Totally Dublin 133

OCTOBER 2015 / FREE / TOTALLYDUBLIN.IE

GIRLS WHO ARE BOYS... ...ALWAYS SHOULD BE SOMEONE YOU REALLY LOVE The earsplitting exploits of Dublin’s Girl Band will spice up your life

TOTALLY DUBLIN

#133

with CONNECT THE DOTS DALKEY ARCHIVE PRESS LITURGY FEMINIST FILM FESTIVAL and OPEN HOUSE 2015

Music Performance Installation Conversation

The Roots Hot Chip Flight Facilities Todd Terje Vic Mensa Tiga (Live) Vince Staples Le Galaxie Omar Souleyman Dorian Concept (Live) Matthew Herbert (Live) Booka Brass Band Cloud Castle Lake Formation Clu (Live) White Collar Boy Gemma Dunleavy

Across 6 Rooms @ The RDS, Ballsbridge, Dublin

Sunday CHIC feat Nile Rodgers Mark Ronson Jamie xx Giorgio Moroder Kaytranada Jeff Mills Four Tet (Live) KiNK (Live) Kerri Chandler Floating Points Maribou State (Live) Nosaj Thing (Live) Benji B Kormac’s Big Band Trinity Orchestra (Perform LCD Soundsystem)

Forrests

Nov 7/8

metropolisfestival.ie Tickets on sale now via ticketmaster.ie

Mother City

POD & Hidden Agenda Presents

Metropolis

Saturday

Open House Dublin

Irish Architecture Foundation

16—18 October

This Place We Call Home

architecturefoundation.ie/openhouse Declare your love for your city, become a member of the Irish Architecture Foundation architecturefoundation.ie/support-us

Totally Dublin

60 Merrion Square Dublin 2 (01) 687 0695

Publisher and Advertising

issue 133 still here

- Ian Lamont

GIRLS WHO ARE BOYS... ...ALWAYS SHOULD BE SOMEONE YOU REALLY LOVE The earsplitting exploits of Dublin’s Girl Band will spice up your life

Stefan Hallenius stefan@hkm.ie (01) 687 0695 087 327 1732

Editorial Director 8 Roadmap Mother City

12 What If

This issue sees the return to our centrefold of the map for this year’s edition of Irish Architecture Foundation’s Open House, which is its tenth. Fittingly, the theme of the festival is ‘This Place We Call Home’, given the continuing problem of homelessness that the city is dealing with, or perhaps, not dealing well enough with.

In concert with this, we talked to Naomi and Marisa from Connect The Dots, a project that’s taking the initiative and trying to spark fruitful interaction between the stakeholders in vacant space within the city with the aim of roadblocks being cleared and resources being maximised rather than frozen behind red tape.

Elsewhere we’ve got transcendental black metallers, local literary giants, a huge new music festival and tiny feminist film festival, interactive public art installations and an interview with one of the most exciting bands of get the ears of the city bleeding in recent times, Girl Band. So while Web Summit may have fecked off because of bogey wifi, your city is still right here on these pages and your streets.

OCTOBER 2015 / FREE / TOTALLYDUBLIN.IE

In the details

14 Nice Gaff

Georgian splendor

16 Design For lyfe

18 Garb Hats off!

22 Girl Band Zig a zig ah

28 Dalkey Archive Press Kept in translation

32 Pedro Costa Slow cinema

36 Connect The Dots Dinner plans

Peter Steen-Christensen ps@hkm.se

Editor & Web Editor Ian Lamont editor@totallydublin.ie (01) 687 0695

Art Direction & Design

Lauren Kavanagh laurenekavanagh@gmail.com +44 75 989 73866

Arts Editor

Aidan Wall artsdesk@totallydublin.ie

Fashion Editor

Honor Fitzsimons honorfitzsimons@gmail. com

Film Editor

Oisín Murphy-Hall film@totallydublin.ie

Literary Editor

Dancing in the Dark

Gill Moore print@totallydublin.ie

40 Continuous Drift

Advertising Manager

38 Hot Chip

Outdoor iPod

44 Barfly Cheers!

47 Open House Map To movie star’s homes

60 Gastro

Something’s fishy

70 Games

Asshole Mario

Aidan Lonergan al@hkm.ie 085 851 9113

Distribution

Girls on film

82 Sound

Gesamtkunstwerk

86 Listings

All that’s fit to print

Cover photo: Girl Band shot by Mark McGuinness

Contributors

Roisin Agnew Killian Broderick Tom Carroll Conor & David Stephen Cox Jonathan Creasy Felipe Deakin Leo Devlin Mark Duggan Roisin Kiberd Emma Gileece Rachel Graham Luke Maxwell Aoife McElwain Mark McGuinness Peter Morgan Martina Murray Steve O’Connor Bernard O’Rourke Sharon Phelan Anna-Grace Scullion Mònica Tomàs Eimear Walshe What If Dublin Team Danny Wilson

Al Keegan ak@hkm.ie 085 8519112

76 Print 78 Film

with CONNECT THE DOTS DALKEY ARCHIVE PRESS LITURGY FEMINIST FILM FESTIVAL and OPEN HOUSE 2015

Karl Hofer kh@hkm.ie 085 869 7078

Second hand emotion Anti-objectivist

#133

Sales Executives

Cathy Burke cb@hkm.ie 0858888123

72 Artsdesk

TOTALLY DUBLIN

Kamil Zok kamil@hkm.ie

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6

ROADMAP words Ian Lamont

THE MOTHER CITY IS BURNING Metropolis Festival lands at the start of November as a co-production from POD and Hidden Agenda, and brings to Dublin an idea that has been a couple of years in the making, a non-green field city festival in Dublin, that loosely draws inspiration from events like Sónar in Barcelona.

‘The main halls for music are the Shelbourne Hall, the Main Hall and the Serpentine Hall,’ explain Dave Parle of Hidden Agenda who are responsible for booking and promoting the festival. ‘Then we have talks in the Concert Hall and the Library and an exhibition in the Clyde Room. Then there’s going to be an outdoor area in front of the main halls, which will have music and food and a place for people to smoke. But it’s going to be November, so it’ll be covered.’ Beyond that, the Industries Hall, familiar to those who’ve taken exams here, will function as a hang-out area with installations, food and bars and will act as a focal point between the main halls.

The Shelbourne Hall, currently an Enterprise Ireland fair, and previously the scene of part of the Horse Show, will be transformed into a room that’s headlined by Jamie xx, Todd Terje and Flight Facilities, as the second largest room. ‘We have to bring absolutely everything in,’ explains Parle. ‘We’re essentially getting blank halls, and we have to move in all the production, all the sound, lights, which is coordinated by POD. But because it’s the first one, it is a massive challenge and we’re poring over those details pretty much every day of the week. Like, the stage could be located in three different places, and you have to assess how it affects the sound, the sound in the other rooms, the flow of people, the exits. There’s a lot to take in there.’

‘The Serpentine Hall is going to be very electronic focused. We’re really excited about that room because it’s all white and we’re going to have visual installations by Algorithm, who are just back from Bestival where they had their own stage.’

‘I think it’s been really positively received by the artists,’ explains Parle.

‘For the likes of The Roots, for them to come over and play an event like this makes the journey a lot more worthwhile, they’re an incredibly busy band so it takes a lot to get them over to these shores so it was the whole concept of the event that really sold it to them. It’s proved really positive, but it’s something that, going in, we really didn’t know. Mark Ronson was 100% all over the line-up. He was really keen to be playing the same night as Giorgio Moroder and Nile Rodgers.’

The Concert Hall and Library, areas unseen by most visitors to the RDS, will host the talks at Metropolis (some of which are still to be finalised as we went to print), including the smaller talks in the Library, and a blockbuster Producers Panel featuring Rodgers, Ronson and Moroder in the Concert Hall.

For more, check out our metropolisfestival.ie or see our interview with Hot Chip on page 38.

8

Bán Poitín

Marsh’s Library

Having only been legalised in 1997, poitín is something that mainly existed mythically for many of us, but retains a place in Ireland’s spirit heritage as something that puts hairs on your chest and warms the cockles on dark winter nights. Bán Poitín is a new take on the drink that is distilled using locally sourced potato, malted barley and sugar beet on the Ards peninsula, the brainchild of Dave Mulligan and Cara Humphreys. Bán is available now from Celtic Whiskey Shop on Dawson Street now. For more, follow them on Twitter @banpoitin.

Marsh’s Library, based on St. Patrick’s Close behind St. Patrick’s Cathedral, has launched a crowd-funding campaign to aid them with a refurbishment campaign they have embarked upon this month. The campaign centres around three specific books: a first edition of Isaac Newton’s Philosophiae Naturalis Principia Mathematica from 1686, a volume of John Milton treatises from 1644 and a volume of debates about the use of astrology in matters of politics and the state from the early 17th century which is known to have been a favourite read of Bram Stoker. Marsh’s Library dates back to the era of the Enlightenment and was the first public library in the city.

The campaign’s target is €3,115 with information available on their Twitter account @MarshCampaigns and you can donate at hubbub.net/p/letslookafterourbooks

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ROADMAP words Ian Lamont

Box Burger

Anyone with their finger even remotely near the pulse and Lovin Dublin bookmarked in their browser knows that burgers are the new booze.

And with Dublin soaked in burger joints, the revolution has spread down the DART line to Wicklow, with the opening of Box Burger at 7 Strand Road in Bray. The menu is somewhat larger than a business card and features an array of comfort foods like wings, nachos and ribs as well as classics like the Cheeseburger, Mexican Burger and the Breakfast Burger, alongside veggie and vegan options and a range of craft beers from the likes of Wicked Wolf, Craigies Cider and O Brother Brewing. Get it into ya Cynthia.

Ayamé Irish film-maker Conor Moloney recently embarked on a project that is set to be released initially on Vimeo this month, and features the voice of the legendary John Hurt as its narrator.

The film, Ayamé, is effectively a prologue for a science fiction film made in Dublin, a proof of concept for the project itself, and was funded somewhat unusually by a life insurance policy that Conor’s parents had for him that he cashed out. Ayamé features actress Laura Graham as the heroine in a dramatic alien hinterland and is available to watch from October on Vimeo, with the aim of attracting funding and growing the short into a full feature film.

East Asian Calligraphy Animation Workshop Irish artist Garrett Phelan, whose work has recently been exhibited at Project Arts Centre, and whose large sculpture with the inscription ‘Our Only Union In Truth’ currently sits atop the Temple Bar Gallery and Studios, is hosting a concentrated three-day workshop on 2D animation from conception to exhibition, which takes place in the RHA over Tuesday 27th to Thursday 29th October and costs €150.

Applications are being accepted until Saturday 10th October, and applicants should have a basic knowledge of Photoshop and Final Cut Pro, although it is not essential.

To apply, go to rhagallery.ie/workshops/animateddrawing-workshop

10

The United Arts Club hosts a weekend exploring East Asian calligraphy on Friday 23rd to Sunday 25th October with the Zen Brush Calligraphy Workshop led by Kazuaki Tanahashi, world renowned calligrapher and Zen scholar who has been exhibiting in Japan since the 1960s. Also on the card is Christina Renden Haggarty, a Zen practitioner from northern California. Each day will include a short meditation and then practice in the three major forms of characters, formal, semi-cursive and cursive scripts in ink and watercolour. The course costs €220, and you can book by contacting Grainne Carr on grainnenollaig@gmail.com

WHAT IF... words and images What if Dublin team

...Dublin decluttered its streets?

As is well known, the devil is in the detail.

Therefore, last month at @What_if_Dublin we asked about the micro scale, small changes that could improve Dublin city.

Unless you are an expert in traffic or urban design, street furniture usually goes unnoticed.

Apparently functional, it is accepted as an integral part of our street-scape and remains unquestioned. But when you run into a pole on an overcrowded, narrow footpath for the first time you start noticing it: a maze of bollards, sign posts, traffic lights and barriers clutter the streets of Dublin. Is all that street furniture really necessary? What if we combined signs, had them use the same post? What if we reduced the use of signage altogether? Would we have a more beautiful city? Or even a city that is safer and more pedestrian friendly?

The UK, the nation we have copied the street clutter from in the first place, has already started reverting this practice years ago and for good reasons: experts say that some signage and pedestrian management systems might actually undermine their purpose. Motorists rely too much on the apparent safety they promise and pedestrians tend to ignore them because they’re not user friendly. That is to say, giving responsibility back to each road-user could be safer after all.

But there are more aspects in favour of a good clean-up. Unobstructed views at Dublin’s architecture and tidy streets, not to mention all the money that would be made available by saving the €500 it costs for each pole. As

12

we learned on Twitter however, it’s not the Council’s call to make, though there is room for interpretation of national law and guidelines.

Lets hope the pedestrian friendliness of the planned Dublin city centre redesign will also be reflected in the details.

This month’s topic on the @What_if_ Dublin twitter account is ‘community’.

Send us your vision – it could be featured here next month!

Purism. Sensuality. Intelligence.

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NICE GAFF words Emma Gilleece

The weekend of Friday 16th to Sunday 18th October sees Open House Dublin return, essentially Ireland’s biggest celebration of nice gaffs.

This year’s theme, ‘This Place We Call Home’, focuses on housing and public space. More private residences than ever before make up the programme with 84 buildings, 37 Open House Plus events (film, walking tours, exhibitions, talks) and 10 Open House Junior events. And as usual entry is free! For the first time Open House Dublin will have an Info Hub in the ground floor of Fumbally Exchange from 5th to 18th October, so please drop in and say hi.

2015 marks the tenth anniversary of the founding of the Irish Architecture Foundation and Open House Dublin. Since then the Open House Ireland family has expanded to Limerick, Cork and Belfast. This milestone was marked with a tenth birthday bash in one of the buildings on this year’s programme, No.13 North Great George’s Street. The grand rooms once again hosted a big social event of the kind for which they were built.

North Great George Street was developed from 1768 as a result of commercial leases on the avenue leading to the Mount Eccles Estate. The street itself was laid out in 1774 as a driveway leading to Belvedere House, home of the 2nd Earl of Rochester. No.13 was commissioned by Robert Smith, Alderman of Dublin City circa 1785, to the design of Henry Darley.

Other notable occupants of the street in the past include Yeats’ muse Maud Gonne for her radical women’s organisation Inghinidhe na hÉireann.

Today it is home to the Darc Space Gallery, the James Joyce Centre and Independent Senator David Norris.

The house itself is a terraced Palladian style townhouse, three-bays wide and four storeys tall, possessing a beautiful red brick façade. A parapet wall conceals a pitched natural slate

14

roof maintaining the clean lines. The fenestration consists of tall replacement timber sliding sash windows that mirror the proportions of the building finished with granite sills. A painted stone doorcase gives the entrance gravitas. It is flanked by engaged Doric columns supporting stepped lintel cornice with entablature forming support to an open-bed pediment housing a plain fanlight. Painted wrought-iron railings enclose the basement area inaccessible from the street. Upon entering the visitor is met with impressive ceiling heights and rooms flooded by daylight.

No.13 represents the endurance of good quality design, craftsmanship and materials withstanding the changes in society, fashion, boomtime speculation and recessions. The building’s history is laid bare with exposed brick walls and lath and plaster partitions. Her fireplaces and cornices are sadly gone and the old girl’s balustrades are delicate. Nevertheless a considerable amount of original fabric remains such as moulded chair rails, original shutters, joinery and neo-Classical plasterwork. Black and white flagstone floors lead to the wide staircase which once accommodated ladies’ gowns as they glided upwards to the drawing room, enticed by the waft of music. The excesses this building witnessed stopped after the Act of Union and the Famine brought the rural masses to the city seeking work and relief. The exodus of the middle classes from the overcrowded urban centre to the suburbs saw the building become tenements until the 1960s. No.13 is currently being restored by the owner and is available to hire as a venue. Despite its its neglected appearance, this edifice maintains a significant present in the middle of this impressive street. The exposed internal fabric only adds to the enchantment of the building for this urban explorer.

13 NORTH GREAT GEORGES STREET Architect: Henry Darley

Emma Gilleece (@Gilleeece) is a historic buildings consultant and architectural historian.

She is coordinator for the IAF’s Open House Dublin 2015 and Assistant Editor of Architecture Ireland.

For more on Open House Dublin 2015, see the centre of this magazine, which includes a map of participating buildings, or go to openhousedublin.com

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DESIGN words Lauren Kavanagh

Sweep + Slice Kate O’Kelly is a ceramic artist based in Dublin, who over the last few years has not only been awarded a four-month residency in the Old Spode Works factory in Stoke-On-Trent, but has spent a year as Designer in Residence at NCAD, working between the ceramics and industrial design departments.

The latter especially has led to Sweep + Slice, a body of work that has utilised traditional manufacturing processes such as casting and and extruding, as well as newer digital processes of model making. As a result, the porcelain pieces have a sharp, clean line, while retaining a delicate, fragile quality. Kate has been invited to showcase her work at this year’s British Ceramics Biennial, and received an award from ID2015 to bring a group of Irish practitioners to the festival for the first time.

See more of her work at kateokelly.tumblr.com Left: Cluster, Slip cast, Coloured Parian Porcelain. Extruded, Porcelain.

Below: Blue + White, Slip cast,Coloured Parian Porcelain. Extruded, Porcelain.

YOU WALK OUT FEELING EVER SO SLIGHTLY CHANGED BY IT. THERE ARE FEW HIGHER COMPLIMENTS THE IRISH TIMES

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AN UNCONVENTIONAL LOVE STORY BY YORGOS LANTHIMOS

JESSICA BARDEN OLIVIA COLMAN ASHLEY JENSEN ARIANE LABED ANGELIKI PAPOULIA JOHN C.REILLY LÉA SEYDOUX MICHAEL SMILEY BEN WHISHAW

© MMXV Element Pictures Scarlet Films Faliro House Productions SA Haut et Court Lemming Film The British Film Institute Channel Four Television Corporation

IN CINEMAS OCTOBER 16

Hen’s Teeth For the last few years, This Greedy Pig has been Dubliners go-to spot for excellent menswear, with their blog focussing on all things fashion, film and general cool stuff that piques their interest.

Now, the boys are expanding their artier side in the form of Hen’s Teeth, an online store for prints and photography. We chatted to one of the founders, Greg Spring, about what’s in store.

So tell us about Hen’s Teeth Prints?

Hen’s Teeth is a new contemporary art store from the two of us that are involved in This Greedy Pig, myself and Russell. We’re working with Irish and international artists on releasing limited edition pieces. Over the past few years we’ve been lucky enough to collaborate with some incredible artists with This Greedy Pig, so it felt like a natural progression.

Who are the artists that you’re working with?

It’s a really nice mix of both emerging and established artists. We can’t swing a cat in this place

without striking someone upsettingly talented in the face, but we wanted to reach out to artists outside of our own bubble too. So we’ve worked with Irish artists like Rich Gilligan, Denise Nestor and Brian Cross (B+), as well as international artists like Toni Halonen and Marina Esmeraldo. There’s a really sweet balance of photographic, graphic and illustrative work up there and in the pipeline. It’s all work that we’d hang on our walls, thats the common thread I guess.

What’s next for Hen’s Teeth?

With so many international artists on our roster, we’d love to hook up shows in different cities with local artists. We have our eye loosely on a show in London early next year. We’re working on producing pieces with a couple of London based artists right now, so it makes sense. hensteethprints.com Left, above: Rami Afifi, Riffs Left, below: Marina Esmeraldo, Grace Jones

A WONDERFULLY DIZZY AND SURREAL SATIRE THE SUNDAY TIMES

COLIN FARRELL RACHEL WEISZ

AN UNCONVENTIONAL LOVE STORY BY YORGOS LANTHIMOS

JESSICA BARDEN OLIVIA COLMAN ASHLEY JENSEN ARIANE LABED ANGELIKI PAPOULIA JOHN C.REILLY LÉA SEYDOUX MICHAEL SMILEY BEN WHISHAW

© MMXV Element Pictures Scarlet Films Faliro House Productions SA Haut et Court Lemming Film The British Film Institute Channel Four Television Corporation

IN CINEMAS OCTOBER 16

GARB words Honor Fitzsimons

HATS OFF! Laura Kinsella’s acclaimed collections of intricately detailed yet boldly sculptural millinery have seen her awarded both Breakthrough Designer 2014 and Milliner of the Year 2015 at the KFW Irish Industry Awards, and secured her spot in the ID2015-curated exhibition In The Fold and Unfold: Irish Designers Collective at London Fashion Week.

What led you into millinery?

Well I had studied fashion design at Limerick School of Design, and from there I went on to work for a designer called Alejandra Quesada in Mexico City. After that I went travelling for a year, and then I ended up in Melbourne where I worked for a design duo. I came back from working in Melbourne, right in the middle of the recession, and I began to look for work. I found a FÁS work placement programme and there were two internships – one with a knitwear designer and one with a milliner, I weighed it up and I took the millinery one. I thought I might have taken that and gotten back into doing fashion womenswear, but I never did, I just found I loved millinery. So I went on to London from there to do an internship with Philip Treacy, came back home, thinking to myself ‘What am I doing, what am I doing?’ [laughs] Then I just thought – let’s go for it, and I set up on my own, and here I am now!

What inspired your work?

Initially, I really loved Martha Lynn’s work, how clean and bold, bright and geometric her hats where. She was starting out here around when I began and I loved how her hats could be fun, without the sort of traditional materials that are used in millinery, like anything too frilly or with loads of flowers and feathers. I’m not a frilly sort of girl at all. I like clean lines, minimalism, engineering, I like order to things! I’m obsessed with clean lines and markings, that’s what really started it all.

NEWS, REVIEWS, LISTINGS, MUSIC, ART, PHOTOGRAPHY, FASHION, STREET STYLE, EATING OUT, EATING IN, NIGHTLIFE, DAYLIFE, HETERO AND GAYLIFE, FILM, THEATRE, PARKS, SHOPS, PUBS, CLUBS AND HAPPY DUBS, WHAT’S ON, WHAT’S GOOD, WHAT ARE YOU UP TO?

TOTALLYDUBLIN.IE

worked for Phillip Treacy for a menswear collection, they were in leather, ponyskin, and wool.

When I worked at Phillip Treacy it was coming up to Couture Week, and we were doing Armani Couture, as well as a few others, so Danielle got in touch for the next season and we began to collaborate on the hats, going through all the mood boards, colours, swatches, and what she roughly wanted. I went away and developed around four or five toiles and we went over and back on the designs. The stylist Kieran Kilgannon looked at the pieces and there was one hat, the oversized visor, that was supposed to be in two parts, but he took away one of the parts of it and it became a hugely successful piece.

It was brilliant. Collaborating is actually one of my favourite things to do because you’re restricted, in a sense, because it’s someone else’s vision, but you have to maintain your voice in the process too. I just find it so interesting and I would love to do more of them.

What techniques do you use?

I started out knowing a lot of different textile techniques, and I can kind of do most things.

Sometimes people can pigeon hole me into one thing and they don’t really realise I can make a lot more. I created some large felt fedoras, and people were surprised I could make those too, but I am a milliner!

Getting back to what I’m doing at the moment – I’m knitting, and making structures out of wire from a shape that I either draw out or is just out of my head. Then I bead that wire to a pattern. It takes hours as I mould the wire first, individually wrap each bead on, and mark it so that it’s exactly in place. If there’s one bead out of place it throws off the whole pattern. So I wrap the Japanese glass beads and pull the Irish linen waxed thread through.

The new collection is a mixture of pieces with with wire structures, where that loosely knitted thread is then stiffened so they almost look like cages, and then other pieces without the wire structure, which are left to drape softly. I like to be quite technical with my work, I really enjoy that aspect to it.

You’ve also collaborated a few times with fashion designer Danielle Romeril, could you tell us a little about that?

We were chatting one day about her wanting to get leather baseball caps made and I mentioned that I worked on loads of baseball caps when I

With your background in fashion design and career now in millinery, do you find they differ for you or do you find that they complement each other?

I think that it’s definitely been to my benefit because I think that there are a lot of milliners who don’t come from a fashion background, so I think that they look at things differently. They don’t seem to do the thing where they start off with the mood and the colour and the swatching. I think because that background in fashion design gave me a base of looking at a piece in terms of a whole look rather than separately and I think that’s what makes my work stand out. The two [fashion and millinery] are also different with things like production – millinery is so one-off, people will come to me and like a piece but want it a little bit different. I find it very hard to be ‘ready-to-wear’. But apart from that, there are a lot of cross-overs like the materials I would use or the colours, which I keep very fashion-based.

So if someone pops along to your studio in Portobello – what happens?

They firstly can contact me, make an appointment to come over, usually they will try on lots of different hats, and they will usually have an outfit or a colour that they need to match. So they try on everything, look at the shape, whether something needs to be a little lower or a little higher, how the hat sits differently around the face or how it changes, then we would go with a lead time on what they want made. You’re one-on-one with people all of the time. With clothes you make it and send it into the shop and you kind of give it over at that point, whereas with what I do from start to finish it’s mine. It’s tough sometimes, but I do enjoy it.

For more of Laura’s work, check out laurakinsella.com

GARB words Honor Fitzsimons

DRAWING INSPIRATION Beginning with one drawing every day, emerging fashion illustrator Emma Sheridan’s beguiling and free-spirited sketches are already packing a punch internationally, with features in Vogue Italia, L’Officiel and at Pitti Uomo in Florence.

Why did you choose fashion illustration?

My background is in design. I work as a designer and I have done for the last while. I graduated from Fashion Design at NCAD in 2003, and then was working as a designer for the UK high street mainly in tailoring and outerwear. Also, alongside that I’ve always done illustration as it’s just so much freer. You have the freedom where you can pick the model, the outfit, you can be everybody in one and the freedom to do that is really fun, I just really enjoy it. I used to work for Warehouse so I would do all of the trends and illustrations for them every time we had a collection, I also did window displays for all of their stores, and some freelance work as well. Then recently I was off on maternity leave and to have time off was not something I had in a really long time, and I really wanted to do something to express myself creatively. So, I started to watch all of the catwalk shows as they were coming through, and I would pick one look a day and draw it and put it up on Instagram and Facebook. For me it’s a bit of a battle of fear of showing people your work so it was a process of getting myself out there a bit and getting over the fear!

Describe your style of illustration.

The faster I do the illustrations the better! Over the years I’ve learned different styles and played around, which has led to the way that I like to draw now, which is quick and the less I think about it the better. I would describe it as fast and very free, with a lot of scribbles. I don’t always know what it’s going to look like when I start, I like it to almost look unfinished or un-thoughtabout, those seem to be the most successful ones.

I do love working with markers and pens, to be really playful with it. I think with the markers that I like, you get a naïve feel, as though you’re colouring-in when you’re really young. There’s something so youthful about them. I really like the lines you get with markers and the great colour you get really quickly and really easily. The watercolours I really like using as well, you get a nice, pretty effect. It can really depend on my mood on the day what different colours I use and to what effect I use them. There’s a lot of joy in it for me.

Do you have any major influences?

I really love the fashion illustrator Julie Verhoeven.

I was in Paris during my second year in college and I was passing by that amazing store, Colette; it was just when she was becoming known and they had sketchbook drawings of hers that they had literally just ripped out of the sketchbook and stuck up over their windows. I was really blown away and I think ever since then it gave me the idea that, ‘Oh, you can actually do this!’ and have lots of fun with it. People like her and Quentin Blake, and Ralph Steadman really showed me that free playful illustration attracts me. The catwalk also influences me, designers like MSGM who are really colourful, Roksanda Ilincic and all her large geometric colours and shapes, and also Jonathan Saunders, who uses great prints and colour – that would be what I’m most attracted to.

which was a great experience. Also, recently in Azzarenko, a lifestyle magazine based in New York, I did a three-page spread all about the Roberto Cavalli menswear Spring Summer show.

Vogue Italia featured work I did – I nearly fell off my chair when I saw that! It was an illustration competition that I won a couple of months ago for a menswear label called Cor Sine Labe Doli.

They do beautiful men’s pocket scarves and bowties all in painted ceramics, they have them in gold and silver and all sorts of bonkers colours, they’re really cool. As a prize I got to design a range of bowties based on the illustrations I’d entered, which was then exhibited at Pitti Uomo trade show, as a display with the illustrations. That show, and then it being picked up by Vogue, was a definite highlight.

Emma’s work is available to buy now and until Christmas at The Chocolate Factory pop-up shop, 26 Kings Inn Street, Dublin 1. Keep an eye on her Instagram for daily illustrations of fresh catwalk trends @emma_sketches

What has been your highlight so far?

I think that the last few months have been really exciting for me. My work is soon to be featured in L’Officiel India in their October issue. I’ve done a six-page spread for them which is all based on the six key themes for them for the festive season,

Blueprint Talks A talk series prese nte d by Indig o & Cloth X Making Sp a c e surrounding the curious and cre a ti ve throughou t the ye ar of Irish design 2015

9 E s s e x S t r e e t , Te m p l e B a r, D u b l i n 2 | i n d i g o a n d c l o t h . c o m · m a k i n g s p a c e . i e

Dublin’s Girl Band (not B*Witched, the other one) have achieved the unthinkable, liberating themselves from the all too comfortable constraints of our thriving domestic music scene and garnering the attention of listeners much further afield than Wexford Street. That would be news enough in itself, but it’s all the more striking when one takes into account the particulars of their sound which is a uniquely grinding and overdriven brand of larynx-stripping, experimental post-punk that doesn’t exactly scream cross-over appeal. After a couple of mini-albums and singles, their debut fulllength Holding Hands with Jamie sees vocalist Dara Kiely, along with guitarist Alan Duggan, bassist Daniel Fox and drummer Adam Faulkner explore Kiely’s struggle with depression, eventual breakdown and recovery in what is as bracing and attention-grabbing an on-record expierence as you can expect to encounter this year. We caught up with Dara and Alan in the hopes that they would tell us what they want, what they really, really want.

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GIRLS ALOUD

words Danny Wilson photos Mark McGuinness

How did Girl Band as we know it now come to be? You guys have been playing together for a while right?

Dara: Yeah, three of us used to be in a band called Harrows when we were in school. It was your typical Strokes-inspired indie. I used to play drums and then when that disbanded and I fell into being the singer.

It’s funny, the way I got in was because I did some screaming on a joke track called Pancake Tuesday. My friends liked the way I screamed, and we knew we wanted a singer that could do that. I was quite shy about it so our first gig was really daunting. It was in the RAGE [on Fade Street] and there were people that close up, you know? I’d never sung in front of anyone. It was terrible.

L-R: Daniel Fox, Dara Kiely, Adam Faulkner, Alan Duggan

There was obviously a pretty drastic change in sound from sounding like The Strokes, like you said, to now. Was there a vision of sorts or did you know what you wanted to do when you started up?

D: Not specifically. With us, every part of the band is equal, everything is 25% each, there’s nobody in charge, the best idea in the room always gets the go ahead. But we had no specific vision, Alan and Dan ended up getting a bunch of pedals around that time and we just started mucking around with them. We didn’t have any sort of intention of getting

bigger or anything like that, just wanted to develop. When we ended up getting with Rough Trade we were just doing the same thing that we were doing with Any Other City but on a bigger scale. We really like the people we work with and they look after us, but the most important thing about the Rough Trade contract is full creative control. In terms of sound, we take advantage of that. Doing what we wanted to do, and doing it freely was the ultimate ambition from the start and that’s the same now.

Something that struck me is that you guys had a real reputation as a live band in advance of the album. Did getting the live experience across on record create any pressure for yourselves in the recording process?

D: We certainly wanted to document everything. Everything we’ve recorded from the first single to now has been with the same group of people. In terms of the actual sound, it was really cool because I think what’s on the record is kind of how we heard the songs in our heads.

There are no overdubs on the record, aside from the vocals. It was really important for us to put across the feeling of us all in a room but it wasn’t really pressure or anything like that. The only people we’re really eager to please are ourselves. If we like it then we’re satisfied.

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So in your own mind, Girl Band on record or live are essentially the same entity?

You didn’t draw any distinctions or try and achieve markedly different things within the two spheres?

D: For the moment, yes. We really didn’t like the idea of bands having six guitar parts and not being able to replicate it live. We wanted it to be like whatever we do in the studio we can do live and vice versa. For me that’s the way a first album should be. I think of Please Please Me, it’s got that live element to the record, that’s what the energy is of the band at the time. We’re not ruling anything out yet though. We had to record a B-side recently so we just went to our practice space and didn’t want to set up everything so we just hit off stuff and then looped different parts.

The idea of recording that B-side was to contradict everything we’d done on the album and record something that we can’t play live.

There’s a degree of unconventional songwriting with you guys. Was it kind of intimidating going to record knowing people might not be engaging with the songs in terms of hooks and such and trying to deliver an engaging sound on record?

D: I guess we constantly nitpick in terms on the songwriting, it’s very rare that it’s the same thing at the start as when we finish it. Even The Cha Cha Cha which is 25 seconds long was originally 35 seconds longs, and we cut it down.

