FROM £16.50
Evening carols with classics from Handel, Corelli, Bach and more revisited.
LIVERPOOL ECHO CHRISTMAS CAROL CONCERT
LIVERPOOL CATHEDRAL, 19:30–21:45, £10 (£5)
WHO BROUGHT THE BEAR? (HEAVY PEANUT AND THE ROVING DUDES + VATICAN CAMEOS) O2 ACADEMY, 19:00–23:00, £6
Indie rock four-piece hailing from the Wirral. THE SPIRIT OF CHRISTMAS
LIVERPOOL PHILHARMONIC HALL, 19:30–22:30, FROM £17
LIVERPOOL PHILHARMONIC HALL, 11:30–13:30, FROM £13 (£8)
The Orchestra and the Philharmonic children’s choir team up to sing Christmas classics about Rudolph and many others! RUDOLPH ON HOPE STREET
LIVERPOOL PHILHARMONIC HALL, 14:30–16:30, FROM £13 (£8)
The Orchestra and the Philharmonic children’s choir team up to sing Christmas classics about Rudolph and many others!
Sun 21 Dec DEACON BLUE
ECHO ARENA, 19:30–23:00, FROM £26.50
The Glasgow-formed 80s popsters play tracks offa their seventh LP, A New House, some 25+ years and still going strong. THE SPIRIT OF CHRISTMAS
LIVERPOOL PHILHARMONIC HALL, 19:30–22:30, FROM £17
Ian Tracey conducts the Phil and Choir in a full Orchestra concert of classic Yuletide tunes old and new. RUDOLPH ON HOPE STREET
LIVERPOOL PHILHARMONIC HALL, 11:30–13:30, FROM £13 (£8)
The Orchestra and the Philharmonic children’s choir team up to sing Christmas classics about Rudolph and many others! RUDOLPH ON HOPE STREET
LIVERPOOL PHILHARMONIC HALL, 14:30–16:30, FROM £13 (£8)
The Orchestra and the Philharmonic children’s choir team up to sing Christmas classics about Rudolph and many others!
Mon 22 Dec CHERRY GHOST
THE KAZIMIER, 19:30–23:00, £15
Bolton-born Simon Aldred brings Cherry Ghost to the Kazimier for one of two special Northwest festive shows. THE SPIRIT OF CHRISTMAS
LIVERPOOL PHILHARMONIC HALL, 19:30–22:30, FROM £17
Ian Tracey conducts the Phil and Choir in a full Orchestra concert of classic Yuletide tunes old and new. RUDOLPH ON HOPE STREET
LIVERPOOL PHILHARMONIC HALL, 14:30–16:30, FROM £13 (£8)
The Orchestra and the Philharmonic children’s choir team up to sing Christmas classics about Rudolph and many others!
Tue 23 Dec
THE SPIRIT OF CHRISTMAS
LIVERPOOL PHILHARMONIC HALL, 19:30–22:30, FROM £17
Ian Tracey conducts the Phil and Choir in a full Orchestra concert of classic Yuletide tunes old and new.
Mon 29 Dec
PADDY CLEGG (IP + SHORTY + ROSH + SHEA DOOLIN + MORE) THE ZANZIBAR CLUB , 19:30–23:00, £5
Non-genre specific showcase of talent from around the Northwest.
Wed 31 Dec
SWINGING IN THE NEW YEAR WITH JACQUI DUCKWORTH
LIVERPOOL PHILHARMONIC HALL, 19:30–22:30, FROM £17
NEW YEAR’S DAY PROM
THE SONGBOOK SESSIONS (DOO DAH FARM + COBOLT + THE HARRY FRANCISCO BAND + THE JACQUES + MORE) THE ZANZIBAR CLUB , 19:30–23:00, £4
A showcase event for new and upcoming songwriters in Liverpool and the surrounding areas.
60
Listings
THE DEAF INSTITUTE, 22:00–02:30, £4
SOUTH, 23:00–04:00, £3
RUDOLPH ON HOPE STREET
Sat 20 Dec Brit-pop also-rans still running two decades on.
GOLD TEETH
Legendary weekly mixed-bag night, often invites use of the term ‘carnage’.
The celebrated jazz vocalist helps ring in 2015 with a number of old favorites, including – of course – Auld Lang Syne.
CAST
Tue 02 Dec
Ian Tracey conducts the Phil and Choir in a full Orchestra concert of classic Yuletide tunes old and new.
Choral performances from Holy Trinity Church Choir, Liverpool Festival Choir, Liverpool Cathedral Youth Choir and more mark the annual Echo concert.
O2 ACADEMY, 19:00–23:00, £18
Manchester Clubs
Thu 01 Jan
LIVERPOOL PHILHARMONIC HALL, 14:30–16:30, FROM £16.50
A load of classical, erm, classics to see in the new year!
STUDENT HOUSE
The weekly student house and techno night returns to South, keeping you on the dancefloor till the early hours. ITCHY FEET CHRISTMAS PARTY
MINT LOUNGE, 23:00–03:00, FROM £2
A unique blend of rock’n’roll, funk and swing, engineered to get feet moving.
Thu 04 Dec MURKAGE
SOUTH, 23:00–04:00, £3
House, hip-hop, grime and garage from the Murkage residents. STUART RICHARDS
BLACK DOG BALLROOM NWS, 22:00–04:00, FREE
High Jinx resident Stuart Richards brings his trademark style to the bar every Thursday, offering a night of disco, funk and house. BLACKOUT THURSDAYS
SOUND CONTROL, 23:00–04:00, £3
Blackout Thursdays brings the infamous sounds and atmosphere of the legendary Balearic island of Ibiza to Manchester, with resident DJs filling three floors with anything from Balearic Beat, Tribal, Progressive and Tech to Deep House. JACOB COID
BLACK DOG BALLROOM NQ, 22:00–04:00, FREE BEFORE 11PM
Black Dog Ballroom’s latest resident. LA LA LAND
XOLO, 20:00–04:00, £1
Student night bringing you deep house from the XOLO residents and occasional special guests.
Fri 05 Dec WELL FUTURE
COMMON, 21:00–02:00, FREE (£2 AFTER 10PM)
Guest DJs on the decks, bringing you music from the past, present, and well, future.
XFM FIRST FRIDAY (JON MCCLURE + THE SLOW READERS CLUB + TIM COCKER + HATTIE PEARSON) BAND ON THE WALL, 21:00–03:00, £8 EARLYBIRD (£10 THEREAFTER)
The return of the monthly live XFM showcase with the dubiously ordained ‘Reverend’ Jon McClure headlining. TOP OF THE POPS
MINT LOUNGE, 22:00–04:00, £3
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. STUART RICHARDS
BLACK DOG BALLROOM NQ, 22:00–04:00, FREE BEFORE 11PM
High Jinx resident Stuart Richards brings his trademark style to the bar every Thursday, offering a night of disco, funk and house. GOLD TEETH SPECIAL
GORILLA, 23:00–04:00, £5
Festive special from the Gold Teeth crew.
FAM* THE DEAF INSTITUTE, 23:00–03:00, £3
Disco, funk, 80s and 90s.
Sat 06 Dec DEPARTURE LOUNGE
GORILLA, 23:00–04:00, FREE
The Gorilla residents come together for their regular free party! REMAKE REMODEL
THE RUBY LOUNGE, 23:00–03:00, £5 (£3)
A night of alternative rock’n’roll shenanigans. FUNKADEMIA
MINT LOUNGE, 22:30–04:00, £5
Mixed-bag night from local DJ ledge Clint Boon. STANTON WARRIORS
SOUND CONTROL, 23:00–04:00, £12
Breakbeat duo, Stanton Warriors present the Stanton Sessions, serving up a dizzying mix of electro punkishness, with Steve Thorpe and Resistance taking to the main room.
ABSTRACT LAUNCH: SIRUS HOOD
SOUTH, 23:00–05:00, FROM £10
French artist whose musical and visual universe is influenced by Ghetto House. 
STUART RICHARDS
BLACK DOG BALLROOM NWS, 22:00–04:00, FREE
BLACKOUT THURSDAYS
SOUND CONTROL, 23:00–04:00, £3
MR SCRUFF KEEP IT UNREAL
Common invite their buddies to take over the decks.
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. MAJEFA (AKIRA KAYOSA)
SOUND CONTROL, 22:00–04:00, £12
The veteran DJ Akira Kayosa performs a mammoth six hour set of trance, techno and everything in between. STUART RICHARDS
BLACK DOG BALLROOM NWS, 22:00–04:00, FREE
High Jinx resident Stuart Richards brings his trademark style to the bar every Thursday, offering a night of disco, funk and house. TRANSMISSION FUNK (SPACE DIMENSION CONTROLLER)
JOSHUA BROOKS, 23:00–03:00, £10
JACOB COID
Black Dog Ballroom’s latest resident. LA LA LAND
FUNKADEMIA
MINT LOUNGE, 22:30–04:00, £5
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. RELAPSE (BROKEN NOTE)
SOUND CONTROL, 23:00–04:00, £12
Relapse present another typically colossal night of drum & bass, jungle, breakcore and more.
SELECTIVE HEARING (ROBERT HOOD)
JOSHUA BROOKS, 22:00–04:00, £13.50
Selective Hearing continue their hard-hitting Autumn schedule. FRIENDS IN COMMON
COMMON, 21:00–02:00, FREE (£2 AFTER 10PM)
Common invite their buddies to take over the decks. STUART RICHARDS
BLACK DOG BALLROOM NWS, 22:00–04:00, FREE
High Jinx resident Stuart Richards brings his trademark style to the bar every Thursday, offering a night of disco, funk and house. TIM WRIGHT
BLACK DOG BALLROOM NQ, 22:00–04:00, FREE BEFORE 11PM
New Saturday resident bringing the dancefloor classics all night long. DJ W!LD
GORILLA, 23:00–04:00, FROM £8
Four Twenty present the Parisian underground sensation-turnedIbiza resident house DJ. YOU DIG? CHRISTMAS PARTY
SOUP KITCHEN, 23:00–04:00, £3
XOLO, 20:00–04:00, £1
Christmas special of the club night providing funky music for funky people.
Fri 12 Dec
XOLO, 20:00–04:00, FREE (£3 AFTER MIDNIGHT)
Student night bringing you deep house from the XOLO residents and occasional special guests. ULTIMATE POWER
XOLO LOCO
THE RITZ, 22:30–03:30, £8
The very best in pop, hip hop, funk, disco and dance.
JUICY
The monthly club night tribute to 90s indie celebrate Christmas – but still expect Pulp, Nirvana, Suede, Smashing Pumpkins, Pixies and more.
Club night sweeping the nation, offering up nothing but power ballads. It’s like one big communal karaoke night. GORILLA, 23:00–04:00, £3
All party, no bullshit night of everything from classic hip-hop to disco and funk. PUMPING IRON
COMMON, 21:00–01:00, FREE
GOO: CHRISTMAS PARTY
THE DEAF INSTITUTE, 23:00–03:00, £4.50
Tue 16 Dec GOLD TEETH
THE DEAF INSTITUTE, 22:00–02:30, £4
House, techno and bass from the Transmission Funk residents and a host of special guests.
Mixed-bag night of nu cosmic Italio, vintage avant garde disco and lo-fi rhythmic punk funk.
Legendary weekly mixed-bag night, often invites use of the term ‘carnage’.
BLACK DOG BALLROOM NQ, 22:00–04:00, FREE BEFORE 11PM
KRAAK, 22:30–03:00, £6
SOUTH, 23:00–04:00, £3
TIM WRIGHT
New Saturday resident bringing the dancefloor classics all night long. SOFT MACHINES
ISLINGTON MILL, 22:00–04:00, £4
Live event inspired by the work of William S Burroughs. Expect live visual and sonic cut-ups between dance, DJs, film and live experiments in a ritualistic orgy of the senses.  XOLO LOCO
XOLO, 20:00–04:00, FREE (£3 AFTER MIDNIGHT)
The very best in pop, hip hop, funk, disco and dance.
WITCH*NT (KERRIE + TAMASINE + ELEKTRA ROSE + THE MIGHTY QUINN) KRAAK, 23:00–04:00, £5
GIRLS ON FILM CHRISTMAS SPECIAL
Tue 09 Dec
ALBERT HALL, 21:00–04:00, FROM £20
SOUTH, 23:00–04:00, £3
BLACK DOG BALLROOM NQ, 22:00–04:00, FREE BEFORE 11PM
FRIENDS IN COMMON
SOUND CONTROL, 20:00–22:00, £12
A four hour marathon set from Sven Vath spearheads a Cocoon takeover.
MURKAGE
COMMON, 21:00–02:00, FREE (£2 AFTER 10PM)
Pink lady cocktails, disco balls, glitz and glamour – but this month with a Christmas twist!
SVEN VATH (DANA RUH + GREG LORD)
Thu 11 Dec
Blackout Thursdays brings the infamous sounds and atmosphere of the legendary Balearic island of Ibiza to Manchester, with resident DJs filling three floors with anything from Balearic Beat, Tribal, Progressive and Tech to Deep House.
A dirty dosage of rock and metal tunes. American hip-hop duo made up of rappers Billy Danze and Lil’ Fame.
The best in soul, funk and boogie.
High Jinx resident Stuart Richards brings his trademark style to the bar every Thursday, offering a night of disco, funk and house.
CLINT BOON
THE DEAF INSTITUTE, 23:00–03:00, £4.50
M.O.P
MINT LOUNGE, 23:00–03:00, £2
SOUTH, 23:00–04:00, £5
TWISTED SIN
THE RITZ, 22:30–03:30, £5
SOULJAM
House, hip-hop, grime and garage from the Murkage residents.
BLACK DOG BALLROOM NWS, 22:00–04:00, FREE
Black Dog Ballroom’s latest resident.
Wed 10 Dec
Mancunian nightclub institution, delivering a chronological history of soul on a weekly basis, courtesy of their DJ collective.
Female fronted monthly hip hop, house + electro club night in the heart of Manchester’s Northern Quarter.
JACOB COID
STUDENT HOUSE SOUTH, 23:00–04:00, £3
The weekly student house and techno night returns to South, keeping you on the dancefloor till the early hours.
Sat 13 Dec
GOLD TEETH
THE DEAF INSTITUTE, 22:00–02:30, £4
Legendary weekly mixed-bag night, often invites use of the term ‘carnage’. JUICY
JOSHUA BROOKS, 23:00–03:00, £1.50
All party, no bullshit night of everything from classic hip-hop to disco and funk.
DRUNK AT VOGUE
Drunk At Vogue kick start the party season with a night of quality disco and killer couture. TOP OF THE POPS
MINT LOUNGE, 22:00–04:00, £3
STUDENT HOUSE
The weekly student house and techno night returns to South, keeping you on the dancefloor till the early hours.
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.
Thu 18 Dec
BLACK DOG BALLROOM NQ, 22:00–04:00, FREE BEFORE 11PM
BLACK DOG BALLROOM NWS, 22:00–04:00, FREE
STUART RICHARDS
MURKAGE
SOUTH, 23:00–04:00, £3
House, hip-hop, grime and garage from the Murkage residents. STUART RICHARDS
High Jinx resident Stuart Richards brings his trademark style to the bar every Thursday, offering a night of disco, funk and house.
High Jinx resident Stuart Richards brings his trademark style to the bar every Thursday, offering a night of disco, funk and house.
BLACK DOG BALLROOM NWS, 22:00–04:00, FREE
SOUND CONTROL, 23:00–04:00, £3
JACOB COID
BLACKOUT THURSDAYS
Festive special of the 2000’s pop-toting, house party anthemplaying cheesy pop night.
Blackout Thursdays brings the infamous sounds and atmosphere of the legendary Balearic island of Ibiza to Manchester, with resident DJs filling three floors with anything from Balearic Beat, Tribal, Progressive and Tech to Deep House.
SOUP KITCHEN, 23:00–04:00, £TBC
BLACK DOG BALLROOM NQ, 22:00–04:00, FREE BEFORE 11PM
Black Dog Ballroom’s latest resident. CHERRY CHRISTMAS PARTY
SOUND CONTROL, 23:00–03:30, £4
CRAIG SMITH (SI FINNEGAN + LEVI LOVE)
Levi Love invites two of his very favourite DJs in Tone Control’s Si Finnegan and 6th Borough Project’s Craig Smith to join him on the decks. HAUSS 22: MARK FANCIULLI & MIRCO CARUSO
SOUTH, 23:00–04:00, FROM £8
A tech house double header featuring two rising stars in the game. HIGHER GROUND: YULETIDE SPECIAL
THE DEAF INSTITUTE, 23:00–03:00, £4.50
The sounds of the 60’s from Motown to rock ‘n’ roll with added Christmas cheer!
JACOB COID
Black Dog Ballroom’s latest resident. LA LA LAND
XOLO, 20:00–04:00, £1
Student night bringing you deep house from the XOLO residents and occasional special guests.
Fri 19 Dec
BLACK BEE SOUL CLUB
KRAAK, 23:00–03:00, £TBC
Soul with a sting.
MEANDYOU CHRISTMAS PARTY SOUP KITCHEN, 22:00–04:00, £TBC
BARE BONES CHRISTMAS PARTY THE DEAF INSTITUTE, 23:00–03:00, £4.50
Making merry with the festive vibes, meandyou throw an end of year party to say ta v much for all your dedicated move-busting over this past year.
The three floor club night touting indie/electro, classic rock’n’roll and punk/rock celebrates Christmas.
COMMON, 21:00–02:00, FREE (£2 AFTER 10PM)
SOUTH, 23:00–04:00, £3
WELL FUTURE
Tue 23 Dec STUDENT HOUSE
Guest DJs on the decks, bringing you music from the past, present, and well, future.
The weekly student house and techno night returns to South, keeping you on the dancefloor till the early hours.
JOSHUA BROOKS, 23:00–04:00, FREE
Fri 26 Dec
MEAT FREE
The Meat Free ladies host a Christmas special of their regular night of house and techno. TOP OF THE POPS
MINT LOUNGE, 22:00–04:00, £3
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. ELECTRIC JUG
THE DEAF INSTITUTE, 23:00–03:00, £3
Serving up the best of the 60s, ranging from psych and ska to britpop and funk. STUART RICHARDS
BLACK DOG BALLROOM NQ, 22:00–04:00, FREE BEFORE 11PM
High Jinx resident Stuart Richards brings his trademark style to the bar every Thursday, offering a night of disco, funk and house. JACOB COID
BLACK DOG BALLROOM NWS, 22:00–04:00, FREE
Black Dog Ballroom’s latest resident.
SUBSTANCE: MADCHESTER FRIDAY
GORILLA, 23:00–04:00, FROM £10
Club night investigating the more avant-garde musique concrete trands of Manchester’s clubbing history. Only joking, all the usuals and Bez is going to turn up of course. MR SMITH’S SOUL REVIVAL
THE RITZ, 22:30–04:30, £10
The legendary soul night, once housed in Mr Smiths in Warrington, makes a move to The Ritz to continue proceedings. Expect soul, r&b and hip-hop.
VIVA WARRIORS (STEVE LAWLER + DEETRON + DETLEF + ANEK + MORE)
SANKEYS, 22:00–05:00, £17.50
Veteran DJ Steve Lawler brings his ViVA Warriors session back to Sankeys for a special Boxing Day rave.
FAC 51: THE HACIENDA (DAVID MORALES + MARSHALL JEFFERSON + A GUY CALLED GERALD + GRAEME PARK + MORE) WAREHOUSE PROJECT, 21:30-04:00, FROM £25
All the usual old lads return playing all the usual old lads tunes from back in the day. Expect bucket hats.” JACOB COID
BLACK DOG BALLROOM NWS, 22:00–04:00, FREE
Black Dog Ballroom’s latest resident. THIRDEYE
JOSHUA BROOKS, 23:00–04:00, FREE
The ThirdEye residents offer an alternative way to spend Boxing Day.
SUBB-AN + ADAM SHELTON + JOHN DIMAS
GORILLA, 23:00–04:00, FROM £15
A triple-headlining bill courtesy of One Records sounds like a perfect chance to start sweating out that Christmas turkey. FEEL THE BEAT
MINT LOUNGE, 21:00–04:00, FROM £10
Featuring Dream Frequency, Paul Taylor, Stu Allan, Rob Tissera, Mark XTS and many more.
Sat 27 Dec CLINT BOON
SOUTH, 23:00–04:00, £5
Sat 20 Dec
Mixed-bag night from local DJ ledge Clint Boon.
MINT LOUNGE, 22:30–04:00, £5
COMMON, 21:00–02:00, FREE (£2 AFTER 10PM)
FUNKADEMIA
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 10PM)
Common invite their buddies to take over the decks. SWING TING
SOUP KITCHEN, 23:00–03:30, FREE (£5 AFTER MIDNIGHT)
The Swing Ting soundboys push their street and soundsystem music festive style – with birthday bumps in order for their resident MC Fox. STUART RICHARDS
BLACK DOG BALLROOM NWS, 22:00–04:00, FREE
High Jinx resident Stuart Richards brings his trademark style to the bar every Thursday, offering a night of disco, funk and house.
CRAIG CHARLES FUNK ‘N’ SOUL CLUB (HAGGIS HORNS + NIA SAW & JOHN MCCALLUM)
FRIENDS IN COMMON
Common invite their buddies to take over the decks. STUART RICHARDS
BLACK DOG BALLROOM NWS, 22:00–04:00, FREE
High Jinx resident Stuart Richards brings his trademark style to the bar every Thursday, offering a night of disco, funk and house. TIM WRIGHT
BLACK DOG BALLROOM NQ, 22:00–04:00, FREE BEFORE 11PM
New Saturday resident bringing the dancefloor classics all night long. POP: CHRISTMAS PARTY
THE DEAF INSTITUTE, 23:00–03:00, £4.50
The biggest hits from the last 40 years of popular music plus some festive classics.
Wed 31 Dec
NEW YEAR’S EVE EXTRAVAGANZA
THE DEAF INSTITUTE, 21:00–04:00, FROM £8
Staple nights Girls On Film, Higher Ground and Electric Jug combine for a three-tiered night of NYE fun. FUNKADEMIA NYE
MINT LOUNGE, 22:00-04:00, FROM £5
BAND ON THE WALL, 21:00–03:00, £14 EARLYBIRD (£16 THEREAFTER)
Manchester's longest running weekly club night celebrates it's 19th New Year's Eve at its Northern Quarter home of Mint Lounge.
TIM WRIGHT
THE RITZ, 21:00–04:00, FROM £10
DJ and actor Craig Charles will be manning the decks until 3am, playing his picks of funk and soul, with an array of guest spinners and live acts joining him. BLACK DOG BALLROOM NQ, 22:00–04:00, FREE BEFORE 11PM
New Saturday resident bringing the dancefloor classics all night long. XOLO LOCO
XOLO, 20:00–04:00, FREE (£3 AFTER MIDNIGHT)
The very best in pop, hip hop, funk, disco and dance. GREY AREA
ULTIMATE POWER PRESENTS THE NEW YEAR’S EXTRAVAGANZA
The go-to night for all your power ballad needs host a suitably epic NYE bash.
SOUP KITCHEN NYE WITH WET PLAY & FULL BEAM! SOUP KITCHEN, 22:00-06:00, FROM £7
Soup Kitchen bring in 2015 with a double-header of two of the biggest party starters in the Northwest.
JOSHUA BROOKS, 23:00–04:00, FROM £8
This winter, Grey Area bring Monoloc and Cleric to Joshua Brooks, Manchester for their first ever event.
THE SKINNY
THE BUG ISLINGTON MILL, 22:00-08:00, FROM £20
The Ninja Tune stalwart and maker of one of 2014’s finest records in Angels & Devils, ends 2014 in style at the Mill, with longterm vocal collaborator Flowdan in tow. MR SCRUFF NEW YEAR’S EVE FT. FLOATING POINTS
BAND ON THE WALL, 22:00–04:00, £25
A special New Year’s Eve Mr Scruff session with guest headliner, Eglo Records founder Floating Points.
NEW YEAR’S EVE (KERRI CHANDLER + MOVE D + OLI FURNESS + ANGUS JEFFORD + DANIEL SANDERS) SANKEYS, 21:00–06:00, £25
A New Year’s Eve to remember (or attempt to) as the Music Is Love crew bring seminal house legend Kerri Chandler to Sankeys to usher in 2015.