We really focus on things like low-end and dynamics and we’re really into structure and not settling on the norm in terms of verse-chorusverse, not that we’re putting down people who do that. But it’s really fun not to do the normal thing. I feel the same way in writing lyrics. I got so sick of ‘catch you when you fall’ lyrics and I found myself writing stuff like that until I thought, ‘I’d never say something like that, it’s not how I speak’. Bands put lots of money into things like amazing tour buses and studios and the best producers and stuff and then end up being lazy or neglectful about lyrics, whereas to me, that’s the main thing you need to be thinking about. That’s what actually lasts.

Talking about the lyrics, it strikes me that there is no small amount of humour in there. Do you think you can get away with that, having more tongue-in-cheek elements while being taken seriously because of the nature of the music?

Because it’s so abrasive, do you get a satisfaction out of subverting that sound through what you’re saying?

D: Yeah, totally. I think if we had the same songs and I was shouting ‘Fuck you, Dad!’ or whatever, it wouldn’t have the same effect. The extremity only works because of it being toyed with. I think there’s humour in all elements of the thing, even though the subject matter can seem very serious, because of the whole mental disorder stuff that makes up a lot of the material.

When I was getting over my issues and getting better I ended up listening to a lot of Leonard Cohen, and that was really liberating in a way because he can be so funny. If you look at it in a certain way a lot of his stuff can be depressing but the way you get out of depression is forcing positives and laughing about things.

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When we ended up getting with Rough Trade we were just doing the same thing that we were doing with Any Other City but on a bigger scale.

You can hear what we do in a few different ways, you could look at it like nonsense, and it’s not, but if you see it that way then that’s fine. Or you can see it as really jokey and enjoy it that way or if you know the full background then it can be really serious.

Like for example, going to the doctor in the song The Last Riddler, that was an actual experience. I went to the doctor when I had a breakdown, I thought I was God, or some kind of elated being. So I went into the office, he sat down and asked ‘Dara, would you like to take a seat’ and I responded ‘I think I’ll stand’ and then I was like, ‘quick question, quick question, what’s your favourite band?’ so he says to me ‘ABBA’ and I’m immediately like, ‘Perfect!’ and wrote down The Winner Takes It All on a piece of paper, hand it to him and said, ‘think about it’. See, things like that, that’s the most direct lyric in the song and it sounds so obscure.

It’s funny though, when I was going through all those mental health issues I wasn’t thinking to myself, ‘Brilliant, now I’ll have loads to write about.’ It was quite the opposite, I could only write about what was going on and what was going on was a manic episode and then depression and the rehabilitation around that. I do try to keep the language fun though.

It’s fair to say you’ve been remarkably successful or at least getting a huge amount of international attention compared to most Irish bands of this generation. Do you think that’s symptomatic of a kind of islander mentality that people don’t even try and reach out beyond their comfort zone?

Alan: There’s definitely aspects to that. When we first started up playing in bands, nobody wanted to tour and when we started doing Girl

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When I was going through all those mental health issues I wasn’t thinking to myself, ‘Brilliant, now I’ll have loads to write about’.

Band we really really wanted to get out and tour.

One of the goals from the very start was that we didn’t want to just exist in Ireland or in a bubble in Dublin. But one thing we have learned from touring is how expensive it is. Like, if you’re a band from the UK the realities of touring around Europe are a lot easier and it’s purely because of a tunnel. The ferry from Ireland to France is about €600 and then there’s all the other expenses.

So you wouldn’t buy into the notion of there being something in the Irish psyche that there’s a lack of desire to go further afield and a willingness to just play to same people. There’s all this great music coming out but such a small amount of people hearing it. Do you think that’s primarily a reflection of financial restraints?

A: It’s there, sure. But Ireland is tiny. There’s more people in Birmingham than here. It’s a healthy scene and we do kind of punch above our weight if you look at the amount of bands that have done well in the last five years. Maybe not so much in the independent sector, but even in that you have Villagers and Cian Nugent.

There’s quite a lot that comes out. There is so much good stuff that it’d be great to see more.

I was talking to buddies of mine about it recently and we were wondering if it was the ‘U2 effect’ that we’re still feeling, that a lot of our biggest exports kind of lost their clout and we’re still feeling that.

D: Well, when alternative music was booming, you had Director and Humanzi signing to major labels. Once that fell away, they were the sadly the first to go. It does kind of feel like, I don’t want to say people were ’blacklisted’, but there was probably reluctance there. Now though there is way more attention again for smaller bands, that might be ‘the Hozier effect’! [laughs].

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Compared to when we started, the music scene is much healthier. There are so many bands I like now as bands not just as ‘Irish bands’. I think that’s important, bands should be judged on their own merit as opposed to where they’re from.

A: Having said that though, in a lot of interviews we do they’re always asking about the Irish scene, who are the new bands and what’s the scene like. Other cities are lucky to have cooler venues and stuff or the government are more willing to let out spaces. Like, we’ve played so many interesting venues around the Netherlands.

Are you kind of surprised the amount of attention you guys of picked up considering the abrasive nature or the material?

A: Definitely, but I think most bands who end up signing to someone like Rough Trade will be a bit ‘what the fuck?’. It’s bizarre. We do always write the music for ourselves and we can be surprised by how aggressive and abrasive it is since we’re pretty chilled out guys. Even coming up to the album campaign, they said to us, ‘If you want to pick Paul as your first single that’s fine, but just to tell you it probably won’t get a lot of radio play’ and you can’t help but wonder what song on the album would get any radio play…

It’s almost like you guys have created a fanbase out of nowhere. For example, the last gig you played in Twisted Pepper last year was the same day as the Popical Island all-dayer – a huge amount of the Dublin music scene were all in one venue and you guys still managed to fill the Twisted Pepper. Why do you think all these people who seemingly wouldn’t have been going to a lot of domestic gigs have kind of attached themselves to you?

I know it’s kind of a hard question, but

why do you think that is?

A: I don’t know, there’s so many different things at play. If people are going to come to the shows because they like the music that’s great, but we try to be tactful about it, we don’t play Dublin that much, throughout the year we’ll have played here twice. We tend to approach it like that and try and make the home-town show special, more of an event rather than another gig. We’ve always done our own shows as well. Our first gig was our own gig in the RAGE, our second show was our own gig in the Bernard Shaw, we always try to do that as much as we can. A lot of bands are constantly in bills supporting other bands and you can’t help but think ‘that band is bigger than that, they should hold off and do their own show’.

D: It’s just a matter of trying to make gigs special. Like we have our Button Factory gig lined up and a party arranged for after that for our friends. With everything about the band we try and think about what we would want if we were fans of the band.

I suppose when you see people play so regularly you kind of get to a point where you can see the strings in a way and it loses its impact.

A: From my own experience of going to gigs, I love not seeing a band in a while and then seeing them and going, ‘Woah, that’s gotten way better!’ or, ‘Oh no, it’s all gone wrong!’ [laughs].

It was tricky at the start though when we were getting offered a lot of gigs and turning down a lot of gigs in favour of doing our own shows down the line, but I guess it worked out.

Holding Hands With Jamie is out now on Rough Trade Records. Girl Band play the Button Factory on Saturday 7th October with support from Paddy Hanna. Tickets cost €16

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words Jonathan Creasy photo Killian Broderick

MY BACK PAGES John O’Brien founded Dalkey Archive Press in Chicago in 1984. The Press has since become

one of the most significant publishers of literary fiction, non-fiction, poetry, and criticism in the world, mostly publishing works in the experimental tradition of James Joyce, Samuel Beckett, and Flann O’Brien. The Press has also focused heavily on literary translations, with books from over 40 countries on its current list, while Dalkey Archive authors have won countless honours, including the Nobel Prize for Literature.

In 2010, Dalkey Archive Press received a Lifetime Achievement Award from the National Book Critics Circle, and in 2015 John O’Brien was made a knight in the Ordre des Arts et des Lettres for his contributions to publishing French literature abroad. The Press is now based in the University of Houston-Victoria in Texas, in London, and in Dublin with offices in Trinity College.

Dalkey Archive Press came out of the literary magazine Review of Contemporary Fiction. What was the impetus behind that project? What purpose were you hoping it might serve?

I started the Review of Contemporary Fiction for two reasons: firstly, I didn’t know anyone who was interested in the writers I was interested in and so I wanted to find those people and hear what they had to say about these writers; and secondly, I wanted to show the world – from reviewers to academics – how wrong they were, both about whom they elected as the major writers of our times and how they wrote about fiction. In brief, it was started in a state of anger and frustration.

You take the name of the Press from Flann O’Brien’s The Dalkey Archive, and the Press has helped lead a resurgence of interest in O’Brien’s work. What is it about his writing that appeals to you? Does it speak to a particular tradition you are trying to promote?

I love O’Brien’s work for many reasons. And I should point out here that I am not related to him, as many people assume. ‘O’Brien’ was just one of a few of his pen names.

First of all, O’Brien is one of the funniest writers of the last century, and he must be Ireland’s funniest writer regardless of the century. And it’s a wild, wacky, unpredictable humour of the absurd. At the same time, he is also one of

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Ireland’s most inventive writers, as evidenced in At Swim-Two-Birds. There was little in the history of the novel that would have shown him how to do what he did in At Swim. That was pure genius: that you can re-use characters; that characters can have an existence that’s independent of the roles they’ve been cast in for a particular novel; that characters can come back in other novels because they are good workers who put up with a lot of abuse from their creator; that a novel need not be the victim of deadly realism as it has been practiced for the past 60 years or so. O’Brien knew that the highest form of literary art was that which was free to question its own fictiveness within the novel, to reflect upon the novel as a novel, and to be a field of play where the pleasure of play is what engages the reader. So, the Press is in many ways an homage to Flann O’Brien.

Besides O’Brien, who are some of the past Irish writers you have been interested in?

Do you think there are divergent strands of literary history in Ireland?

It’s a cliché of sorts to talk about this division in Irish writing, and to properly name it. The handle I’ve always used is Frank O’Connor on one side and Joyce on the other. I first read both of these writers as a sophomore in high school.

I knew immediately what O’Connor was up to, where he was going, and how he was going to get there. He’s professional, competent, and to my

There is an obvious bias towards things British in the popular media, and in the area of books and book reviewing, there seems a definite bias towards reviewing those books by Irish writers that are published by British houses.

29

mind, very predictable and boring. Joyce, on the other hand, was risk-taking, singular in style, intense, and resisting. I felt immediately at home with Joyce. And after Joyce was Beckett, Flann O’Brien, and – a writer yet to get his fair due – Aidan Higgins, who has some passages of prose that are among the finest ever to have been written in English. More recent examples of this latter tradition are Kevin Barry – especially his short fiction – and Rob Doyle.

What defines 20th century fiction is [these works] written by Joyce, O’Brien, Beckett, and I’ll insist again, Aidan Higgins... these dark and funny scribblers whose apparent motive was to please themselves, though all seem to have wanted more readers but weren’t willing to surrender to the drudgery of writing ‘popular’ novels. As though these semi-mindless books are easy to write! It is in their presence that one participates in the world of the imagination and experiences the rare joy of discovery.

But there are others in this tradition, though different one from another, and to name just a few whom I publish, but who seem to remain secrets to the general reading public, as well as to the media, critics, the Arts Council, and the award-givers: Dorothy Nelson, Bernard Share, and Alf MacLochlainn.

Which other authors are you most proud to have published?

This list is nearly endless: it certainly must include well over half of the writers on our backlist. Let me just recite the names that are less well-known, or at least not as well known as they should be: Sorrentino, Glover, Burton, Pinget, Rudan, Basara, Brandão, Lins, Boon, Robberechts, Murnane, Jonke, Mosley, Roubaud, Higgins, Fosse, del Paso, Tsepeneag, Shklovsky… I’ll stop here because the list is already getting too long.

You founded the Press back in the 1980s in the United States, but Ireland has become a focal point for the Press’ activity.

Why Ireland and why Dublin?

This is a difficult question to answer, and to answer honestly. Opening the office here was neither a quick nor whimsical decision. I had been talking to the Arts Council for three years about the feasibility of making Ireland a base of operations in Europe, and had received much encouragement. I also met with a number of key people here to get their views and advice. Back then, in 2010, the recession was hitting but no one knew for how long or how deep it would go.

The Arts Council was hit very hard with cuts to its budget, and that meant far less support than I had been led to believe was possible. The smartest thing to do then – about two years into the Irish adventure – would have been to close up shop, at least here in Dublin, if not in all of Europe. It may be that two of my weaknesses then came into play: stubbornness and sentimentality, the latter being the result of growing to love Ireland. I wanted the Press’ future to be here, not just in London, not the land of the oppressor, though I think it has become unpopular to think of the British this way. Some of our leaders seem quite intent on re-writing or forgetting history. Which reminds me of something that bothers me greatly about the media here, the book media, especially the Irish Times.

There is an obvious bias towards things British

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in the popular media, and in the area of books and book reviewing, there seems a definite bias towards reviewing those books by Irish writers that are published by British houses. This has amazed and bewildered me.

But I have also been dumbfounded by the media’s lack of interest in art or culture from other countries. The Irish Times was rather good about reviewing translations for a while, but of late there are few translations being reviewed, and these are also more mainstream books rather than ones showing how wild the literature is in other countries. I don’t know who at the Irish Times decides not to review as many works in translation, but not doing so makes Ireland in general look quite parochial. I’ve seen this trend on the Arts Council as well. Dalkey Archive leads the English-speaking world in terms of the number of literary translations it is doing, but you wouldn’t know this based upon review coverage here in my adopted homeland. The Irish Times in particular should be leading the way in bringing the rest of the world to Ireland, but it doesn’t. Either Dublin is an international city and displays itself as such in many, many ways, or it’s a self-content backwards city that does not want the rest of the world intruding upon it.

Along those lines, a more recent project is the anthology, Best European Fiction, which includes writing from Ireland and the UK, but far more from non-English speaking countries. What is the emphasis of the anthology, and what do you hope to achieve with it?

Well, I think there is a need to bring writers to the attention of a wide readership, especially writers who otherwise would quite likely not get such exposure outside of their own country.

There is also a need to get a sense of the range of what’s being written in Europe, as well as to give as much space to, let’s say, France as is given to Latvia, and vice versa. My view is that no country should be given more space or attention because it is more powerful or simply bigger than another: the literature should be selected on the basis of quality. One thing I have insisted upon from the start is that the countries help support the project financially. Only someone who understands nothing about the costs of publishing could think that this book generates a profit. It doesn’t. So, my feeling is that the countries represented in the anthology should make a donation to it, modest as this donation is, given the costs.

One of the very nice things about the anthology is that it has lead to writers being invited to festivals throughout Europe and in some cases has led to their being published in other languages. And of course there is a Chinese edition of the book, and so the writers are reaching a Chinese audience as well.

A number of Dalkey Archive authors are considered contenders for the Nobel Prize. How have you gone about attracting such important writers?

I believe that this year there are nine of our authors on the list of possible winners, and there are two in the top nine. For a publishing house that is exclusively driven by the quality of the work it publishes rather than to how well it will be received upon first being published, having this kind of attention is very strange. Strange

and wonderful. I think many of the writers are attracted to the list because of which writers are already on it, but especially because of our policy of keeping books in print permanently.

You have been at the helm of Dalkey Archive Press for over 30 years. Looking back on it, have you achieved what you set out to achieve? What do you see for the next 30 years of the Press?

No, I have not achieved what I set out to do, or else Gilbert Sorrentino’s works would be required reading throughout the United States.

I had wanted to create a space in the culture that could not be reduced to marketplace value.

I suppose that has been achieved, but what of the Press itself? Will that be protected into the distant future and how? The only way that the Press survives me is for it to have a substantial endowment that will achieve two things: one – protection, and two – the Press’ ‘best day.’

Without such an endowment, the Press will go when I do.

We currently have about 750 books in print, and let’s assume that this will turn into 1,000 books in print by the time I step away from the Press. These books will be lost to the culture and to future readers, most will go out of print, and the body of work will be dissipated. My hope is that there are enough people out there that they will not let this happen and will play a very active role in creating an endowment.

Which contemporary Irish writers are you excited about? And what are some of the books coming this autumn that people should look out for?

One book I am very much looking forward to is Rob Doyle’s collection of short fiction. I wish I were doing it, but Lilliput Press got there before I did. Most of the others I’m excited about are foreign writers, and therefore assured of not being reviewed in the Times. Dalkey Archive authors one should keep an eye out for are the Slovenian Drago Jančar; Serbian Svetislav Basara; Romanian Dumitru Tsepeneag; Argentinian Pablo Katchadjian; Estonian Mikhel Mutt; Norwegian Jon Fosse; Israeli Youval Shimoni; and the Korean Lee Seung-U. We are publishing 38 titles this fall.

I had wanted to create a space in the culture that could not be reduced to marketplace value

Best European Fiction 2016 will be released in November. Jonathan Creasy’s book of poems and essays, The Black Mountain Letters, is being published by Dalkey Archive Press in 2016.

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Reality Stars

Slow cinema legend Pedro Costa on his philosophy of film-making, and his new work, Horse Money.

Pedro Costa is a filmmaker unlike any other.

The Portuguese director works a collaborative, non-hierarchical set with spontaneously composed scenes and dialogue with his cast and crew, with whom he shares lasting friendships as well as long-standing working relationships. His career has been focused on bearing witness to the real lives of men and women who migrated to Portugal, with his latest film, Horse Money, taking as its subject Ventura, an elderly Cape Verdean immigrant who has appeared in Costa’s previous work, as he experiences a strange and disturbing reality composed of painful past experience and populated by figures from his past. He is a man haunted by memory in a film that provides no easy answers. Ahead of the film’s recent opening in the IFI, we spoke to Costa about abstraction, colonialism and forgetting.

Horse Money seems to me to be a film about the often painful act of remembering. However, you have said in interview that the film was made in order to forget.

Could you speak a little bit about the tension between these two ideas?

At the beginning, the idea for the film came from some memories or stories that Ventura told me a long time ago when we met, in 2000 or something. But when he told me these memories, relating to ’74 and ’75, which were the first years after he came to Portugal, it always felt to me very heavy and painful. It was very strange, because they should have been some of the best years of his life, the beginning of a new life, a new dream, more money, good contracts, work, a new country with new possibilities – you know, the immigrant’s dream. But it wasn’t at all like that. When he described these years, he spoke of a nightmare, a long night, very troubled times, especially when our revolution happened in ’74. So there was a coincidence between what was this marvellous moment for me, and for all of us, and this sickness, this

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words Oisín Murphy-Hall

Four months ago

Going deeper or digging inside the soul of man, it’s a kind of work that I think film can do. nightmare, for him. It always felt strange and intriguing, and I wanted to know more. But he never opened up much, he just gave some clues.

He said ‘That’s when my trouble began, when my long, sleepless night began,’ when this revolution, when this confusion came. So the making of this film was quite contradictory, for him and me, because I was trying to pull out these things that he didn’t want to remember. The longest scene in this film, which is a confrontation between him and this kind of ghost or phantom of the revolution, was very heavy and very difficult for him. So it’s in this sense that I say that of course every film, or every great film, should be also an attempt to – how can I say – not forget, not forget oblivion. But for Ventura, we really saw it every day of the shoot. It was painful. It was like, let’s dig up these ghosts, but it’s just in order to get rid of them forever.

That scene in the elevator is especially powerful. There’s this sense of the inescapability of one’s past. Do you believe that we are prisoners of what has happened to us before?

I’m not sure about life, but in film yes [laughs].

I mean, film is something that captures you

for good, forever. In film there is no past.

Everything that we conjure or imagine or write or invent, it’s always the present. It’s the present when you see the film, it’s the present when you make it. It’s always the present, film. It’s a curse.

So this everlasting moment that you live when you see a film, if it’s an interesting, good film, it grabs you, and you can’t escape this present. It can be very painful, it can be very exhilarating too. But it’s also always in that strange timeframe. It’s always the present, it’s an everlasting present. I don’t know how to explain it, but you can feel it. In life, I don’t know if I’m that pessimistic or nihilistic. I believe that you can change some things.

With respect to the film, which has as one of its subjects and which is sometimes in the background, sometimes more foregrounded, European colonialism, I wonder that, while for Ventura forgetting is important in order to live a life without pain, in Europe we have a situation where our history of colonialism and fascism has been collectively forgotten, or selectively remembered, and we are seeing in what’s now being referred to as ‘the migrant

crisis’ the very direct and horrific results of this organised forgetting. Do you think that it is important for Europe, the West, to be reminded or to remember this painful history?

Yes. Well, in film you can never escape these layers of meaning. It’s not even a problem, it’s part of the history, or the story. In this film or in other films that we’ve made, Ventura is Ventura the guy, a guy I know, a friend, a singular guy here in Lisbon, an immigrant that came in ’71 like so many thousands of others. He’s a brother, or very close to millions of others in Ireland or Britain or France or Holland or wherever. But in this film, and in the other films, we tried to go a little bit beyond the individual, through the acting and how the film is staged, what you see and what you don’t see. We tried to get to some sort of abstraction, in the acting for instance, in the dialogue and in the way things are presented. So probably Ventura can be ‘the immigrant’, could be what we call today a migrant or refugee, and could even be a slave. I think through this, what I call the everlasting present, the way he moves and talks and the way he confronts people, and the way events and people confront him, it’s

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about this story, that began in the 15th century for us Europeans and the slaves, and African slaves especially. There are some historians and philosophers that say that’s when the horror began. We could call horror what you describe: fascism, capitalism, machines, exploitation, etc.

We have a heavy history with colonialism in Portugal. We colonised the islands from where Ventura came. So in this film, I think yes, everything is involved: it’s Ventura the slave and it’s Ventura the bricklayer at the same time. It could be a Portuguese or a Cape Verdean or a guy from Guyana or from India. It has this doubleface of the immigrant, the pioneer and the failure, the refugee.

You speak about the different levels of meaning, levels of abstraction that the film welcomes in terms of interpretation.

How important is it for you for your films to resist didactic interpretation, or direct metaphor?

Well, I don’t really think about that, or I do think about it, but in other terms. What fascinates me, what I’ve always been more fond of…

I like being with the people I’m working with at the moment, I really like it, because it goes beyond the film. If it was just a film, I don’t know if I would do it [laughs]. I really found some people, I found a place where I belong. It touches me and moves me and provokes me.

Today for me, preparation and location scouting and shooting and production, everything is just one moment. I don’t have this separation that my colleagues have. For me, everything is just the film. Going to the pharmacy, going to the hospital with Ventura, taking care of some passports, doing the shots, building the set, everything is done by us, and everything serves the film. So what I really like is the way we build.

It’s how very strange and apparently removed elements can come into the building of a film, and make it complex and interesting and intriguing. Provoking this mystery by interesting means, that’s what has been fun for me, working in film. Ventura, and these people that I work with, even if they are not on screen, this community, all the things that I imagine or all the things that I know, there’s two realities…. there’s a lot that I know now, or that I think I know, but there’s a lot more that I don’t know, this empty, blank, black space, that I have to fill up. And this also builds the film, nourishes the film, everything that I don’t know, that we can’t talk about. For instance, there were a lot of things that I could not talk about with Ventura, because we’re too shy, or polite, or we just sensed we can’t talk about, or can’t approach, because they are in very dark territory. But perhaps it’s more this that makes the film than the sociological element, or the pure reality that we have in front of us.

So I’m not worried, there are some films that I have made that are probably more sociological, or realistic, this one is maybe a little bit less, for some people. But you could say you could learn more from this one than the realistic one; this one is more ‘documentary’ for me than In Vanda’s Room (2000), for instance, which is a film I made a long time ago and that people call very ‘documentary’. I think this is the one that comes closer to what we’re living, what they are living, this mystery, this insanity.

This is an interesting idea, that what you don’t know, or what you can’t access, informs the actual making of the film.

I’ve read you say that death, despite your wishes, always creeps into your film-

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making. This idea of the emergence of repressed material….do you think that filmmaking itself is an act of exploring, or indeed mitigating, what is repressed?

For sure, yes. What can I say? Freud began working at the same time as the Lumière brothers began experimenting so there’s a connection there. And, you know, what I’ve just told you, going deeper or digging inside the soul of man, it’s a kind of work that I think film can do. I don’t know whether successfully or not, but it seems that one of the major directions that cinema can go is down. It’s not up, it’s down. It’s down and it’s deeper, trying to raise to the surface some... in my case, it’s always something that is a problem, a nightmare, a torment or a torture. It could be more on the side of the dream, or the positive side of things, but I think film still could serve this kind of research. While I’m doing something, while I’m trying something, the people you see are trying something else in front of the camera which is thinking about themselves, or what is around them, the reality around us. And the main thing about movies, when they are great, is that they don’t want to escape reality, the films’ reality, the reality they set up in order to see. It’s very important that the film for me never forgets its reason; the reason that is presented at the beginning of the film should be there at the end. You cannot abandon things or escape with tricks of light and stuff. Cinema is a very deceitful art, it gives you a lot of tricks and money and show and stars and stuff. It can make you oblivious of things. I’m not saying that this is a problem.

It’s not problematic, that way of working, it’s where that problem touches us, it’s the connection. Sometimes you don’t see it, you don’t know what it is, it’s in between, it’s in this dark space.

You mention money, film production and the contingencies of film production. You’ve said before that in order for the film to be decent, the contract for the

film must also be decent. Aside from your unorthodox, collaborative way of working being a financial imperative, is this also the only way for you to make film for artistic reasons?

Yes. It cannot be otherwise. My story, I have been telling this story for a long time, is that I found, or was drawn to, this place or to this community, to this part of town, to this part of the universe. I don’t know if it’s by chance, or just because I went onto the wrong bus or train.

Thomas Bernhard, an Austrian writer, says in his autobiography that he wrote like he wrote because one day he just took the wrong bus, and he went to the other part of town and he saw some stuff that was interesting, and troubling, and he stayed. And he stayed and then what he wrote became that part of town. So for me it’s the same story. That part of town or that part of humanity, you cannot leave there with cinema, with the usual phony diplomacy of cinema, with the rules of that game. It’s not allowed there.

This is a place that has already been massacred and cheated by everything. So bringing all the exploitation, the falsification or the forgery of cinema, it wouldn’t be decent, but it also wouldn’t be possible. So I thought I had a problem to solve, I thought that problem was artistic, or it was what I had to say, could say and how I would say it. I was wrong, it’s not that.

What I had to solve was the cinema production problem: how to produce, how to distribute the money, how to pay people, and why and when and how. How are we doing the film, and for how long, and are we going to take the risk of waiting… But maybe I could have been a more successful filmmaker if I hadn’t taken the wrong bus that day.

For more on Horse Money’s screenings, see www.horsemoney.co.uk

Lyric Theatre Belfast

Dancing at Lughnasa

By Brian Friel –

Oct 06–11, Gaiety Theatre A thoughtful, adept 25th-anniversary revival. « ««« the irish times

In associwation with the Lughnasa International Friel Festival.

Tickets from €15 on sale now dublintheatrefestival.com | +353 1 677 8899

BEAUTIFUL VISION

Joined up

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thinking

words Roisin Agnew photo Steve O’Connor

It’s a talking point and an ice-breaker. It’s a ubiquitous topic wherever you’re from and whatever your circumstances are. Discussing it even seems to have a certain cool cachet. That subject is space. Recently the spotlight has shifted to private rental space, where the emergency in the lack of accommodation prompted institutions such as Trinity College Dublin to email their students and staff begging them to take in student lodgers if they had extra rooms in their homes. Similarly, the homelessness crisis, which saw the Irish Housing Network occupy The Bolt Hostel in July, has been at the top of the agenda and at the forefront of people’s minds.

People’s interest in space expanded and became part of collective consciousness during a period that saw the quick and irresistible dismantlement of some of Dublin’s cultural and community spaces such as Mabos, The Exchange, Supafast, and MART. A backlash and thousands of signatures on generally ignored petitions directed to Dublin City Council followed. Whilst those battles were lost, the result was that objectors and activists went away, regrouped, and have since thought more carefully and deeply about their next move.

One of the groups that has emerged out of that collective outcry is Connect The Dots, ‘an experimental interactive space that encourages dialogue on values and power of the urban ecosystem.’ It is not a physical space but a collective of like-minded young urban philosophers with a desire to build bridges and create dialogue in an area where dialogue seems to have come to a stalemate.

Connect The Dots was founded by two recent graduates of DIT’s MA in Design Practice, Naomi Murphy and Marisa Denker, to deal with the highly politicised issue of vacant space in Dublin.

Naomi had been involved in the much-referenced Granby Park, a project run by voluntary arts collective Upstart, that saw the successful rehabilitation of an empty lot into a community space and garden. Marisa on the other hand had been involved with The Exchange, and had become interested in the ‘grassroots DIY movement that swept across the country’ during the recession, and how to turn Dublin’s derelict properties into innovative spaces. They describe themselves as wanting ‘to try and understand the landscape around the reuse of space’ through connecting the groundswell of support and outrage that had followed some significant closures.

‘There are so many people that care about Dublin – artists, arts initiatives, collectives, squatters, charities for homelessness, researchers, students, council members architects, city planners, and developers. We wanted to create a strong network that could be resilient to change and work to reimagine and grow our city together.’

Since then, Connect The Dots has set upon its

mission of curating talks, discussions, screenings, and dinners (including a picnic at Bloom Fringe, and a pot-luck dinner in the Dublin Food Co Op), where people can gather to discuss issues regarding community and its use and, importantly, bonds can be built between the various stakeholders in an informal setting. They touch on other subjects of urban planning and space, but mainly their focus continues to lie in the relationship between vacant space and community space in Dublin.

Over the past year Naomi and Marisa have had time to think long and hard about what has led to space becoming such a problem in Dublin: ‘It has to do with a lack of a clear process to access space, a low value placed on social initiatives, a lack of power within networks of people that want to create fairness, larger institutions developing in areas without consulting the users of the space, and often it boils down to the Irish anxiety of needing to own property leading to landhoarding.’ Recently, they have been working on ‘In Transit’ with the Goethe Institut, an EU-wide project that sees cities join to figure out best approaches to modern urban space, which took place last month.

There is a high demand for space, matching the high supply, yet barriers and challenges blocking the reuse of spaces has caused what Connect The Dots call ‘artificial scarcity’. The space is there, but the system won’t let it be used. This is an argument Totally Dublin has heard many times before from the Irish Housing Network when they were interviewed about The Bolt Hostel, and again when it looked into derelict buildings a year ago. It is not that there is no space, it’s that the structural constraints won’t allow its use, whether that is NAMA, Dublin City Council, or landlords.

They create the artificial scarcity, and the rest of us scramble to make it work.

Connect The Dots wants to create a space where the normally adversarial relationship between activists and institutions can be resolved in a space of debate and discussion. Their objectives for the near future see the increasing involvement of landlords for instance. ‘We have a very large overarching mantra – moving towards systems change,’ the girls say. ‘What this would entail will be dictated by the groups that come together and discuss what is feasible and what can be worked towards.’

As long as there are community hubs that don’t require a physical space to continue to think and work towards a healthier and more bipartisan approach to space, then there’s reason to stay involved and optimistic, and perhaps we can connect the dots to make the systems change.

The three biggest problems faced by creative and community space according to Connect The Dots: 1 – A lack of supportive and flexible infrastructure in terms of funding, advice, champions, transparent information, and clear processes to encourage the growth of new initiatives and current projects.

2 – Space not being valued as an important asset to the community. What’s come out of a lot of the discussions at Connect The Dots is that there are few ‘champions’ and little to no legislation that protects spaces that may not have direct fiscal benefits to the city, but do amazing work for the community and provide an important creative space for an area that would otherwise have none.

3 – The ad hoc nature of their set-ups often leaves creative spaces vulnerable to sudden changes or to authorities, thus making economic viability and resilience challenging.

For more about Connect The Dots, see www.connectthedots.ie

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words Ian Lamont photo Steve Gullick

STILL MAKING SENSE Festival heroes Hot Chip return to Ireland with a hatful of anthems

Ahead of their headline performance at Metropolis Festival in RDS this November, Totally Dublin caught a few quick words with Alexis Taylor, lead vocalist and keyboardist of Hot Chip, whose excellent sixth album Why Make Sense? was released this summer.

up in and overdub onto simultaneously rather than one at a time. The time constraints meant the lyrics were often written there and then in the studio or structures were made to suit a live take of certain tracks. I think we tracked pretty quickly on top of various demos we had made and a few tracks were just jammed out in the studio.

How much of your music is written with live performance in mind specifically? Is there any kind of reverse engineering going on to reproduce things you’ve created in the studio, or do you make the music basically as you would set up live?

We tend to make the music in the studio without a full live set-up. We see the studio as a place to make records and live as something else altogether - and part of the challenge of both disciplines is to make each feel as good as the other, i.e. making a record have live energy or a live show have the attention to detail and balance of a record.

Were there any specific limitations or parameters, beyond just time, that influenced the creation of Why Make Sense? Like, for example, specific equipment?

Most of it was made with some gear we hadn’t used before – specific synths, a Disklavier piano, a dulcitone, a tractor which we hit, etc. And it was all within a room we could set

How did the decision to start covering Dancing In The Dark and All My Friends as a medley come about? Is that a festival-only move? And is there a sense that you’re long enough in the game to get away with dropping absolute banger cover versions into your set?