S2S NEW YEAR’S EVE FESTIVAL (DENNIS FERRER + TODD TERRY + ARUN VERONE + FLASH MOB + MORE) VICTORIA WAREHOUSE, 20:00–05:00, FROM £25
S2S present a heavyweight line-up to see out 2014, including Dennis Ferrer, Todd Terry, Mista Jam and more. NEW YEAR’S EVE AT BLACK DOG BALLROOM
BLACK DOG BALLROOM NQ, 22:00–04:00, £5
Resident Stuart Richards is on hand to guide you into the new year.
JUST SKANK NEW YEAR’S EVE (COMMODO + KAIJU + COMPA + MORE )
JOSHUA BROOKS, 22:00–04:00, FROM £8
A trio of Deep Medi DJs drop in to ring in 2015. JUICY: NEW YEAR’S EVE
SOUTH, 23:00–04:00, £5
New Year’s Eve no bullshit night of everything from classic hip-hop to disco and funk.
Thu 01 Jan
GORILLA NEW YEARS DAY PARTY
GORILLA, 20:00–04:00, FROM £18
Celebrate 2015 in marathon style with an eight-hour bash at Gorilla.
WAREHOUSE PROJECT CLOSING PARTY (MACEO PLEX + FOUR TET B2B DAPHNI + JULIO BASHMORE + MORE) WAREHOUSE PROJECT, 18:00-05:00, FROM £39.50
WHP bring their return to Store Street to a close with a mammoth line-up partying for nearly 12 hours.
NEW YEAR’S DAY (SECOND CITY + PATRICK TOPPING + DALE HOWARD + JUST JORGE + MORE) SANKEYS, 22:00–04:00, £25
Start the new year as you mean to go on with a massive Sankey’s party, featuring chart-topper Second City.
Liverpool Clubs THE AFTERPARTY THE BOUTIQUE, 00:00–06:00, £TBC
New after hours party from the Boutique team for those of you who never want the night to end. M.O.P
THE KAZIMIER, 21:00–02:00, £15
American hip-hop duo made up of rappers Billy Danze and Lil’ Fame. AMBUSH!
THE KRAZY HOUSE, 22:30–04:00, £TBC
Friday night capers at Liverpool’s gnarliest rock club.
Sat 06 Dec ITCHY FEET
THE KAZIMIER, 22:00–03:00, £7
DJs Tall Paul and Sam the Sham Jose celebrate old school rock’n’roll, vintage tunes and wild dancing. RAGE
CHAMELEON BAR, 22:00–06:00, £3
Mixed-bag night spread out over all three floors, serving up indie, rock, alternative and dance tunes. CHIBUKU (SIGMA + SHADOW CHILD + KRY WOLF + DIMENSION + MORE)
ARTS CLUB, 23:00–04:00, £16
Chibuku returns for its Autumn program of internationally renowned guests. BEDLAM
GARLANDS, 22:00–04:00, £10 (£5 AFTER 2AM)
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). GOSSIP
GARLANDS, 22:00–04:00, £4
Student night with 5 rooms of music spread over 2 floors and occasional theme nights. SUPER RAD
BUMPER, 22:00–05:00, FREE (BEFORE 11PM)
A night of classic rad sounds spanning indie, rock, crunk and disco, with free gin and juice for the first 100 guests. VIBE THURSDAYS
CAMEL CLUB, 21:00–04:00, £TBC
R’n’b, hip-hop and urban floorfillers.
Fri 05 Dec TREND FRIDAYS
CAMEL CLUB, 21:00–04:00, £2 (£3 AFTER 12:30AM)
Everything from R ‘n’ B to old skool garage, hip-hop and deep house. DJ CHRIS “SHOWBIZ” CONNOR & FRANCIS VOLANTE
CHAMELEON BAR, 19:00–04:00, £TBC
Everything from chart and commercial tracks to RnB.
CAMEL CLUB, 21:00–04:00, £2 (£3 AFTER 12:30AM)
PURE SATURDAYS
CAMEL CLUB, 22:30–04:00, £TBC
Smoonth RnB and urban floor fillers.
PAGODA (GLOWING PALMS + ANDY ASH B2B CHRIS BARKET + FLY BY NIGHT + DEEP SPACE ORCHESTRA)
24 KITCHEN STREET, 22:00–04:00, FREE (£3 AFTER 11PM)
Pagoda host their final free party of the year, featuring Ruf Kutz man Glowing Palms and his funky blend of disco and house. MUMU SESSIONS (RYAN ELLIOTT + LEE RANDS)
THE MAGNET , 23:30–08:00, £12
Ryan Elliott and Lee Rands go all night long in a one-off return to The Magnet.
Mon 08 Dec CAMEL CLUB, 21:00–04:00, £TBC
The self-proclaimed longest running student night in Liverpool.
Thu 11 Dec 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, 22:00–04:00, £4
Student night with 5 rooms of music spread over 2 floors and occasional theme nights. FOUR TET
THE SHIPPING FORECAST, 22:00–03:00, £10
Kieran Hebden takes to the stage under his Four Tet moniker, bringing the post-rock/electronica awash with abstract sensibilities. SUPER RAD
BUMPER, 22:00–05:00, FREE (BEFORE 11PM)
A night of classic rad sounds spanning indie, rock, crunk and disco, with free gin and juice for the first 100 guests. VIBE THURSDAYS
CAMEL CLUB, 21:00–04:00, £TBC
R’n’b, hip-hop and urban floorfillers. THE HOFFMAN PROJECT (VIRUS D.D.D + THE LUCIUS PROJECT)
THE MAGNET , 23:00–05:00, £2
A new night in Liverpool showcasing techno, acid, house music and a visual show, hosting new and up and coming DJ’s & producers
Friday night capers at Liverpool’s gnarliest rock club.
CHAMELEON BAR, 19:00–04:00, £TBC
A night of funky house all baubled up for Christmas.
DJ CHRIS “SHOWBIZ” CONNOR & FRANCIS VOLANTE
Everything from chart and commercial tracks to RnB. THE AFTERPARTY
THE BOUTIQUE, 00:00–06:00, £TBC
New after hours party from the Boutique team for those of you who never want the night to end. DOT. (SWINDLE)
THE SHIPPING FORECAST, 22:00–03:00, £5.75
dot. return with Deep Medi/Butterz/Brownswood underground producer Swindle. AMBUSH!
THE KRAZY HOUSE, 22:30–04:00, £TBC
Friday night capers at Liverpool’s gnarliest rock club. STATK
24 KITCHEN STREET, 22:00–04:00, £7
BOUTIQUE, 22:00–04:00, £5
Sat 20 Dec RAGE
CHAMELEON BAR, 22:00–06:00, £3
Mixed-bag night spread out over all three floors, serving up indie, rock, alternative and dance tunes. OUT OF THIS WORLD
CHAMELEON BAR, 19:00–04:00, £TBC
Chameleon Bar presents an out of this world Saturday night, with guest and resident DJs taking care of the sounds. PURE SATURDAYS
CAMEL CLUB, 22:30–04:00, £TBC
Smoonth RnB and urban floor fillers.
Statk host their opening party with Gruuv man David Pher joining them on the ones and twos.
Mon 22 Dec
Sat 13 Dec
The self-proclaimed longest running student night in Liverpool.
CHAMELEON BAR, 22:00–06:00, £3
Fri 26 Dec
RAGE
GARLANDS, 22:00–04:00, £10 (£5 AFTER 2AM)
OUT OF THIS WORLD
THE KRAZY HOUSE, 22:30–04:00, £TBC
FUNKY HOUSE CLASSICS XMAS SPECIAL (ALAN HARTLEY + ROB CAIN + DAVE PETHARD + ANT CHANDLER + MORE)
CHAMELEON BAR, 19:00–04:00, £TBC
Chameleon Bar presents an out of this world Saturday night, with guest and resident DJs taking care of the sounds.
AMBUSH!
Everything from R ‘n’ B to old skool garage, hip-hop and deep house.
Mixed-bag night spread out over all three floors, serving up indie, rock, alternative and dance tunes.
THE KRAZY HOUSE, 22:00–04:00, £2
Thu 04 Dec
TREND FRIDAYS
Extravagant and flamboyant club night complete with resident entertainers, including Foxy Grunt and Barbie.
UNIBAR MONDAYS
Liverpool Clubs
Fri 12 Dec
BEDLAM
Extravagant and flamboyant club night complete with resident entertainers, including Foxy Grunt and Barbie. OUT OF THIS WORLD
CHAMELEON BAR, 19:00–04:00, £TBC
Chameleon Bar presents an out of this world Saturday night, with guest and resident DJs taking care of the sounds.
INVISIBLE WIND FACTORY OPENING (DOGSHOW) INVISIBLE WIND FACTORY, 21:00-02:00, £10
Instrumental experimentalists Dogshow provide the music for the mysterious docklands space’s unveiling. PURE SATURDAYS
CAMEL CLUB, 22:30–04:00, £TBC
Smoonth RnB and urban floor fillers.
Mon 15 Dec UNIBAR MONDAYS
CAMEL CLUB, 21:00–04:00, £TBC
The self-proclaimed longest running student night in Liverpool.
Thu 18 Dec TIME SQUARE
THE KRAZY HOUSE, 22:00–04:00, £2
UNIBAR MONDAYS
CAMEL CLUB, 21:00–04:00, £TBC
THE AFTERPARTY
CREAM BOXING NIGHT (LAIDBACK LUKE + DANNIC + UMMET OZCAN + TIM MASON + MORE)
A mammoth three-room party at Cream’s spiritual home Nation, featuring spinners including Laidback Luke, Gareth Emery and Dannic. CRAIG CHARLES
THE SHIPPING FORECAST, 22:00–04:00, £20
Craig Charles is back in his hometown of Liverpool for the festive season! Time to break out the funk ‘n’ soul! BOXING NIGHT
CHAMELEON BAR, 20:00–03:00, £TBC
Dance off your Christmas stodge at Chameleon Bar!
A night of classic rad sounds spanning indie, rock, crunk and disco, with free gin and juice for the first 100 guests. VIBE THURSDAYS
CAMEL CLUB, 21:00–04:00, £TBC
R’n’b, hip-hop and urban floorfillers.
Fri 19 Dec TREND FRIDAYS
CAMEL CLUB, 21:00–04:00, £2 (£3 AFTER 12:30AM)
Everything from R ‘n’ B to old skool garage, hip-hop and deep house. DJ CHRIS “SHOWBIZ” CONNOR & FRANCIS VOLANTE
All the usual Bedlam fun but with added hats - because nothing says Boxing Day like a well-worn headpiece. DANNY KRIVIT
THE MAGNET , 20:00–08:00, £10
QUADRANT PARK REUNION
A chance for the original Quad rave crowd of the 80’s to relive their youth as Andy Carroll, Mike Knowler and the gang get back together.
Sat 27 Dec RAGE
CHAMELEON BAR, 22:00–06:00, £3
Mixed-bag night spread out over all three floors, serving up indie, rock, alternative and dance tunes. OUT OF THIS WORLD
CHAMELEON BAR, 19:00–04:00, £TBC
Chameleon Bar presents an out of this world Saturday night, with guest and resident DJs taking care of the sounds. PURE SATURDAYS
CAMEL CLUB, 22:30–04:00, £TBC
Smoonth RnB and urban floor fillers.
THE AFTERPARTY
The self-proclaimed longest running student night in Liverpool.
New after hours party from the Boutique team for those of you who never want the night to end.
THE SHIPPING FORECAST, 22:00–01:00, £10
UNIBAR MONDAYS
CAMEL CLUB, 21:00–04:00, £TBC
Theatre Manchester
Octagon Theatre ALICE IN WONDERLAND
VARIOUS DATES BETWEEN 14 NOV AND 10 JAN, TIMES VARY, FROM £23
‘But I don’t want to go among mad people…’ An adaptation of Lewis Caroll’s classic novel is brought to life in with rebellious, energetic and contemporary enchantment.
Opera House
THE SHIPPING FORECAST, 22:00–04:00, £12
VARIOUS DATES BETWEEN 5 DEC AND 23 DEC, TIMES VARY, PRICES VARY
THE CUBAN BROTHERS NYE SPECIAL
New Year’s Even – Cuban Brothers style!
SNOW WHITE & THE SEVEN DWARFS
A marathon session to bring 2014 into 2015.
Polka Dot Pantomimes present their take on the classic fairy tale, with Kim Woodburn and Melissa Wells among the stars performing.