I was being interviewed about the lyrics from Need You Now and the lines about ‘tired of being myself ’ reminded me of Dancing in The Dark’s line about being ‘tired and bored of myself ’, as well as Al Green’s ‘I’m so tired of being alone, I’m so tied up on my own’ [from Green’s Tired of Being Alone] and it struck me – as a song I have always loved – that it could work as a Hot Chip cover.

We had kind of been in search of the perfect fit cover to end the set, and for me a song like that means as much to me and is small-scale and personal, and it is also a universal and well-known anthemic song. Nebraska, specifically, and a few Born In The USA tracks are some of my favourite pieces of music and I had been quite deep into

38

rediscovering them during the months leading up to us rehearsing, so it was enjoyable to try to put our own spin on them. I wanted it to sound like Suicide and remain on one droning note for the long instrumental sections. Once Al [Doyle] added in the D chord on the bass he realised we could easily incorporate the LCD Soundsystem song, so that was where that came from. It is kind of indicative of how Hot Chip works really. I tend to have an idea but not want to enforce it, so if others don’t really hear the Suicide/ Spacemen 3 side of what I was getting at, it can then morph into something else rather than one of us just saying, ‘Oh no, it has to be more like this or that’. The two songs seem like happy bedfellows to me really.

Finally, what records have been blowing your mind this year?

The Roches’ self-titled LP, Bruce Springsteen’s Tunnel of Love, Joe’s Thinkin’ About twelve-inch release on Text Records, the live version of Spacemen 3’s Suicide; John Martyn’s Grace and Danger and Jamie Lidell’s single Believe in Me on Soundcloud.

Hot Chip play the Main Hall on Saturday 7 November at the Metropolis Festival in the RDS.

Irish Museum of Modern Art

www.imma.ie

What We Call Love From Surrealism to Now

Modern and contemporary masterworks from the world’s leading collections Until 7 February 2016

07.08.15 – 01.11.15

Admission: €8/5 concession

NOTHING TO SEE HERE

SECRET

IMAGE / Kapwani Kiwanga / Turns of Phrase: Fig.1 (Upendo) / 2012 / Fabric, wood / 4 x 3 x 53 cm / 1½ x 1¾ x 20¾ in / ©Kapwani Kiwanga

NEW ART AT IMMA PROUDLY SUPPORTED BY MATHESON

Official Hotel Partner www.dylan.ie

A FREE EXHIBITION THAT CRACKS CRYPTOGRAPHY, SPILLS SECRETS, AND EXAMINES ENIGMAS. PLAN YOUR VISIT AT DUBLIN.SCIENCEGALLERY.COM/SECRET

SCIENCE GALLERY DUBLIN IS PART OF THE GLOBAL SCIENCE GALLERY NETWORK PIONEERED BY TRINITY COLLEGE DUBLIN.

Enjoy the Waterford Crystal Factory Experience.

Book your tour online today.

DUBLIN

SHANNON

WATERFORD CORK

On social media:

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To book your factory tour visit waterfordvisitorcentre.com or phone +353 (0)51 317000

Sound situation Continuous Drift, a sound installation in Temple Bar’s Meeting House Square conceived by Sven Anderson launched at the start of July, with a performance in the nearby Project Arts Centre

by Japanese sound artist Miki Yui, whose work features alongside 23 other artists or collectives as part of Continuous Drift. However in spite of its accessibility – it only requires you having an internet ready mobile device to access the installation’s control panel at www.continuousdrift. com – it has remained a bit of a secret, a slowburning discovery for those beyond Dublin’s art-crowd. The aim is to remedy this with soon-to-be-installed public signage alerting a wider public to its existence and operation, on a (hopefully) permanent basis.

Sitting with Anderson in the square, it’s remarkable how immediate and fun this highbrow work is and also what a strange refuge Meeting House Square becomes from the tumult of Temple Bar during weekdays, where its purpose seems more refuge than rendez-vous.

At the press of a button on the website, eight speakers, concealed within the four umbrellas designed by Seán Harrington Architects, play audio works ranging from field recordings that last more than an hour, to sweetly pulsing synth arpeggios (Wolfgang Voigt’s Zukunft Ohne Menschen), to a recording of Lou Reed’s amp as he plays Candy Says (Russell Hart’s Guitars, Planets and Other Noises). The works compete with the chatter of kids hanging out here, and the sounds of work and life whirling around beyond the square (in our case, it’s an industrial saw)that leap out of the background layer when one stops to consider your acoustic environment in the way that Continuous Drift encourages you to.

Anderson found himself with this canvas to play with by virtue of a position he applied for and essentially created within Dublin City

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We talk to artist Sven Anderson about his installation Continuous Drift, and his role as an urban sound planner.

Council, that of Urban Acoustic Planner. He is also in the process of finishing a separate sound installation in Smithfield Square entitled Glass House, which uses audio from films playing in the Light House Cinema to produce generative music. ‘In 2012 I made a proposal, when they had this amazing call for works. It was a new thing for Dublin City Council, and a lot of artists went for it. It was a bigger commissioning scheme than we had seen for a long time. I went to one of the meetings that they had and Ruairi Ó Cuív, who’s the Public Art Manager, wanted people to suggest projects that were processbased, that would work with different council resources.’

‘The most interesting thing about it,’ says Anderson, ‘is that it’s not the kind of artist placement where you’re inventing a role for yourself that doesn’t otherwise exist. It’s actually putting yourself in a role [of urban sound planner] that frankly should exist, and that in some cities does exist, but here, currently doesn’t exist… It would be one thing if I was going in asking for their help in trying to revise the way

they do something that they are already doing, but because they’re not doing it, there’s an openness. When I mentioned these kind of installations, people in the Council were suddenly asking “Oh, what’s that all about?” and there was momentum behind the idea. The logic I’ve come up with at the end is when you’re starting something like that within a city council, you have to work to the scale of the city. That’s what was so great about this commission, is that I wrote my job. I wrote my objectives. And pretty much the first line was, “I will develop my objectives in response to what people within DCC are interested in.”’ Anderson’s submission, Manual for Acoustic Planning and Urban Sound Design (MAP) won the 2014 European Soundscape Award from the European Environment Agency.

Continuous Drift allows anybody armed with the commonplace technology of a mobile phone to shape the sonic space of Meeting House Square, and the idea of control is central to the work: ‘I sent everybody a brief where I described the project’s theme: this architect Constant Nieuwenhuys had this idea of controlling the environment around you, and I really wanted the artists to test that idea out. Some of the artists asked me lots of questions, and some people just had an intuition like, “I want this, I know what would be perfect there”. Anybody else can come in and turn it off – that’s why it’s about control. That’s an intrinsic part of what I wanted it to be. I didn’t want it to be a space where we all contributed to some sound collage.

I wanted it to be a blocky democracy of on-off.’

‘I wanted to make this piece specifically in Temple Bar,’ explains Anderson, ‘because, along with many other issues that it grapples with, it grapples with a soundscape that’s very unregulated, and that many people have an antagonistic, or non-participatory relationship with. This piece is about giving people the power to add sounds and take away sounds... It’s not about only being here on it’s own, it’s about other things happening around it. But I do think it’s interesting the way the restaurant [The Meeting House] is evolving in the square. It’s a good illustration of how Temple Bar evolves in different directions and struggles between being a cultural quarter and a commercial space.’

To experiment with Continuous Drift, go to Meeting House Square, visit continuousdrift.com on a mobile device and follow the simple instructions on the site, where you can also find information about the artists and works that are available and a schedule for the installation’s availability for the next ten days.

words Ian Lamont photo Killian Broderick

Anybody else can come in and turn it off.

That’s an intrinsic part of it. I didn’t want it to be a space where we all contributed to some sound collage.

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The Dublin Pub Guide

Frite haus

THE PORTERHOUSE central

SÖDER + KO

Frite Haus offers a growing range of craft beers with wonderful authentic Belgian fries and sausages with an Irish twist in the heart of Dublin 2. They have put a great deal of thought in to their menu, from triple cooked house made potato chips, craft sauces and house made condiments, to their locally sourced artisan butcher sausages. Great ingredients, expertly prepared and served in a relaxed Belgian style ‘Chip Shop’ restaurant.

The Porterhouse in Temple Bar opened in 1996 as Dublin’s first microbrewery.

Brewing three stouts, three lagers and three ales in the tiny brewery created much demand for the brews and lead to the growth of the craft beer market. Seasonal beers are available alongside their regular ten drauaght beers they brew, namely Plain Porter which won a gold medal twice for the best stout in the world!

Experience the magic that single estate handcrafted vodka brings to a cocktail with Absolut Elyx. Taste the Skandi influence in their craft beers, ciders and in our signature serves or try a classic cocktail with a SÖDER twist. Discover 3 bars each with a different vibe, a heated beer garden like nowhere else in Dublin and a late bar ‘til 3am on Friday and Saturday.

Whether for a few drinks or to party ‘til late, it’s the place to be.

Frites Haus, 87 Camden Street Lower, Dublin 2 T: 087 050 5964 www.frite-haus.com @fritehaus1

16-18 Parliament Street, Dublin 2 45-47 Nassau Street, Dublin 2 tel: 01 677 4180 www.porterhousebrewco.com

64 South Great George’s Street, Dublin 2 01 474 1590 info@soderandko soderandko.ie

Fb: Porterhouse-Brewing-Company @Porterhousebars

McDaids

Grogan’s

Generator Hostel

McDaids is, if we’re honest, the kind of place where you’d call yourself lucky if you’ve nabbed a seat early in the night. Its much cosier, shoulder-to-shoulder affair where an unbeatable Guinness is only a quick shuffle away and commenting on overheard banter is de rigeur. The perfect place for whiling a night away righting the world’s wrongs with a few close friends or quiet pint in Brendan Behan’s memory.

Grogan’s Pub has been a mainstay in Dublin since time began. When you walk through the doors you get a sense of being catapulted back to a bygone era when pubs where a place that everybody knew your name. The decor has not changed in almost 40 years, and that’s the way it should be.

Do try their legendary toasted sandwiches with a pint of plain and admire all the artwork hanging from the walls which are, by the way, available to buy.

3 Harry Street, Dublin 2

15 Sth William St, Dublin 2

Generator hails a return to the proud tradition of innkeeping; providing lodging, food and of course, drinks. A relaxed venue where you can enjoy a selection of craft beers, the trusted classics or something more suited to a backpacker’s budget. Expect to meet guests from all over the world as they stop over in the fair city. It provides a perfect opportunity to practice your rusty Spanish, Portuguese, Italian or German. Situated in the ever-present yet up and coming Smithfield Square, right on the Luas tracks, Generator is a refreshingly different interface beween Dublin and her visitors.

01 679 4395

Smithfield Square, Dublin 7 01 901 0222 www.generatorhostels.com/Dublin-Hostel

CAFÉ EN SEINE

O’Donoghue’s

The Blind Pig

Choice… here, you’ve never had as much. Signature cocktails served with style. French Champagne fused to create sparkling surprises. Gin concoctions bursting with botanicals. The purest of vodkas served just as they should be.

And whiskeys… Irish, Scotch, American and Japanese… young, old and very old. A wine for every palette and bubbles for every occasion, all served with effortless charm in a lavish interior that is unmatched. With the largest drinks menu in Dublin, whatever your taste, just ask.

O’Donoghue’s is one of Dublin’s most historic drinking establishments located just off St. Stephen’s Green in the heart of Dublin. Probably best known for its traditional Irish music, session still take place daily, midweek from 9pm, Saturdays from 5pm and all day on Sunday from 1pm. O’Donoghue’s has a rich history in providing a welcome for locals and visitors alike to play a tune or enjoy a pint. A menu of soup, stew and sandwiches is served daily from noon.

Named after the police, who turned a blind eye to the liquor rooms of the 1920s prohibition era, The Blind Pig launched as a monthly pop-up Speakeasy bar, in secret, at a well-known Dublin venue. Since then, The Blind Pig has developed an affectionate fanbase in Ireland and abroad. The Blind Pig is the brains of the internationally award-winning mixologist Paul Lambert. With his expertly-crafted cocktail menu, The Blind Pig is now in permanent residence and is a full underground cocktail bar and restaurant.

The location, which is less than a 5-minute walk from Trinity College, is revealed upon booking.

40 Dawson Street, Dublin 2 01 677 4567 bookings@cafeenseine.ie cafeenseine.ie

15 Merrion Row, Dublin (01) 660 7194 Hours: 10:00 a.m. – 12:00 a.m.

reservations@theblindpig.ie 085 874 7901

NEW BLOOD: A cold, sharp bite of contemporary Irish culture.

Mary & John (No Way Back, Electric Galway, Drop Everything) present New Blood, a party for Bram Stoker Festival. A take-over and transformation of Project Arts Centre with live electronic acts and DJs, bespoke drinks, art installations and hickeys.

DRESS CODE: If Rihanna and FKA Twigs had a stripclub in the Matrix.

LIMITED TICKETS AT €25: www.bramstokerfestival.com/event/new-blood/

PROUDLY SPONSORED BY

BARFLY words Oisín Murphy-Hall photos Killian Broderick

ABBEY HOUR

The Jolly Monk

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‘It’s weird how monks are allowed to drink, isn’t it?’ I ask Anton as we approach The Jolly Monk, the newly renovated bar of the Abbey Hotel. ‘I mean, as in you would think drinking would be prohibited or something.’

‘What’s weird about that? Everybody drinks,’ he says. ‘Name one profession that doesn’t.’ I think for a moment.

‘I suppose I thought that the monk was one.’

‘They named a bar after the monk’s drinking, you idiot,’ he says. ‘Look at the sign!’ A monk who looks like Neil Morrissey is holding aloft a beer stein with a smile on his face. Anton pauses in thought: ‘I suppose childminders, maybe.’

There’s something quite alluring about the idea of drinking in a hotel bar. The sense of impermanence, of mystery and briefly, fleetingly intersecting lives, in a place that is at once home and not home. The cinematic imagination has a part to play in this, surely, with the institution in its various guises over the years housing romantic trysts, capers, murder plots and the like. Suffice it to say, however, that The Jolly Monk is less Rita Hayworth wistfully fingering a martini glass at the corner of the bar and more English lads’ weekend holidayers eating from Papa John’s pizza boxes on their laps (the bar’s kitchen opens at the start of October, I’m told) and heckling nearby individuals for various infringements on their psychical comfort.

This is the precarious emotional state of the tourist writ large. Susan Sontag notes how the travelling individual alleviates her anxiety at unfamiliar surroundings by recourse to photography, engaging with her environment from the safe distance of the quotidian form; so too the Englishman with ‘banter’, or the death-spasms of the once proud colonial mindset that served historically so well as a comfort blanket for the Queen’s subjects’ baser sensibilities at the cost of the subjugation of the other. This, I suppose, is the real pitfall of the hotel bar for the native population: here, everyone is an outsider.

‘Everyone’s a spicer,’ Anton suggests.

An old man wearing a slightly-too-large crucifix necklace passes by us as we return to our

seats after smoking on the terrace. ‘You’re so happy,’ he stops to say to me. ‘I wish I was that happy!’ It’s one of those exchanges, rarely occurring in life, that make your laughter very quickly give way to an implacable sadness. The back of his t-shirt reads ‘Those that shine from the inside don’t need the spotlight’ in cursive, under a picture of a candle. He will return momentarily to recite a poem of his own, printed out in an enormous folder (A2 size maybe?) about how irritating it is when people use their phones when they’re in others’ company, as though acting out a sort of inverted, Brechtian adaptation of the famous Dom Joly sketch.

The thing about pubs is, what makes them is the people. That The Jolly Monk is a comfortable, unassuming bar, with no immediate flaws to speak of (bar perhaps being a little overlit), gives Abbey Hotel the best possible chance at having a decent place for its guests and whoever else might wander in to have a drink and relax.

They even do craft beer! It’s up to the patrons to do the rest. ‘Are you going to put the auld lad in your review?’ Anton asks me as we exit, waving to the barman. ‘Because the poem was shit, but it was pretty funny.’

The Jolly Monk 52 Middle Abbey Street, Dublin 1 01-8728188 www.thejollymonk.ie

BARFLY words Danny Wilson photo Killian Broderick

WHERE EV’RYBODY KNOWS ITS NAME The South William

South William Street: a hub for drinking, dining, shopping and in the last few years the punchline of more than its fare share of well meaning jabs. Since Dublin’s most widely-ridiculed culture and brunch fetishism website claimed to have essentially discovered this ground zero for the ‘hipster revolution’, merely invoking the road’s name has acted as convenient shorthand when referring to the brand of hipsterdom that involves drinking €15 cocktails and unapologetically using the word ‘hipster’.

So, with that in mind, it’s fitting that The South William, in a move to play up to this focusgrouped cool, has back-peddled on its Damson Diner re-brand in favour of returning to their original geographically focused moniker.

On arrival, you’d be hard pressed to discern any marked differences from the establishment’s previous incarnations: the stereo pipes in unidentifiable Get Lucky impersonators, the

menu boasts a cocktail called the Rum ‘n’ Bass, and the powers that be have failed to resist the incomprehensible urge to plaster the walls with ludicrous street art daubing imploring you not to ‘give up on your daydream’.

My companion and I arrive on a relatively quiet Wednesday evening and set up shop in their covered smoking area out front.

Wednesday is, of course, prime Tinder-date temporal real estate, and nearly all of the other seats seem to be populated accordingly. A cursory scan of the room leaves little doubt that the vast majority of the other customers are meeting each other for the first time and doing their damndest to seem like the sort of suitor that would be able to whisk you to the top of the queue at the Whitefriar Grill on a rammed Sunday afternoon. But most pressingly, they are invariably struggling to exude these qualities while trying to eat bulbous, and pretty appealing

The South William 52 South William Street, Dublin 2 southwilliam.ie 01-6875822

STEP INSIDE THE HOME OF

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looking burgers without making an utter show of themselves in front of the stranger-cumwould-be-lover on the other side of the table.

As we watch these notionally happenin’ young things wrestle with a slab of meat between what look like two brioche kneepads without getting trickles of run-off down the front of their new Shore Leave button up, we eventually leave our snark to one side to appraise the venue’s assets. And they are hard to ignore, though let it be said the €5.90 price point for a pint of Guinness does not rank among them. Over the course of our few drinks, we’re treated to no less than three stop-andchats from friends pottering past, and that’s not even counting waves from bicycles.

With too many good folks leaving us for a life in the sprawls either side of the water that surrounds our island home, it’s beneficial for the spirit to sometimes dwell on the assets of living in a city of this size. And if you’ve installed yourself out in front of The South William, in the shadow of Miss Fantastia’s, it’s as good place as any to watch the world go by.

Sometimes there just isn’t any seats left outside Grogan’s, y’know? It feels a bit ridiculous, but sometimes the location of a bar alone is justification enough for praise. If these realities hadn’t crossed the mind of those running the show, they perhaps would have opted for a more imaginative name.

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Bray Camille O’Sullivan

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D U BL I N Prepare for an intensely emotional theatrical experience as Camille O’Sullivan performs hidden gems and old favourites drawn from a decade of her most mesmerising performances. Expect joy and passion in equal measure and see for yourself how O’Sullivan has forged an internationally renowned reputation as she interprets the songs of Jacques Brel, Nick Cave, Tom Waits, David Bowie and others in an intensely dramatic way. Catch Camille O’Sullivan at the Mermaid Arts Centre Bray at 8pm on Friday 10th & Saturday 11th July.

For more see www.mermaidartscentre.ie

Bray

Dún Laoghaire

Dublin Animation Film Festival

Quiet Music Ensemble at Mermaid Arts Centre

This year’s Dublin Animation Film Festival (DAFF) marks a milestone fifteen years as Ireland’s only festival showcasing animated films. The 2015 programme includes a Q&A session with Tomm Moore on animation blockbuster Song of the Sea and an input from Damien Byrne of Brown Bag Films.

There’s also a guest lecture from Michel Chiappa of London-based Karrot Animation, the studio behind award winning CBeebies programme Sara and Duck. The 2015 Dublin Animation Film Festival takes place on Friday 16th and Saturday 17th October in the Dún Laoghaire Institute of Arts, Design and Technology (IADT) and the Pavilion Theatre Dún Laoghaire. Further details at www.dublinanimationfilmfestival.com Junior Song School

Junior Song School is a great programme for students at primary school level interested in making music and writing songs with others.

The week-long workshop covers subjects such as learning how to write and record songs, make music videos and putting on gigs for family and friends. Aimed at those learning how to play an instrument or those playing already, this workshop offers opportunities to find friends who share a love of making music while having fun jamming with them.

Junior Song School runs from July 27th – 31st. See www.mermaidartscentre.ie for further details.

Bray Summer Fest

As always, the Mermaid Arts Centre has a packed and varied programme schedule this month, with plenty to sate the appetite of most culture vultures. One event in particular caught our eye, an evening of meditative yet exciting music making courtesy of Quiet Music Ensemble. Comprising musicians from various different backgrounds, the lineup includes John Godfrey (director/guitar), Sean Mac Erlaine (reeds), Ilse de Ziah (cello), Roddy O’Keefe (trombone), DanBodwell (bass), and Alexis Nealon (sound engineer).

Quiet Music Ensemble play at the Mermaid Arts Centre Bray on Thursday 29th October.

Tickets and further details at www.mermaidartscentre.ie

With an eclectic mix of musical, culinary and visual treats, there’s plenty to see and do at this year’s Bray Summer Fest. Attractions include food and craft markets, a seaside funfair, Groove Festival and the ever-popular Bray Air Display (see below). Entertainments at the Summerfest Funfair (Sunday 12th July to Monday 3rd August) include a vintage style sideshow, inflatable cities, jungle gyms and a range of water activities. All are individually priced with regular weekday offers also available on site. Bray Summer Fest culminates in a spectacular fireworks display on Bank Holiday Monday, and runs from Saturday 4th July to Monday 3rd August. Keep up to date on Twitter with the hashtag #bsf15 and check out www.braysummerfest.ie for more.

Ode to Autumn

The season of mists is an awesome time to get out and about, blow off the cobwebs and see what riches Mother Nature has to offer. With that in mind, Dún Laoghaire County Council has a great series of autumnal activities lined up this month. Highlights include a Harvest Walk with fun food foraging on Saturday 17th October and a seed safari with expert tips on the best ways for storing and saving seeds. Budding witches and wizards should try to keep Saturday 24th October free, when they’re invited to make brooms and wands from natural materials found in Cabinteely Park. Booking essential. For more see www. dlrcoco.ie/events

Dalkey Dalkey Creates

They say there’s a writer in all of us, so why not get started at the second Dalkey Creates weekend this month? There’s a great programme of workshops in store on subjects as diverse as crime fiction, writing for TV and radio, writing fiction for teens, memoir and ghostwriting. Creative writing is well catered for too, with workshops at both starter and more advanced level. Experienced facilitators include writers Martina Devlin, Sarah Webb, Ferdia McAnna, Sue Leonard, Mary O’Donnell and Declan Hughes. Dalkey Creates runs from Friday 16th to Sunday 18th October. Full workshop details and tutor biographies can be viewed on www.dalkeycreates.com

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Suesey Street

Bellucci’s

KAFKA

Umi Falafel

26 Fitzwilliam Place, Dublin 2.

Sweepstakes Centre, 22-30 Merrion Road, Dublin 4

236 Lower Rathmines Road, Dublin 6

13 Dame Street, Dublin 2

t: (01) 669 4600 | info@sueseystreet.ie

01 668 9422

01 4977057

01 670 68 66 // umifalafel.ie // @UmiFalafel

www.sueseystreet.ie

www.bellucci.ie Kafka offers affordable, wholesome, and well-made brasserie fare at a reassuringly reasonable cost.

The sparse, minimal décor goes hand in hand with the delicious diner-style food; free of pretence and fuss. A varied but not overstretched menu touches enough bases to cover most tastes offering up anything from bangers and mash to porcini mushroom risotto. While their prices are easy on the pocket, Kafka cuts no corners with quality of their food.

Umi Falafel want to share with you their passion for the freshest and most authentic falafel in Dublin.

Their falafel are prepared fresh daily at their location on Dame Street with an old family recipe – ‘Umi’ is the Arabic word for mother after all. Umi Falafel is a fantastic eatery for vegetarians and vegans, as they serve mouth-watering salads, delicious Lebanese favourites such as hummus and baba ghanoush, as well as their favourites, the Palestinian or Lebanese falafel sandwiches served with a choice of salad and dips for a wholesome meal. Open 12pm-10pm daily.

@SueseyStreet The Suesey Street name harks back to Georgian times and was the original name for Leeson Street in the 1700s. The venue was formerly Brasserie Le Pont and now offers a more informal approach to drinking and dining. The large outdoor terrace is one of the best in the city, fully heated and topped with a retractable canopy making it the perfect space for al fresco dining year round. With the focus on quality food and great hospitality Suesey Street is the go-to place to socialise and enjoy the finer things in life.

Located in Dublin’s exclusive Ballsbridge area, Bellucci’s is situated close to many of Dublins top hotels, across from the famous RDS venue and a short walk from the Aviva Stadium. The restaurant is also close to both the American and British Embassies and is ideal for business lunches, pre and post-event suppers. The casual atmosphere coupled with great Italian food and service set the scene for a cosy romantic meal. The large outdoor area is ideal for al fresco dining or enjoying one of the something from the extensive cocktail menu.

The 101 Talbot

The Meeting House

100-102 Talbot St, Dublin 1 t: 01-8745011 www.talbot101.ie

Meeting House Square, Temple Bar, D2 www.themeetinghousedublin.com 01-6703330 @meetinghousedub

The 101 Talbot is one of Dublin’s best-loved restaurants, thanks to excellent modern cooking and vivacious service. It boasts great food, friendly staff, buzzing atmosphere and a full bar licence. The 101 is highly acclaimed and recommended in many guides. Their food is creative and contemporary, with Mediterranean and Middle Eastern influences, while using fresh local ingredients. Popular with Dublin’s artistic and literary set, and conveniently close to the Abbey and Gate theatres, the restaurant is a very central venue to start or end an evening in the city centre.

The Meeting House serves up superbly balanced, pretty-as-a-picture plates (all priced at €9.99 or €6.66 on Sunday and Monday) that burst with the flavours of South-East Asia. Favourites include a rare and delicate blackened cod, a seared sirloin steak that zings with Sichuan pepper and Asian Salsa Verde, and a signature tomato dish that takes notions of salad to a whole new level. The wine list is both thoughtful and exciting, though with award-winning mixologists behind the bar, cocktails here are a must. Enjoy all this and more in their cool, moody interiors or kick back on the terrace and watch the world go by in the summer sun.

Stanley’s Restaurant and Wine Bar

KC Peaches Wine Cave

7, St. Andrews Street , Dublin 2 // t: 01-4853273 //

www.kcpeaches.com

@stanleysd2

01 6336872

FB: Stanley’s Restaurant & Wine // www.stanley-

@kcpeaches

srestaurant.ie

28-29 Nassau St, Dublin 2

Söder+Ko

Stanley’s Restaurant and Wine Bar is located in the heart of Dublin, a short walk from College Green on St Andrews Street. They pride themselves on pairing modern Irish cuisine with an inspiring and unconventional wine list. Chef/proprietor Stephen McArdle has created a unique space across three floors, a modern ground floor wine bar, an intimately classic dining room, and private dining room to cater for all occasions.

64 South Great George’s Street, Dublin 2 w: soderandko.ie t: 01 474 1590 e: info@soderandko

Vikings Steakhouse

TGI Friday’s

Culinary Director Kwangi Chan and his team serve an Asian menu that’s made for sharing. Discover lots of small plates bursting with delicious punchy flavour. Pop in for an Express Lunch with a choice of tempting light bites, signature steamed buns and Chef Specials to savour. Come for dinner and mix it up with your favourites from their raw, dim sum and hot options, all designed to delight. Open for lunch, weekend brunch and dinner 7 days a week.

2nd Floor (Bram Stoker Hotel), 225 Clontarf Road, Dublin 3 01 853 2000 info@vikingssteakhouse.com www.vikingssteakhouse.com www.facebook.com/vikingssteakhouseclontarf

Fleet Street, 19/20 Fleet Street, D2, t: 01-6728975.

Stephen’s Green, D2, t: 01-4781233.

Blanchardstown S.C., D15, t: 01-8225990.

Dundrum Shopping Centre, D14, t: 01-2987299.

Airside Retail Park, Swords, Co. Dublin, t: 01-8408525 w: www.fridays.ie

Vikings Steakhouse, on the seafront in Clontarf, offers a wide range of juicy steaks (côte de bœuf and steak on the stone are specialities) along with seafood, chicken and vegetarian options. Super starters, healthy salads and a wide range of expertly made cocktails available, along with craft beers and an excellent wine list. Great value, friendly and professional service awaits you. Vikings Steakhouse... because steak does matter!

TGI Friday’s is your number one authentic American style restaurant that makes every day feel like Friday.

It’s the home of the famous Jack Daniel’s sauce, grill and glaze making their burgers, chicken wings and steaks some of the best tasting dishes in Dublin.

TGI have a fantastic selection of drinks to relax and enjoy with friends including an exciting new cocktail menu, great value lunch deals and a hard to beat two-course menu. #InHereItsAlwaysFriday

KC Peaches Wine Cave is a true hidden gem located under Dublin’s busiest café on Nassau St. Outstanding chef Ralph Utto continues the philosophy of KC Peaches by designing tasty sharing plates offering seasonal, all natural, additive free and locally sourced wholefood. The wine selection follows the ‘nourishment by nature’ message, allowing you to choose from only the best but affordable natural, biodynamic and organic wines. The Wine Cave is Dublin’s best kept secret on the verge of being discovered as the ‘place to be’ in the capital.

TueSat 5.30pmlate with live music every Saturday.

COPPINGER ROW

The Boxty House

Coppinger Row, South William Street, Dublin 2

20-21 Temple Bar Dublin 2

01 6729884

w: www.boxtyhouse.ie

www.coppingerrow.com

e: info@boxtyhouse.ie @theboxtyhouse

Coppinger Row, named for the lane off South William Street where the restaurant is located is in the heart of the city centre’s shopping district and is known for it’s Mediterranean cuisine, it’s relaxed, funky chic and also it’s cocktails. The menu relies on simple values of quality taste and seasonal change to keep the dishes fresh and appropriate. Between the food and ambience, Coppinger Row is an ideal spot in which to start a night out in the city centre.

The Boxty House in Temple Bar has been at the beating heart of a dynamic, contemporary community since 1988. Their guests experience a genuine taste of modern Ireland, with only the finest of Irish artisan produce used. They offer an extensive range of classic and contemporary dishes with a fixed price menu also available. You can also sit back, relax and enjoy their eclectic range of cocktails, selection of Irish craft beers and carefully chosen wine list. Open seven days from noon (Monday to Friday) and at 11am at the weekends for brunch, lunch and evening dinner. Last food orders taken around 10.30pm.

outdoor seating

vegetarian

kid-friendly

full bar

wi-fi

booking recommended

red luas line

green luas line

ely bar & brasserie

CAFFE ITALIANO

The Kitchen Restaurant

The Brasserie at The Marker

Chq, IFSC, Dublin 1

7 Crow Street - Bazzar Galley, Temple Bar, Dublin 2

3 Anne Street South

Grand Canal Square, Dublin 2

www.elywinebar.com

www.caffeitaliano.ie

eat@thekitchen.ie

01-6875104

elybrasserie@elywinebar.com

01 5511206

01 677 4205

bookyourtable@themarker.ie

thekitchen.ie

@themarkerhotel A refreshing addition to the Grand Canal restaurant scene, The Brasserie starts with its stunning interior.

Comfortable modern, minimal furniture, including the legendary Panton chair, the spectacular grey marble table, and private booths and banquette seating, creating the right amount of privacy for intimate dining. In Ireland, the traditional way of cooking is simple dishes, built around one great ingredient. The Brasserie is no different. From succulent rare breed pork or prime dry-aged beef, The Brasserie stays true to Irish roots. For a unique night out visit The Marker Brasserie for one of Dublin’s best dining experiences.

@elywinebars 01 672 0010 ely bar & brasserie, awarded ‘Wine Bar of the Year’ 2014 & 2015 by The Sunday Business Post and ‘Best Wine Experience’ 2014 by Food & Wine magazine, is in a beautifully restored 200 year old tobacco and wine warehouse. Great wines, beers, cocktails and ‘food terroir’ all delivered with passion, make this one of the most unique and atmospheric dining experiences in the country. Check out their sun-trap water-side terrace this summer.

Right in the centre of Temple Bar you’ll find one of Dublin’s best kept secrets, the haven that is Caffe Italiano. The philosophy here is fresh food seven days a week using the best ingredients at affordable prices. All the food and wine comes directly from Italy, from cheese and cured meat boards to lamb cutlets with Black Forest sauce, they believe in doing things the traditional way to capture truly authentic flavours. There’s live music at weekends making this one of the capital’s hotspots, whether it’s for a coffee, a refreshing beer, a chilled glass of wine or a memorable dinner.

www.facebook.com/thekitchendub The goal at The Kitchen, is to deliver an innovative menu, a great selection of wines and Irish craft beers, in fun and stylish surroundings, at an affordable cost. Their Head Chef, Vincent Blake, takes pride in preparing dishes which are made from a selection of nutritious, healthy, and well balanced ingredients.