THE KRAZY HOUSE, 22:00–06:00, £TBC
Palace Theatre
BEDLAM NEW YEARS EVE WHITE PARTY
VARIOUS DATES BETWEEN 2 DEC AND 11 JAN, TIMES VARY, FROM £19.50
NEW YEAR’S EVE
CHAMELEON BAR, 21:00–09:00, £TBC
NYE
New Year’s Even Krazy House style! GARLANDS, 22:00–06:00, £15
New Year’s Eve partying Bedlam style! HUSTLE NYE (JIMPSTER)
THE MAGNET , 21:00–07:00, FROM £7
Hustle celebrate NYE with Essex producer Jimpster.
Manchester Theatre
SHREK THE MUSICAL
Set in a mythical once upon a time land, Shrek the Musical is the story of a hulking green ogre who, after being mocked and feared, retreats to an ugly swamp to exist in happy isolation before...well, you know the rest.
Phones 4u Arena DIVERSITY
VARIOUS DATES BETWEEN 4 DEC AND 10 DEC, TIMES VARY, PRICES VARY
The British street dance troupe and winners of Britain’s Got Talent 2009 take their show on the road.
Bridgewater Hall Royal Exchange MUSIC & DANCE FROM THE BALLET Theatre 26 DEC, 3:00PM – 6:00PM, FROM £16.50 Classics including Swan Lake, The Nutcracker and Chopiniana Waltz feature in this collaboration between The Russian State Ballet of Siberia and the Manchester Concert Orchestra.
Capitol Theatre DANCING AT LUGHNASA
3–6 DEC, TIMES VARY, £8 (£5)
WHITE RABBIT, RED RABBIT
2–3 DEC, 7:30PM – 10:00PM, £9 (£5)
Iranian dramatist Nassim Soleimanpour’s unique theatre experiment, performed cold with no rehearsal, no director and a different actor each night. MOTHER’S RUIN
12 DEC, 8:00PM – 10:30PM, £9 (£5)
Follow up the performance of Puffball with a raucous cabaret style performance from the Mother’s Ruin bunch. HARRY
4 DEC, 5:00PM – 8:00PM, FREE
Live radio broadcast featuring six episodes of Harry, about a young man who finds himself single and jobless in quick succession. FAÇADE: CELLADOUR
5 DEC, 8:30PM – 10:30PM, £9 (£5)
Part of Shift Festival and inspired by Geisha culture, Celladour is a highly physical performance performed by three trainee dancers. THE SECRET LIFE OF YOU AND ME
6 DEC, 9:00PM – 10:30PM, £9 (£5)
Part of Shift Festival, this part live performance, part art installation by solo artist Lowri as she tells a story of love, life and everything in between. #FOLKSONOMY
17–20 DEC, 7:30PM – 10:30PM, £11 (£6)
Contact’s young theatre company create preposterous parodies of social normality.
MAKING LOVE 3–5 DEC, 8:00PM – 10:00PM, £5 (£4)
The Shipping Forecast celebrate New Year’s even with this house double-header.
Contact
BEDLAM BOXING NIGHT HAT PARTY
Mon 29 Dec
THE BOUTIQUE, 00:00–06:00, £TBC
23.59 NEW YEAR’S EVE (LEWIS BOARDMAN + SCOTT LEWIS)
GARLANDS, 22:00–04:00, £TBC
THE KRAZY HOUSE, 22:30–04:00, £TBC
CHAMELEON BAR, 19:00–04:00, £TBC
Everything from chart and commercial tracks to RnB.
THE KAZIMIER, 20:00–03:00, FROM £10
The return of the Kazimier’s almighty NYE bash, featuring some of Liverpool’s more explorative musical talent.
Grab your purse, sack the stuffing and get yer ass out for the night after the fat red mans been!
BOXING NIGHT
GARLANDS, 22:00–04:00, £4
SUPER RAD
MYTHOPOEIA II (STEALING SHEEP + BARBEROS + AZORES + HARLEQUIN DYNAMITE MARCHING BAND + MORE)
Based upon a family of five sister and two brothere, Dancing at Lughnasa explores the emotionally charged landscape, Christian and pagan, of which they constitute an integral part.
DISTRICT, 22:00–03:00, £20
BUMPER, 22:00–05:00, FREE (BEFORE 11PM)
Silent Sleep and a host of Leaf’s pals drop in for a shindig to end 2014 in style.
NATION, 22:00–06:00, £32.50
The Body & Soul producer drops in to celebrate Boxing Day with Hustle.
Student night with 5 rooms of music spread over 2 floors and occasional theme nights.
LEAF’S NYE SHINDIG
LEAF, 20:00–03:00, FREE
THE BOUTIQUE, 00:00–06:00, £TBC
New after hours party from the Boutique team for those of you who never want the night to end.
Staple student night with a mix of music across the three floors (think: rock, indie, alternative, dance and a sprinkling of cheese). GOSSIP
Wed 31 Dec
LITTLE SHOP OF HORRORS
VARIOUS DATES BETWEEN 5 DEC AND 31 JAN, TIMES VARY, FROM £14.50
Comedy rock musical written by Alan Menkin and Howard Ashman, telling the tale of a hapless florist as he raises a plant that feeds on human flesh.
Royal Northern College of Music THE MERRY WIDOW
VARIOUS DATES BETWEEN 3 DEC AND 13 DEC, TIMES VARY, FROM £20
Franz Lehár’s The Merry Widow is, as ever, an intoxicating whirl of elegant ladies, eligible bachelors, Maxim’s can-can dancers, and ever-flowing champagne. THE NICHOLSON ACADEMY
20–21 DEC, TIMES VARY, £12
The Droylsden-based dance school present a special showcase.
The Dancehouse ALADDIN
13 DEC – 4 JAN, NOT 15 DEC, 25 DEC, 1 JAN, 2 JAN, TIMES VARY, PRICES VARY
The Dancehouse Theatre’s Family Pantomime is back! With their comedy take on some classic genie-meets lovestruck pauper shenanigans. THE NUTCRACKER
11–13 DEC, TIMES VARY, FROM £8
The Manchester City Ballet retell the Tchaikovsky dance classic, ripe for the festive season with its dreamlike narrative and magical journey of discovery.
The King’s Arms THEATRE UNCUT
VARIOUS DATES BETWEEN 10-13 DEC, 8:00PM – 10:00PM, £12
A tale of possession and obsession, lust and love, and the difference between being alone and being lonely. RITA, SUE AND BOB TOO
8–12 DEC, 7:30PM – 9:30PM, £12
Classic British play about a threeway tryst between two school girls and a married man.
The Lowry Studio
LEMONY SNICKET’S LATKE WHO COULDN’T STOP SCREAMING
22–24 DEC, TIMES VARY, PRICES VARY
The story begins in a tiny village more or less covered in snow, where a Hanukkah Latke, a fried potato pancake, is born screaming.
The Lowry: Lyric Theatre THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME
VARIOUS DATES BETWEEN 18 DEC AND 10 JAN, TIMES VARY, FROM £28
Christopher has Asperger’s and he is also the lead character in a very unusual detective story. SLAVA’S SNOWSHOW
3–13 DEC, NOT 7, 8, TIMES VARY, PRICES VARY
The award-winning show returns for another festive run, with legendary Russian clown Slava Polunin and his troupe of physical performers building each show towards a magical, snowy spectacle.
The Lowry: Quays Theatre SHE STOOPS TO CONQUER
VARIOUS DATES BETWEEN 9-13 DEC, TIMES VARY, FROM £17
New comedy from director Conrad Nelson which sees young gent Marlow ensconced by bar maid Kate Hardcastle. But is all as it seems? PLAYING ANOTHER
2–3 DEC, 8:00PM – 10:00PM, FROM £12
Renowned disabled and nondisabled dance company Candoco present two new full company works. GANDINI JUGGLING
7 DEC, 8:00PM – 10:00PM, FROM £13
Experience the dark art of juggling at a tea party you’ll never forget, as 80 apples, 9 performers and 4 sets of crockery come together in a mesmerising mix of circus and theatre. PETER PAN GOES WRONG
VARIOUS DATES BETWEEN 16 DEC AND 11 JAN, TIMES VARY, FROM £16
The Cornley Polytechnic Drama Society set out to present J.M. Barrie’s classic tale of Peter Pan, but as the title suggests, everything that can go wrong…does.
Three Minute Theatre MY BABY GIRL
3–4 DEC, 7:00PM – 9:30PM, £8 (£7)
New work from Amy McCauley which places the audiences at the head of a dysfunctional dinner table gathering taking in issues of class, race and gender. TWELVE NIGHTS
9–18 DEC, NOT SUNDAYS, 7:00PM – 10:00PM, £9 (£8)
The Manchester Shakespeare Company present a typically warped twist on one of the Bard’s classic plays. CHRISTMAS CHARITY CABARET EVENING
Multi-award-winning Theatre Uncut present their new programme of short political plays, with each performance followed by a Q&A to debate the issues raised.
21 DEC, 7:00PM – 10:00PM, £8
2 DEC, 7:30PM – 9:30PM, £10 (£8)
23 DEC, TIMES VARY, £5.50
CLAMBER UP THE CRUCIFIX
War-based drama focusing on the life of a telegraph key operator at the end of World War I. PEOPLE ZOO PINT-SIZED
3–5 DEC, 7:30PM – 9:30PM, £5 (£4)
An evening of short plays by new, local writers.
An evening of mulled wine, song, mulled wine, laughter, and more mulled wine. SNOW WHITE & THE SEVEN SERVICE USERS
Three Minute’s festive offering sees a twist on the classic Snow White tale.
Liverpool Theatre Echo Arena DIVERSITY
VARIOUS DATES BETWEEN 4 DEC AND 10 DEC, TIMES VARY, PRICES VARY
The British street dance troupe and winners of Britain’s Got Talent 2009 take their show on the road.
Epstein Theatre JACK AND THE BEANSTALK
VARIOUS DATES BETWEEN 11-31 DEC, NOT 25, TIMES VARY, PRICES VARY
Christmas festive special of the classic children's tale.
Everyman Theatre
LITTLE RED RIDING HOOD
VARIOUS DATES BETWEEN 5 DEC AND 31 DEC, TIMES VARY, FROM £12
A festive production of Little Red Riding Hood.
Liverpool Empire ALADDIN
13 DEC – 4 JAN, NOT 15 DEC, 25 DEC, 1 JAN, 2 JAN, TIMES VARY, PRICES VARY
The Dancehouse Theatre’s Family Pantomime is back! With their comedy take on some classic genie-meets lovestruck pauper shenanigans. SATURDAY NIGHT FEVER
VARIOUS DATES BETWEEN 25 NOV AND 31 DEC, TIMES VARY, PRICES VARY
Brand new stage production of one of the most-loved dance stories of all time. No John Travolta, but plenty of Bee Gees hits to ease the pain.
Royal Court Theatre
SCOUSE OF THE ANTARCTIC
VARIOUS DATES BETWEEN 21 NOV AND 30 DEC, TIMES VARY, FROM £13
The Royal Court Christmas show is back! This year, US and Russian submarines race up to the Antarctic in a battle for recentlydiscovered minerals, only to discover a scouser with a bobble hat on and a student banging on about global warming.
St Helen’s Theatre Royal JACK AND THE BEANSTALK
VARIOUS DATES BETWEEN 5-31 DEC, NOT 25, TIMES VARY, PRICES VARY
Christmas festive special of the classic children's tale.
The Brindley SNOW WHITE & THE SEVEN DWARFS
VARIOUS DATES BETWEEN 5 DEC AND 23 DEC, TIMES VARY, PRICES VARY
Polka Dot Pantomimes present their take on the classic fairytale, with Kim Woodburn and Melissa Wells among the stars performing. OUR MOVES!
3 DEC, TIMES VARY, £5
Energetic dance moves from members of the ADT dance groups across a range of styles.
The Capstone VALMIKI PRATIBHA
14 DEC, 6:30PM – 9:30PM, £12 (£10)
A dance drama by the Indian Nobel laureate, Tagore, based on the story of the Bandit King Ratnakar who abducts girls to sacrifice to mother Kali for success.
The Lantern Theatre ZAGMUTH
VARIOUS DATES BETWEEN 21 DEC AND 23 DEC, TIMES VARY, £10.50 (£8.50)
Take a Hint theatre present a magical Christmas show, promising to serve up a slice of warm, fuzzy festive feelings. THE TOMMY COOPER SHOW
VARIOUS DATES BETWEEN 16 DEC AND 19 DEC, TIMES VARY, £10.50 (£8.50)
The homage to the legendary comic returns to Liverpool for the festive season.