The Kitchen’s style of food is influenced by many world cuisines. The secret to their food having such great flavour is their use of fresh herbs, and a delicate balance of spices

SALAMANCA

Zaragoza

St.Andrew’s Street,Dublin 2 // 01 6774799 // info@

South William St

salamanca.ie // www.Salamanca.ie //

01 6794020

facebook.com/salamancatapas // @SalamancaTapas Salamanca brings the taste of Spain to downtown Dublin, providing a wide range of quality Spanish tapas and wines. Their aim is to whisk you from the mundane to the Mediterranean with every mouthful. Located on St Andrews Street, right beside the relocated Molly Malone, just off Grafton Street.

Taste the sunshine and sea in the tapas on offer on the menu, such as Jamon Iberico, fried calamares and Prawns in Olive oil, also found in the signature dish, Paella de Pollo There are great lunch and early Bird offers, seven days a week. Also try their Cava & Tapas Platter nights which run from Sunday through to Wednesday. Check it out and transport yourself to Spain, without the check in!

info@zaragoza.com // @zaragozadublin

Asador

Mao

1 Victoria House, Haddington Road, Dublin 4 // t: 01

2 Chatham Row, Dublin 2 t: 01-6704899 mymao.ie

fb.com/zaragozadublin Zaragoza restaurant is slap bang on buzzy South William St, Dublin’s hotspot for nightlife. The restaurant takes its name and culinary inspiration from the Spanish City and is a true food lover’s paradise. Treat yourself to a unique dining experience, as local delicacies are married together with authentic Spanish flavours. There is an enticingly extensive menu with Tapas and larger dishes. Choose from tantalizing charcoal tuna, tempura cod and a myriad of other dishes. You can also go for a cold platter and pair it with one of the delicious wines available. Explore, eat and enjoy!

2545353 // www.asador.ie / fb.com/Asador reception@asador.ie // @AsadorDublin Situated on the corner of Haddington Road and Percy Place, just a stone’s throw from Baggot Street Bridge in the heart of D4, Asador is known as a true barbecue restaurant where the best of Irish fish, shellfish, and of course steaks are cooked over fires of oak, apple woods and charcoal. It’s an authentic barbecue experience where the open kitchen allows guests to watch the chefs work the bespoke 7 foot ‘asado’. Go for the great flavours you get from cooking this way, stay for the craft beers and cocktails.

Michie Sushi 11 Chelmsford Lane, Ranelagh, D6 01-4976438 www.michiesushi.com The word Michie in Japanese means ‘filled with smiles and laughter’ which is just how the folks at Michie Sushi want their customers to feel when they have eaten their sushi. Since expanding from a take away, catering and delivery service with a restaurant in 2011, they have been winners of McKenna’s Best Sushi in Ireland award each year. Though they specialise in hand-roll sushi, they also offer popular Japanese dishes such as ramen and okonomiyaki. With top quality sushi from chefs only trained by Michel, consistency is guaranteed. Visit them in Ranelagh, Dun Laoghaire, Sandyford, Avoca Rathcoole and Avoca Kilmacanogue or call for delivery.

You can visit Mao in Chatham Row (or their locations in Dun Laoghaire, Dundrum, Balinteer or Stillorgan) to enjoy the extensive Asian menu full of tempting, traditionally prepared dishes. Savour the flavour with delicious curries or try a shared platter to get the full Thai experience, not forgetting their famous Mao Classic dishes. If you fancy making a night of it, why not sip up a low calorie, classic or dessert cocktail or two. Mao are an official Leinster Rugby food partner, so why not try one of their healthy dishes as chosen by Leinster Rugby’s nutritionist. #MadAboutMao. Prepare to tuk-in! Lunch menu: 12-4pm Mon to Fri; Early Bird menu: 4-7pm daily; à la carte menu: from 12pm daily

le bon crubeen

The Revolution

Hard Rock Café Dublin

ELY WINE BAR

82 Talbot Street, Dublin 1 // www.leboncrubeen.ie //

10 Terenure Road East, Rathgar, Dublin 6

22 Ely Place, Dublin 2 // 01 676 8986 // elyplace@

@LeBonCrubeen // 01 7040126

t: (01) 492.6890

12 Fleet Street Temple Bar, Dublin 2 t: 01-6717777

w: www.therevolution.ie This award-winning brasserie in the north of Dublin city centre is well known for delivering some of the best value for money in the city. The menu delivers a grassroots experience, sourcing ingredients from the very finest Irish producers delivering consistent quality. The pre-theatre menu is hugely popular with diners visiting the nearby Abbey or Gate theatres while a diversity of offerings mean vegetarians, coeliacs and those looking for low calorie options are also catered for. Shortlisted as finalist in 2012 of the Irish Restaurant Awards’ Best Casual Dining Restaurant.

@rathgarcraft The Revolution specialises in artisan stone baked pizza and craft beers. Located just south of the city in Rathgar, they offer creative styles of food including pizzas, steak and tacos, a vast selection of both local and international craft beers, and an array of quality wines by the glass. Their friendly staff will go the extra mile to make your time at The Revolution unforgettable. All their bread and pizza dough are made inhouse daily, and their ingredients are sourced locally when available. At The Revolution, it’s all about good food, good beer, and good people.

If you’re looking for fantastic food and live entertainment in a unique, laid back environment, Hard Rock Café Dublin is the place for you. Located just a few blocks from the Liffey in famous and vibrant Temple Bar, a pedestrian friendly area of Dublin featuring cobblestone streets, wide sidewalks, and plenty of attractions. Hard Rock is a great central stop off point which serves fantastic food with a smile.

Try their legendary burgers with a delicious cocktail or beer to wash it down. Have a rocking day!

elywinebar.com // www.elywinebar.com // @elywinebars Since 1999 ely wine bar has been at the forefront, being the first to truly deliver great wines by the glass. Today ely continues to be the leader in sourcing great wines, 500 in total. Awarded Best Wine Experience 2014 by Food & Wine, Best Wine Bars 2014 & 2015 by Sunday Business Post and 100 Best Restaurants 2015 by the McKenna’s Guide this is a place were you can enjoy prime organic beef and pork from their own farm and match it to wines from all over the world. Brilliant for bar bites too!

Kinara Kitchen

Upstairs@57

The Port House Pintxo

17 Ranelagh Village, Dublin 6 // @kinarakitchen //

56/57 Lower Clanbrassil St, Dublin 8

12 Eustace Street, Temple Bar, Dublin 2

01 4060066 // kinarakitchen.ie

01-5320279

01 6728950

57theheadline.ie

www.porthouse.ie/pintxos

Located above 57 The Headline Bar on Clanbrassil Street Dublin 8. Upstairs@57 offers a food menu which is varied and influenced by the seasons. The eclectic wine list has been chosen carefully to offer great choice, and to compliment the food offering.

Upstairs@57 also has a full bar which boasts 24 Irish Craft Beer taps and a premium Irish Whiskey List. If you look for comfort and quality when dining, look no further.

The Port House Pintxo in Temple Bar serves an array of authentic Spanish Tapas and Pintxos plus a wide and varied selection of wines from Spain, Portugal and the Basque Region. With an impressive garden terrace overlooking Meeting House Square the soft candle light creates a romantic and relaxed atmosphere. Does not take bookings

Kinara Kitchen, featured in the Michelin Guide 2015, is the award winning Pakistani restaurant serving tantalising traditional food, paired with delicious cocktails and wines. Offering a great value lunch with ethnic naan wraps and thali style meals, Thursday, Friday and Sunday, and open 7-nights for dinner, with early bird available Monday - Thursday for €21.95 per person for 3 courses. Above Kinara Kitchen is Upstairs Bar & Roof Terrace. The award winning vintage-themed ‘secret’ cocktail bar is perfect for brunch or aperitifs in the sun. Call to find out about their cocktails classes and booking highly recommended.

Kokoro Sushi Bento

Yamamori Izakaya

19 Lower Liffey Street, D1, 01-8728787

13 South Great George’s Street, Dublin

51 South William Street, D2, 01-5470658

016458001

Unit N, Liffey Trust Centre, D1, 01-5474390

www.yamamori.ie

FB: @Kokoro Sushi Bento

Yamamori Izakaya is located in what was originally Ireland’s very first café on South George’s Street.

The mix of old Irish architecture, oriental decor and soulful tunes set the scene. Downstairs is the Japanesestyle drinking house, serving small Japanese tapas dishes (‘Japas’), the famous Izakaya cocktails, and plenty of Japanese whiskys, beers and sake.

Walls adorned with 1940s beer ads, movie posters and black and white movies provide a visceral back drop to compliment the eclectic mix of tunes from Dublin’s favourite DJs.

w: kokorosushibento.com Kokoro Sushi Bento takes pride in preparing not only the freshest, but most affordable sushi Dublin has to offer, freshly-made every day. Home to Ireland’s only pick ‘n’ mix sushi bar, at Kokoro you can enjoy delicious Japanese hot food favourites such as Katsu Curry or Yaki Soba. In using premium ingredients, together with highly trained staff, Kokoro has forged a reputation as Dublin’s finest independent sushi restaurant.

mexico to rome

The Green Hen

23, East Essex St, Temple Bar, Dublin 2.

33 Exchequer Street, Dublin 2

01 6772727

01 6707238

www.mexicotorome.com

thegreenhen.ie

facebook.com/mexico2rome // @MexicotoRome Across from the Temple Bar Pub, is Mexico to Rome, the Bandito’s Grill House. They serve up wonderful mouth-watering Mexican dishes with a twist with tasty European and Italian dishes available. On the menu are sizzling fajitas, burritos, tacos, chilli con carne, steak, fish, pasta dishes and their famous Tex-Mex baby back ribs with Southern Comfort BBQ sauce. The extensive menu suits big and small groups. All cocktails are €5 and there is a great Early Bird (starter and main for €13.50) and a Lunch Special (starter, main and a glass of wine for €9.95).

Well worth a visit!

Johnnie Fox’s Pub

coda eatery

Konkan

Il Posto

Viva

The Gibson Hotel, Point Village, Dublin 1

46 Clanbrassil Street Upper, D8 / t: 01-4738252

10 Saint Stephen’s Green, Dublin 2

27 South Richmond Street, Dublin 2

01 681 5000

1 Upper Kilmacud Road, Dundrum / t: 01 2988965

t: 01 679 4769

t: 01 424 4043

thegibsonhotel.ie

konkan.ie // info@konkan.ie

ilpostorestaurant.com

vivaespanatapas.com

It’s the final studio album by rock giants, Led Zeppelin and it serves pretty legendary food too! At Coda Eatery the ingredients speak for themselves.

Their menu offers a wide range of meats for example; dry aged rump, sirloin, rib eye and flat iron which are cooked over burning lava rock at a high temperature to create a charred and smoked finish.

They’ve kept things simple serving these prime cuts with well prepared sauces and seasonal sides.

Konkan Indian Restaurant is located on 1 Upper Kilmacud Road, Dundrum, just a two minute walk from the Dundrum Luas Station. They have another branch at 46 Clanbrassil Street Upper, near the Harold’s Cross Bridge. The food at Konkan is always fresh with complex authentic and regional flavours.

Konkan has garnered rave reviews both for the food and the friendly service and is a firm favourite amongst the locals. Their Early Bird is great value and the Tasting Menu is definitely worth a try. They also offer restaurant quality food for delivery and take-outs at great prices (which can be ordered online at www.konkan.ie).

Situated on Dublin’s landmark St. Stephen’s Green, Il Posto has been cooking delicious contemporary and traditional Italian Mediterranean dishes using the best local and international produce since 2003.

A firm favourite for business lunches, romantic dinners, pre-theatre meals and great nights out.

Il Posto offers an intimate and elegant setting, an informal relaxed atmosphere and sumptuous food, all served with a generous helping of warm hospitality.

Situated near the canal in Portobello, Viva brings a slice of Spain to Dublin. This Family run restaurant is filled with Latin colour and a vibrant bohemian atmosphere. Serving authentic Spanish tapas from our extensive menu and a delicious selection of Spanish wines, Cava and Cava cocktails, Spanish coffees, a good range of teas and real Spanish hot chocolate. Viva places an emphasis on flavour and wholesome homemade dishes, delicious seafood and paella made to order in a warm, relaxed casual dining space making it the perfect place to share a great meal for any occasion with friends.

Glencullen, Co Dublin 01 29555647 info@jfp.ie www.jfp.ie One of Ireland’s oldest traditional pubs is just half an hour’s drive outside of Dublin. Located astride a mountain in Glencullen, it’s also the highest pub in Ireland. A great destination for locals and tourists alike, transporting visitors to bygone times with trad music performed every night and during the daytime on weekends. All the produce this green isle is famous for features on the menu: oysters, mussels, crab claws, seafood platters, steak and lamb, as well as vegetarian dishes. The Hooley Show features live music, Irish dancers and a memorable four course meal. Johnnie Fox’s should be on everyone’s bucket list.

Located in the heart of the city on Exchequer St., The Green Hen specialises in classic French cuisine with an Irish twist. It is known for its gallic décor, an extensive drinks list of wines, bottled beers, draughts and of course its legendary cocktails. Open 7 days a week, you can try the three-course early bird for €22 from 5.30-7pm from Thursday to Sunday. Delicious food, a lively atmosphere, personable staff and a unique quaintness set this restaurant apart from the rest.

ASHLIE BRENNAN FROM THE MEETING HOUSE The Meeting House is still relatively new, so for those who don’t know the place or haven’t been before, can you tell us what you can expect in terms of food and in terms of drinks?

We’re all about being different but approachable. The food is Burmese inspired, with international influences and is sharing orientated. It’s full of flavour without being overly spicy; I would say it’s well balanced. The only freezer we have is a small ice-cream freezer and we do not use microwaves in our cooking process. Our produce is delivered daily as we see this as the only way to cook. Everything is made freshly in-house so you taste our love and passion with every bite. The cocktails are fun and quick to prepare with an easy to navigate menu of 14 drinks, with a very simple intention of giving people a range of choice.

The food side of things seems to be a big part of what you do, tell us about the menu and about the food you serve.

The menu, we think, offers something that every customer will enjoy. It’s full of interesting dishes from our Organic Coconut Curry that has 38 fresh ingre-

dients, to our Yellow-Fin Tuna Sashimi Tacos, and crowd pleasers like Mini Asian Burgers on steamed coconut buns, Burmese Ribs, and what we believe to be the best tempura in town. In everything we do here we emulate the ‘Kaizen’ philosophy of continuous positive change. We change our menus regularly and are always trying to improve, change and stay creative in what we offer our customer in terms of their experience.

Aside from the food and drinks you have bands and DJs playing, what does that do to the atmosphere in the place?

The atmosphere here is really vibrant and bustling, as there’s four spaces that are all open and visible to one another. We have a drinking and dining terrace where we have some great musicians playing live music each night, which creates some sweet vibes with our customers, who are very laid back, cool, and a little bit quirky, which we love! There is also an upstairs bar, and an intimate mezzanine which both overlook the main dining area and bar. Our music policy very much helps to dictate the energy in all the areas here, so it’s played at a level that is loud enough to bop in your seat to some funky disco re-edits while having dinner, but still allows you to have your conversation over the table! Later in the night we amp up the tunes and remove tables so people can have a good boogie.

The location here is obviously bang in the centre of town, but it’s also quite secluded too, how does the location affect the business?

We definitely provide a reason for people to come to our little slice of heaven, and when they come we try our best to give customers the best experience for their hard earned money. We’re a

haven in the madness of Temple Bar. We are super proud to be a part of the Cultural Quarter of Temple Bar and we try and involve ourselves in supporting events and teaming up with neighbours by giving a helping hand where needed. There are some very cool people are in this area; we have been very nicely surprised by the creativity and innovation going on and planned all around us.

Our ethos is eat, drink, art, music – each one done with love and passion. Our work is our passion and these four things we can’t live without!

Anything special in the works over the next few months in the build-up to Christmas?

Absolut Brunch will be our next big adventure, that’s coming very soon with lots of fresh dishes and loads of interesting twists on the brunch favourites. We’ll have amazing fresh customised cocktails like our Meeting House Bloody Mary and our €5 smoothie. We’ll also make a few changes to our existing menus, and a new cocktail list is in the works. Our Friday and Saturday nights are going from strength to strength as well as our incredibly popular 666 Sunday and Mondays, where all our dishes and cocktails go from €9.99 to €6.66.

The Meeting House, Meeting House Square, Temple Bar, D2 themeetinghousedublin.com The Meeting House will be launching a competition with Totally Dublin in the coming weeks, so for your chance to be in with winning the prize keep an eye on social media @totallydublin and @meetinghousedub

The Dublin Dining Guide Best Delivery Saba To Go

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Delivers Wine

13 Rathgar Road, Rathmines, D6, t: 01-4060200 Based on the award winning Saba restaurant on Clarendon Street, Saba To Go do Thai and Vietnamese food at high quality for fast paced life.

All their meals are freshly cooked on a daily basis with highest quality ingredients with a mixture of locally sourced produce and key ingredients imported from Fair Trade producers in Thailand and Vietnam to give the real authentic east Asian taste.

Delivery as far as: Donnybrook, Churchtown, Rathfarnham & Sundrive

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Delivers Beer

KANUM THAI

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Email booking

•

Phone booking

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Order on JUST EAT

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Vegetarian

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Coeliac

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Gluten Free

Rathgar 01 4062080 Ballsbridge 01 6608616.

Twitter -- @kanumthai Kanum Thai is an Irish owned authentic Thai food and noodle bar, which also provides take away or delivery to your home. Kanum uses only Irish meats and there is no MSG used in their food preparation. All of the food is cooked to order and is low in fat. Kanum pride themselves on giving their customers restaurant quality food at takeaway prices. Eat in, Takeaway or Home/Office deliveries from Noon until late 7 days a week.

Areas: Dublin 2,4,6,6w,8,12,14,16 and parts of 24.

Deliver wine. Beer for eat in only.

Available Vegetarian, Low Carb and Ceoliac Friendly options.

Orders by phone, online at www.kanum.ie or through their APP( “kanum thai dublin”, avail-

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able on APP store and Google play)

Michie Sushi Delivery

Mao At Home

www.michiesushi.com Ranelagh Dun Laoghaire Sandyford Avoca Rathcoole Avoca Kilmac

Ballinteer: 01 296 8702 Donnybrook: 01 207 1660 Stillorgan: 01 278 4370 Tallaght: 01 458 50 20 Dundrum: 01 296 2802

01-4976438 01-5389990 01-5550174 087-9933385 087-9933385

Michie Sushi delivers top quality Sushi and Japanese hot foods all over Dublin. We deliver to your home, office, wedding, party and events. Big or small your sushi order is hand made with love and dedication. All of our sushi and hot foods are made to order, our fish is handpicked and cut daily in our restaurants. We are proud to have been awarded the Best Sushi in Ireland for the past 5 years.

Mao restaurants have been the top Asian restaurant chain in Dublin for over 20 years and now are delighted to deliver their extensive range of Asian and Thai cuisine direct to you. Just order online, over the phone or walk in and take away to experience top quality dishes, from mild or spicy curries, fragrant wok specials to the popular Mao Classics! The Mao At Home chefs are passionate about using only the finest fresh ingredients to create our authentic, healthy and virtually low fat dishes. As an official Leinster Rugby food partner why not try one of their healthy dishes as chosen by Leinster Rugby’s nutritionist. #MadAboutMao Prepare to tuk-in! www.mymao.ie

••••••• Pizza Republic Quality food, delivered! Pizza Republic have taken their favourite features of Italian and American style pizzas and perfected the Pizza Republic style, crispy on the outside, soft and fluffy on the inside, the way pizza should be. They guarantee fresh, delicious food, collected or delivered! Everything on their menu is of the highest quality and freshly prepared daily. They’ve created a mouthwatering menu full of choice including vegetarian options. Order online for collection or delivery from www.pizzarepublic.ie Leeson Street delivers to South City Centre, Trinity College, Grand Canal Dock, Temple Bar, Portobello, Ranelagh, Rathmines, Rathgar, Harold’s Cross, Milltown, Clonskeagh, Belfield UCD, Ballsbridge, Donnybrook, Sandymount, Ringsend, Irishtown t: 01 660 3367 Sun-Thurs: 12:00-23:00 Fri-Sat: 12:00-01:00 Dublin 18 delivers to Cornelscourt, Cabinteely, Carrickmines, Foxrock, Deansgrange, Leopardstown, Ballyogan, Stepaside, Kilternan, Sandyford, Sandyford Industrial Estate, Stillorgan, Goatstown, Blackrock, Mount Merrion t: 01 207 0000 Mon-Thurs: 16:00-23:00 Fri-Sat: 12:00-0:00 Sun: 12:00-23:00

Killiney delivers to Killiney, Dalkey, Glenageary, Glasthule, Sandycove, Dun Laoghaire, Sallynoggin, Deansgrange, Kill of the Grange, Monkstown, Monkstown Farm, Ballybrack, Cherrywood, Loughlinstown, Shankill t: 01 235 0099 Mon-Thurs: 16:00-23:00 Fri-Sat: 12:00-01:00 Sun: 12:00-23:00 Twitter- @PizzaRep Facebook- PizzaRepublicIreland Instagram- pizzarepublic w- www.pizzarepublic.ie e- hello@pizzarepublic.ie

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Base Wood Fired Pizza Terenure t: 01 440 4800 M –F: 16:00-23:00 - S– Sun: 13:00-23:00 Ballsbridge t: 01 440 5100 M-F: 08:00-23:00, S-Sun: 12:00-23:00 Twitter- @basewfp w- www.basewfp.com e: info@basewfp.com Base stands for honest, handmade, contemporary pizza. Base founder Shane Crilly wanted to improve the standard of pizza he could find in Dublin, and to create a pizza that he would be happy eating himself. They only use fresh ingredients, handcrafted every day. They never use anything that is frozen or pre-packaged. Base strives to honour the heritage of traditional pizza, follow them on their journey of creating pizza with real integrity.

Ballsbridge to Ballsbridge, UCD Bellfield, Clonskeagh, Booterstown, Ringsend, Irishtown, Donnybrook, Iveagh Gardens, South Dublin City Centre.

Terenure to Terenure, Rathfarnham, Darty, Ranelagh, Knocklyon, Templeogue Rathgar, Kimmage, Ballyboden, Churchtown, Portabello, Walkinstown.

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The Mango Tree - 51 Main Street, Rathfarnham, D14, t: 01-4442222 - Sarsfield House, Chapel Hill, Lucan, Co. Dublin, t: 01-6280000 - Meridian Point, Greystones, Co. Wicklow, t: 01-2874488 The Mango Tree is all about authentic Thai flavours, spearheaded by Head Chef Nipaporn, trained by her mother, herself a successful Thai food chef in Thailand and Sweden, Chef Nipaporn has brought he skills acquired around the world to The Mango Tree. With branches in Rathfarnham, Lucan and Greystones, the Mango Tree covers huge areas of both sides of the city. Favourites include traditional Thai dishes such as Pad Thai and Green Curry.

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Dear climate change

Can we get a real summer next year?

Thanks to you readers of Totally Dublin for helping us animate our city. See you next year!

www.happenings.ie

PROUDLY SPONSORED BY

GASTRO words Aoife McElwain photos Luna

FULL MOON RISING Luna

My cauliflower is soft and buttery, the tips of its florets singed and blackened. It’s wearing a hat of delicately thin slices of lardo that is slowly melting into the cauliflower. Tiny crumbs of caramelised bacon and hazelnuts add a textural crunch and a devilish sweetness. Underneath the cauliflower swims a Parmesan sauce, while a chervil oil seeps across the plate. It’s cauliflower and cheese, served like I’ve always dreamt it could be. I’m downstairs in Luna, eating dinner like a boss.

Luna is in the basement of Super Miss Sue on Drury Street, and is the latest opening in John Farrell’s Dublin culinary empire, which includes 777, Dillinger’s and The Butcher’s Grill. ‘Luna evolved over three years but the concept really took shape over a three-day bender in Miami,’ Luna’s community manager and restaurateur and Farrell’s right-hand man Leo Molloy tells me, as I scribble notes verbatim. ‘I’m just kidding about that Miami bender bit.’ It would be completely on-brand and absolutely believable if it were true. Luna has brought a 1960s New York mobster restaurant to Dublin; a place where there’s a big round table in a back room of the restaurant where some serious shit is about to go down.

Frank Sinatra and other naïve romantics might be dining in the main room, looking for the thrill of hanging out with mobsters. ‘We weren’t

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thinking Rat Pack. We were thinking Wolf Pack,’ clarifies Molloy.

Luna besides, the Miami joke rings completely true for Farrell’s wider brand and image, because there’s always been a healthy dose of danger attached to his restaurants. They’re buzzy, cocktail-fuelled, New York-inspired joints where life sometimes seems to move a bit faster than it does in the rest of Dublin.

Along the three years spent on the evolution of the creative concept behind Luna, head chef Karl Whelan joined them from Chapter One. Soon after opening night, Declan Maxwell, also previously of Chapter One, came on board as host. That two of the leading lights at Luna come from one of Dublin’s most glamorously classic restaurants fits so well. The waiters, all young men as it would have been in the ‘60s, wear red jackets with black suede lapels, tailored by Louis Copeland. A more senior waiter, dressed entirely in black, even looks like a bonafide mobster, taking a break from coldly ticking off people from his hit list. I laugh out loud, with delight, when I see a dessert trolley being wheeled out from the kitchen, laden down with figs, mascarpone and candied pistachios, a chocolate ganache cake, and, of course, tiramisu.

Head chef Whelan has been massively instrumental in the development of the Italian-

Luna 2-3 Drury Street Dublin 2 01-6799009 supermisssue.com

American menu at Luna. But we’re not talking meatballs and tomato bruschetta here. Instead, there is lardo on toast (€3.50) and homemade spaghetti sent out nearly in its birthday suit, apart from a light coating of butter and a few shavings of pungently earthy truffle. The lobsters – enormous, pink, glowing beasts – appear out of the kitchen pass garnished with 60s-style herb bouquets.

We eat a delicate tuna crudo with balsamic strawberries (€15), and cod cooked so delicately in a buttery sauce that it’s still tantalisingly translucent (€26). There’s a pink, exquisitely cooked lamb rack (€36) that arrives with a smokey slice of aubergine, embossed with hilariously kitsch slivers of garlic and rosemary standing upright like a tidy little garden. Our wild boar ragu (€24), shared for our pasta course, is divine in its flavour and texture, of both the ragu and the elegantly rolled ravioli.

But it’s a little rich for a light pasta course and might be better suited as a main course. The menu is designed to facilitate long meals, with a first course, a salad course, a middle pasta course, a course of meat or fish from the grill, and finally, that delightful dessert trolley. The pasta dishes are an option for main courses, too, and the heavier grill dishes can be skipped all together, depending on your appetite. That cauliflower, though (€12). Bellissima cibo!

Our bill, which includes a Campari Spritz (€8.50), a rosemary and cucumber nonalcoholic cocktail (€5.50), a glass of Fleurie (€10) to accompany the lamb and two bottles of the palate-cleansing alka-seltzer esque Vichy Catalan sparkling water (€4 each) comes to a total of €148.50.

Not since Forest Avenue opened its doors have I been so excited about a new restaurant.

I love a bit of retro kitsch and a juicy backstory.

Farrell and his team have gone to great lengths to create more than just a good, straightforward dining room. We have plenty of those in Dublin.

At Luna, I’m getting so much more than a great plate of food. Molloy outlines its core principle thus: ‘It was inspired from John’s nostalgia about the restaurants he was excited to be brought to when he was a kid. He wanted to create something in Dublin that he felt excited about going to.’ I think he’s succeeded.

PROUDLY SPONSORED BY

GASTRO words Aoife McElwain photos Mark Duggan

ESCAPE CLAWS Catch 22

I wonder how many restaurateurs embarking on a voyage of opening a seafood restaurant have thought of using the name Catch 22? Paul Dooley and Padraig McLaughlin, two landlubbers from Offaly with experience in Dublin’s restaurant and hospitality trade, took the plunge when they opened their maritime-themed seafood spot on South Anne Street this summer.

When I first passed by this cool blue and bright yellow infused restaurant six weeks ago shortly after its opening, I was unsure of the provenance of Catch 22. Was it a giant chain masquerading as a small business? The prime tourist location and the almost self-consciously ‘cool’ casual dining design details of Falcon enamel plates and the ubiquitous silver BBQstyle serving trays had my suspicions raised.

From the outside, I questioned its authenticity.

But I was happy, too. ‘We felt there was a gap in the seafood market, in terms of value,’ Dooley tells me, after my visit. ‘We have found fish to be way overpriced in restaurants and we’re trying to find a sensible middle ground.’

Things start out well, with a complimentary cup of lightly coated and subtly fried whiting, dipped into a lemon-tinged mayo. Crispy, bread-crumbed fish cakes (€7.50) offer a perfect proportion of fleshy fish to creamy spuds. The seafood chowder (€7.50) is thoroughly satisfying. It’s served with treacle-sweet brown bread and is light and creamy rather than flour heavy and cloying. I feel I’ve under-estimated the place.

My Shellfish Pot (€16.50) arrives and throws a bit of a spanner in the works. It’s a large, enamel pot with a lid that is lifted upon arrival for a big reveal. There’s an almost overwhelm-

ingly generous amount of shellfish in this pot, but it all seems to have lost its vibrancy. Gone is the beautiful orange glow of the mussels, and the small bits of chorizo floating in an anaemic broth, way down at the bottom of the pot, are frightfully over-cooked. There are also deshelled tiger prawns with an unpleasant, almost crunchy texture. A large baguette, served on the side, doesn’t get much action, as that broth isn’t worth soaking up. The whole dish is a bit of a maritime mishap. My friend’s herb crusted hake (€15.50) fares better. It’s a light main, served with salsa verde crust and side salad. Our sweet potato fries, minty mushy peas and hand cut chips (all €3.50 and found in the C-Sides section – geddit?) are a success.

The desserts we try are bought-in rather than made in-house. Our three scoops of ice-cream (€6.50) are from Gathabawn, a farm twelve miles away from where Dooley and McLaughlin

Catch 22 28 South Anne Street, Dublin 2 01 613 9018 catch-22.ie

come from in Offaly. It’s lovely ice-cream, and I like that it reflects where the owners are from.

I’m told that Aunt Libby’s Tollhouse Pie (€6.50), an unmemorable short crust pastry pie with a dry chocolate chip cookie filling, is made for the restaurant by a Texan in Meath but I forget to ask why. Does it have a connection to the maritime theme?

Our bill, which included a large sparkling San Pellegrino (€4.50), a blood orange San Pellegrino soda (€2.75) and a tea (€2.50) came to an unexpectedly high €80.25, considering that we didn’t have any wine. Throughout, the service is friendly and efficient, perfectly pitched for casual dining. Catch 22 should do well in the largely tourist and family trade of South Anne Street, though proper seafood enthusiasts used to shucking their own oysters and hammering crab claws may find the menu a little pedestrian.

PROUDLY PROUDLY SPONSORED SPONSORED BY BY

BITESIZE words Martina Murray

1. To Taste: Cloonconra Cheese On James Gannon’s Roscommon farm they say that ‘yesterday’s grass is tomorrow’s cheese’. The milk they use to produce their fresh, soft farmhouse cheese is very special indeed. It comes from a native organic herd of rare Irish Moiled Cattle with the distinction of being the only dairy herd of that particular breed in the world. The resulting Cloonconra Cheese is a healthy source of protein and omega fats with a delicious subtlety and richness that works best with bold flavours. Modelled on ancient Irish and Italian recipes, this gorgeous cheese is now available via Dublin stockists Honest to Goodness, Sheridan’s and Clontarf Wines.

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2. To Learn Autumn Workshops at the Fumbally As the season turns there’s plenty to look forward to at the Fumbally where they’ve put together a very impressive programme of educational workshops, talks and events.

Topics at the inaugural Autumn Series encompass themes of community, sustainability and health on subjects as diverse as wild food foraging, aquaponics, beekeeping and fermentation. There’s a terrific lineup of guests too, so expect knowledgable and informative contributions from the likes of photographer Shantanu Starick, chef Angus Denoon and seaweed expert Prannie Rhatigan.

With something to interest everybody, the Autumn Series runs at the Fumbally until the end of November. To view the full programme and book tickets visit fumballystables.ie – or see our interview with Aisling Rogerson over the page for more.

3. To Cook Japanese Food Made Easy Following a three-year stint studying Japanese and International marketing in DCU, Tipperary woman Fiona Uyema followed her passion to Japan where she enjoyed many happy hours learning more about Japanese cuisine from the enthusiastic locals.

On her return to Ireland Fiona documented her experiences in a blog, and recently launched Japanese Food Made Easy, a colourful cookbook filled with recipes that can be easily prepared in any home kitchen. For those interested in learning more, a series of practical cookery demonstrations are planned this month at the Miele Gallery in Citywest. For details and dates see www.fionauyema.com

4. To Feed FEED FEED is a new lunchtime venture from Shane Ryan that encourages Dubliners to beat the lunchtime blues by eating well with a conscience. The Drumcondra-based company has devised a series of seasonal salads reflecting the availability of fresh ingredients, prepared each morning for lunchtime delivery to the city’s offices.