Unity Theatre RUMPLESTILTSKIN
VARIOUS DATES BETWEEN 2 DEC AND 23 DEC, TIMES VARY, FROM £8
A re-imagining of the classic tale perfect for Christmas.
December 2014
Listings
61
Comedy Manchester Tue 02 Dec
XS MALARKEY (JOHN HASTINGS + PHIL JERROD + GOOSE + JONATHAN PAYLOR + MORE)
PUB/ZOO, 19:30–22:30, £5 (£3)
The rather ace comedy night continues with the usual Tuesday night shenanigans.
Wed 03 Dec
THE BEST IN STAND UP (STEVE HARRIS + ROB DEERING + MICK FERRY + MC MANDY KNIGHT)
THE COMEDY STORE, 20:00–22:00, £12
Regular night of stand up with a line-up of five top circuit comedians.
Thu 04 Dec DAWN FRENCH
THE LOWRY: LYRIC THEATRE, 19:30–22:00, £37.50
The longstanding British comic takes to the road for her first ever solo tour, based on her life and career – a period of time that amounts to 30 million minutes. STEPHEN K AMOS
THE LOWRY: QUAYS THEATRE, 20:00–22:00, £18
Fresh from touring Australia, New Zealand, and a stint at Edinburgh Fringe, the English comic does his feel-good thing. THE BEST IN STAND UP (STEVE HARRIS + ROB DEERING + MICK FERRY + MC MANDY KNIGHT)
THE COMEDY STORE, 20:00–22:00, £12
Regular night of stand up with a line-up of five top circuit comedians.
CHRISTMAS COMEDY (MICKEY D + JOHN WARBURTON + MC DAVID LONGLEY) THE FROG AND BUCKET COMEDY CLUB, 19:00–22:30, £16
CHRISTMAS COMEDY (MICKEY D + JOHN WARBURTON + MC DAVID LONGLEY) THE FROG AND BUCKET COMEDY CLUB, 19:00–22:30, £37
The Frog and Bucket prepares for Christmas with a stellar bill primed for festive laughs.
Sat 06 Dec
LET’S SEE WHAT HAPPENS
THE KING’S ARMS, 19:30–21:30, £3
Improv from the members of CszUK – using audience suggestions a comedian will tell a story based on this, followed by improvised sketches from a troupe of actors. RUTH E DIXON
THE KING’S ARMS, 19:30–21:30, £5
The dark-minded comic straddles parenthood, fame, vaginas, depression and more in this rollercoaster show.
THE BEST IN STAND UP (STEVE HARRIS + ADDY VAN DER BORGH + ROB DEERING + MC MANDY KNIGHT + MORE) THE COMEDY STORE, 19:00–21:00, £20
Regular night of stand up with a line-up of five top circuit comedians.
THE BEST IN STAND UP (STEVE HARRIS + ADDY VAN DER BORGH + ROB DEERING + MC MANDY KNIGHT + MORE) THE COMEDY STORE, 21:30–23:30, £20
Regular night of stand up with a line-up of five top circuit comedians.
CHRISTMAS COMEDY (MICKEY D + JOHN WARBURTON + MC DAVID LONGLEY) THE FROG AND BUCKET COMEDY CLUB, 19:00–22:30, £39
The Frog and Bucket prepares for Christmas with a stellar bill primed for festive laughs.
The Frog and Bucket prepares for Christmas with a stellar bill primed for festive laughs.
Sun 07 Dec
Fri 05 Dec
THE HEATON SPORTS CLUB, 19:00–22:00, £7.50
LAUGH LOCAL
CHORLTON IRISH CLUB, 18:30–22:00, £10
Comedy comes to the suburbs as the folk behind Bop Local present an evening of comedy, with Justin Moorhouse leading the flock. SOS TV LIVE (PETER SLATER + LEE FENWICK + MORE)
THREE MINUTE THEATRE, 19:00–22:00, £5 (£4)
The Superstars on Saturday bunch present an evening of silly character sketches. COMIC FX
ROYAL EXCHANGE THEATRE, 17:30–19:00, FREE
An evening of free stand up comedy, with this edition bringing John Cooper to the stage.  DAWN FRENCH
THE LOWRY: LYRIC THEATRE, 19:30–22:00, £37.50
The longstanding British comic takes to the road for her first ever solo tour, based on her life and career – a period of time that amounts to 30 million minutes. PAUL FOOT
THE LOWRY: QUAYS THEATRE, 20:00–22:00, £14
Rant-heavy comedian from Bucks, with a Guild of Connoisseurs, rather than fans – as you do. SOS TV LIVE
THREE MINUTE THEATRE, 19:00–22:00, £5 (£4)
The Superstars on Saturday bunch present an evening of silly character sketches.
THE BEST IN STAND UP (STEVE HARRIS + ADDY VAN DER BORGH + ROB DEERING + MC MANDY KNIGHT + MORE) THE COMEDY STORE, 19:00–21:00, £18
Regular night of stand up with a line-up of five top circuit comedians.
THE BEST IN STAND UP (STEVE HARRIS + ADDY VAN DER BORGH + ROB DEERING + MC MANDY KNIGHT + MORE) THE COMEDY STORE, 21:30–23:30, £18
Regular night of stand up with a line-up of five top circuit comedians.
62
Listings
GARY DELANEY (ELIS JAMES + LOU CONRAN + MC JUSTIN MOORHOUSE)
Regular triple headline show, with three comics lined up to tickle your funny bone.
ELIS JAMES (GARY DELANEY + EDDIE NORTH + MC ANDREW RYAN)
DIDSBURY CRICKET CLUB, 19:00–22:00, £7
The bilingual comic (Welsh and English) headlines this triple-bill. TOMMY TIERNAN
THE LOWRY: LYRIC THEATRE, 19:30–22:00, £19
He once set the World Record for the longest stand-up comedy show at 36 hours and 15 minutes. Expect something a little shorter from the Irish comedian tonight though. KING GONG (MC MICK FERRY)
THE COMEDY STORE, 19:30–21:30, £6
A night of stand-up from some fresh-faced comics trying to break on to the circuit – be nice.
Mon 08 Dec THE NOISE NEXT DOOR
THE COMEDY STORE, 20:00–22:00, £12
Explosive doses of The Noise Next Door’s trademark off-the-cuff comedy. BEAT THE FROG
THE FROG AND BUCKET COMEDY CLUB, 19:00–22:30, £3
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!
Tue 09 Dec LEE MACK
O2 APOLLO, 19:00–22:30, £27.50
The multi-award winning comic takes to the road for his first live tour in over four years, trademark high energy banter and sharp oneliners all well and in place. THE WORST COMEDY NIGHT IN SALFORD
THE KING’S ARMS, 19:30–21:30, FREE
Keeping expectations low with this night of open mic stand up, opening up the stage to anyone willing to give it go.
XS MALARKEY (SAM SIMMONS + ALFIE BROWN + ROB ROUSE + NINA GILLIGAN + MORE) PUB/ZOO, 19:30–22:30, £5 (£3)
The rather ace comedy night continues with the usual Tuesday night shenanigans.
Wed 10 Dec LEE MACK
O2 APOLLO, 19:00–22:30, £27.50
The multi-award winning comic takes to the road for his first live tour in over four years, trademark high energy banter and sharp oneliners all well and in place.
THE BEST IN STAND UP (TOM WRIGGLESWORTH + MIKE GUNN + STEVE SHANYASKI + MC MICK FERRY)
THE COMEDY STORE, 20:00–22:00, £12
Regular night of stand up with a line-up of five top circuit comedians.
TWISTED COMEDY (KIRI PRITCHARD-MCLEAN + BARBERA NICE!)
THE FROG AND BUCKET COMEDY CLUB, 19:00–22:30, £5
The headliner creates three rules for her supports to follow each night.
Thu 11 Dec LEE MACK
O2 APOLLO, 19:00–22:30, £27.50
The multi-award winning comic takes to the road for his first live tour in over four years, trademark high energy banter and sharp oneliners all well and in place.
THE BEST IN STAND UP (TOM WRIGGLESWORTH + MIKE GUNN + ALUN COCHRANE + MC TOBY HADOKE)
THE COMEDY STORE, 20:00–22:00, £22
Regular night of stand up with a line-up of five top circuit comedians.
CHRISTMAS COMEDY (GARY DELANEY + PAUL TONKINSON + MC PHIL ELLIS)
THE FROG AND BUCKET COMEDY CLUB, 19:00–22:30, £16
The Frog and Bucket prepares for Christmas with a stellar bill primed for festive laughs.
Fri 12 Dec LEE MACK
O2 APOLLO, 19:00–22:30, £27.50
The multi-award winning comic takes to the road for his first live tour in over four years, trademark high energy banter and sharp oneliners all well and in place.
THE BEST IN STAND UP (JO CAULFIELD + TOM WRIGGLESWORTH + DAVE WILLIAMS + ALUN COCHRANE + MC TOBY HADOKE) THE COMEDY STORE, 19:00–21:00, £22
Regular night of stand up with a line-up of five top circuit comedians.
THE BEST IN STAND UP (JO CAULFIELD + TOM WRIGGLESWORTH + DAVE WILLIAMS + ALUN COCHRANE + MC TOBY HADOKE) THE COMEDY STORE, 21:30–23:30, £22
Regular night of stand up with a line-up of five top circuit comedians.
CHRISTMAS COMEDY (GARY DELANEY + SMUG ROBERTS + MC PHIL ELLIS)
THE FROG AND BUCKET COMEDY CLUB, 19:00–22:30, £15
The Frog and Bucket prepares for Christmas with a stellar bill primed for festive laughs.
Sat 13 Dec LEE MACK
O2 APOLLO, 19:00–22:30, £27.50
The multi-award winning comic takes to the road for his first live tour in over four years, trademark high energy banter and sharp oneliners all well and in place.
THE BEST IN STAND UP (JO CAULFIELD + TOM WRIGGLESWORTH + DAVE WILLIAMS + ALUN COCHRANE + MC TOBY HADOKE) THE COMEDY STORE, 19:00–21:00, £24
CHRISTMAS COMEDY (GARY DELANEY + SMUG ROBERTS + MC PHIL ELLIS) THE FROG AND BUCKET COMEDY CLUB, 19:00–22:30, £39
The Frog and Bucket prepares for Christmas with a stellar bill primed for festive laughs.
Sun 14 Dec LEE MACK
O2 APOLLO, 19:00–22:30, £27.50
The multi-award winning comic takes to the road for his first live tour in over four years, trademark high energy banter and sharp oneliners all well and in place.
HAYLEY’S CHRISTMAS PARTY (HAYLEY ELLIS + KATHY EASTHAM + DANNY SUTCLIFFE + GEIN’S FAMILY GIFTSHOP + MORE)
CHRISTMAS COMEDY (PHIL WALKER + ALEX BOARDMAN + MC TOBY HADOKE) THE FROG AND BUCKET COMEDY CLUB, 19:00–22:30, £37
The Frog and Bucket prepares for Christmas with a stellar bill primed for festive laughs.
Sat 20 Dec RUSSELL HOWARD
PHONES 4U ARENA, 19:30–23:00, £32.95
THREE MINUTE THEATRE, 19:00–22:00, £4
NEW STUFF (MC TOBY HADOKE)
O2 APOLLO, 19:00–22:30, £27.50
The house party of the year! That’s not in a house. THE COMEDY STORE, 19:30–23:30, £3
A night of stand-up from some fresh-faced comics trying to break on to the circuit – be nice. PRINCE HARRY’S HANGOVER
THE FROG AND BUCKET COMEDY CLUB, 19:00–22:30, FROM £10
One of the UK’s fastest-rising comedians White Yardie presents his new show.
Mon 15 Dec
SIDEKICK COMEDY (KATE MCCABE + JONATHAN MAYOR + PENELLA MELLOR + WILL DUGGAN) VIA, 19:30–22:00, £2
A monthly comedy gig offering an alternative to the usual comedy nights, offering a new take on the template with a nerdy-cool vibe. MICK MILLER AND FRIENDS
THE COMEDY STORE, 20:00–22:00, £14 (£10)
The veteran comic is joined by a host of pals for this festive special. BEAT THE FROG
THE FROG AND BUCKET COMEDY CLUB, 19:00–22:30, £3
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!
LEE MACK
Join local housewife superstar Mrs Barbara Nice in a seasonal selection box of fun and frolics!