At €5.50 per 180gm portion FEEDs can be ordered for delivery to your desk via aloha@ eatFEED.ie And the conscience part? For every FEED purchased the company provides a meal to one of the world’s poorest children through its charity partner Mary’s Meals. For more visit www.eatFEED.ie

5. To Book Christmas at the Dylan It may seem a bit early yet to start talking about Christmas, but those planning a yuletide break will be delighted to learn that the Dylan hotel remains open for the first time ever this year. Their festive offering includes a welcome mulled wine reception with fireside canapés in the Library on Christmas Eve followed by classic movies on the heated terrace. On the day itself enjoy a delicious seasonal lunch courtesy of chef Mark Bodie, after which there’s the prospect of post dinner drinks, classic board games, Christmas cocktails and casino style games to be enjoyed. Packages start at €249 per person per night. For more see www.dylan.ie

Language. Culture. Our Business.

French Courses for Adults, Teenagers, Children & Toddlers

Autumn Term 21 September - 14 November 2015

We at Copper Alley Bistro strive to serve our guests with wholesome, home cooked Irish Cuisine with a twist within a well maintained and comfortable environment with a prompt and friendly service. All our food is sourced in Ireland and supplied by Irish suppliers to give you that authentic taste of Ireland.

Our Bistro provides a warm and friendly atmosphere to unwind & relax in after a busy day in Dublin City. Our renowned selection of Steaks, Seafood, Chicken and Vegetarian dishes are delicious and appealing to all.

Serving breakfast, lunch and evening meals, we hope to see you during your visit to Dublin.

Three Course Christmas Menu €29.95 per person. Visit website to view full menu.

Bookings now being taken. Contact Hagi on 01 677 0603 or info@copperalleybistro.ie

The French Language & Cultural Centre in Dublin

Opening HoursDublin : Breakfast – 11.45 noon • Lunch Menu 12 noon – 4pm 1 Kildare Street, 2 7.30am / www.alliance-francaise.ie

• Evening Menu 4pm- 9.45pm

No 2 Lord Edward Street, Dublin, City Centre South (beside Christchurch) • Ph: 01 677 0603 • www.copperalleybistro.ie

Welcome to Zaragoza, where you’ll find deliciously fresh Mediterranean tapas served with the warmest Irish welcome.

A contemporary fusion of modern, authentic cuisine presented in a convivial atmosphere, Zaragoza is not just a place, it’s a destination.

South William Street, Dublin 2 Ph: 01 6794020 Opening hours: Monday - Sunday - 12noon - Midnight (last orders 11pm)

SOUNDBITE words Martina Murray photos Aisling Rogerson and Shantanu Starick

As the Fumbally continues to go from strength to strength, co-founder Aisling Rogerson talks to us about creating space, staying inspired and the fascinating programme they’ve put together for the Autumn Series.

STABLE LIVING

Aisling Rogerson - The Fumbally

The Fumbally really seems to have thrived in the recession, doesn’t it?

I suppose we were tapping into something that people wanted: good, honest, healthy food and a genuine connection with a space. The recession never really affected us because we were doing something that was simple and community focused. The Fumbally was very unassuming, there were no frills and it wasn’t expensive. We were originally looking at something completely different, a tiny little falafel shop, but when we found the building, the space dictated what the Fumbally became. We got very busy, but quickly found we were limited in what we could do because the kitchen was very small. Then we had this light bulb moment where we realised we’d been walking past an empty building next door for three years! And it wasn’t much; we probably got the last bargain in Dublin to be honest. We live very frugally and we don’t pay ourselves huge amounts, so the bank said ‘Grand’. We bought the building a year and a half ago and spent a year stripping it all back, adding new floors and lights and kitting out the kitchen.

What difference has the extra space made to the Fumbally?

Suddenly, all the ideas we’d had over the years about health, community, sustainability and life balance became possible. So much of what we focus on in the Fumbally and in the Stables is about being able to work and also being able to do the things that interest you, whether that be in food or music or a wider kind of cultural outlook.

We collaborate a lot with different people including our own staff who are all amazing artists or musicians in their own right. This space hopefully offers us, our staff, and the people involved with us a platform to be able to do those other things.

Already two of our baristas have set up a coffee training company, First Draft Coffee, and they do coffee training here. Our chefs also have opportunities to do private dinners and develop menus and they spend one day a week experimenting with fermentation and learning how to make their own yoghurt. Without the space none of these things would have been possible.

You recently decided to close on Mondays.

What influenced that decision?

We all get overcome by our work, and you don’t want to be a slave to something that you love, so it’s about taking control and having the time to be inspired again. We’ve created space on the Mondays in order to let other things grow and develop. For instance, we’d been talking about doing Wednesday night dinners in the Fumbally for ages, and just looking at the roster we realised that we’d never do that unless we created some space somewhere else. When we put it out there

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and explained why we were doing it we got an amazingly positive reaction. People said they had so much respect for us because they felt that it was something that they should be implementing in their own lives too.

Tell us about the Autumn Series. What can people look forward to learning?

We wanted to use the space for education and learning and more creative projects, so the Autumn Series is the culmination of that initial vision. We’re connected to people doing some amazing things with food and everyone we approached was willing to get involved. The workshops and talks are all small numbers, everything is very intimate and focused so it’s quite engaged. The programme includes talks on seaweeds, a butchery class, a biodynamic wine tasting and a screening of a beautiful coffee movie with a tasting, and a talk with a coffee roaster. There’s also a gorgeous community garden event involving the NCAD Garden on Thomas Street and Moyhill in County Clare, two amazing examples of people pulling together and creating something out of absolutely nothing. We also have a yoga brunch, fermentation, an introduction to beekeeping and a talk on co-operative food systems. Some of the events are free and then others range from about €20 up to about a €150 for the butchery.

You have a residency happening as well.

Yeah, Angus Denoon is coming over and he’s going to be in residence for the last month of the series, developing recipes each Wednesday in the kitchen as part of a book he’s putting together. He wants it to be a collaborative process so it’s going to be open for anybody who wants to come in and taste the recipes, with a small charge for food. Then at the end of the month he’s going to have a big event where he pulls it all together.

The Fumbally Fumbally Lane, Dublin 8 www.thefumbally.ie Booking and tickets for the Autumn Series are available through thefumballystables.ie.

What else do you have in the pipeline?

Much of the time the environment of people who work in the hospitality industry is so full-on that often there’s no space to work out an idea. We’d love to develop the Residency further and I think it could lead to some really amazing outcomes, whether it involves a chef, a food researcher, someone who’s involved with coffee or wine, or an artist or enthusiast wanting to do a project on food.

We’ll also do a Spring Series in 2016 and then an Autumn Series and then another Spring Series in 2017. We don’t have a long term plan other than to develop what’s already been put in place and we know that what comes out of that will mushroom and grow. It’s totally organic, we love what we do and we just want to make sure that we continue to love what we do.

For more, see www.fumballystables.ie

A taste of Pakistan at the award winning

Kinara Kitchen U P S TA I R S B A R & R O O F T E R R AC E

11 Upper Baggot St. D4

01 6687170

BLOOM CHRISTMAS DINNER PARTY NIGHTS

Check out our cocktails by Paul Lambert, Bar Manager

No. 17 Ranelagh Village, Dublin 6 T: 01 406 0066 @upstairsKK Email: upstairs@kinarakitchen.ie www.kinarakitchen.ie Sister Restaurant of Kinara, Clontarf and Kajjal, Malahide.

Complimentary Prosecco Reception for groups of 10 or more Mon - Wed in December

SUESEY

SUPPER MENU 2 Course €27 | 3 Course €33 TUESDAY - THURSDAY, ALL NIGHT FRIDAY & SATURDAY, 6 - 7PM NOW BOOKING FOR

CHRISTMAS

26 Fitzwilliam Place, D2 Tel: 01 669 4600 info@sueseystreet.ie www.sueseystreet.ie a x @sueseystreet | #SueseySt SueseyStreet_TotallyDublin_REV2.indd 3

29/09/2015 14:03

TOTALLYCAFÉ

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Gourmet Coffee

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Filter Coffee

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Wifi

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Lunch

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Outdoor Area

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CAFÉ OF THE MONTH Science Gallery Café Dublin Barista School

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Roasted Brown

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Sasha House Petite

If you’re looking for more from coffee, The Dublin Barista School is the place. A dedicated training centre, offering two-hour lessons in espresso basics or an intensive threeday course to earn their Qualified Barista Award. Dublin Barista School is also the place to pick up any coffee accoutrements, whether you want to weigh it, grind it or pour it. As well as offering the knowledge and the gear, they serve up incredible value take-out coffee which they roast themselves (everything is €2), or even a filter coffee which they source their beans from The Barn, a Berlinbased roastery. Open Mon-Sun 9am-4pm

Roasted Brown has long established itself as one of Dublin’s top coffee spots and one of the city’s nicest hangouts.

Baristas Ferg Brown and Rob Lewis serve beautiful coffee using a variety of beans and brew methods, while Roasted Brown’s own roastery now supplies beans to a selection of the city’s most discerning cafés. But it doesn’t stop at coffee: all of Roasted Brown’s food is prepared on site, with gourmet sandwiches, organic soups and delicious sweet treats, and brunch at the weekends. Roasted Brown have now set up shop upstairs in the Project Arts Centre. Drop in and check out their new space.

Talk about not even knowing what you were missing until it is right in front of you! The latest addition to the Dublin cafe scene is the wonderful and quirky Sasha House Petite – a micro-roastery, French/Slavic pastry bar that will entice even the most diligent of dieters with the mouthwatering “signature desserts” and breakfast menus. Sasha House Petite’s specialties – from the Sacher Torte to the Pork Belly Bread – are delightfully refined and fresh; and if you’d rather go for some specialty coffee, you’ll be able to choose from a selection of several aromas and tastes, carefully picked and micro-roasted in house.

19a South Anne Street, Dublin 2. t: 01-6778756 w: dublinbaristaschool.ie @dubbaristasch

Proprietor/Head Barista: Ferg Brown 39 Essex Street East, Temple Bar, D2 @RoastedBrown

Drury Street Car Park, Drury Street, Dublin 2 www.shpetite.ie t: (01) 672 9570 @SashaHouseDub

Clement & Pekoe

Il Fornaio

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147 Deli

Clement & Pekoe is your local coffee house in the heart of the city. Pop by for a morning fix or an evening winddown and watch the world go by on South William St. Choose from an array of loose leaf teas and seasonal coffee from select roasters. The owners, Simon and Dairine, are on hand to advise on how to enjoy tea or coffee at home too. Clement & Pekoe are now also open in Temple Bar, housed in the contemporary surroundings of Indigo & Cloth on East Essex St.

Nearly one year ago this cosy café opened in College Green to offer Dubliners an authentic Italian experience of really good artisan coffee and Italian premium quality food and products. The cakes and biscotti display in the window captures the eyes of every gourmet passing by, and the scent of panini and pizza (freshly baked everyday) invite you for a tasty lunch. The perfect place to buy the finest cured and cooked meats and cheese.

Open Mon-Fri 7.30am-7pm. Sat: 10am-7pm. Sun 11am-7pm.

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Simon’s Place

147 Deli is a small independent delicatessen that is passionate about local, seasonal ingredients and great coffee, located in the heart of Chinatown on Parnell Streett beside North Great Georges Street. Everything is cooked and prepared on-site which includes smoking their own meats and fish for their mouthwatering sandwiches and salads. The menu includes sandwiches, soups, salads and freshly made juices with weekly specials. Great decor, friendly staff, good music and big in the game when it comes to sandwiches.

An arty Bohemian café long established on George’s St, Simon’s place attracts an eclectic mix of students, musicians and working stiffs.

Heart-warming lunches of old-school doorstep sandwiches and home-made soups will always keep winter at bay. Try the cinnamon buns !

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50 South William St, D2 and Indigo & Cloth, 9 Essex St East, D2 www.clementandpekoe.com @ClementandPekoe

15 College Green, Dublin 2 t: (01) 6718960 facebook.com/ilfornaiocaffe

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147 Parnell Street, Dublin 1 t: 01 872 8481 w: facebook.com/147deliparnell @147cafe

Set in the super-cool surroundings of Science Gallery, Science Gallery Café is one of the city’s most interesting meeting places. This bright, contemporary space is home to an enthusiastic team serving up fresh food and great coffee. In fact, café owner Peter is so passionate about coffee that he decided to roast his own, the amazing Cloud Picker Coffee, handroasted here in Dublin City Centre. This summer they launched a wonderful new brunch menu for people willing to try something a bit different from the norm. They offer two options: for those that book ahead, a four-course tasting menu including cocktails and then for walk-ins, they have a small menu of five staple brunch dishes that rotate each month.

Pearse Street, Trinity College, Dublin 2. t: 01 8964138 www.sciencegallery.com

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22 S Great George’s St, Dublin 2 Tel ; 016797821 www.facebook.com/simonsplacecafe

TOTALLYCAFÉ Mexico K Chido

Base Coffee

With their funky vintage Citroen HY and friendly staff Mexico K Chido serve up delicious, authentic Mexican street food in an unconventional location! Parked in the entrance of Fegans Foodservice warehouse, K Chido creates a comfy (heated!) space with cushioned upcycled pallet furniture. Gustavo’s home-made marinades and salsas make it truly Mexican, firing out traditional classics such as pulled pork tacos, nachos and tortas weekdays, and transforming into a Mexican Bruncheria on weekends, offering a chilled atmosphere with your huevos rancheros. Freshly ground Ariosa coffee rounds off a perfect café experience. Mon-Fri 8am-5pm, Sat & Sun 11am-6pm

Base has won over the coffee lovers of Ballsbridge.

With their House Blend and rotational Single Origin, there’s always something new to try here. They use the very best coffee sourced internationally from Dublin roasters 3fe. You can also grab a Base signature wood fired sandwich or salad or cake from Dublin micro bakery, Wildflour to make it the perfect working lunch hour.

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Head barista - Kieran O’Driscoll 18 Merrion Road, Ballsbridge t: 01 440 5100 @basewfp

18 Chancery St, Dublin 7 Email: kchidomexico@gmail.com @kchidomexico Facebook: Mexico K Chido

Hansel & Gretel Bakery & Patisserie From Trinity College to Baggot Street you’ll notice breadcrumb trails leading to Hansel and Gretel Bakery on Clare Street. Located just beside the National Gallery, this little bakery is the perfect spot to grab something to enjoy in Merrion Square. The freshly baked pastries (especially the almond croissants) and coffee from Ariosa make a great combo to start the morning, especially with the local office crowd. Everything is handmade from scratch with the ingredients sourced from small local producers, from their breads to their pastries to their delicious cakes.

20 Clare Street, Dublin 2 w: facebook.com/HanselandGretelBakeryPatisserie t: 01-5547292

SPILL THE BEANS WILLIAM DESPARD AT THE BRETZEL BAKERY The Bretzel Bakery obviously has a very long history, where do you enter into it?

The Bretzel Bakery, to the best of our knowledge, opened in around 1870. What I know for sure is that they expanded and bought land in our neighbour’s plot in 1900, as it’s on the title deeds, where they built a state of the art double deck scotch oven, that’s the size of a small sitting room. I salvaged as much of the oven as I could, but by the time I got to refurbish there, two and a bit years ago, the oven was a bit tired.

It had been in constant use for 102 years!

The bakery from its inception was Jewishowned and it was in the heart of ‘Little Jerusalem’. The first non-Jewish owner was Christy Hackett, and I bought the bakery from Christy Hackett’s son Morgan, who was selling it due to ill health. My involvement with the Bretzel is approaching its fifteenth anniversary, and we’ll hopefully be having a street party on Lennox Street at the start of December to celebrate.

The Hacketts were good business people and good shopkeepers. In order to make the business more attractive for sale, they not only had the Bretzel shop, but they, for about ten years prior to sale, started to build up quite a healthy trade business. We always did teas and coffees, but modernised the café about a year ago.

So you do a lot of work with the trade too?

The business, when I took over, was a shop with a few trade accounts, but within a couple of years, the trade was a bigger part of the business, supplying restaurants and other retail bread like Donnybrook Fair, Morton’s, Fallon and Byrne, until they got their own bakery recently, got all of their bread from us. Ten years ago, Thyme Out opened in Dalkey as a small place and now they’ve a fabulous shop in the main street there, but we’re the only people

who supply them bread other than the owner Berna’s own brown bread. That’s the sort of relationship we like. The fact that the restaurants want to tell that they’re getting buying their bread locally and that they’re getting it fresh every day from the Bretzel Bakery is what’s really useful to me.

You said you’ve noticed a big increase in trade stuff in recent years?

In the first surge of business, and as the Celtic Tiger was growing, chefs didn’t really care as much about the quality. But that was then.

Now, it’s not just about interesting bread, they actually care about why they’re paying an extra €1 for a 500g loaf, and that has actually helped the business hugely. People are seeking out proper bread now, because they’re not going to spend €2.50 or €3 just because it comes from the Bretzel and has seeds on it, they actually want to know what’s in it and that it’s far healthier to eat than a commercial, quicklymade sliced pan. So it’s a much more enjoyable wave of new business.

Tell me about the campaign for ‘Real Bread’ and what makes Bretzel bread different.

Bread is fairly simply to make. It has standard ingredients, it’s flour, water and salt and in my early stages, all I concentrated on was making simple, good quality bread. But in the last 15 years I’ve introduced sourdough, fabulous long fermentation, multi-seed breads. As I learn more about bread the Bretzel Bakery is going back to where it would have been about 80 or 90 years ago, making breads just from first principles. The very best bread is made even without yeast, it’s where you make your own yeast by the fermentation of flour and water.

If you leave flour and water in the right warm environments, it develops its own bacterial cul-

Doughboys A well-made sandwich is a wonderful thing and not easy to find, unless you’re talking about Doughboys.

This bustling counter-service sandwich and coffee shop serves up delicious breakfast, lunch and coffee.

All sandwiches are made fresh in-house with popular favourites such as meatball marinara and porchetta on the menu. There's Cloud Picker Coffee to fill your cup in the morning and freshly made lemonades at lunchtime. And not to forget their brekkie sandwiches – with smoked streaky bacon or breakfast sausage, poached egg and American cheese on a Arun brioche bun – a fine way to start the day!

Charlotte Way, Dublin 2 t: 01-4022000 w: fb.com/DoughboysDublin Twitter: @DoughboysDublin

The Punnet Food Emporium

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The Punnet is a health food shop that offers customers a comprehensive range of healthy lunches, snacks and products difficult to find anywhere else nationwide – and if they don't have what you’re looking for, simply ask and they will find it for you! The Punnet's range of detox programs are also second to none, with 3/5 day fruit and veg or veg only juice cleanses and 5 day salad plans that take care of your food concerns for the week while all the nutrients and goodness take care of you.

The Punnet is the only place in Ireland to offer such a service dedicating itself to fresh, quality food and juices and rich flavourful coffee including the 'Bulletproof'.

94/95 Lower Mount Street pfedublin@gmail.com www.thepunnet.ie @punnethealth

Berlin D2

•••••••• Located at the back of the Powerscourt Town House, Berlin D2 is a new cafe that is saying a big “Hallo” to Dublin’s city centre since it opened earlier this year. Serving Ariosa coffee, Berlin D2 has a relaxed vibe in the style of the city from which it takes its name. Also on the menu are a selection of sweet treats, and a some accoutrements straight out of the German capital: a DJ booth playing crisp electronica, Sunday markets, morning yoga classes, ping-pong competitions and an fledgling bookshop with art and photography books and magazines. Recently they’ve added a beer license (serving predominantly German beers) with Fischers Helles and Guinness on draft as well as an evening menu with schnitzel, bratwurst and marinated chicken.

Coppinger Row, Dublin 2 fb.com/homeofthebear t: 01 6779352

Cafe @indigoandcloth tures. It’s a way of transforming flour from basically a complex sugar into a thing of beauty.

The definition comes from the campaign in England. For bread to be called ‘real bread’, there can only be natural ingredients in it other than yeast.

The reason we use the term ‘real bread’ is that ‘bread’ has been cannibalised by quick processed sliced pans which have 50 different ingredients in them. The term is there to put daylight between us and that style of baking. The style of baking we have is small batches, made by hand. The product is in control, rather than the machine being in control.

William will be giving a talk on Thursday 8th October, at 7.30pm in Bretzel Bakery as part of Real Bread Week.

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The newly opened Cafe is a collaboration with our good friends Clement & Pekoe. It sits on our ground floor and has seating for 6 to 8 people. You can grab a perch in the window or at the larger community table, enjoy the surrounds or grab something to read.

Serving Climpson & Sons beans as our House Blend, choose from an ever changing filter menu, loose tea and some delicious cakes too. We hope you like it as much as we do. Open Mon–Sat 10am–6pm & Sun 12 – 5pm 9 Essex St East, Dublin 2 www.indigoandcloth.com/cafe www.clementandpekoe.com @indigoandcloth t: 01 670 6403

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Gourmet Coffee

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Filter Coffee

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Wifi

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Lunch

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Outdoor Area

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Wheelchair access

Café Gray

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The Bretzel Bakery

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Eathos

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Minetta

Café Gray opened its second outlet on Dawson Street and is attracting a lot of interest. Owned by Robert Gray, it serves legendary 3fe coffee, loose leaf teas from Clement & Pekoe as well as cold pressed juice from Sprout Food for non-coffee drinkers. Their food offering is based on the best Irish artisan producers and the sandwiches, soup and salad are some of the best in town and the prices are very keen compared to the chains. Go before the crowds do!

A Dublin institution according to some, The Bretzel Bakery first began baking in Lennox Street in Portobello in 1870. It has recently expanded to include a café, offering not only freshly baked, hand-made bread, buns, cakes and confectionary, but a range of freshly made sandwiches and bagels on its signature loaves, not to mention they’ve a good strong cup of coffee or freshly brewed tea. With warm and inviting decor and friendly staff, the café is well worth a visit to beautiful Portobello – even if it has been a long time coming! Mon-Fri 8am6pm, Sat/Sun 9am-4pm

Eathos was born out of a love of food and healthy eating. Provenance and quality are really important to them, hence they have a long list of great Irish producers who supply them. Everything they serve is made in-house and is available to dine-in or take-away – which includes all of their salads, protein and patisserie as well as great coffee from 3fe. Plus, their menus cater for people with special dietary requirements. Open Mon-Fri 7am-5.30pm, Sat 8.30-4pm with our full menu available for take-away with Deliveroo.

This is no ordinary deli. Despite it’s size, it serves up the best handmade Italian style pizza, pressed sourdough sandwiches, wholefood salads, take home meals and deli pots for miles. The two Hughes sisters make everything in-house daily, with a few well-considered exceptions from suppliers such as Tartine organic bakery, Nick’s locally roasted sweet espresso and Sprout cold-pressed juices. Their signature ‘pressed sandwich’ is Devilled Crab with Gruyere - it must be sampled to be believed! They’ve started opening 3 nights for BYOB and 7 days to satiate the growing numbers of Minetta junkies out there.

63 Dawson St. FB @cafegraydublin @cafegraydublin

1A Lennox Street, Portobello, D8 t: 01-4759445 w: fb.com/the-bretzel-bakery

13A Upper Baggot Street eathosdublin.com @eathosdublin

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1 Sutton Cross, Sutton, D13 t: 01-8396344 w: www.minetta.ie Twitter: @minettadeli

Wall & Keogh Tea Lounge

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KC Peaches

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The Bird Cage Bakery

Grove Road Café

Wall and Keogh is the original. It’s the tea company that made loose leaf tea important again, with a location to enjoy your cuppa in that compares to no other. They have a full café attached and all the baked goods are homemade. Just go see for yourself, it’s wholesale & retail tea of the highest grade.

A New York-style loft newly established on Dame Street, KC Peaches is the ultimate hangout for tourists, students and working professionals. Serving natural, wholesomely enhanced all-day dining options, you leave the cafe feeling truly nourished by nature. Unlike anywhere else in Dublin, their hot and cold buffet options are delicious, convenient and affordable. With everything priced per plate size you can pile high on that wholesome goodness but make sure to leave room for their famous cheesecake brownie. The philosophy is simple: ‘Eat well, live well.’ Mon 8am-8pm, Tue-Fri 8am-10pm, Sat 9am-10pm, Sun 11am-6pm

Warm, cosy and friendly, The Birdcage Bakery stands out at its Harcourt location as one of the area’s finest cafes.

With inviting, comfortable décor, the friendly staff offer a selection of homemade pastries, desserts, cakes and bitesized treats all made from scratch daily. The savoury lunch menu is enjoyed all week long and offers an original take on classics such as meatballs and smokey bacon & cabbage among others. With top quality coffee, freshly roasted from the kiosk, enjoy one house blend and one single origin on offer daily, alongside a selection of teas from Clement & Pekoe. Open Mon-Fri 7.30am-3.30pm

Grove Road is the latest addition to the flourishing Dublin speciality café scene and is apparently the new place to be seen in Dublin 6! It boasts a bright and inviting space with a rugged yet contemporary interior, and sweeping panoramic views of the canal. At Grove Road they are very proud of many things: their consistently great coffee which is supplied by Roasted Brown in Temple Bar and their fresh delicious food and treats to name but a couple. It has also been said that they have the friendliest staff the city has to offer!

Mon-Fri 7.30am-6pm. Brunch Sat 9am-4pm.

21 Harcourt Rd, Dublin 2 t: 01 405 4890 w: facebook.com/BirdcageBakery

1 Lower Rathmines Road, Dublin 6 www.groveroadcafe.ie t: (01) 5446639 @GroveRoadCafe

45 Richmond Street South, Portobello, Dublin 6 t: 01-4759052 @wallandkeoghtea

54 Dame St., D2 t: 01-6455307 @kcpeaches

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Newly expanded & refurbished!

Caffe Italiano The Best Italian Food in Dublin!

Christmas bookings now being taken 7 Crow St, Dublin Phone: (01) 551 1206

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GAMES words Leo Devlin Aidan Wall

LIKE A Kaizo Mario World

BOSS

Metal Gear Solid V: The Phantom Pain Playstation 4, Xbox One

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After 30 years of dispensing its own genius designs, Nintendo has just recently opened up the creation of Mario levels to everyone with the release of Super Mario Maker. But many enterprising hackers and tinkerers haven’t been waiting around. Kaizo, popularly called ‘Asshole Mario’, is a reworking of 1990s Super Mario World that’s known as the apotheosis of difficult platform games. It’s also known to draw rants of incredible profanity from its players – probably not what Nintendo’s hoping for its own toolset. LD

Hideo Kojima has made every Metal Gear Solid game as if it would be his last. The franchise, spanning over 28 years of development, has been both his greatest burden and his bravest accomplishment. Following the recent revelations of his turbulent experiences with publisher Konami – which included demotion from an executive to a contractor role and having all traces of his name removed during the marketing campaign – it seems that Metal Gear Solid V: The Phantom Pain is Kojima’s true last hurrah.

Kojima’s ambition of presenting games as cinematic experiences, while revolutionary in the Playstation era, often forsook core gameplay, leading the player-controlled segments of his games to feel like their function was to simply link cut-scenes (of which his games have been famously bloated with). It is because of this that MGSV is a surprising revelation: It is such a game.

This is the best Metal Gear has ever felt. The strictly narrativedriven and linear format of earlier games in the franchise are replaced in MGSV with a superbly realised open world structure where base building and weapon/item development take on primary roles. Gameplay consists of main missions and optional side-ops that require the player to sneak or shoot their way through well patrolled bases and outposts in two areas: the dusty mountains of Afghanistan and the murky swamps of Angola.

Although the cinematic cut-scenes and memorable characters that define the franchise are still present (albeit in sparser quantities), MGSV’s main flaw is the non-development of its antagonists and, subsequently, its flat narrative arc. While previous games in the series were foregrounded by their over-the-top villains, MGSV’s cast of baddies – Skullface, The Man on Fire, and the (familiar) Third Boy – feel a little damp in comparison to ‘dude-made-out-of-bees’ and ‘my-evil-clone-twin’. In typically Metal Gear fashion, the representation of women is troubled, with the main female characters functioning almost purely as scantily clad and sexualised narrative mechanisms.

Despite the game’s shortcomings, it is impossible to deny the sheer ambition of the project. With a rumoured budget of $80 million, it is a sprawling and bizarre cultural object. It is fascinating to see something with such a large scope concisely achieve synthesis of its fun and emergent systems. It’s a wonder. AW

Mysterium Designed by Oleksandr Nevskiy and Oleg Sidorenko

Haunted houses can be stressful places. Creaky floorboards, wailing cellars, and spooky visions – it’s a lot for even the most diligent ghost to juggle. Don’t get me wrong, it can be rough on the corporeal inhabitants, too, but the late nights and constant pressure to perform are enough to make an entity scream louder than their victims.

For those of a more, well, mortal persuasion, Mysterium is a game that gives you a taste of the horrors behind the horror. One player takes the role of the someone murdered years ago in a Scottish manor, while up to six other players are mediums, trying to discover the identity of the killer, thus giving the spirit a sense of peace. Think Ghost, only if Patrick Swayze kept giving Whoopi Goldberg cards with weird, cryptic pictures on them. This is the ghost’s ‘vision deck’, which is used to give

clues to the psychics about the guilty party, the location of the murder, and the weapon used.

The terrible stress for the ghost player stems from the extremely tenuous connections that must be drawn between their seven-card hand of visions and the array of suspects and potential murder weapons laid before the psychics.

As a clairvoyant, it can be a little irritating when you’re handed a card that depicts a porcupine-like creature wearing a hockey mask while sitting on a giant mushroom. Now, does this mean the nun, the baker or the tailor was the murderer? Pity the poor spirit, though, who has to scream silently to themselves, ‘The tailor, dammit! Porcupine → needles → tailor! So obvious!’ Ghosts are used to being feared, even reviled. But spare a thought this Halloween for those that just endlessly harried. LD

GEORGE’S STREET ARCADE

Ireland and Europe’s oldest running purpose-built shopping centre

Lolly and Cooks producing and serving up delicious lunches, teas and treats 7-days a week.

Stokes Books trading here since 1989. Specializing in books on Irish History & Literature and special stock for the anniversary of 1916.

georgesstreetarcade.com Open 7-days a week

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Come visit us Today www.theopencollege.com The Learning Centre, Dublin 18 Tel: 01 2061828 / 01 2061829 Email: info@theopencollege.com The Open College is a QQI/FETAC Registered Provider

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ARTSDESK words Aidan Wall

FOREST FORAGINGS

Gary Coyle RHA, After Watteau, 2014 – 2015, Charcoal on Paper, 120 x 100cm, Image courtesy of the artist.

Gary Coyle RHA, 12/07/1979 The Death of Disco, 2014 – 2015, Charcoal on paper, 80 x 110cm, Image courtesy of the artist.

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The most exciting aspects of Gary Coyle’s practice are arguably his performative, photographic and sculptural work, as these forms often best highlight his skill for being present in the work (as the witty sarcastic storyteller in the lectureperformances from his 2010 exhibition At Sea in the Royal Hibernian Academy) while also representing a sense of physical absence (in his found object installations and his barren seascape photography). Coyle’s latest exhibition Into The Woods, which is installed in the Ashford Gallery of the RHA, offers a new series of large charcoal drawings on paper which forego the concrete physicality of At Sea for something altogether more speculative.

The RHA’s Ashford Gallery is a slight space; Coyle embraces this with a large wallpaper installation that encompasses its four walls with a distorted rendering of claustrophobic hyperborean woodland drawn in a jagged etched style, landing somewhere between illustration and repeat pattern. The first of the hung drawings, Curtain, introduces the running motif in the show of drawn ornamental frames at the page’s borders. The murky quality of the charcoal on the page lends the feel of early photography to this depiction of a curtain. The tense and uneasy atmosphere of the drawing recalls David Lynch’s style of projecting the banal through a magic realist lens.

Coyle’s style of charcoal drawing changes throughout the show. The blurred foggy smudges in Curtain are replaced by strong defined gestural lines in Ingenue, a semi-abstract drawing of what appears to be a cat’s head. One of the stronger images in the show, Gregory, combines these two different forms of charcoal mark-making to produce a haunting portrait of an androgynous young boy in front of an idyllic nature scene. His hairstyle and outfit are from a different era; like an image from a missing person’s notice, his lost, muddy eyes stare out at the viewer forebodingly. While the foreground image of the boy appears in the blurred photographic style of Curtain, the composition of the work, with its oval border and the uncertain perspective of the image’s background scene, suggests pre-Renaissance religious painting.

The combination of 1970s fashion with 1370s composition would seem playful if not for the grimness the image implies.

A hand clutching a smart phone protrudes into the frame of Dreaming Different Dreams, hung in the centre of the far wall. The smart phone’s camera function is shown pointing at some unclear forest atrocity that consumes the majority of the composition. Smoke bellows out of the gorgeous charcoal haze of Coyle’s

Left: David Godbold, Untitled (Artist Thinking), 2015 Below: David Godbold, Untitled (New Horizon), 2015

ambiguously drawn foliage. The drawing’s title suggests something otherworldly, but the act of recording disasters is very much ingrained into our contemporary society. Dreaming Different Dreams attempts to posit itself in the uncomfortable position between the vapid normality of daily smart phone usage and the fiercely confounding reality of disaster.

Another shrouded catastrophe appears in 27/7/1979 The Death of Disco. Bringing Coyle’s attentive drawing style to the fore, the filmic quality of the smoke plumes emerging from the scene’s flat expanse recall the grainy hum of Coyle’s photographic series Lovely Water.

Into The Woods is a competently conceived exhibition containing some wonderfully realised charcoal drawings. Although it manages to overcome the restrictions of its installation space, it is lacking in the ambition which has made Coyle’s previous projects so memorable. His decision to question contemporary image culture through drawing rather than a lens-based means is understandable, and, although Coyle has a truly rare and acute ability with charcoal, his biggest strengths simply are not on full display in the show.

Running until October 10th in the Kerlin Gallery, David Godbold’s More like living

than life itself presents a wealth of new paintings, drawings, and neon sculptures from the Irish-based artist. Although the neon sign has become the tired go-to staple of contemporary art’s repertoire, Godbold manages to combine signage with paintings in a restrained way that doesn’t feel like a cliché. One such painting with an accompanied neon sign is Untitled (New Horizon). The wound overlapping tubes of neon emit a dim clinical blue light above the (less remarkable) painting; glowing in cursive, the sign reads ‘more like this than that’. Power cables droop down from above the gallery wall; the wires are slung like arms embracing the scrawled words, hurrying them up into their grasp. Godbold’s neon signs are remarkable due to the personality that’s inscribed into them through their structural and aesthetic means, rather than what is being written: the glowing lines which make up the words overlap in three dimensions as if the neon was drawn straight into the space by the artist’s hand, rather than by a lighting technician.

Untitled (Artist Thinking) combines Godbold’s clean ink drawn lines with loose colouring pencil words and gestures. ‘More Clouds’ and ‘Less Clouds’ are written in place of actual drawn clouds; An arrow under the words ‘Artist

Thinking’ points at a pensive character in the image’s background like it was sneakily graffitied into a library’s schoolbook. The illustrative qualities of Artist Thinking, and a little less and More like living are reminiscent of a colouring book, making Godbold’s processes feel like some kind of schoolboy experiment: these ink drawings are filled-in or coloured-over before being drawn onto and annotated. The series of drawings 13 Crucifixions takes this concept further, with each drawing seemingly superimposed on top of a child’s religion copybook exercise.

Godbold’s paintings are concerned with processes of layering, reiterating, correcting and fixing. The circled mistakes, corrections, and scrawled notes littering the paintings instil the work with a sense of playful naivety. Godbold’s use of oil paint, colouring pencils, crayons, and watercolour is thoughtful, vivacious, and full of character in a style that is unmistakably his own.

Into the Woods is exhibited at the Ashford Gallery in the Royal Hibernian Academy until Sunday 18th October. More like living than life itself is exhibited at the Kerlin Gallery until Saturday 10th October.

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ARTSDESK words Eimear Walshe

WHAT THEY CALL LOVE

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An exhibition on the subject of love is currently on show in The Irish Museum of Modern Art. It features a blockbuster line-up of artists including Marcel Duchamp, Marina Abramović, Andy Warhol, and Yoko Ono, comprising almost 200 artworks with amorous themes. What We Call Love: From Surrealism to Now is the museum’s first major exhibition to charge a cover fee (€8/€5 concession), and with the popularity of the artists and the crowd-pleasing theme sure to draw people in, the exhibition inadvertently demonstrates how romantic love can function as an instrument of capitalism, as well as a means of organising society.

The first two rooms feature works from the Cubist and Surrealist canon, including Pablo Picasso, Max Ernst, and Salvador Dalí. These works depict their female lovers, who are here subjected to the Cubist practice of rendering women’s biological accoutrements as geometric elements, intertwined in formal composition with masculine signifiers. This reductive collocating of ‘complimentary’ forms is the running visual metaphor for love in the show, replicated variously as the photographic diptych (Douglas Gordon), the double portrait (Félix González-Torres), the double bed (Elmgreem and Dragset, Yoko Ono), the embracing couple (Constantin Brâncuși, Louise Bourgeois), and the two perfectly interlocked circles (Jim Hodges). Even Cerith Wyn Evans’ three identical wall-mounted clocks entitled, Perfect Love, Plus One, posits the duo as love’s supreme embodiment.

This motif is undermined in Sophie Calle’s work, The Faux Marriage, a large-scale black and white wedding photograph of the artist and her then-husband. The accompanying text reveals that

this photo of her wedding party is in fact constructed, which speaks to the contrived nature of all wedding photos, and disrupts the rigid meaning that such images typically offer. Positioned beside a corresponding photographic work The Divorce, it presents love as temporal, and finite, in contrast with majority of the work in the show, which envisions it as spatial and therefore eternal.

The best work is that which reveals the inherently violent and exploitative aspects of love, which induces revulsion rather than sentimentality. In Picasso’s 1931 painting The Kiss (Two Heads), a man and women lie in a pale bed, eyes rolling, jaws unhinged and dark mouths devouring each other. Better still, the parasitical condition of love is unforgettably captured in Nan Goldin’s Marina and Jean Christian in Bed with Baby Ello, in which a woman lies in bed nude with her male partner and their infant child, both of whom compete for access to her breast milk.

The title of the exhibition, What We Call Love, implies that there exists a community of consensus on the subject. The press release suggests that post-referendum Ireland, with its newly expanding definitions, constitutes this community. By beginning in 1930s Paris and ending in contemporary Dublin, the new ‘city of love’, a self-congratulatory narrative of progress is presented. This is not reflected in the selection of work, most of which serves to only further glorify, like some insipid love song, an image of love that is cloyingly nostalgic and overwhelmingly normative.

What We Call Love: From Surrealism to Now is exhibited at the Irish Museum of Modern Art until Sunday 7th February 2016.

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PRINT words Roisin Kiberd Gill Moore Anna-Grace Scullion

Let Me Tell You: New Stories, Essays and Other Writings Shirley Jackson Random House

Shirley Jackson’s best-known works betray the horrors of seemingly safe spaces: family homes, small town communities, our own dear familiar minds. The stories and essays collected here (written between 1940 and 1965) burrow ever deeper into enclosed domestic territories. In cheerier pieces, these hold ritual joys and uncanny surprises, crackling with supernatural energy and with Jackson’s extraordinary ability to animate the mundanities of daily life. The house of her autobiographical reflections makes itself cosily strange by materialising unsolicited pumpkin pies and hosting the squabbles of her personified kitchen gadgets. Firmly on the side of childish imagination, Jackson writes engagingly of her children’s subversive energy (and that of Dr. Seuss).

Yet if home can be the sacred domain of women, children and trickster ghosts, Jackson also exposes the brittle fault lines of domestic life. A series of wartime stories show returning soldiers encroaching dangerously on their wives’ newfound autonomy. In ‘Mrs. Spencer and the Oberons’, family norms are infused with a manic paranoia around ‘vulgar’ neighbours. And older children often become monstrous: the protagonist of ‘The Sorcerer’s Apprentice’ terrorises her lonely neighbour, while ‘Let Me Tell You’ sees wealthy teenagers cruelly toy with ‘the riffraff ’. As ever, Jackson’s finest achievement is in carefully, unfussily dismantling distinctions between public and private; domestic and wild. Perhaps this is best expressed by her children in their afterword. For them, this collection reflects ‘both the mother we knew and an unpredictable stranger’. GM

Ideal Ayn Rand NAL

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Ideal is uncomfortable reading for anyone who’d like to forget their time spent ploughing through Rand’s Objectivist tome Atlas Shrugged. Written as a novella by Rand in her early 20s, and later revisited as a play, this volume publishes both formats of Ideal side by side. Ideal serves as a wireframe for the bulkier works: it features standard Rand themes (idealism versus ‘second hand lives’), and a cast of archetypes including villainous Communists, aristocrats, and one evangelical priest. The dialogue swings between political oration and the kind of clammy, porno lines you’d feel uncomfortable reading aloud (‘I am a very bad woman, Johnnie. Everything you’ve heard about me is true. Everything – and more.’)

The plot follows a woozy miracle play structure: actress Kay Gonda is accused of murder and goes on the lam, visiting the homes of the ‘little people’ who worship her on screen. Gonda follows in the classic Rand heroine mould of the expertlytailored Gorgon: a woman so beautiful she can lure men to their deaths, and heartless enough to do so. She is apparently based on Greta Garbo, and Rand takes the daring measure of having her introduced to readers initially as a cardboard cut-out. Gonda speaks little, except to inform us that she owns 200 pairs of shoes and ‘diamonds, by the handful’ (in the play the number is downgraded, disappointingly, to 50.) She walks an Objectivist stationsof-the-cross, martyred at every turn by feckless ‘comrades’ and down-home grotesques.

If Ideal sounds schlocky, sentimental and flamboyantly illreasoned, that’s because it is. But it also makes the case for Rand as a Hollywood product, a writer in thrall to fame who worked in the wardrobe at RKO even as she began producing fiction. It is essentially Garbo fan-fiction, and a study – however unintentional – of the Hollywood cult of self. Roland Barthes wrote that ‘Garbo still belongs to that moment in cinema when capturing the human face still plunged audiences into the deepest ecstasy.’

But as the trials of the Kay Gonda indicate, sometimes a pretty face is not enough. RK

Not the Same Sky Evelyn Conlon Wakefield Press

Effectively a modern epic, Evelyn Conlon’s Not the Same Sky weaves together the stories of several young Irish women fleeing the famine and travelling to Australia with those of the surgeon Charles Strutt in charge of them on board the ship and the 21st century Irish stonemason commissioned to create a memorial for the girls. The vivid portrayal of the girls’ fundamental commitment to survival makes the novel a compelling read. We first meet Honora, Anne, Julia and Bridget at the workhouse. Conlon delicately outlines the stark realities of life at this time: bereavement, hunger, disease and complete poverty. She exposes the new colony’s recruitment of these young women as the exploitative enterprise it was, and strikingly describes their powerlessness. Faced with leaving behind their country and their families, the girls are forced to show strength beyond their years. Throughout the voyage, their arrival in Australia and their new lives once there, the girls resolve to look forward, which involves painfully rejecting their collective past.

Perhaps inevitably for a story of this scale, there is some disjointedness.

Strutt is our lens for most of the novel, which distances us from the girls; minor characters disappear; the modern-day frame feels peripheral. Conlon succeeds, however, in counteracting the abstract familiarity of the Irish emigration narrative, and in reconstructing the lives of the girls with compassion. AGS

PRINT words Stephen Cox Mònica Tomàs Peter Morgan

The Girl from the Garden Parnaz Foroutan Harper Collins

Myth intertwines with memory in Parnaz Foroutan’s stirring debut novel, which examines the mysteries that persist even in the most time-honoured family lore. The Girl from the Garden revolves around the memories of elderly Mahboubeh Malacouti, who vividly dreams of her family’s life in a Jewish enclave in early 20th century Iran while slowly losing touch with reality in a Los Angeles that ‘erases all memory of the past’. Foroutan’s unreliable narrators and vertiginous nested stories make it difficult to distinguish imagination from memory, and fact from the muttered recollections of iron-hearted matriarch Rakhel, Mahboubeh’s aunt. Childless in a time when a woman’s primary function was to bear sons, Rakhel’s longing and despair harden into a fierce determination, which steers the family to unsuspected and often frightening ends.

Regarding the death of Mahboubeh’s mother, Rakhel explains simply that she ‘died from the complications of womanhood’: these complications form the emotional core of the story. Accordingly, most of it is enclosed in the limited physical space of these women’s lives. However, this isn’t a tale of confinement; nor does the narrative feel constrained. Foroutan succeeds in bringing these small domestic spaces to brilliant light, complete with blessings, djinns, and even plagues. More than these supernatural interventions, though, it is Foroutan’s sensuous evocation of the quieter, more quotidian ‘complications’ that bring the book to life. MT

A Little Life Hanya Yanagihara Doubleday

‘Friendship, companionship: it so often defied logic, so often eluded the deserving,’ writes Hanya Yanagihara in her Bookershortlisted second novel, A Little Life, which charts the changing fortunes and relationships of four men, Willem, JB, Malcolm and Jude, over nearly 40 years, from their time as college roommates through to middle age. The fulfilment the former three achieve in their professional – and, at times, their personal – lives is contrasted with the experience of Jude as the novel’s protagonist.

Hyper-graphic descriptions of his self-harm abound, as the equally distressing story of his miserable past gradually reveals itself. In spite of the love Jude’s friends (particularly Willem) show him, by the end we are left wondering about the truth of Jude’s mentor’s assurance that ‘life rearranges itself to compensate for your loss.’

While many novels concern young people growing up and negotiating the world, this one is singular in its amplified depictions not just of life’s cruelty, but also of its happiness and triumphs. In an interview with The Guardian, Yanagihara said that she ‘wanted there to be an exaggeration of everything’ and aimed ‘to be always walking that line between out-and-out sentimentality and the boundaries of good taste.’ Indeed, for all the privilege her characters enjoy, nothing can be taken for granted: ‘to be alive was to worry.’ This book succeeds in giving a compelling, absorbing portrayal of characters easy to invest in. These characters may sometimes verge on cliché. The depictions of abuse and violence may be too much for some tastes. The plot may take twists – both joyous and tragic – that don’t fully work. But you will find it very hard to put down. SC

The Girl Missing from the Window Paul O’Reilly Doire Press

This debut story collection from Paul O’Reilly is scattered both geographically and characteristically. Pieces are often set beyond Dublin, populated by a variety of social identities and dialects. It explores the lives of characters all crippled in their own way; sometimes by the death of a loved one, sometimes by the death of a way of living.

The collection’s first half centres on a striking theme of parenthood. Protagonists grapple with what it is to be a parent, a child, or – in the bizarre ‘What’s Eating Him?’ – what it is to exist outside of that dynamic. The prose is predominantly subtle, quiet. At its best, this results in lingering, arresting images of emotional corruption in which lives change forever (‘What Rose Did’; ‘Tinkers’), while elsewhere this can indicate a certain lifelessness in depicting complex psychological experiences (‘Alzheimer’s’).

Showing a fine aesthetic steadiness, and O’Reilly successfully meditates on suicide, sexuality, emigration and death without ever feeling like he’s checking off a list of ‘Irish literary themes.’ The emotional breadth of these subjects makes structuring this collection challenging, and it struggles to attain a particular overall focus. The two lengthiest pieces, ‘What Rose Did’ and ‘Guys and the Way They Might Look at You’, indicate that a novel might be the best thing to look forward to from this promising author. PM

FILM words Rachel Graham

MOVIES FOR MOTTS In 2014 Karla Healion set up Dublin’s first dedicated, independent feminist film festival as a fundraiser for victims of sex trafficking in Nepal. We met her to talk about the festival’s return this Halloween weekend, and the importance of women being both behind and in front of the camera.

How did the Feminist Film Festival come about?

When I was travelling a couple of years ago, I was in Kathmandu in Nepal and I visited an amazing charity called Sasane. Sasane was set up by a group of women, themselves victims of sex trafficking, to help other women who have been trafficked. They showed us some traditional Nepalese recipes, and we made some food and ate with them. I was blown away by them and I thought to myself, I’m going to do a fundraiser for these guys when I get home.

Later that summer I had this realisation that I didn’t remember there being a feminist film festival in Dublin. I thought I’d love to start one up, and if I was going to put on a fundraiser for Sasane, why not roll them into one? So I came home and did the first Feminist Film Festival last year. Every single bit of money that we make goes to Sasane.

What was last year’s festival like?

It was really successful. The New Theatre in Temple Bar is a great venue. It’s only small – this is all quite low key and intimate, we don’t get state sponsorship or help from the DCC or anything – but we sold out quite a few of the screenings and we had some really good reviews. The atmosphere was really positive.

We’re hoping to be even better this year. We’ve taken on an extra day, so it’ll be the full weekend, Friday to Sunday. There was only one Q and A last year whereas this time we have talks on women in horror, the achievements of women in film and the different forms of feminist film.

Could you tell us a bit about your interest

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in feminism?

I used to help out with the Feminist Walking Tours of Dublin, and the Abortion Rights Campaign – they’re co-running the March for Choice so I’ll be volunteering with them a bit next week. So I was active at the grassroots level, and then I did a masters in Film Studies, and came across Sasane. Those three things together made the festival – the feminist angle, the film studies and the charity. When it comes to feminism I think it’s vital to make changes at policy level, in terms of repealing the 8th, and working towards women’s socio-economic rights, such as equal political representation and pay. But I also think the portrayal of women in media is important to work on, to make sure that the political stuff that we’re aiming for is represented in media.

Do you have a particular bugbear when it comes to the status of women in film?

Traditionally women have been put into the role of either consuming media or being objectified by media, and it’s really important that we support women to write, direct, and have high-level positions within all forms of cultural production.

Obviously the annoying thing is when you see stereotypical female characters. But I feel like if we support women behind the camera, the representation will get better. Hollywood still produces most of the films that we watch, and Hollywood has a really bad track record in terms of supporting female filmmakers and depicting female characters. Once you go into indie or documentary film, you tend to get more women behind the scenes, and better representation. That’s great, but it would be nice to see big budget, mainstream films being more balanced around gender.

L-R: She’s Beautiful When She’s Angry; Poster for Cléo de 5 á 7; Poster for The Delian Mode

Reynolds, BAFTA-winning TV director Neasa Hardiman, Nicky Gogan of Still Films, or Maeve Connolly, an academic writing amazing stuff around film. The Little Museum of Dublin recently had an exhibition, Ireland at the Movies, that showcased the work of Irish women in film, especially costume-making. There’s a sense of excitement, there’s a lot going on. There’s an appetite for conversation about feminism and women’s equality. It’s almost trendy now, which it wasn’t before. We need to keep talking about it!

Does the festival have a focus on a particular genre or theme?

We want to show things that represent different facets of female experience, and have something for everyone’s taste. The important thing for us was trying to make sure that the filmmakers were female. At every film festival around the world, most of the filmmakers are men. Surely a feminist film festival is one event where we should be striving to show films made by women.

That makes it harder, because women don’t have access to the means of making as many films. It’s this constant battle between whether it’s about what’s in front of the camera, or what’s behind the camera. You don’t want to just have a group of films that show great female characters, made by a group of guys. The other thing that’s hard is to find things that are accessible enough that you get bums on seats. If we only showed abstract quirky stuff, we would not survive. That’s tricky because female filmmakers traditionally work more within documentary and avant-garde and experimental films, and we don’t want to disregard that. It’s a hard balance trying to meet all of those things.

Do you think feminist events have a responsibility to be intersectional, and does that influence the festival’s ethos?

Personally, feminism is very much about intersectionality. It’s one word: equality. My equality, your equality and everybody’s equality. I think it’s really important to be always looking at my own privilege, because I am a woman, but I’m a really privileged woman: I’m white, European, straight. As a feminist you need to be aware of other oppressed or underprivileged communities so it annoys me that you don’t see people of

colour enough, you don’t see enough representation of the LGBT community, and when you do, they’re often represented stereotypically. At the Feminist Film Festival, we feel like we should have a film that represents non-Western women, and a film that isn’t heteronormative. We showed Orlando last year which is a great film by Sally Potter that famously deals with blurring the lines of the gender binary. But if someone says, well my feminism is about x, y or z, that’s OK too. It’s complicated when you start talking about what feminism means, because I think part of what feminism is, is respect for people being different and having different opinions, even though it’s a collective kind of term.

Are there any positive developments you’ve noticed recently, in terms of women in the film industry?

One of the interesting things that has happened over the last few years is a backlash against the idea of the ‘strong female character’. A few years ago we said we needed more of them, and then we realised, the ‘strong female character’ is kind of like dropping a female actress into a male role.

The ideal of the strong female character sets up this expectation of female characters who can’t be flawed, who have to be these perfect warriors; like the strong single mother or the girl who makes it in a typically male pursuit. Now we recognise the importance of not holding female characters to ridiculously high standards, and allowing them their flaws and weaknesses.

It’s easy to get bogged down in all the miserable statistics, but we have to try not to. In Ireland we have so many incredible women working in film: look at the success of One Million Dubliners, directed by Aoife Kelleher and edited by Emer

Do you have a favourite ‘feminist film’?

I love some filmmakers in particular. I love Lynne Ramsay. It’s really amazing to look at her work because she’s so feminist in so many ways, but then you get a film like Ratcatcher, which is about a little boy. Can we talk about that as a feminist film? We always look at the representation of female characters and how they’re written, but what if a woman is behind the camera, and in front of the camera is a man? Whether the character is a boy, a girl or even an animal, if they have been written or directed by a woman, then it comes from a place of female agency and female experience. So I’d argue that a film like Ratcatcher is quite a feminist film even though it’s not about women at all. Whether the subject matter has to do with women or not, I think it’s very interesting to see women’s perspectives. We’re very used to seeing male perspectives, and obviously there’s nothing wrong with that, but we need to redress the balance.

What are you looking forward to at this year’s festival?

We’ll be having the Irish premiere of She’s Beautiful When She’s Angry, which is really exciting. It’s a new documentary about the emergence of the women’s liberation movement in the 1960’s, and the opposition it faced. In terms of the fundraising, our donation will be matched

by Planeterra, so hopefully we can raise a good few quid for the women in Nepal, who have had a really tough year dealing with the aftermath of April’s earthquake.

The Feminist Film Festival will take place in The New Theatre, 43 Essex Street East, Temple Bar from Friday 30th October to Sunday 1st November 2015. Each feature film is preceded by a short, and tickets for all screenings cost €10. All profits go to Sasane. For more information and to book tickets, visit feministfilmfestivaldublin.com or follow them on Twitter @FemmoFilmFest

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FILM REVIEWS words Felipe Deakin Bernard O’Rourke Luke Maxwell Oisín Murphy-Hall

Mia Madre

Director: Nanni Moretti Talent: Margherita Buy, John Turturro, Giulia Lazzarini Nanni Moretti Release Date: 25th September Nanni Moretti has worked himself clear of the ‘Italian Woody Allen’ shorthand that beset his early career, partially due to the American director’s moribund output for the better part of 20 years, and partially due to the increasing versatility and individuality of Moretti’s own cinematic vision. In Mia Madre we are back in familiar-but-different Moretti territory: Margherita (Buy) is a director working on a film about an industrial dispute, starring the pompous Italian-American Barry Huggins (John Turturro) as a stubborn factory owner, while she attends to her hospitalised and perhaps terminally ill mother (Giulia Lazzarini) in the evenings with her brother, played in a low-key fashion by Moretti himself.

Margherita’s quasi-Brechtian insistence on set that her actors simultaneously play both their characters as well as the actors playing said characters has as its tragic mirror-image her inability to cope with the immediate and constantly encroaching lived reality of her mother’s mortality. It’s a neat idea that, as in the best of Moretti’s work, resonates outwards into implicating ‘the real world’ and our relationship to it.

However, in Mia Madre filmmaking (or creativity more generally) is presented not as escapism (as in 1998’s wonderful Aprile) but rather ineluctably connected to and informed by one’s personal life, for better or worse.

Turturro is typically hilarious as the self-important star (and albatross around the neck) of Margherita’s ailing production, while Buy herself lends great humour and pathos to the starring role as a woman creaking under the pressure of adult life, in all its complexity. Despite an unfortunate drift into sentimentality in its final moments (typical of Moretti), Mia Madre is a compassionate and provocative film that engages in difficult questions about death and cinema in a way that crucially always preserves its emotional raison d’être. OMH

Sicario

Director: Denis Villeneuve Talent: Emily Blunt, Josh Brolin, Benicio Del Toro, John Bernthal Release Date: 9th October Action movies have a reputation of being ‘big dumb movies for big dumb people’. Audiences are encouraged not to think too hard about plot and characters and give way to spectacle. ‘Turn your brain off at the door,’ as the saying goes. A film like Sicario, however, tries to be a different type of action picture, a thinking man’s thriller.

Dealing with the murky world of covert operations and drug running, the film throws idealistic FBI ‘door kicker’ Kate Macer (Blunt) into the deep end of some decidedly unpleasant wet work.

Macer begins to question her loyalties and justice itself as the ugly extent of the operation reveals itself.

Director Denis Villeneuve presents us with a dull and plodding picture: the tone of the film is deliberately one note, which comes across as just a means of making the film appear smarter than it actually is. Unfortunately for Villeneuve, Sicario is just as dumb as its ‘big dumb’ contemporaries and all the pregnant pauses and sombre shootouts don’t convince otherwise. LM

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Mississippi Grind

Macbeth

When down-on-his-luck gambling addict Gerry (Mendelsohn) meets the slick talking, freewheeling Curtis (Reynolds) at a poker tournament, the pair of mismatched serial gamblers embark to a road trip in search of a fabled tournament in New Orleans.

In a film about gambling, it’s a genuine oddity that the stakes never appear to be all that high.

Mendelsohn may be flawless in his portrayal of a deeply flawed, fatigued and almost entirely beaten specimen of humanity, but the rest of the film just doesn’t rise to meet this performance. The pace is so oddly gentle, that it never really feels like anybody’s on the verge of losing anything.

But, with subtly slick direction and a killer delta blues soundtrack, this journey of two misfits from casinos to pool-halls to racetracks becomes an easy, enjoyable watch, if not a particularly engaging or memorable one. BOR

A timely reminder of why Scottish independence could never work, Justin Kurzel’s adaptation of Macbeth nonetheless suffers under the weight of what has cinematically gone before. It’s not quite Kurosawa’s Throne of Blood, not quite Polanski’s 1971 adaptation, but not quite itself, really, either, with a script pared back to almost the bare essentials. Michael Fassbender is impressive in the leading role, with a hair, beard and eyeliner combination that evokes noone so much as Brandon Flowers, and with it the spectre of a far camper version of the source material, perhaps directed

by Baz Luhrmann, that would resonate more deeply with contemporary audiences than this intermittently lyrical, intermittently rudderless adaptation that adds precious little to the Shakespearean cinematic canon. Fassbender’s Macbeth is never allowed to go full Alan Rickman in Robin Hood: Prince of Thieves in the latter stages, which feels like an opportunity missed, as he handles the character’s madness with far greater skill than he did his ambition. An appropriate metaphor for this film, perhaps. OMH

Directors: Anna Boden, Ryan Fleck Talent: Ben Mendelsohn, Ryan Reynolds, Yvonne Landry, Anthony Howard Release Date: 9th October

Director: Justin Kurzel Talent: Michael Fassbender, Marillon Cotillard, Sean Harris, David Thewlis Release Date: 2nd October

Cartel Land

Director: Matthew Heineman Talent: n/a Release Date: 4th September Four words in the opening credits that let you know this documentary about Mexican drug cartels is going to be red hot, spit-shined State Department propaganda: ‘Executive Producer Kathryn Bigelow’. The Zero Dark Thirty director’s middle-American, imperialist sensibility pervades this study of the ‘war on drugs’ in Mexico – a country portrayed in the familiar terms of American fiction cinema as a hinterland of transcendental savagery and violence – and the efforts of vigilantes on either side of the border to tackle criminal activity. In the US, Tim Foley’s Arizona Border Recon believe they are fighting the cartels, when they seem mainly to capture ordinary migrants entering the state illegally. South of the line, Dr. José Mireles’ Autodefensas’ brief heroic spell as popular police force gives way to their assimilation into extant police and military forces cooperating with cartels. In a film of such shades of grey, the absence of interrogation of the US imperialist narrative is telling, though hardly surprising. OMH

Horse Money

Director: Pedro Costa Talent: Ventura, Tito Furtado, Antonio Santos, Vitalina Varela Release Date: 18th September The world of Horse Money is a confusing and multilayered one. We appear to be presented with the hallucinatory psychical reality of an elderly Cape Verdean man, Ventura, who may be dying in an anonymous Portuguese institution that is at once a hospital, a prison, a psychiatric institution and a medieval dungeon, from scene to scene.

Grounding these projections in a corresponding, banal reality ought not to be of concern however; the film plays out a reality that is distinctly its own, of a cinematic kind, and all the more vivid and powerful for it. Ventura’s memories of Cape Verdean traditional songs, knife-fighting, sedition, the Portuguese revolution of 1974-1975 and workplace injury return as tangible, physical interlocutors and tormentors in a haunting and claustrophobic cinematic space. Costa’s psychical-social-realism makes for a difficult and sometimes disturbing watch, but this is as honest and unique and vital a film as you will ever see. OMH

Irrational Man

“I instantly fell in love with the character... of the entrepreneur!

– John Turturro in flawless blowhard actor mode, giving a press conference in Nanni Moretti’s Mia Madre.

Pasolini

Director: Abel Ferrara Talent: Willem Dafoe, Riccardo Scamarcio, Ninetto Davoli, Valerio Mastandrea Release Date: 11th September Can’t believe it’s been nearly 30 years since them slags ran over Pasolini with his own motor, it still freaks my nut out to this day.

Abel Ferrara’s film sees Willem Dafoe inhabit the persona of the great director in the days leading up to his mysterious death, a speculative reenactment of which features here in gruesome and disturbing detail. It is a brief moment of viscera within an otherwise bland and inconsistent narrative, in which both director and lead actor’s reverence for their subject seems to have had a sort of paralytic effect on their creativity. Dafoe oscillates between the sympathetic and the somewhat monstrous, tending more towards the latter, while the script’s occasionally more theoretical dialogue feels ponderous in his mouth. There is little to recommend this to fans of Pasolini, beyond a partial staging of the script he was writing when he died, Epifanio, which unfortunately seems to have been fairly shit. OMH

Director: Woody Allen Talent: Joaquin Phoenix, Emma Stone, Parker Posey, Jamie Blackley Release Date: 11th September Abe (Phoenix) is stuck in a rut. He is a philosophy professor of some renown teaching in a distinguished university but who has lost his joie de vivre, until he meets an enthusiastic student and admirer in Jill (Stone) and decides, motivated by compassion, indignation and vague reference to Nietzsche, to commit the perfect crime. It is interesting that, after the initial and quite positive effects of Abe’s big, paradigm-shifting action, he descends into madness, becoming perhaps unexpectedly the villain of a piece that seemed to hold such promise for him, his idealism and his will to transcend.

It is even more interesting that Woody Allen, a man who has been on creative autopilot for years, would produce yet another paean to the quotidian, or at least on so against the idea of the radical disruption of one’s own life and ideas, for better or worse. OMH

Me and Earl and the Dying Girl

Director: Alfonso GomezRejon Talent: Thomas Mann, Olivia Cooke, RJ Cyler, Nick Offerman Release Date: 4th September Greg Gaines is forced by his overbearing parents to spend time with Rachel (Olivia Cooke), a classmate he barely knows who has been diagnosed with stage four leukaemia.

Expertly played by Thomas Mann, Greg is awkward, aloof and self-loathing, and his deepening relationship with the dying girl does little to change any of this, one of the many refreshing aspects of this exceptional film. RJ Cyler and Olivia Cooke give equally strong performances in the other two principal roles, while screenwriter Jesse Andrews and director Alfonso Gomez-Rejon pull off a tricky tonal balancing act, seamlessly combining a snarky sense of humour with profoundly moving moments that feel earned and never exploitative. Their efforts are aided by an unusual score from Brian Eno and a uniformly excellent cast. Special mention goes to the parodies of famous arthouse films produced by Greg and Earl in their spare time, all involving puns of the original titles, each of which are hysterical. FD

81

SOUND words Sharon Phelan photo Kevin Shea Adams

A COSMIC DRAMA 82

“I’m interested in the act of declaring something and daring others to disagree; there’s something magical about it... It’s like planting a little sprout that gets watered from the frothing mouths of those who are enraged by its existence. My word for this is: “The Arkwork.” Liturgy is an Arkwork. It’s not just the songs, albums, shows — it’s also the reactions, the suffering, the stigma, the misrecognitions, the resoluteness, the unexpected detours. To be “pretentious,” grandiose, to remain faithful to an impossible goal, to stay in contact with one’s own desire and follow through with its consequences, unsure of what they will be … to be real.

– Hunter Hunt-Hendrix

The above quote from a 2011 interview by writer Brandon Stosuy with Hunter Hunt-Hendrix of Liturgy, is something of a manifestation of the band’s trajectory. Not only does it embody the intentions of Liturgy as a synthesis of the arts — a total art work — but it also encapsulates the consequential moments of the band’s past, and the diverging ways audiences have responded. With their latest release, The Ark Work, Liturgy return with their third full-length album, continuing along what is distinctly their own path.

‘The earlier records were all much closer to black metal. The arrangements were always guitars, bass, drums and vocals. This one is much more eclectic in terms of genre. The production is varied, the vocal style is different — it’s definitely a different record in a lot of ways, but I think it still sounds like Liturgy,’ says Hunter Hunt-Hendrix when describing his band’s recent release on Thrill Jockey Records. Led by HuntHendrix on vocals and guitar, Liturgy’s band members include guitarist Bernard Gann, bassist Tyler Dusenbury and drummer Greg Fox. The Ark Work — preceded by the momentous Renihilation (2009), and the critically acclaimed Aesthethica (2011) — marks a significant evolution in the band’s overall sound; a sound that is as much the result of a synergy of each musician’s talents as it is a genre-provoking project.