THE BEST IN STAND UP (MICK FERRY + ALISTAIR BARRIE + DANNY MCLOUGHLIN + STEVE GRIBBIN + MC BEN NORRIS)
THE COMEDY STORE, 19:00–21:00, £24
Regular night of stand up with a line-up of five top circuit comedians.
THE BEST IN STAND UP (MICK FERRY + ALISTAIR BARRIE + DANNY MCLOUGHLIN + STEVE GRIBBIN + MC BEN NORRIS)
THE COMEDY STORE, 21:30–23:30, £24
Regular night of stand up with a line-up of five top circuit comedians.
CHRISTMAS COMEDY (PHIL WALKER + ALEX BOARDMAN + MC TOBY HADOKE) THE FROG AND BUCKET COMEDY CLUB, 19:00–22:30, £SOLD OUT
NEW COMEDIANS (MC ALEX BOARDMAN)
THE COMEDY STORE, 19:30–21:30, £3
Wed 17 Dec
Regular night of stand up with five world-class comedians.
THE COMEDY STORE, 20:00–22:00, £14
BLACK COMEDY NIGHT (MC TREVOR LYNCH)
Regular night of stand up with a line-up of five top circuit comedians.
CHRISTMAS COMEDY (DALISO CHAPONDA + ALEX BOARDMAN + MC DANNY MCLOUGHLIN)
THE FROG AND BUCKET COMEDY CLUB, 19:00–22:30, £14
The Frog and Bucket prepares for Christmas with a stellar bill primed for festive laughs.
Thu 18 Dec
THE BEST IN STAND UP (MICK FERRY + STEVE GRIBBIN + BEN NORRIS + MC ALISTAIR BARRIE) THE COMEDY STORE, 20:00–22:00, £18
Regular night of stand up with a line-up of five top circuit comedians.
CHRISTMAS COMEDY (DALISO CHAPONDA + ALEX BOARDMAN + MC TOBY HADOKE)
THE FROG AND BUCKET COMEDY CLUB, 19:00–22:30, £16
The Frog and Bucket prepares for Christmas with a stellar bill primed for festive laughs.
Fri 19 Dec
BARBARA NICE’S CHRISTMAS CRACKER
THE DANCEHOUSE, 20:00–22:00, £12
THE COMEDY STORE, 21:30–23:30, £24
THE COMEDY STORE, 19:00–21:00, £22
THE BEST IN STAND UP (MICK FERRY + ALISTAIR BARRIE + DANNY MCLOUGHLIN + STEVE GRIBBIN + MC BEN NORRIS)
Regular night of stand up with a line-up of five top circuit comedians.
DALISO CHAPONDA (ALFIE MOORE + STEVE BUGEJA + MC DAN NIGHTINGALE) NORFOLK ARMS, 19:30–22:00, £10
Regular triple headline show, with three comics lined up to tickle your funny bone. THE BEST IN STAND UP (DANNY MCLOUGHLIN + ALUN COCHRANE + MC JUSTIN MOORHOUSE)
THE COMEDY STORE, 19:30–21:30, £12
Regular night of stand up with a line-up of five top circuit comedians.
Mon 29 Dec
THE BEST IN STAND UP (DANNY MCLOUGHLIN + MICK FERRY + MC JUSTIN MOORHOUSE)
Mon 22 Dec
THE COMEDY STORE, 19:30–21:30, £5
Trevor Lynch presents the latest in a series of comedy nights, aptly titled Laff ‘til Ya Fart. BEAT THE FROG
THE FROG AND BUCKET COMEDY CLUB, 19:00–22:30, £3
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!
Tue 23 Dec
THE WORST COMEDY NIGHT IN SALFORD
THE KING’S ARMS, 19:30–21:30, FREE
Keeping expectations low with this night of open mic stand up, opening up the stage to anyone willing to give it go.
Sat 27 Dec
THE BEST IN STAND UP (DANNY MCLOUGHLIN + ALUN COCHRANE + MICK FERRY + DAVID LONGLEY + MC JUSTIN MOORHOUSE)
THE COMEDY STORE, 20:00–22:00, £20
Regular night of stand up with a line-up of five top circuit comedians.
CHRISTMAS COMEDY (SMUG ROBERTS + DAVID LONGLEY + MC DAVE WILLIAMS)
THE FROG AND BUCKET COMEDY CLUB, 19:00–22:30, £17 (£10)
The Frog and Bucket prepares for Christmas with a stellar bill primed for festive laughs.
Liverpool Comedy Wed 03 Dec
PENNY PEPPER PRESENTS LOST IN SPACES
THE BLUECOAT, 19:30–21:30, £8 (£6)
The award-winning writer and activist presents her new show.
THE LAUGHTER FACTOR (MC PAUL SMITH)
THE SLAUGHTERHOUSE, 20:00–22:00, £5 (£3)
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.
Thu 04 Dec
THE COMEDY STORE, 20:00–22:00, £14
STEVE SHANYASKI (BENNY BOOT + WAYNE DEAKIN + MC DANNY MCLOUGHLIN)
BEAT THE FROG
Regular triple headline show, with three comics lined up to tickle your funny bone.
THE FROG AND BUCKET COMEDY CLUB, 19:00–22:30, £3
BARBARA NICE’S CHRISTMAS CRACKER
Sun 21 Dec
THE BEST IN STAND UP (ALISTAIR BARRIE + STEVE GRIBBIN + DANNY MCLOUGHLIN + MC MICK FERRY)
ROYAL GEORGE, 19:30–22:00, £9
A BAFTA Award winner as part of The Sketch Show, Tavare hits the stage with a local supporting cast.
THE DANCEHOUSE, 20:00–22:00, £12
THE COMEDY STORE, 20:00–22:00, £12
Regular night of stand up with a line-up of five top circuit comedians. Line up TBA.
JIM TAVARE (BARRY CASTAGNOLA + WILL SETCHELL + MC MICK FERRY)
Regular night of stand up with a line-up of five top circuit comedians.
Tue 16 Dec THE BEST IN STAND UP
Sun 28 Dec
The multi-award winning comic takes to the road for his first live tour in over four years, trademark high energy banter and sharp oneliners all well and in place.
The Frog and Bucket prepares for Christmas with a stellar bill primed for festive laughs.
Regular night of stand up with a line-up of five top circuit comedians.
Regular night of stand up with a line-up of five top circuit comedians.
THE COMEDY STORE, 21:30–23:30, £22
Regular night of stand up with a line-up of five top circuit comedians.
The BBC star and stand-up comic does his googly eyes and shouting thing all in the name of laughs.
Join local housewife superstar Mrs Barbara Nice in a seasonal selection box of fun and frolics!
THE BEST IN STAND UP (JO CAULFIELD + TOM WRIGGLESWORTH + DAVE WILLIAMS + ALUN COCHRANE + MC TOBY HADOKE)
THE BEST IN STAND UP (MICK FERRY + ALISTAIR BARRIE + DANNY MCLOUGHLIN + STEVE GRIBBIN + MC BEN NORRIS)
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!
Tue 30 Dec
THE BEST IN STAND UP (DANNY MCLOUGHLIN + MICK FERRY + MC JUSTIN MOORHOUSE)
THE COMEDY STORE, 20:00–22:00, £14
Regular night of stand up with a line-up of five top circuit comedians.
CHRISTMAS COMEDY (MICK FERRY + FELICITY WARD + DAN NIGHTINGALE + MC JONATHAN MAYOR) THE FROG AND BUCKET COMEDY CLUB, 19:00–22:30, £15
The Frog and Bucket prepares for Christmas with a stellar bill primed for festive laughs.
Wed 31 Dec
NEW YEAR’S EVE STAND UP (ALISTAIR BARRIE + STEVE SHANYASKI + LOUIS RARNEY + CHARLIE BAKER + MC MANDY KNIGHT) THE COMEDY STORE, 18:00–20:00, £30
New Year’s Eve special, with a host of world class comedians celebrating the end of 2014.
NEW YEAR’S EVE STAND UP (ALISTAIR BARRIE + STEVE SHANYASKI + LOUIS RARNEY + CHARLIE BAKER + MC MANDY KNIGHT)
THE COMEDY STORE, 21:00–23:00, £40
New Year’s Eve special, with a host of world class comedians celebrating the end of 2014. CHRISTMAS COMEDY (ALEX BOARDMAN + STEVE HARRIS + DAVID LONGLEY + MC MICK FERRY)
THE FROG AND BUCKET COMEDY CLUB, 19:00–22:30, £38
The Frog and Bucket prepares for Christmas with a stellar bill primed for festive laughs.
COMEDY CENTRAL, 18:00–22:00, £45
TOM STADE (DALISO CHAPONDA + CHRIS MCCAUSLAND + MC CHRIS CAIRNS)
THE SLAUGHTERHOUSE, 20:00–22:00, £15
MC Chris Cairns compères a tripleheadlining night of comedy. HOT WATER COMEDY CLUB AT CHRISTMAS (TONY JAMESON + TONY CARROLL + WES ZAHARUK + MC PAUL SMITH)
HOLIDAY INN, 19:00–22:00, £12
Hot Water begin bubbling up towards Christmas with a triple-headlining rib-tickler of an evening. DATENIGHT
QUE PASA SANTINA, 19:30–22:50, £10
A date night with a difference - namely the fact that a load of comedians will be up on stage attempting to help break the ice while a load of single folks eye each other cautiously from either end of the room.
Fri 05 Dec LAURENCE CLARK
THE BLUECOAT, 19:30–21:30, £10 (£8)
TOM STADE (DALISO CHAPONDA + CHRIS MCCAUSLAND + MC CHRIS CAIRNS) THE SLAUGHTERHOUSE, 18:45–20:45, £19.95
MC Chris Cairns compères a tripleheadlining night of comedy. CHRIS MCCAUSLAND (TOM STADE + CHRIS MCCAUSLAND + MC CHRIS CAIRNS)
THE SLAUGHTERHOUSE, 21:00–23:00, £22.95
MC Chris Cairns compères a tripleheadlining night of comedy. HOT WATER COMEDY CLUB AT CHRISTMAS (PETER MCCOLE + KEITH CARTER AS NIGE + MC PAUL SMITH)
HOLIDAY INN, 18:30–20:30, £15
Hot Water begin bubbling up towards Christmas with a triple-headlining rib-tickler of an evening.
HOT WATER COMEDY CLUB AT CHRISTMAS (PETER MCCOLE + KEITH CARTER AS NIGE + MC PAUL SMITH)
HOLIDAY INN, 21:00–23:00, £15
Hot Water begin bubbling up towards Christmas with a triple-headlining rib-tickler of an evening.
Sun 07 Dec OMID DJALILI
LIVERPOOL EMPIRE, 20:00–22:00, FROM £26.90
British Iranian stand up comic with a knack for picking apart the stereotypes – often seen on Live at the Apollo.
Mon 08 Dec
DAVE GORMAN GETS STRAIGHT TO THE POINT
LIVERPOOL PHILHARMONIC HALL, 20:00–22:30, FROM £20
Dave Gorman continues to tour his latest show, a double-act of sorts with a projector screen.
Wed 10 Dec
KEITH CARTER AS NIGE (CHRIS TURNER + PHILBERTO + MC DAVE TWENTYMAN)
COMEDY CENTRAL, 18:00–22:00, £25
Regular triple headline show, with three comics lined up to tickle your funny bone.
The We Won’t Drop The Baby and Shortlist Funniest New Comedian nominee presents his latest show.
SHINY NEW COMEDY LAB CHRISTMAS SPECIAL (HELEN KEELER + MIKE MILLING + LEEBO LUBY + SAM AVERY)
THE BLUECOAT, 19:30–21:30, £10 (£8)
Christmas special of the regular comedy night.
LAURENCE CLARK
The We Won’t Drop The Baby and Shortlist Funniest New Comedian nominee presents his latest show.
STEVE SHANYASKI (BENNY BOOT + WAYNE DEAKIN + MC DANNY MCLOUGHLIN) COMEDY CENTRAL, 18:00–22:00, £25
Regular triple headline show, with three comics lined up to tickle your funny bone.
CHRIS MCCAUSLAND (TOM STADE + DALISO CHAPONDA + MC CHRIS CAIRNS) THE SLAUGHTERHOUSE, 18:45–20:45, £19.95
MC Chris Cairns compères a tripleheadlining night of comedy. DALISO CHAPONDA (TOM STADE + CHRIS MCCAUSLAND + MC CHRIS CAIRNS)
THE SLAUGHTERHOUSE, 21:00–23:00, £22.95
Regular triple headline show, with three comics lined up to tickle your funny bone. HOT WATER COMEDY CLUB AT CHRISTMAS (ADAM STAUNTON + TONY JAMESON + KEITH CARTER AS NIGE)
HOLIDAY INN, 19:00–22:00, £15
Hot Water begin bubbling up towards Christmas with a triple-headlining rib-tickler of an evening.
Sat 06 Dec
CHRISTMAS COMEDY SPECIALS
THE MAGNET , 20:30–22:30, £12
Christmas special featuring the usual array of rib-tickling comedians.
STEVE SHANYASKI (BENNY BOOT + WAYNE DEAKIN + MC DANNY MCLOUGHLIN) COMEDY CENTRAL, 18:00–22:00, £45
Regular triple headline show, with three comics lined up to tickle your funny bone.
THE LANTERN THEATRE, 19:30–22:00, FREE
Thu 11 Dec
GARY DELANEY (CHRIS TURNER + PHILBERTO + MC DAVE TWENTYMAN) COMEDY CENTRAL, 18:00–22:00, £45
Regular triple headline show, with three comics lined up to tickle your funny bone. PAUL TONKINSON (STE PORTER + MARKUS BIRDMAN + MC CHRIS CAIRNS)
THE SLAUGHTERHOUSE, 20:00–22:00, £15
MC Chris Cairns compères a tripleheadlining night of comedy. ROSS NOBLE
LIVERPOOL PHILHARMONIC HALL, 20:00–22:30, FROM £25
The freewheeling Geordie comic takes to the live stage as part of his Tangentleman UK tour, likely as unprepared and demonic as ever.
HOT WATER COMEDY CLUB AT CHRISTMAS (PHIL CHAPMAN + ADAM RUSHTON + ALLYSON SMITH + MC PAUL SMITH)
HOLIDAY INN, 19:00–22:00, £12
Hot Water begin bubbling up towards Christmas with a triple-headlining rib-tickler of an evening.
Fri 12 Dec
GARY DELANEY (DANNY MCLOUGHLIN + PHILBERTO + MC DAVE TWENTYMAN)
COMEDY CENTRAL, 18:00–22:00, £45
Regular triple headline show, with three comics lined up to tickle your funny bone. PAUL SINHA (PAUL TONKINSON + MARKUS BIRDMAN + MC CHRIS CAIRNS)
THE SLAUGHTERHOUSE, 18:45–20:45, £19.95
MC Chris Cairns compères a tripleheadlining night of comedy.
THE SKINNY
MARKUS BIRDMAN (PAUL TONKINSON + PAUL SINHA + MC CHRIS CAIRNS) THE SLAUGHTERHOUSE, 21:00–23:00, £22.95
MC Chris Cairns compères a tripleheadlining night of comedy.
LAUGHTERHOUSE LIVE (JASON MANFORD + HAL CRUTTENDEN + TERRY ALDERTON + PAUL TONKINSON + MORE) LIVERPOOL PHILHARMONIC HALL, 20:00–22:30, FROM £20
A festive special featuring a host of Comedy Roadshow alumni, headed by ‘fat Michael Owen’ Jason Manford. HOT WATER COMEDY CLUB AT CHRISTMAS (ALLYSON SMITH + ROB THOMAS + PHIL CHAPMAN + MC PAUL SMITH)
HOLIDAY INN, 19:00–22:00, £15
Hot Water begin bubbling up towards Christmas with a triple-headlining rib-tickler of an evening.
Sat 13 Dec
CHRISTMAS COMEDY SPECIALS
THE MAGNET , 20:30–22:30, £12
Christmas special featuring the usual array of rib-tickling comedians.
GARY DELANEY (PHIL WALKER + PHILBERTO + MC DAVE TWENTYMAN)
COMEDY CENTRAL, 18:00–22:00, £45
Regular triple headline show, with three comics lined up to tickle your funny bone.
PAUL SINHA (PAUL TONKINSON + MARKUS BIRDMAN + MC CHRIS CAIRNS) THE SLAUGHTERHOUSE, 18:45–20:45, £19.95
MC Chris Cairns compères a tripleheadlining night of comedy.
PAUL TONKINSON (PAUL SINHA + MARKUS BIRDMAN + MC CHRIS CAIRNS) THE SLAUGHTERHOUSE, 21:00–23:00, £22.95
MC Chris Cairns compères a tripleheadlining night of comedy.
HOT WATER COMEDY CLUB AT CHRISTMAS (PHIL CHAPMAN + GREG COOK + MORE)
HOLIDAY INN, 18:30–20:30, £15
Hot Water begin bubbling up towards Christmas with a triple-headlining rib-tickler of an evening.
HOT WATER COMEDY CLUB AT CHRISTMAS (PHIL CHAPMAN + GREG COOK + MORE)
HOLIDAY INN, 21:00–23:00, £15
Hot Water begin bubbling up towards Christmas with a triple-headlining rib-tickler of an evening.
Mon 15 Dec LEE MACK
LIVERPOOL EMPIRE, 20:00–22:00, FROM £31.40
The multi-award winning comic takes to the road for his first live tour in over four years, trademark high energy banter and sharp oneliners all well and in place.
Tue 16 Dec
REGINALD D HUNTER (STEVE HARRIS + KEITH CARTER AS NIGE + MC CHRIS CAIRNS)
THE SLAUGHTERHOUSE, 20:00–22:00, £18
The boom-voiced comic continues with his uniquely non-secular approach to comedy.
Wed 17 Dec RUSSELL HOWARD
ECHO ARENA, 20:00–22:30, £27.50
The BBC star and stand-up comic does his googly eyes and shouting thing all in the name of laughs.
DALISO CHAPONDA (DAVID LONGLEY + JAMIE SUTHERLAND + MC DAVE WILLIAMS) COMEDY CENTRAL, 18:00–22:00, £25
Regular triple headline show, with three comics lined up to tickle your funny bone. REGINALD D HUNTER (STEVE HARRIS + KEITH CARTER AS NIGE + MC CHRIS CAIRNS)
THE SLAUGHTERHOUSE, 20:00–22:00, £18
The boom-voiced comic continues with his uniquely non-secular approach to comedy.
Thu 18 Dec JOHN BISHOP
ECHO ARENA, 20:00–22:30, £30
The marketing director turned comedian takes to the road with his new tour of confessionalstyled stand-up.
DALISO CHAPONDA (DAVID LONGLEY + JAMIE SUTHERLAND + MC DAVE WILLIAMS) COMEDY CENTRAL, 18:00–22:00, £45
Regular triple headline show, with three comics lined up to tickle your funny bone. KEITH CARTER AS NIGE (MICK FERRY + LUKE TOULSON + MC CHRIS CAIRNS)
THE SLAUGHTERHOUSE, 20:00–22:00, £15
Regular triple headline show, with three comics lined up to tickle your funny bone. HOT WATER COMEDY CLUB AT CHRISTMAS (DAVE TWENTYMAN + ADAM ROWE + STEVE GRIBBIN + MC PAUL SMITH)
HOLIDAY INN, 19:00–22:00, £12
Hot Water begin bubbling up towards Christmas with a triple-headlining rib-tickler of an evening. PAULINE’S CHRISTMAS COMEDY CRACKER
THE BRINDLEY, 20:00–22:00, £12.50
A festive feast of comedy in aid of the North West Cancer Research charity.
Fri 19 Dec JOHN BISHOP
ECHO ARENA, 20:00–22:30, £30
The marketing director turned comedian takes to the road with his new tour of confessionalstyled stand-up.
DALISO CHAPONDA (DAVID LONGLEY + JAMIE SUTHERLAND + MC DAVE WILLIAMS) COMEDY CENTRAL, 18:00–22:00, £25
Regular triple headline show, with three comics lined up to tickle your funny bone. MICK FERRY (LUKE TOULSON + KEITHER CARTER AS NIGE + MC CHRIS CAIRNS)
THE SLAUGHTERHOUSE, 18:45–20:45, £19.95
MC Chris Cairns compères a tripleheadlining night of comedy. LUKE TOULSON (MICK FERRY + KEITH CARTER AS NIGE + MC CHRIS CAIRNS)
THE SLAUGHTERHOUSE, 21:00–23:00, £22.95
MC Chris Cairns compères a tripleheadlining night of comedy. HOT WATER COMEDY CLUB AT CHRISTMAS (DAVE TWENTYMAN + ADAM ROWE + STEVE GRIBBIN + MC PAUL SMITH)
HOLIDAY INN, 19:00–22:00, £15
Hot Water begin bubbling up towards Christmas with a triple-headlining rib-tickler of an evening.
Sat 20 Dec JOHN BISHOP
ECHO ARENA, 20:00–22:30, £30
The marketing director turned comedian takes to the road with his new tour of confessionalstyled stand-up.
DALISO CHAPONDA (DAVID LONGLEY + JAMIE SUTHERLAND + MC DAVE WILLIAMS) COMEDY CENTRAL, 18:00–22:00, £25
Regular triple headline show, with three comics lined up to tickle your funny bone. KEITH CARTER AS NIGE (MICK FERRY + LUKE TOULSON + MC CHRIS CAIRNS)
THE SLAUGHTERHOUSE, 21:00–23:00, £22.95
Regular triple headline show, with three comics lined up to tickle your funny bone. HOT WATER COMEDY CLUB AT CHRISTMAS (STEVE GRIBBIN + DAVE TWENTYMAN + MORE)
HOLIDAY INN, 19:00–22:00, £15
Hot Water begin bubbling up towards Christmas with a triple-headlining rib-tickler of an evening.
Sat 27 Dec
ALEX BOARDMAN (PETER OTWAY + MC MARK OLVER + MORE)
COMEDY CENTRAL, 18:00–22:00, £18
Regular triple headline show, with three comics lined up to tickle your funny bone. THE KEN DODD HAPPINESS SHOW
LIVERPOOL PHILHARMONIC HALL, 19:00–22:00, FROM £16
The venerable comic goes back on tour again.
Sun 28 Dec
THE KEN DODD HAPPINESS SHOW
LIVERPOOL PHILHARMONIC HALL, 19:00–22:00, FROM £16
The venerable comic goes back on tour again.
Wed 31 Dec
KEITH CARTER AS NIGE (JOHN LYNN + HOWARD READ + MC DANNY MCLOUGHLIN) COMEDY CENTRAL, 18:00–22:00, £35
Regular triple headline show, with three comics lined up to tickle your funny bone. NEW YEAR’S EVE SPECIAL (STEVE ROYLE + STEVE GRIBBIN + JAMIE SUTHERLAND + MC PAUL SMITH)
HOLIDAY INN, 20:00–23:00, £23
A New Year’s Eve Hot Water special featuring three of the club’s faves.
Manchester Art Castlefield Gallery
30 YEARS OF THE FUTURE VARIOUS DATES BETWEEN 5 DEC AND 1 FEB, 1:00PM – 6:00PM, FREE
The Castlefield Art Gallery celebrates its 30th anniversary by inviting prominent contemporary artists, curators and thinkers who have contributed to its past to nominate artists who they consider to be shaping the future of contemporary art.
Centre for Chinese Contemporary Art
SUN XUN: UNDEFINED REVOLUTION
VARIOUS DATES BETWEEN 18 DEC AND 21 MAR, 10:00AM – 5:00PM, FREE
The Hangzhou-based printmaking graduate showcases a UK premiere of his animation What Happened in the Year of the Dragon, along with some of previous animation and video works. WHAT’S LEFT UNSAID
VARIOUS DATES BETWEEN 26 SEP AND 17 JAN, 10:00AM – 5:00PM, FREE
Burgeoning artist Susie Tang is the latest graduate showcased by the Centre For Chinese Contemporary Art in their ongoing series.
Common
THE GRAVEHOUNDS OF BONE STREET
28 AUG – 1 FEB, TIMES VARY, FREE
From artist collective Skull Paradise - made up of illustrators and designers from Brighton, London and Leeds - comes a cartoon world of leather wearing, motorbike riding, bad attitude, degenerate street dogs. FLAGS FROM ANOTHER PLACE
25 SEP – 1 FEB, TIMES VARY, FREE
Aliyah Hussain’s Flags From Another Place focuses on an imagined visual identity for a fictitious world that may or may not be like Earth, using only the flags of each country as a form of expression of individuality for these potentially complex nations.