As the sole songwriter of Liturgy, HuntHendrix wrote most of the band’s early material while studying philosophy and composition at Columbia University; a combination reflected in the release of a complementary text to Renihilation in the form of a manifesto titled ‘Transcendental Black Metal: A Vision of Apocalyptic Humanism’. The text is a philosophical exposition influenced by black metal, and is by no means an analytical study of black metal music. Rather, it outlines the differing temporal, spatial, technical, geographical and spiritual modes of two strands of black metal — described

by Hunt-Hendrix as ‘Hyperborean Black Metal’ and ‘Transcendental Black Metal’ — and their broader implications. ‘Transcendental Black Metal’ is where Liturgy situate themselves, with The Ark Work pronounced in the press notes as ‘the first true sonic realization of Transcendental Black Metal’. When speaking over the phone from Brooklyn, an emphasis on the sonic characteristics of Liturgy is precisely how our conversa-

tion unfolds.

‘There’s a couple of different processes that all come together at the end,’ explains HuntHendrix. I catch him in the middle of writing new material, while Liturgy are on a break ahead of their European tour later this month. He candidly breaks down his process: ‘I’ll write harmonies and melodies on a keyboard or guitar, and I have these rhythmic motifs that I write separately.

For Aesthethica, I began combining them in different ways throughout the album. There are rhythmic motifs that appear in different ways in different songs on the album that gives it an organic cohesion. For this new record, a big part of the process was learning how to make music on a computer — which I wasn’t familiar with before — using samples, MIDI instruments, sequencing, and re-sampling. I generate materials that are melodic as well as rhythmic ideas, and then bring them together on a computer. Then, I make a complete demo with the entire arrangement, in this case, of the entire album, bring it to the bandmates, and we turn it into a live thing.’

Live reviews of Liturgy often describe the accuracy in which the band plays the album material — no mean feat considering the interwoven nature of the musical arrangements, coupled with unabating rhythms. With The Ark Work, Liturgy’s instrumentation has vastly expanded, layering their regular instruments with synthetic digital counterparts, and running sections through various effects. ‘It’s like a live action movie with CGI in it. There’s a lot of real stuff and fake stuff, but there isn’t a synthesised drum kit. The drum kit is all live, but then there is electronic percussion that supplements it…

There are also live bells that are supplemented with MIDI bells.’ He adds, ‘mixing the album was really complicated. Jonathan Schenke deserves a lot of credit for getting everything in there and getting it to still rock. The more instruments you have in an arrangement, the more it kind of... it makes it hard to have everything hit really hard, and be visceral, and have all elements be audible.

It was a real project for the mixing of the record.’

When you consider the difference in dynamic range between glockenspiels and bagpipes, both of which are included in the album, you realise just how difficult that task must have been. While Schenke was mostly working with the synthetic MIDI equivalents of these instruments, HuntHendrix later enthuses over the idea of performing an orchestral version the album: ‘I want to do a show at some point that has a full live ensemble with string players and horn players — people playing bells and stuff. I think this material could be realised that way.’ In the meantime, the current lineup of musicians remains the four band members playing their respective instruments, with the addition of Hunt-Hendrix triggering a MIDI guitar pickup connected to a computer in order to re-create a lot of the sounds from the record.

Hunt-Hendrix’s connections with music from the past are well documented in interviews —

referencing classical and choral music, medieval chant, minimalism and spectralism amongst others. However, it is his interest in more current music genres such as rap, IDM and glitch that are brought to the fore in The Ark Work, heard especially in the vocal imprint of the album.

Abandoning the black metal screams and dissonant vocal clusters of previous releases, HuntHendrix adopts a novel melodic vocal style in The Ark Work. Despite being heavily processed, the vocal line doesn’t lose its semantic character.

‘I wanted to be able to communicate words, to make the lyrics audible, but then to also manipulate the vocals to a point where they’re kind of just another instrument where they’re bleeding into this overall texture. In a way that was the biggest change in the album, because people really identify with vocals. If you hear a record, and someone is screaming on it, you pull out all these assumptions about what kind of music it is, and you identify with it or don’t identify with it in a certain way. This new vocal style… it’s not like I switched from screaming to singing exactly, as it’s closer to rapping or to liturgical acclamation or something like that, but it was important to me to go in that direction.’

Another new direction Hunt-Hendrix has taken Liturgy, is into the realm of film. ‘I’ve always wanted to connect music to drama. I really like David Lynch’s films — the soundtrack is very important, and there’s this cosmic weird drama going on with it.’ He adds, ‘I’m starting to work in film a little bit. I want to make something that is more integrated with concepts and narratives and visuals. I’ve done some studies… shorts that have a narrative element to it, with music that sounds like Liturgy.’ It’s this dedication to an overarching idea of what Liturgy is and could be that seems to drive Hunt-Hendrix’s artistic impetus, with each successive exploration getting closer and closer to some ideal. I’m reminded of cyberneticist Stafford Beer’s guiding principle for his work; a form of instruction known as a heuristic, defined in the book The Brain of the Firm as: ‘a set of instructions for searching out an unknown goal by exploration, which continuously or repeatedly evaluates progress according to some known criterion.’ Or to put it as Brian Eno did, ‘if you wish to tell someone how to reach the top of a mountain that is shrouded in mist, the heuristic “keep going up” will get him there.’

Liturgy play Whelan’s on Monday 26th October with support from No Spill Blood, with tickets costing €15. The Ark Work is out now on Thrill Jockey Records.

AUDIO REVIEWS words Thomas Cahill Ian Lamont Lawrence Moore Danny Wilson

Julia Holter Have You In My Wilderness [Domino Records] While it feels like a follow-up to the resplendent Loud City Song, Have You In My Wilderness has no explicit thematic connection to that record, instead being bound in sound and spirit and by the marvellous spaces imagined in Holter’s exquisite story-songs and arrangements.

In fact, while Loud City Song hung on the story of the musical Gigi, Holter has stated that Wilderness functions, almost unusually for her, as a collection of discrete tales.

Within that collection, Holter manages to weave together glacial, dirge-like ballads, with moments of hopskotch orchestral-pop like Feel, where Holter’s wilderness takes the form of a rainy Mexico City listening to saxophones in a parade and taking taxis without knowing where she’s going. Elsewhere on Sea Calls Me Home, corporeal saxophones burn holes in a plodding tack-piano march, while on Vasquez, rushes of ride cymbal and a snaking double-bass line underpin florid upper register explorations by organ, voice and strings,, like some distant descendant of Talk Talk’s Spirit of Eden.

Have You In My Wilderness isn’t music that moves simply from chord to chord, melody to melody: its arrangements drift, jump, writhe, and sometime even sprint to get where they are going, while Holter’s vocals tell stories of confusion, delight, despair. The result is a beautifully full picture of the artist’s talent, part sage and part jester. IL Like this? Try these: Talk Talk – Spirit of Eden and Laughing Stock Nick Drake – Bryter Layter Kate Bush – The Kick Inside

Helen

Girls Names

The Original Faces [Kranky]

Arms Around A Vision [Tough Love]

The ‘pop’ side-project group of Liz Harris, of Grouper fame, Helen takes Harris’ already evident ability for conjuring atmospheric sonic spaces with the sense of freedom that often comes when a musician is not doing their ‘main thing’. Not carrying one’s whole artistic identity on your back often makes for extremely enjoyable, niche-focused music, and on The Original Faces, Helen blitz lorent shoegaze that rides along on 4/4 drums and a mush of dreamy guitar haze for half an hour of dark fun. IL

Belfast’s Girls Names are not shy of wearing their influences on their collective sleeve but while 2013’s The New Life was a delicious, jangletastic hot-pot of ’80s Brit-indie influences, Arms Around a Vision finds them huffing darker and weirder Euro influences into their guitar-pop pipe. Here, songs stretch into I’m-on-train-to-Köln-wearingshades-don’t-bother-me vibes with geometric synth motifs weaved into the pallette over endless 8th note bass-lines. IL

Majical Cloudz

Deerhunter

Are You Alone?

[Beggars Group]

Fading Frontier [4AD]

I keep waiting for Majical Cloudz to reveal to me the secret behind their continuing critical appeal, for their brand of soul-baring emo-pop to suddenly make sense to me as something more elaborate, something operating on more levels, but that moment never seems to arise. Perhaps the woods has been missed for the trees, and their very plainness, musically and emotionally, is their fundamental worth, but instead of stark and minimal, I hear dull and safe. IL

Since their debut, the experience of being a Deerhunter fan has been characterised by, above all else, concern for the well being of troubled frontman, Bradford Cox. So, there is no small pleasure in hearing one of the most interesting voices in modern guitar music sound so, well, happy. Fading Frontier showcases a more accessible, poppier sound than ever before.

Featuring members of established sonic touchstones Broadcast and Stereolab, Cox and co. have achieved the unlikely, offering an ideal entry point for the uninitiated and a collection worthy of obsession for the devoted. EM

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Bob James and Nathan East The New Cool [Yamaha Entertainment Group] The New Cool is a celebration of more than 25 years of friendship and musical camaraderie between James (pianist) and East (bassist) both original members of the jazz quartet, Fourplay.

These two masters have hit every high that jazz musicians can hit on the eleven numbers included here. This CD’s gorgeous sound is equally as refined as that legendary 1950s West Coast sound of Chet Baker and Gerry Mulligan. In fact, it’s cooler! Listen especially for How Deep Is The Ocean and All Will Be Revealed. TC

Battles La Di Da Di [Warp Records] The world’s floor-filling-est post-rock band (a title, granted, there is little by way of completion for) return and sound pretty much the way they always did. Whether that is a criticism entirely depends on your existing preferences/prejudice.

Either way, it’s rare that an album can showcase this degree of technical complexity while still sounding so fun. Groovier than it has any right to be, it sounds like a gaff party in Bowser’s Castle.

La Di Da Di indeed. DW

Ought

Somadrone

Sun Coming Down [Constellation Records]

Oracle [Self-released]

On their second full-length, the Canadian postpunkers have delivered on the remarkable promise that ran through their striking debut (for my money, one of the best records that came out last year). Leaving some of the more downtempo material that populated their debut by the wayside, this newie is a more propulsive and focused document of a now well-drilled live act.

Equal parts prickly and profound in a lyrical sense, Ought draw from the greats from Wire to Talking Heads to spawn a vital, raucous sound of their own. DW

Neil O’Connor’s Somadrone project has never really taken full flight when it comes to delivering in the song format, mainly because it seems like the wrong way to present his obvious and abundant talents for sound design and soundtracking.

Like previous Somadrone records dating back to Of Pattern & Purpose, Oracle is exquisite in its detail, feeling like the music from some intense religious service, but is rarely visceral, even when the title track edges unusually onto the dancefloor. IL

Alex G Beach Music [Domino] Despite operating under a moniker that more readily calls to mind a long forgotten also ran from the height of UK Garage than a floppy-fringed Saddle Creek and Galaxie 500 obsessive, Alex G has managed to accrue no small amount of buzz of the back of a string of top-drawer indie-pop LPs released through the excellent Orchid Tapes label.

This, his first full length since shifting allegiances to Domino, understandably carries an extra weight of expectation. Thankfully, he delivers, offering up perhaps his most immediately gripping collection of songs to date. G’s music has never hidden its influences, from Pavement to the great and good of K records and the aforementioned Saddle Creek, yet manages to take these familiar tropes and twist them into woozy, genuinely unique musical identity.

Employing cooing, pitch-shifting vocals and the sometimes ethereal often unexpectedly groovy drum and keyboard sounds he’s utilised before, G also expands on the tone of his early work taking it in interesting and unexpected places. Album highlight, In Love, is reminiscent of a Daniel Johnston classic run through with a forlorn yet somehow bombastic trumpet. Like so much of Alex G’s best work, it shouldn’t work but it does.

Moving from deceptively simple earworms through conversational instrumental passage to raw-nerve lo-fi, it’s hard to ignore the low-key magic present in this boundlessly re-playable collection that’s all too easy to fall head-over-heels for. DW Like this? Try these: Foxes in Fiction – Swung from the Branches Faux Fur – Faux Fur Atlas Sound – Logos

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listings

Yo La Tengo Thursday 15 October | National Concert Hall | ₏22.50 One of the few great ’90s indie bands who managed to make it out of the noughties with their legacy unsullied, Yo La Tengo are bringing their unparalleled live show to the National Concert Hall. YLT are known for keeping fans on their toes with an array of novel live approaches be it dividing shows into two sets, (one loud and one quiet), perhaps having the setlist decided by an enormous wheel of fortune or even opening the floor to questions and requests. Whatever occurs, a Yo La Tengo show is invariably a uniquely personal experience.

Touring in support of their latest, primarily acoustic and cover-version focused album, Things Like That There, this may well be an opportunity for the band to showcase the softer side of their mammoth discography in fittingly sophisticated surrounds. Not to be missed.

LIVE GIGS The Sugar Club Vicar Street Wednesday 7 October 3pm matinee (all ages) & 8pm, €10 7.30pm, €30 Gun Sack Mark Guiliana Jazz Quartet The Academy The Grand Social Whelans 7.30pm €20 8pm, €TBC 8pm, €17.99 Dermot Byrne, Steve Cooney & Sunday 18 October Wednesday 14 October Trevor Hutchinson Sales James Bay Whelans Whelans Olympia Theatre 8pm, €16.50 Upstairs in Whelans 8pm, €13.50 7.30pm, €23.50 Andy Sheppard Quartet One Direction Darwin Deez The Sugar Club 3Arena Workmans Club 8pm, €20 6.30pm, €59.50 8pm, €15 The Gladiators ft. Droop Lion Johnny Marr Wednesday 14 October The Button Factory Olympia Theatre Darwin Deez 7.30pm, €20 7.30pm, €26.50 The Workman’s Club Ufomammut The Bellfuries 8pm, €15 The Grand Social The Grand Social Graham J - Wild Is… 8pm, €16 8pm, €TBC The Sugar Club Thursday 8 October Monday 19 October 7.30pm, €11 Marissa Anderson The Soft Moon Corn Potato String Band The Grand Social Whelan’s The Grand Social 8pm, €10 7.30pm, €16 8m, €10 Friday 9 October Tuesday 20 October Thursday 15 October Me & My Dog w We Are Ruffians Ezra Furman Yo La Tengo & Mollusk The Academy National Concert Hall, Main Upstairs in Whelans 7.30pm, €14.35 Auditorium 11.30pm, Free Walking On Cars 8pm, €22.50 James Zabiela, Mindaugelis, Zee Olympia Theatre The Bohicas Ziggy & more 7.30pm, €23 The Academy 2 The Academy Wednesday 21 October 7.30pm, €13.35 11pm, €22.90 The Tallest Man On Earth Little Hours Hey Rosetta!

Vicar Street Whelans The Workmans Club 7.30pm, €27 8pm, €16.50 8pm, €13 Walking On Cars Gretchen Peters Bootleg Beach Boys Olympia Theatre Button Factory The Sugar Club 7.30pm, €23 7.30pm, €27.50 8pm, €12 Songhoy Blues Rachel Sermanni Frazey Ford Whelans The Grand Social Whelans 8pm, €22 8pm, €TBC 8pm, €16.50 Nathaniel Rateliff & The Night Friday 16 October Saturday 10 October Sweats Dusky Giveamanakick The Workman’s Club The Academy Whelan’s 8pm, €16 11pm, €19.90 7.30pm, €15 Songhoy Blues One Direction Editors Whelans 3Arena Olympia Theatre 8pm, €22 6.30pm, €59.50 7.30pm, €33 Thursday 22 October Notify Kathryn Williams & Michele DāM-FunK Live & The Gaslamp Upstairs in Whelans Stodart Killer 8pm, €10 The Workman’s Club The Sugar Club Olug Benga (Metronomy) 8pm, €18 8pm, €20 The Grand Social Jack Savoretti Part of Beck’s Rhythm Series 11pm, €12 The Academy R5 Saturday 17 October 8pm, €23.90 Vicar Street Speedy Ortiz Cockney Rejects 7.30pm, €32.50 Whelan’s The Grand Social The Drays 7.30pm, €16 8pm, €20 Whelans Lingo Festival: Hollie McNish & Sunday 11 October Upstairs in Whelans 8pm, €10 Elaine Feeney Adam Barnes Friday 23 October The Workman’s Club The Workman’s Club Half Moon Run 5.30pm, €10 8pm, €5 Whelans One Direction Tuesday 13 October 8pm, €17.50 3Arena Against The Current Legends Of The Old Skool 6.30pm, €59.50 The Academy 2 Mix Factory, Brandon Block, PianoWholelottaZepp presents Physical 5pm, €14.50 man & more14:35 Graffitti Live Kid Ink 9458_BOXTY_TOTALLY_DUBLIN_AD_ART.pdf 1 24/09/2015

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The Academy 11pm, €22.90 Marlon Williams The Academy 2 7.30pm, €13 Buch International presents - Hey The Academy 7.45pm, €33.50 Friday 23 October Marlon Williams Academy 2 7.30pm, €13 Half Moon Run Whelans 8pm, €17.50 Monster Monster Upstairs in Whelans 8pm, €6 Saturday 24 October David Kitt Whelans 8pm, €16.50 Father John Misty Vicar Street 7.30pm, €25 The Drifters Olympia Theatre 7.30pm, €33.50 Saun & Starr (Daptone Records) The Sugar Club 7.30pm, €17.50 Jess & The Bandits Upstairs in Whelans 8pm, €15 Sunday 25 October Beach House Vicar Street 7.30pm, €28 The Hot 8 Brass Band - The Vicennial Tour The Sugar Club 7.30pm, €17.50 Support from Stomptown Brass Steve Earle Olympia Theatre 7.30pm, €38 Bell X1 Acoustic Tour National Concert Hall, Main Auditorium 8pm, €30 (Sold out!)

Part of ESB Live 2015 Sigma The Academy 7.30pm, €19.90 US Girls Whelans Upstairs in Whelans 8pm, €13 Monday 26 October Liturgy Whelans 8pm, €15 Lower Dens Button Factory 7.30pm, €16

Ryan Bingham The Opium Rooms 7.30pm, €25 Brensoshea & Jenna Nicholls Upstairs in Whelans 8pm, €10 DME Promotions present Deathcrusher 2015 Vicar Street 7.30pm, €44.05 Tuesday 27 October Randy Newman Vicar Street 7.30pm, €65.45 GoGo Penguin The Sugar Club 8pm, €15/20 Wednesday 28 October Randy Newman Vicar Street 7.30pm, €65.45 Simone Felice The Workman’s Club 8pm, €18 Thursday 29 October The Academic Whelan’s 7.30pm, €13.50 Dana Masters The Sugar Club 7.30pm, €17.50 Friday 30 October Bars and Melody The Academy 7pm, €22.65 Lucy Rose The Button Factory 7.30pm, €19/14 Jamie Lawson Whelan’s 7.30pm, €16.50 Richard Hawley Vicar Street 7.30pm, €33.50 Saturday 31 October Best Coast The Academy 7.30pm, €23 The Original Rudeboys Hangar 8pm, €20 Sunday 1 November Deerhunter Button Factory 7.30pm, €26.50 McAlmont and Butler Vicar Street 7.30pm, €30 Monday 2 November Nils Lofgren Vicar Street 7.30pm, €46.55 Tuesday 3 November Everything Everything The Academy, Dublin

7.30pm, € Alabama Shakes Olympia Theatre 7.30pm, €33.50 Wednesday 4 November The Waterboys Vicar Street 7.30pm, €44 Alabama Shakes Olympia Theatre 7.30pm, €33.50 Brian McFadden Whelans 8pm, €23 Thursday 5 November The Waterboys Vicar Street 7.30pm, €44 John Blek & The Rats The Workman’s Club 8pm, €10 Slaves The Academy 7.30pm, €20 Ricky Ross - The Lyric Book Live The Sugar Club 8pm, €29 Friday 6 November Metz Whelans 8pm, €17.50 The Waterboys Vicar Street 7.30pm Lord Huron The Button Factory 7.30pm, €20 Lonely The Brave Academy 2 7.30pm, €16.50 Saturday 7 November Girl Band The Button Factory 7.30pm, €16 The Waterboys Vicar Street 7.30pm, €44 Frances Black and Kieran Goss Olympia Theatre 7.30pm, €28 Sharon Robinson The Sugar Club 8pm, €42.50 Sunday 8 November Samantha Crain The Workman’s Club 8pm, €14.50 The Geddes Whelans 8pm, €12

CLASSICAL Wednesday 7 October Kaleidoscope 7th Anniversary Concert Bello Bar 8pm, €12/14 Featuring the music of Kurt Weill Gemma Ni Bhriain NCH, John Field Room 8pm, €15/13 Bernadette Greevy Bursary Recital Thursday 8 October RTÉ Concert Orchestra: The Composer in Hollywood NCH, Main Auditorium 8pm, €12-39.50 Friday 9 October Moonlight and Chopin NCH, John Field Room 1.05pm, €15/12 Early Evening Recital: Cello Ireland & Daniel Muller-Schott NCH, Main Auditorium Unreserved 7pm, €8 RTÉ NSO Brahms, Hindemith, R. Strauss NCH, Main Auditorium 8pm, €15-35 Saturday 10 October Family Concert: Carnival of the Animals NCH, Engineering Library 12pm, €

with the WhistleBlast Quartet Family Concert: Carnival of the Animals NCH, Engineering Library 1.30pm, € with the WhistleBlast Quartet The Sixteen St Patrick’s Cathedral 8pm, €45 Harry Christophers, conductor Defence Forces Annual Gala Concert NCH, Main Auditorium 8pm, €25 Sunday 11 October Daniel Mueller-Schott Cello Masterclass National Concert Hall - Room 103 11am, €5 Choral Workshop with The Sixteen NCH, Engineering Library 11am, €30 Vanbrugh Quartet Autumn Chamber Series University Church, St Stephen’s Green 3pm, €15 LULU NCH, Main Auditorium 8pm, €40-60 Tuesday 13 October RTÉ NSO Lunchtime - Sharon

Carty NCH, Main Auditorium 1.05pm, €12 Thursday 14 October Special Schools Sing-Along NCH, John Field Room 11am, Free but ticketed Friday 16 October The Good Old Days of Music Hall NCH, John Field Room 1.05pm, €16/14 RTÉ NSO Mahler NCH, Main Auditorium 8pm, €17-38 Saturday 17 October La Boheme by Giacomo Puccini NCH, Main Auditorium 7.30pm, €20-48 Sunday 18 October La Boheme by Giacomo Puccini NCH, Main Auditorium 3pm, €20-48 Vanbrugh Quartet Autumn Chamber Series University Church, St Stephen’s Green 3pm, €15 Tuesday 20 October RTÉ NSO Lunchtime - Kim Sheehan NCH, Main Auditorium 1.05pm, €12

La Boheme by Giacomo Puccini NCH, Main Auditorium 7.30pm, €20-48 Wednesday 21 October ‘An evening with Percy French’ NCH, John Field Room 8pm, €15/12.50 Thursday 22 October RTÉ Concert Orchestra Signature Series: Bryn Terfel NCH, Main Auditorium 8pm, €49.50-69.50 Friday 23 October Scéalta na Samhna NCH, John Field Room 1.05pm, €10/5 Pipeworks Organ Recital NCH, Main Auditorium Unreserved 6.30pm, Free RTÉ NSO Scriabin, Mozart, Elgar NCH, Main Auditorium 8pm, €15-35 Saturday 24 October Glenn Miller Orchestra NCH, Main Auditorium 8pm, €27.50-48.50 Sunday 25 October Vanbrugh Quartet Autumn Chamber Series University Church, St Stephen’s Green 3pm, €15

Wednesday 28 October Paul Harrington’s Irish Jukebox Heroes NCH, Main Auditorium 8pm, €35-40 Thursday 29 October Leif Ove Andsnes, piano NCH, Main Auditorium 8pm, €37.50-55 Friday 30 October “With a song in my heart” NCH, John Field Room 1.05pm, €18/16 RTÉ NSO Sibelius, Gerald Barry, Rachmaninov NCH, Main Auditorium 8pm, €15-35 Saturday 31 October Little Demons - Family Halloween Concert NCH, Engineering Library 11.30am, €10/37 family RTÉ CO Screening with Live Score: The Godfather NCH, Main Auditorium 3pm, 8pm, €20-49.50 Sunday 1 November Sunday Matinee Series NCH, Main Auditorium 3pm, €20 Tara Erraght, mezzo soprano Dearbhla Collins, piano

Tuesday 3 November Musical Adventures with the RTÉ National Symphony Orchestra NCH, Main Auditorium Unreserved 10.30am & 12.15pm, €10 Wednesday 4 November Music and Science NCH, Engineering Library 10am & 12.30pm, €8 RTÉ Concert Orchestra: Our Lady’s Choral Society NCH, Main Auditorium 8pm, €12-39.50 70th Anniversary Gala Thursday 5 November Swedish Chamber Orchestra NCH, Main Auditorium 8pm, €37.50-55 Thomas Dausgaard, conductor; Christian Ihle Hadland, piano Friday 6 November My Chopin Story NCH, John Field Room 1.05pm, €15/13.50 RTÉ NSO Beethoven, Shostakovich NCH, Main Auditorium 8pm, €15-35

WEDNESDAY Jazz Session (1st Weds) The House, 4 Main St. Howth, Co.Dublin 7.30pm, Free THURSDAY Jazz Session JJ Smyths, Aungier St. D2 8.30pm, €10 www.jjsmyths.com Jazz Session International Bar, Wicklow St. D2 9.30pm, €5 FRIDAY Jazz Session Flanagans (Basement), 61 Upr. O’Connell St. D1 9.00pm, Free SATURDAY Jazz Session The Fitzwilliam Hotel, St. Stephen’s Green, D2 9.00pm, Free Jazz Session Flanagans (Basement), 61 Upr. O’Connell St. D1 9.00pm, Free ONE OFF Sunday 4 October Louis Stewart Qrt. JJ Smyths, Aungier St. D2 4.30pm, €10 Wednesday 7 October Andy Sheppard Qrt.

Sugar Club, Lwr. Leeson St. D2 8.00pm, €20 Thursday 15 October CEO Experiment & friends Bello Bar, Portobello Harbour, D8 7.00pm, €10 Friday 23 October Savina Yannatou, Barry Guy & Francesco Turrisi Unitarian Church, St.Stephens Grn. D2 8.00pm, €20/17 Tuesday 27 October GoGo Penguin Sugar Club, Lwr. Leeson St. D2 8.00pm, €20 Thursday 29 October Dana Masters Sugar Club, Lwr. Leeson St. D2 8.00pm, €17.50 Thursday 29 October Ronnie Greer Organ Trio JJ Smyths, Aungier St. D2 8.30pm, €10

JAZZ

Deerhunter Sunday 1 November | The Button Factory | 7.30pm, €26.50 Straight on the back of the release of Fading Frontier, the mellower and slinkier follow-up to 2013’s Monomania, Deerhunter return to The Button Factory, the scene of their last whopper gig in this town. A consistently great band whose sound has shape-shifted with each iteration, from the ‘ambient garage’ of the Cryptograms, through the bedroom-pop and Kraut influences that appeared on Halcyon Digest, Deerhunter are always an excellent live proposition. Support on the night comes, unusually, from Atlas Sound, front-man Bradford Cox’s solo project.

SUNDAY Jazz Brunch Hugo’s, Merrion Row, D2 1.15pm, Free Stella Bass Qrt. Cafe en Seine, Dawson St. D2 2.00pm, Free Jazz Session JJ Smyths, Aungier St. D2 4.30pm, €10 www.jjsmyths.com Stella Bass Quintet Searsons, Upper Baggot St. D4 6.00pm, Free The Lounge Qrt. The Lincoln’s Inn, 19 Lincoln Pl. D2 8.30pm, Free MONDAY Hot House Big Band Mercantile, Dame St. D2 8.45pm, €5 Essential Big Band Grainger’s, Malahide Rd. D3 9.30pm, €5 TUESDAY Phoenix Big Band Tara Towers Hotel, D4 9.00pm, Free Tom Harte Quintet Leeson Lounge, Upr Leeson St. D2 9.00pm, Free Jazz Session International Bar, Wicklow St. D2 9.30pm, €5

TOLA VINTAGE “Best Vintage shop in Dublin” – LovinDublin.com Biggest vintage kilo sale in Dublin 10 Fownes St Upper Temple Bar, Dublin 2 www.TolaVintage.com

!

KILO SALE

!

October 17th – RDS, Hall 4 – 10am-7pm €20/ KILO Featuring: DJ!, Pop Up shops including Tola Vintage Pop Up €1 ENTRY - Tickets available now!

Bram Stoker Festival Friday 23 - Monday 26 October | Various locations and prices Billed as ‘four days of living stories and four nights of deadly adventure’, the Bram Stoker Festival celebrates the life and work of the author of the classic gothic tale Dracula. Amongst the daytime events is ‘Penny Dreadzines’ where vampires on bikes (really) deliver limited-editions Damn Fine Print created one-off zines. Meanwhile, from the nighttime events the highlight looks to be ‘New Blood’, a futuristic vampire fancy dress cum Hallowe’en party curated by Mary & John with DJs, cocktails and art installations, taking place at Project Arts Centre. For the full programme, log onto www.bramstokerfestival.com

COMEDY

Wicked Wolf Comedy Night Wicked Wolf, Blackrock 8pm, €5 Every second Tuesday The Comedy Improv The International 9pm, €5 Every Monday Talk Talk Panel Show The International 9pm, €5 Every Tuesday The Comedy Cellar The International 9pm, €8 Every Wednesday International Comedy Club The International 8.30pm, €10 Thursdays, Fridays & Sundays 7.30pm & 10.15pm, €10 each Each Saturday Battle of the Axe The Ha’penny Bridge Inn 8pm, €5 with flyer Capital Comedy Club Chaplins Tuesdays, Thursdays, Fridays & Saturdays Doors 8.15pm €10 (students €5 Thursdays), €3 Tuesdays The Comedy Crunch The Stag’s Head 7pm, free event Each Sunday & Monday Alan Carr Anseo Comedy Club Anseo 9pm, Pay what you want Every Wednesday Wicked Wolf Comedy Night Wicked Wolf, Blackrock 8pm, €5 Every second Tuesday

The Comedy Improv The International 9pm, €5 Every Monday Talk Talk Panel Show The International 9pm, €5 Every Wednesday The Comedy Cellar The International 9pm, €8 Every Wednesday International Comedy Club The International 8.30pm, €10 Tuesdays, Fridays & Sundays 7.30pm & 10.15pm, €10 each Each Saturday Battle of the Axe The Ha’penny Bridge 8pm, €5 with flyer Tuesdays or Thursdays Capital Comedy Club Chaplins Tuesdays, Thursdays, Fridays & Saturdays Doors 8.15 pm €10 (students €5 Thursdays), €3 Tuesdays The Comedy Crunch The Stag’s Head 7pm, free event Each Sunday & Monday ONE OFFS Friday 9 & Saturday 10 October Pat Shortt – Selfie Vicar Street 7.30pm, €31.50 Friday 9 & Saturday 10 October Kevin Gildea, Alan Hurley + guests Chaplins 9pm, €10 Thursday 15 & Friday 16 October Dylan Moran – Off The Hook Vicar Street 7.30pm, €30 Friday 16 & Saturday 17 October

Pat McDonnell, Andrew Stanley & David Reilly Chaplins 9pm, €10 Saturday 17 October Al Porter is Yours Vicar Street 7.30pm, €19 Friday 23 October Jiméoin Vicar Street 7.30pm, €25 Thursday 22 - Saturday 24 October Carl Donnelly plus guests Laughter Lounge 7pm, €26/€31 Friday 23 & Saturday 24 October Tommy Nicholson, Emma Doran & Martin Angelo Chaplins 9pm, €10 Thursday 29 October Doug Stanhope Vicar Street 7.30pm, €33.50 Thursday 29 October Michael Palin Olympia Theatre 7.30pm, €36.50-€38.50 Friday 30 & Saturday 31 October Fred Cooke, Edwin Sammon & Patrick Murray Chaplins 9pm, €10 Friday 6 & Saturday 7 November Michael McIntyre 3Arena 7pm, €44.50 Friday 6 & Saturday 7 November Joe Rooney, Paul Marsh & Simon O’Keeffe Chaplins 9pm, €10

FESTIVALS

Red Line Book Festival Taking place around South Dublin,

with an array of talks in the Civic Theatre, libraries in Ballyroan, Tallaght, Clondalkin, Lucan and Rua Red Arts Centre. See www.redlinebookfestival. ie for details.

Sunday 11 - Saturday 17 October Dublin Cocktail Festival Part of the Great Irish Beverages series, we’ve had gin, and whiskey and now it’s time to celebrate cocktails.

See www.facebook.com/GreatIrishBeverages for details.