Contact
FUTURE FIRES: THE NEGATIVES
29 SEP – 19 DEC, WEEKDAYS ONLY, 10:00AM – 11:00PM, FREE
Photography exhibition courtesy of the Companions which attempts to shed light on the homeless situation in the UK.
Art
Manchester THE FUTURE: CONTEXT 29 SEP – 19 DEC, WEEKDAYS ONLY, 10:00AM – 11:00PM, FREE
A series of individually designed typographic prints by The Future’s Lisa Mattocks, featuring commissions by Marina Abramovic, Quarantine’s Richard Gregory, Forced Entertainment’s Tim Etchells and more.
Cornerhouse PLAYTIME
VARIOUS DATES BETWEEN 22 NOV AND 15 MAR, TIMES VARY, FREE
Nine artists come together using comedy, space and sound to encourage exploration and play in the Cornerhouse for the final time before its 2015 move to HOME. Lawrence Abu Hamdan, Naomi Kashiwagi, Gabriel Lester and Jan St. Werner present new work. A FLOURISH
VARIOUS DATES BETWEEN 27 NOV AND 6 JAN, TIMES VARY, FREE
A series of ornithological drawings by artist Fran Giffard.
Federation House
HANKERING FOR CLASSIFICATION
VARIOUS DATES BETWEEN 15 NOV AND 20 DEC, TIMES VARY, FREE
Exhibition presenting new and existing work by ten artists from across the UK, who employ methods of classification, archiving and collecting. Exhibiting artists include Nicky Bird, Andrew Bracey, David Gledhill and more.
Gallery of Costume SOMETHING BLUE
1 AUG – 15 MAR, TIMES VARY, FREE
Eighteen wedding dresses, worn by mill workers to woman serving in the air force as well as art world figures Kathleen Soriano and Maria Balshaw, are exhibited in a celebration of bridal fashion over the past 100 years.
Imperial War Museum North
FROM STREET TO TRENCH: A WORLD WAR THAT SHAPED A REGION
27 AUG – 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.
Instituto Cervantes
THE FACES OF MASCULINITY IN CUBA
10 OCT – 12 DEC, 9:30AM – 5:30PM, FREE
Javier Pinto Grajera’s photography focuses on a personal representation of typical masculine-feminine stereotypes that appear in Cuba.
Kosmonaut GRAND TOUR
5 DEC-2 JAN, TIMES VARY, FREE
Local illustrator himHallows brings his warped sci-fi world to Kosmonaut as he takes viewers on a grand tour of mixed techniques and dark arts.
MMU Special Collections MATERIAL MATTERS
22 SEP – 12 DEC, NOT SUNDAYS, TIMES VARY, FREE
An exhibition of historic and contemporary objects exploring how different materials have been used in art, craft and design over the centuries, and the ongoing importance of materiality to the artist and designer.
Manchester Art Gallery 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.
December 2014
NATURAL FORCES: ROMANTICISM & NATURE 12–12 JUL, TIMES VARY, FREE
A collection of early 1800s Romantic works focused on the idea of nature as a force. THE SENSORY WAR
11 OCT – 25 JAN, TIMES VARY, FREE
To mark the 100th anniversary of the outbreak of World War I this special exhibition looks at ways in which artists have interpreted and re-imagined the events of the conflict. Featuring work from Henry Lamb, CRW Nevinson and Paul Nash among others. HEAVEN IN A HELL OF WAR
VARIOUS DATES BETWEEN 29 NOV AND 1 MAR, TIMES VARY, FREE
An exhibition of work by acclaimed British painter, Stanley Spencer, featuring a series of large-scale arched canvases and side panels detailing scenes of the artist’s own wartime experiences.
The John Rylands Library ECHO AND NARCISSUS
11 AUG – 9 JAN, TIMES VARY, FREE
Echo and Narcissus pays tribute to literary heroines through the ages in a series of photographs, mirrors and etchings.
The Lowry BEHIND THE MASK
20 SEP – 11 JAN, TIMES VARY, FREE
Untitled Gallery
MADE IN MANCHESTER
VARIOUS DATES BETWEEN 24 OCT AND 29 MAY, TIMES VARY, £4.50 (£3.50)
The first retrospective on Manchester-based artist, teacher and writer Emmanuel Levy for 30 years, highlighting his Northern heritage.
PS Mirabel MULTIPLY
22 NOV, 29 NOV, 6 DEC, 11:00AM – 5:00PM, FREE
A selling show featuring a range of up and coming contemporary artists from the North of England.
24 JUN – 31 DEC, 10:00AM – 5:00PM, FREE
Tom Hackney’s exhibitions posits a response to the Walter Benjamin’s The Arcades Project, which posits the idea of a constellation as an alternate to linearity.
Liverpool Art FACT
ELLIE HARRISON: EARLY WARNING SIGNS
9 MAY – 31 DEC, TIMES VARY, FREE
13 NOV – 8 FEB, TIMES VARY, FREE
SELECTION FROM THE COLLECTION
18 OCT – 15 FEB, TIMES VARY, FREE
To celebrate Chinese New Year, the gallery delve into their catalogue to present depictions of the horse (2014) and the sheep (2015). IMMORTAL LOVE FROM SHANGHAI
15 NOV – 15 MAR, TIMES VARY, FREE
A traditionally-slanted Chinese art exhibition, depicting the history and development of the Chinese Dragon, paintings showing symbols of wealth, love and friendship and traditional Chinese watercolour paintings.
The Holden Gallery
(DIS)ORDER: A COMPULSION TO COLLECT 27 OCT – 12 DEC, WEEKDAYS ONLY, 10:00AM – 4:00PM, FREE
A group shows that explores the idea that it is only when we see a collection of things in one place that we have a better understanding of difference. Across different mediums, artist including Ian Hamilton Finlay and Susan Hiller look at the gap between order and disorder.
The International 3 MAEVE RENDLE
VARIOUS DATES BETWEEN 6 DEC AND 15 JAN, 12:00PM – 5:00PM, FREE
This debut solo show sees Rendle present two-screen installation Gretta’s Gabriel, Gabriel’s Gretta. Comprising the films Gretta’s Gabriel and Gabriel’s Gretta, inspiration comes from James Joyce’s The Dead, and John Huston’s film adaption of the same.
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.
VARIOUS DATES BETWEEN 8 NOV AND 6 DEC, 12:00PM – 6:00PM, FREE
PAPER #18
Salford Museum and Art Gallery
10 MAY – 31 DEC, 10:00AM – 5:00PM, FREE
Tate Liverpool
VARIOUS DATES BETWEEN 8 NOV AND 13 DEC, 11:00AM – 5:00PM, FREE
A new group show, Everyday Illusions, features work from artists including Hermione Allsopp, Alan Baker, Carole Cluer, Michelle Rheeston-Humphreys, Conor Rogers, Jenny Steele, Eleanor Watson and Rachel Wrigley.
20TH CENTURY CHIC: 100 YEARS OF WOMEN’S FASHION
TOM HACKNEY: CONSTELLAR RELATIONS
Touring exhibition of Harrison’s four signs that utilise brash marketing techniques to draw attention to climate change.
Paper Gallery
VARIOUS DATES BETWEEN 7 NOV AND 15 JAN, 10:30AM – 5:30PM, FREE
Sudley House
27 SEP–31 JAN, 10:00AM – 5:30PM, FREE
Manchester Jewish Museum
ROBERT HEINECKEN: LESSONS IN POSING SUBJECTS
15 NOV – 1 FEB, TIMES VARY, FREE
Manchester Craft and Design Centre Textile artist Kashif Nadim Chaudry’s work draws on his journey finding an identity as a Britishborn, Pakistani, gay Muslim.
Open Eye Gallery
This posthumous exhibition shines a light on Robert Heinecken, widely regarded in mainland Europe as one of the finest post-war photographers on the continent. Relatively unknown in the UK, Lessons In Posing Subjects illuminates his work and life.
AKRAM KHAN: ONE SIDE TO THE OTHER
TYPE MOTION
Co-produced with ZKM and Media Karlsruhe, Types Motion features an archive of clips from over twenty countries, dating back to 1897, alongside over 200 examples of text and typography that explore our relationship with writing and moving image.
International Slavery Museum LIBERTY BOUND
29 OCT – 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
STYLE FROM THE SMALL SCREEN
10 OCT – 18 JAN, 10:00AM – 5:00PM, FREE
Ten dresses created for the Downton Abbey TV series, if that’s your thing.
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.
Museum of Liverpool 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.
The Liverpool Institute for Performing Arts HOPPER ON STAGE
9–10 DEC, 10:00AM – 5:00PM, FREE
A collaboration between photographer Andy Gotts MBE and The British Academy of Film and Television Arts (BAFTA) Archive, Behind The Mask seeks to ‘unmask’ the well-known faces of BAFTA nominees and winners since 1954.
The second of The Lowry’s exhibitions inviting performers to become curators, sees choreographer Akram Khan brings together elements of performance and live installation work alongside sculpture, painting and film.
ASIA TRIENNIAL: SWAGS AND TAILS
Liverpool Art
DAZZLE SHIP
Venezuelan artist Carlos CruzDiez 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. TRANSMITTING ANDY WARHOL
7 NOV – 8 FEB, 10:00AM – 5:00PM, £8 (£6)
The first exhibition of the famous pop artist’s work in the North of England includes major Warhol works including Marilyn Diptych, Dance Diagram and Do-it-Yourself, as well as an evocation of the artist’s Exploding Plastic Inevitable. GRETCHEN BENDER
7 NOV – 8 FEB, 10:00AM – 5:00PM, £8 (£6)
The first solo exhibition of the late multimedia artist’s work in the UK showcases a selection of her immersive pioneering multimedia installations, including a reconstruction of 1987’s Total Recall across a 24-monitor multiprojection screen. THE SERVING LIBRARY
7 NOV – 8 FEB, 10:00AM – 5:00PM, FREE
Including a collection of art works, artefacts, books and other materials, The Serving Library asks visitors to reconsider the traditional role of the library. Featuring around 100 objects, including work from Chris Evans and Muriel Cooper.
The Bluecoat
DADAFEST: ART OF THE LIVED EXPERIMENT
The work of influential American artist Edward Hopper is the inspiration for this free exhibition of installations and mini-sets created by some of LIPA’s Theatre and Performance Design and Technology students.
Unity Theatre JONATHAN LANGLEY
VARIOUS DATES BETWEEN 2 DEC AND 31 DEC, TIMES VARY, FREE
The illustrator presents an exhibition of children’s book illustrations including artwork from his million-selling collection of nursery rhymes and tales published by HarperCollins.
Victoria Gallery and Museum
NORTH WEST AND BEYOND: JAMES HAMILTON HAY
VARIOUS DATES BETWEEN 22 APR AND 29 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. THE AUDOBON GALLERY
VARIOUS DATES BETWEEN 11 OCT AND 19 DEC, 10:00AM – 5:00PM, FREE
Permanent gallery of wildlife artist and naturalist John James Audubon. BRITISH ART
VARIOUS DATES BETWEEN 5 JAN AND 30 JUN, 10:00AM – 5:00PM, FREE
Permanent collection including work by Joseph Wright of Derby.
Walker Art Gallery
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. THE GANG
4 OCT – 15 FEB, 10:00AM – 5:00PM, FREE
Photography exhibition from US photographer Catherine Opie, whose portraits of her friends from the lesbian, gay, bisexual, transgendered and queer community aim to subvert American archetypes. TABITHA MOSES: INVESTMENT
27 SEP – 4 JAN, 10:00AM – 5:00PM, FREE
Fertility symbols, ancient and contemporary, are explored in a series of new art work by winner of the Liverpool Art Prize 2013, Tabitha Moses.
8 NOV – 11 JAN, 10:00AM – 6:00PM, FREE
A group show addressing the idea that both art and life are in a state of continual change and uncertainty. Both are subject to flux and transformation.
DADAFEST: RACHEL GADSDEN: AL NOOR – FRAGILE VISION
21 NOV – 6 DEC, 10:00AM – 6:00PM, FREE
Exhibition by Rachel Gadsden exploring themes of fragility and resilience, in partnership with DaDaFest and the result of collaborative project between UK and Middle East communities. BRIAN CATLING: ANTIX 2
2–3 DEC, TIMES VARY,
Consisting of a constructed environment of objects operated by Catling.
The Gallery Liverpool EMMA WORTH
12–19 DEC, NOT SUNDAYS, TIMES VARY, FREE
The local portrait painter presents a range of work based around oil paint techniques.
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