Monday 12 - Saturday 17 October Daley Creates Writing Festival Featuring, amongst others, Ferdia MacAnna, Claire Hennessy and book cover designer Steve Simpson, in a variety of venues around Dalkey.

For full programme see dalkeycreates.com Thursday 15 - Sunday 18 October Lingo Festival A spoken word festival, Lingo features performances from Saul Williams and Hollie McNish, as well as a host of others. For full programme see lingofestival.com Friday 16 - Sunday 18 October Open House Dublin 2015 The doors of over 100 buildings are thrown open to the public over a weekend of architectural curiosity.

For more see openhousedublin.com Wednesday 14 - Sunday 18 October Dublin Animation Festival DAFF2015 takes place in the Pavilion Theatre in Dun Laoghaire and IADT with entries from all over the country, as well as talks and workshops. For more see dublinanimationfilmfestival.com Friday 16 - Sunday 18 October IFI Horrorthon A collection of spooks and scares. For details, see ifi.ie Thursday 22 - Monday 26 October Bram Stoker Festival

Four days of celebration of the life and work of the author of Dracula.

For programme, see bramstokerfestival.com Friday 23 - Monday 26 October Dublin Beatles Festival Dublin celebrates the life and work of the Fabs. For more see dublinbeatlesfestival.com Friday 6 - Sunday 8 November Metropolis Welcome to the Mother City! Featuring Jamie xx, Todd Terje, Hot Chip and more! For more see metropolisfestival.ie Friday 6 - Sunday 8 November

POKER

Fitzwilliam Casino & Card Club Monday 8:30pm: €75 + €5 No Limit Freezeout.

Tuesday 8:30pm: €50 + €5 No Limit Double Chance Freezeout.

Wednesday 8:30pm: €20 + €5 Hold’em Multirebuy.

7:30pm: Satellite Tournament.

Thursday 8pm: €45 + €5 + €10 Scalp No Limit Freezeout.

9:30pm: €30 + €5 Pot Limit Omaha Triple Chance.

Thursday End of Month €250 + €20 Freezeout.

Friday 8:30pm: €70 + €5 No Limit, Double Chance.

Saturday 8pm: €100 + €10 Deepstack No Limit Freezeout.

9pm: €20 + €5 No Limit Freezeout.

Sunday 8:30pm: €50 + €5 No Limit Freezeout. www.fitzwilliamcardclub.com

KIDS Popular Music Week 2015 at The Ark Funky Raps & Rhymes Workshop Saturday 24 October 10.30am & 12pm (Ages 5-7) & 2.15pm (Ages 8+) Early Years Workshop: All Together Now Sunday 25 & Monday 26 October 10.30am (Ages 2-3) & 11.45am (Ages 3-4) Ukulele Blues Céili Sunday 25 October 2:30pm. Ages 7+ Family Gig: Little Xs for Eyes Monday 26 October 3pm. All the family Studio on a Bus: Vocal Recording Sessions Mon 26 October 10:30am - 5pm. For Ages 7+ Dance Tracks, Remixes & Mashups Workshop Wednesday 28 & Thursday 29 October 10:30am (Ages 8-10) & 2pm (Ages 10-12) I’m in the Band!

Tuesday 27 October, 10:30am (Ages 8-9) & 2pm (Ages 10-12) Pop & Rock Songwriting Workshop Friday 30 October, 10:30am & 12pm (Ages 5-7) & 2.15pm (Ages 8+) Open drop-in Popular Music Jam Wednesday 28 October 12pm to 2pm. For Ages 7+ Deadly DJ Demos Saturday 31 October, 10:30am & 11.15am (Ages 8+) Halloween Day DJ Disco Saturday 31 October 12pm - 1pm. All the family

CLUBBING Mondays Soul, Funk and Disco with Upbeat Generation Industry Club and Venue, 11.30pm Sound Mondays Turk’s Head, Parliament St Indie rock, garage and post-punk 11pm, free Dice Sessions Dice Bar, Smithfield DJ Alley King Kong Club The Village, Wexford St, 9pm, free The Industry Night Break For The Border, Stephens Street Pool competition, karaoke and DJ DJ Ken Halfod Buskers, Temple Bar Chart pop, indie rock, rock, 10pm Lounge Lizards Solas Bar, Wexford St Soul music, 8pm, free Thank God It’s Monday Ri Ra, Georges St Electro, indie and big beat 11pm, free Simon S Fitzsimons, Temple Bar 11pm, €5 Floor fillers Language Exchange Ireland DTwo, 6.30pm Like speed-dating, but for learning languages Tuesday We Love Tuesday Ri Ra, Georges St Martin McCann’s eclecticism 11pm, free C U Next Tuesday Indie, pop, hip hop hipsterdom Lost Society, Sth William St, 11pm, €6 Ronan M Fitzsimons, Temple Bar 11pm, €5 Lost Tuesdays Deep House The Pint, Free Admission, 8pm Wednesday FUSED! Ri Ra, Georges St 80s and electro, 11pm, free Fubar!

The Globe, Georges St 11pm, free Dirty Disco Dtwo, Harcourt St Chart pop Wednesdays at Dandelion Dandelion, Stephen’s Green Student night Moonstompin’ Grand Social, Liffey St Ska and reggae 8pm, free Bruce Willis Lost Society, Sth William St 10.30pm, €10 Dance music for students Somewhere?

Workman’s, Wellington Quay Free before 11 Indie and dance Simon S Fitzsimons, 11pm, €5 Kling Klang Wiley Fox Every second Wednesday, 8pm Krautrock, shoegaze, industrial,

cosmic disco...

Thursday Decades Club M, Bloom’s Hotel, Temple Bar FM 104’s Adrian Kennedy plays classics Free before midnight Boo! Wiley Fox Every third Thursday, 8pm Cold Wave, post punk, synth pop, deathrock LITTLE big Party Ri Ra, Georges St Soul, indie and rock ‘n’ roll 11pm, free Mischief Break For The Border, Stephen St 11pm, €8 After Work Baggot Inn, Baggot St Quiz night with band and DJ from 11pm, 8pm, free Take Back Thursdays Industry Bar and Venue, Temple Bar 10pm Blasphemy The Village, Wexford St, 11pm Get Loose, Get Loose Mercantile, Dame St Indie, Britpop and alternative 10.30pm Push Workman’s, Wellington Quay Soul, funk, disco and house Phantom Anthems Workman’s, Wellington Quay Rock, indie rock, other rock Weed and Seven Deadly Skins Turks Head, Parliament St 11pm, free, Live reggae Loaded Grand Social, Liffey St 8pm, free Indie and alternative Zebra Whelan’s, 11pm, Free Bands and DJs show their stripes Poison: Rock, Metal, Mosh & Beer Pong The Hub, €4/7, 10.30pm Flashed Techno / House / Hiphop / Reggae / RnB €5, 10pm Friday My House Buck’s Townhouse, Leeson St With special guests Ladies Night Baggot Inn, Baggot St Cocktail masterclasses from 7 7pm, free Club M Friday Club M, Bloom’s Hotel, Temple Bar DJ Dexy on the decks We Love Fridays Dandelion, Stephen’s Green DJ Robbie Dunbar Friday Night At Vanilla Vanilla Nightclub, D4 Chart-topping hits, 11pm Car Wash Sin, Temple Bar Retro disco 9pm, free before 11 Friday @ Alchemy Alchemy Nightclub, Temple Bar Chart floor-fillers, 11pm Living Room Lost Society, Sth William St

Moves from 7, music from 10 7pm, free WV Fridays Wright Venue, Swords €10, 11pm Irish DJs Resident DJ Café en Seine, Dawson St, 11pm, free War Andrew’s Lane, 10pm, €8 Pop for students and hipsters Darren C Fitzsimons, 11pm, €10 Chart hits Babalonia Little Green Café Samba, reggae and mestizo, 9pm, free Saturday Simple Sublime Saturdays Club M, Bloom’s Hotel, Temple Bar Chart pop, dance and r’n’b Free before 11.30 Saturday @ Alchemy Alchemy Nightclub, Temple Bar Chart floor-fillers 11pm Dandelion Saturdays Dandelion, Stephen’s Green Two floors of summer sound Space: The Vinyl Frontier Ri Ra, George’s St Intergalactic funk, electro and indie 11pm, free Saturday Night SKKY Buck’s Townhouse, Leeson St Signature night Indietronic Grand Social, Liffey St Electro and indie, 8pm, free Propaganda The Academy, 11pm, €10 New and classic indie Saturday Night at Vanilla Vanilla Nightclub, D4, 11pm Andy Preston’s latest pop and rock Sports Saturday Baggot Inn, Baggot St Sports from 3pm, DJ til late, 3pm, free Sugar Club Saturdays Sugar Club, Leeson St, 11pm Hidden Agenda Button Factory, Temple Bar, 11pm International techno and house Djs The Best Suite 4 Dame Lane Suck My Deck The Village, Georges St, 11pm High Voltage Foggy Dew, Temple Bar, 10pm Bounce Sin, Temple Bar R’n’b and chart, 9pm, €10 Gossip Andrew’s Lane Indie, electro and pop, 11pm Workman’s Indie Residents Workman’s, Wellington Quay New and classic indie, 11pm, free BW Rocks Wright Venue Over 21s, neat dress, €10, 11pm A Jam Named Saturday Anseo, Camden St Lex Woo and friends, 7pm, free Reggae Hits the Pint Reggae, ska, Rocksteady The Pint, Free, 9pm The 33 Club Thomas House Last Saturday of each month, authen-

tic ‘Harlem’ funk and soul night 9pm, free Sunday The Burning Effigies Turks Head, Parliament St Real funk and soul Sundays at Sin Sin, Temple Bar Tribal and electro house 9pm, €10 Well Enough Alone Dice Bar, Smithfield Bluegrass The Beat Suite 4 Dame Lane Indie, electro and pop 10pm, free Mass with Sister Lisa Marie Workman’s, Wellington Quay 80s classics and hip hop, 10pm, free Saucy Sundays Grand Social, Liffey St Live music, 4.30pm, free Reggae, Ska, Rocksteady Foggy Dew, Temple Bar, 7.30pm, free Darren C Fitzsimons, 11pm, €5 Saturday @ Alchemy Alchemy Nightclub, Temple Bar Chart floor-fillers, 11pm ONE-OFFS Friday 9 October Matador (Live) + Paco Osuna District 8 10pm, €20 Mashed presents Yousef The Grand Social 10pm, €5/€10 Hidden Agenda + The Building Society Pres Barnt Hangar 11pm, €15 Paradox presents Format B Button Factory 11pm, €13-€18 James Zabiela The Academy 11pm, €20 Fatboy & Strictly Deep present Amine Edge & Dance The Wright Venue 11pm, €15-€20 Pygmalion presents Radio Slave Pygmalion 10pm, €10 Saturday 10 October Skream & Omar S District 8 11pm, €15-€20 Sense with Max Cooper Button Factory 11pm, €10 Strictly Deep presents: Bontan Hangar 10.30pm, €10-€15 Monday 12 October UCD Ents presents: Diplo The Academy 11pm, €15-€25 Friday 16 October Derrick May District 8 11pm, €15-€20 Benoit & Sergio Opium Rooms 11pm, €10-€15 Techno & Cans presents: Clouds [Live]

Hangar 10.30pm, €10-€15 Pyg presents Harri & Domenic & Colin Perkins Pygmalion 9.30pm, €5-€10 Dusky The Academy 11pm, €19.90 Black Sun Empire & Hatti Vatti Turks Head 10.30pm, €11.50 Saturday 17 October Sense with Secondcity Button Factory 11pm, €15-€17 Luke Vibert & Alexander Robotnick District 8 11pm, €10 Strictly Deep with Leftwing & Kody Hangar 10.30pm, €12-€15 Squid Inc. Pres Paramida (Love on the Rocks) Tengu Bar - Yamamori Sushi 10pm, €8-€10 Pyg presents Wolf Music Showcase Pygmalion 9.30pm, €5-€10 Audio Filth Pacino’s 11.30pm, €8 Saturday 24 October Pan Pot & Ian O’ Donovan District 8

11pm, €15-€20 Sense with My Nu Leng, Woz & Mumdance Button Factory 11pm, €10 Sunday 25 October Ostgut Ton Zehn District 8 9pm, €15-€20 Sense with Jungle DJ Set Button Factory 11pm, €13-€15 Pyg Sundays presents Tim Sweeney [BIS/DFA Records] Pygmalion 9.30, €5-€10 Friday 30 October Melodic presents: Pig & Dan Hangar 10.30pm, €10-€12 Goblin Perform Suspiria & Profondo Rosso District 8 7pm, TBC Total Spectrum with John O’Callaghan Button Factory 11pm, €20 Friday 13 November Loco Dice & Caleb Calloway District 8 11pm, €15-€20 Julio Bashmore The Academy 11pm, €22.90

Derrick May Friday 16 October | District 8 | 11pm, €15-€20 Strap yourself in for hours of cosmic journeying with one of the godfathers of techno, responsible for Nude Photo and Strings of Life, which alone makes him a hall of famer. Known for epic sets, this visit from Detroit royalty is set to be a special night in the confines of Francis Street’s District 8.

Button Factory Late Night Listings

JUNGLE (DJ Set) SUNDAY OCTOBER 25th

DJ SET Kelly Anne Byrne Andy Clarke

Bank Holiday Sunday Oct 25th www.sense-live-music.com www.residentadvisor.net www.buttonfactory.ie

THEATRE Abbey Theatre Oedipus A new version of Sophocles play by acclaimed director Wayne Jordan on the Abbey Stage.

Until Saturday 31 October 7.30pm, matinees Sat 2.30pm, no performances Mon, €13-45 Shibboleth The world premiere of Stacey Gregg’s new play, on the Peacock Stage.

Friday 2 – Saturday 31 October 8pm, matinees Sat 2.30pm, €13-20 The Gate Theatre A View from the Bridge The Gate Theatre continue their tradition of staging the great playwrights with a production of Arthur Miller’s A View from the Bridge.

Until Saturday 24 October 7.30pm, matinees Sat 2.30pm, no performances Sun, €25 – €35 The Gigli Concert The production of Tom Murphy’s play from this summer is back by popular demand.

Preview Wednesday 28 October, opens Thursday 29 October 7.30pm, matinees Sat 2.30pm, €25 – €35 The Gaiety Theatre Dancing at Lughnasa Lyric in association with the Lughnasa International Friel Festival present this classic work by Brian Friel.

Tuesday 6 – Sunday 11 October 7.30pm, matinees Sat 2.30pm, €15 – €45 Are You There, Garth? It’s me, Margaret More Liveline musical theatre from the makers of ANGLO: The Musical Tuesday 13 - Sunday 25 October 7.30pm, matinees Sat & Sun 2.30pm, €37.50 – €45 An Inspector Calls Stephen Daldry directs the J.B. Priestly thriller.

Tuesday 27 - Saturday 31 October 7.30pm, matinees Wed, Thu & Sat 2.30pm, €20.15 – €33.20 The Bord Gáis Energy Theatre Fantasia in Concert Saturday 17 October 3.30pm & 7.30pm, €30 – €55 AIMS 50th Anniversary Concert Sunday 25 October 7.30pm, €20 – €35 Mack & Mabel Tuesday 27 October – Saturday 7 November 7.30pm, matinees Wed & Sat 2.30pm, €15 – 45 Project Arts Centre The Train Arthur Riordan and Bill Whelan’s play is set in 1971 in Ireland and deals – musically – with the Troubles, contraception, the Church are society.

(Staged upstairs) Until Saturday 10 October, 7.30pm, matinees 2.30pm Sat Sunday 11 October, 1.30pm & 6.30pm, €20-30 The Game Exploring the act of buying sex and the subculture of prostitution. (Staged in Cube) Tuesday 6 – Friday 9 October, 7.45pm Saturday 10 – Sunday 11 October, 4.45pm & 8.45pm

I Got The Seanchaí, I Got The Secret An evening of spoken word, exploring the various Irish traditions as part of the Bram Stoker Festival.

Friday 23 October, 9pm, €10 The New Theatre Lockdown War, politics and remembrance in a play by Geared Humphreys Until Saturday 10 October 7.30pm, €15/€12 conc.

The Sandman Presented by Pygmankenstein and The New Theatre, a new production of Hoffman’s 19th century horror.

Monday 12 – Saturday 24 October 7.30pm, €15/€12 conc.

Temptress Speckintime present Philip St John’s darkly comic and spooky play.

Monday 26 October – Saturday 7 November 7.30pm, €15/€12 conc.

The Pavilion Theatre Hooked!

Part of Dublin Theatre Festival on Tour; A young woman escapes Dublin to the countryside and finds something beneath the surface of rural life.

Thursday 8 & Friday 9 October 8pm, €18/€14 conc.

Bassam A drama based on the true story of Bassam Aramin, a peace campaigner in the Israeli-Palestinian dispute.

Friday 16 October 8pm, €16/€14 conc.

Vernon God Little Decadent Theatre adapt DBC Pierre’s novel for the stage.

Wednesday 21 October 8pm, €18/€16 conc.

Separated at Birth The lighter side of two adoption comedies by PJ Gallagher, Una McKevitt and Joanne McNally.

Thursday 22 October 8pm, €19 The Man in the Woman’s Shoes A one man show from theatre institution Mikel Murfi Saturday 24 & Sunday 25 October 8pm; matinee Sun 2.30pm, €18/€16 conc.

How To Keep an Alien A story about falling in love and proving it to the government.

Wednesday 28 & Thursday 29 October 8pm, €18/€16 conc.

Tom Crean – Antarctic Explorer The cold lad from the Guinness ad / Irish hero.

Saturday 31 October & Sunday 1 November 8pm, €18/€16 conc.

Monday 2 November 11am, €7.50 for students (teachers free) / €12 g.a.

Mermaid Arts Centre Luck Just Kissed You Hello Part of the Dublin Theatre Festival on Tour; a beautiful, relentless and fiercely funny play.

Friday 9 & Saturday 10 October €18/€16 conc.

Temptress Speckintime present Philip St John’s darkly comic and spooky play.

Saturday 24 October 8pm, €16/€14 conc.

The House Maeve Miller directs this not to be missed play by Tom Murphy Tuesday 3 – Saturday 7 November 7.30pm, €16/€14 conc.

Draíocht Luck Just Kissed You Hello Part of the Dublin Theatre Festival on Tour; a beautiful, relentless and fiercely funny play.

Wednesday 7 & Thursday 8 October €18/€16 conc.

Hooked!

Part of Dublin Theatre Festival on Tour; A young woman escapes Dublin to the countryside and finds something beneath the surface of rural life.

Saturday 10 October €18/€14 conc.

Ship of Fools A red nose re-telling of Alessandro

Baricco’s Novecento, performed by 35 clowns Wednesday 21 - Saturday 24 October 8pm, €16/€13 conc.

How To Keep an Alien A story about falling in love and proving it to the government.

Saturday 31 October 8pm, €18/€16 conc.

Beyond the Brooklyn Sky Coolmine Drama Circle present a play centred on returning emigrants.

Tuesday 3 - Saturday 7 November 8.15pm, €16/€13 Civic Theatre Lock Up Your Husbands!

Saturday 10 October 8pm, €20/€16 conc.

Puss in Boots Sunday 11 October 2pm & 4pm, €7/€5 conc.

Fit To Run Sunday 11 October 12 noon, €10/€8 conc.

Vernon God Little Thursday 22 & Friday 23 October 8pm, €20/€18 Separated at Birth Thursday 29 October 8pm, €18 Jackula Saturday 31 October 12pm & 3pm, €7 Elvis is my Daddy Wednesday 4 & Thursday 5 November 8pm, €18/€16 conc.

Axis: Ballymun Missing Football Thursday 8 October 8pm, €15/€12 conc.

Aunty Ben Saturday 17 & Sunday 18 October

12pm & 6.30pm, €10/€5 conc.

Brian Beag Buí/Little Yellow Bear Monday 19 October 7pm, Free An Scéalaí Lochlannah Mamo Mary Monday 19 October 10am & 12pm, €5 Jackula Friday 30 October 1pm, €7 Otherworld Saturday 31 October 6pm, free Tom Crean – Antarctic Explorer Wednesday 4 November 8pm, €15/€12 conc.

Love | Loss | Life Thursday 5 & Friday 6 November 8pm, €10

A View from the Bridge Until Saturday 24 October | The Gate Theatre | 7.30pm (matinees 2.30 Sat), €25-35 Beginning as part of the Dublin Theatre Festival, but running throughout much of October, The Gate Theatre continue their tradition of staging works from the great authors of theatre with this production of Arthur Miller’s A View from the Bridge.

Set in 1950s Brooklyn, A View from the Bridge tells the tale of Eddie Carbone, a longshoreman, and his wife’s cousins who he agrees to shelter. Somewhat inevitably, tragedy rears its head in this tale of illicit desire. Joe Dowling directs, having finished his directorship of the Guthrie Theatre in Minnesota.

Dublin's Best Pre Theatre

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Enjoy great food, friendly staff and a unique Dublin atmosphere in one of the city's oldest and most loved restaurants.

101 Talbot Street, Dublin 1 www.101talbot.ie +353 (0)1 8745011 Open Tuesday to Saturday. Lunch 12-3. Dinner 5-11.

ART Art Box James Joyce Street, D1 The Anti-Room A group show curated by Hilary Murray and Sara Muthi featuring the work on Janine Davidson, Naomi Sex, Nicky Teegan about the relationships between artist, artwork, viewer and exhibition site.

Friday 4 September 4 - Sunday 7 October Emer O’Boyle & Meadhbh O’Connor, 2039 An exhibition, commissioned by ArtBox in association with UCD Art in Science residency, which explores Cecilia Payne Gaposchkin’s PhD research on stellar spectra.

October 16th until November 20th Cross Gallery 59 Francis Street, D8 Mary Rose Binchy A new exhibition of work by Irish painter Mary Rose Binchy.

October 8 until October 31 Draíocht Gallery The Blanchardstown Centre, Blanchardstown, D15 Andrew Carson, Pilgrim Following on from Andrew’s research into the use and effects of digital devices and social media as the modern ubiquitous means of contact, the work is an exploration of social structures, systems, and methods of interaction.

Friday September 18 until Saturday October 18 Douglas Hyde Gallery Nassau Street, D2 Chris Martin October 9 until December 2 Seanie Barron

October 9 until December 2 Dublin City Gallery, The Hugh Lane Parnell Square, D1 Declan Clarke, Wreckage in May Artist and filmmaker Declan Clarke presents an installation of a trilogy of films produced between 2013 and 2015. Together, Clarke’s three films reflect on industrialisation and modernism in Europe in a spy-thriller inspired format.

Until October 4 Hugh Lane (1875-1915): Dublin’s Legacy and Loss This exhibition presents Hugh Lane’s vision for the visual arts in Ireland at the turn of the 20th century with works by Impressionist artists Claude Monet, Berthe Morisot, Edgar Degas and Auguste Renoir hanging together with their Irish contemporaries including Walter Osborne, Frank O’Meara, John Lavery and Roderic O’Conor.

Until October 4 Gormley’s Fine Art Semblance An exhibition of new works by four of Ireland’s most promising contemporary figurative painters; Catherine Creaney, Stephen Johnston, Kyle Barnes and Gordon Harris.

Thursday 24 September to Thursday 15 October Irish Museum of Modern Art Miitary Road, D8 What We Call Love: From Surrealism to Now Featured Artists: Marina Abramović and ULAY, Sadie Benning, Louise Bourgeois, Constantin Brancusi, Brassaï, Victor Brauner, André Breton, Luis

Buñuel, Cecily Brown, Miriam Cahn, Sophie Calle, Michele Ciacciofera, Dorothy Cross, Attila Csörgö, Salvador Dalí, Annabel Daou, Vlasta Delimar and Jerman, Zackary Drucker and Rhys Ernst, Marcel Duchamp, Jean Dupuy, Elmgreen and Dragset, Max Ernst, VALIE EXPORT, Jean Genet, Jochen Gerz, Alberto Giacometti, Nan Goldin, Felix Gonzalez-Torres, Douglas Gordon, Mona Hatoum, Damien Hirst, Jim Hodges, Rebecca Horn, Jesper Just, Kapwani Kiwanga, Ange Leccia, Ghérasim Luca, Vlado Martek, André Masson, Annette Messager, Tracey Moffatt, Séamus Nolan, Nadja, Henrik Olesen, Yoko Ono, Meret Oppenheim, Ferhat Ozgür, Christodoulos Panayiotou, Nesa Paripovic, Garrett Phelan, Pablo Picasso, Man Ray, Carolee Schneemann, Rudolf Schwarzkogler, Paul Sharits, Jeremy Shaw, Wolfgang Tillmans, Andy Warhol, Cerith Wyn Evans, Jun Yang, Akram Zaatari.

Until February 7 El Lissitzky: The Artist and the State Curated by Annie Fletcher, Chief Curator at Van Abbemuseum, Eindhoven, and Sarah Glennie, Director of IMMA, and includes works from Rossella Biscotti, Maud Gonne, El Lissitzky, Alice Milligan, Hito Steyerl, Jack B. Yeats.

Until October 18 Kerlin Gallery Anne’s Lane, South Anne Street, D2 David Godbold: More like living that life itself An exhibition of new work from David Godbold that features this important figure in the Irish art scene revisiting earlier, ‘finished’ works and breaking an

unspoken rule in painting by disturbing the finished surface. Opening night, Thursday 3 October.

Until Saturday 10 October William McKeown, Cloud CuckooLand Cloud Cuckoo-Land sees the gallery transformed into an artificial domestic environment, the walls lined with bright orange wallpaper of cuckoos and nooses. This oppressive interior is interrupted by McKeown’s contemplative Hope paintings, drawing the eye away from the visual noise of their surroundings to create a sense of openness and expansiveness, bringing indoors the sense of home the artist found within nature.

October 16 until November 20 The National Gallery of Ireland Clare Street, D2 Jackie Nickerson, Uniform This display will comprise photographs selected from Jackie Nickerson’s series Terrain (2012-13) and paintings from several schools and periods from the National Gallery’s permanent collection. The photographs, taken in several southern African countries, are studies of individual agricultural workers and farmers carrying items associated with their work in a manner that in most cases obscures their faces and/ or alters their figurative outline. Many have a markedly abstract, distorted quality that eschews the fundamental character of the studies as portraits.

October 8 until January 10 Olivier Cornet Gallery 3 Denmark Street, D1 Conrad Frankel Opens October

Rhona Byrne: Huddle tests Until Saturday 7 November | Temple Bar Gallery and Studios Irish artist Rhona Byrne transforms the gallery into a testing ground for the exploration of social relations, group dynamics and associated anxieties.

The installation, including sculpture, drawing and wearables, reflects on the desires and tensions experienced between private thought and public behaviour, feelings of isolation and belonging, connectivity and relating, distraction and attending and the fragile state between comfort and discomfort.

Project Arts Centre 39 East Essex Street, Temple Bar, D2 David Claerbout David Claerbout is a master of visual ambiguity, presenting scenes built from a complex association between photography, film and sound.

Claerbout’s multiple video installation at Project Arts Centre will challenge conventions of exhibition-making, attempting to further our efforts to perceive what it is to exhibit while exhibiting.

14 August - October 10 Gretchen Bender, Total Recall This exhibition will show a reconstruction of Gretchen Bender’s seminal Total Recall (1987), bringing again to life her concept of ‘electronic theatre’.

A monumental 24-monitor multi-projection screen installation, Total Recall explores the accelerated image-flow of television and includes a multitude of images that surrounded the context of her work – corporate logos, military hardware, Hollywood film as well as commercials for consumer goods.

October 23 until December 23 The Royal Hibernian Academy Ely Place, D2 Gary Coyle, Into the Woods This exhibition of new work by Gary Coyle RHA, will explore a variety of themes and subjects that have previously informed his practice namely the Gothic, dystopian landscapes, found imagery and portraiture. New subject matter will be explored, posing questions about nature versus culture, the function of the frame and the gallery space, and the making of pictures in our image saturated world.

Until October 25 Amanda Coogan: I’ll sing you a song from around the town I’ll sing you a song from around the town will include both sculpture and live performance. Week one, Coogan will perform the first piece. Week two will see Coogan begin the second performance while a collaborator will continue the first piece, culminating in all six performances running simultaneously by week six.

Until Sunday October 18 Rua Red South Dublin Arts Centre, Tallaght D24 Deadeye Deadeye presents a diverse range of work including sculptural, photographic and film work from 3 of Ireland’s most important artists – Martin Healy, Lorraine Neeson and Niamh O’Malley – which touches on issues from the personal to the universal, and in the interplay of various works in the gallery suggests and teases out how the individual exists within the global.

(Galleries 1&2) Friday 18 September - Saturday 24 October Temple Bar Gallery and Studios Temple Bar, D2 Rhona Byrne: Huddle tests Irish artist Rhona Byrne transforms the gallery into a testing ground for the exploration of social relations, group dynamics and associated anxieties.

Friday 11 September - Saturday 7 November 2015

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TRADE WINE FAIR 11.00 - 17.00 h This autumn wine professionals have an appointment in Dublin.

Request an invitation at spitfestival@gmail.com

GROGANS Where time stands still Host to a continuous changing art exhibition

15 0 2 ER

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OPEN TASTING 18.30 - 21.30 h

This autumn wine lovers have an appointment in Dublin.

Over 150 wines. Tickets 25â‚Ź

See you at

15 South William Street Telephone 677 9320

www.spit.ie spitfestival@gmail.com

Smock Alley Theatre, 1662 6/7 Exchange St Lower, Dublin 8

JUNE BEST OF… OCTOBER

STORE VENUE BEST LUNCH

MEAL IN TOWN BEST CULTURAL EVENT

BEST BREAKFAST

TOLA VINTAGE SÖDER + KO

Mao, Chatham Row CineCafé

Bobo’s

In theVintage heart of the your creative quarter, a short South Tola is not typical vintage shop,walk it’s a up lifestyle Great George’s Street, your nextoflunchtime boutique filled with a selection treats andfavourite one-offs is waiting. superUK quick light bites from €5 like Beef from theEnjoy U.S, Italy, & Amsterdam that are unavailable Carpaccio, Crispy Chicken Pot Stickers and King Prawn anywhere else in Ireland.

Dumplings.

Take 2smart and are-works deliciousand sidestylish like Tempura Famed for their twists on retro Broccoli or Vintage Fried Sweet Potato for just number €11.95. Or pieces, Tola was recently voted onetreat vintage yourself to a tempting Chefs Special likeand Chicken store in Dublin

by LovinDublin.

Come check Yakitori out the or Steamed For lunchtime flavour new SummerHake. collection now in store andwithout online. the fuss, this is sure to delight.

Treat your taste buds to delicious Asian food and sipLibrary Instituto Cervantes in collaboration with Pearse Public up Low Calorie, Classic andSpanish DessertFilm Cocktails shaken to runs CineCafé Club and the Club. If you enjoy perfection listening towould funky like tunes pumping firstcinema in allwhile its varieties and to share yourbyopinion class DJ’s This is the scenemore you’ll about filmsfrom in a Musicmaker group, practiseDublin. your Spanish or learn find Friday and Saturday Row. about the Hispanic culture,nights this is at theMao clubChatham for you. Join the Savour thediscussions flavour with curries, shared interesting thatmouth-watering follow each screening atathe IC platter, or a Mao classic for the full Thai experience. Then Dublin. sip a CosMAOpolitan, Ginger Dragon or Toblerone to tameinfo: the flames!

As an official Leinster Rugby food partMore bookings.dublin@cervantes.es. ner check out healthy dishes as chosen by Leinster Rugby’s nutritionist, justthis lookmonth: for the little blue rugby balls on the Screenings menu.

Call your besties, pick theon perfect outfit, pack(PPL) No Dead for the Wicked 8th October your selfie stick drop in for a night Dead City onthen 22nd October (IC) you won’t forget.

Mao, 2 Chatham Row, Dublin 2 01 670 4899

Bobo’s are a neighbourhood diner. Who aim to provide an Irish take on high-end fast food, delivering mouth-watering burgers made from top quality prime young heifer meat.Their all day breakfasts have recently been getting rave reviews, from Full Irish, to the French Toast, Bobo’s is definitely worth a visit to start the day.The food is fresh, locally sourced, served in generous portions, and freshly cooked to order - all in a fun friendly atmosphere, with a large dollop of nostalgia thrown in.

64 Great George’s Street, 10 South Fownes St Upper, Temple Bar,Dublin Dublin2 2 Call 01 474 1590, email info@soderandko, www.soderandko.ie

50-51 Dame St, Dublin 2 | ph: 01 672 2025 22 Wexford St, Dublin 2 | ph: 01 400 5750 info@bobos.ie Breakfast, 10am - 5pm

BEST INTERNATIONAL BAR

BEST WINE CHEESE PAIRING MEAL AND IN TOWN

BEST INTERNATIONAL BAR

GENERATOR

kc Mao,peaches Chatham Row

GENERATOR

Great grub, drink specials and a packed events schedule combine with a captive audience of tourists to give one of the best international bars in the city. Located just off the Luas Redline in the exciting Smithfield District, this bar is a winner for those looking to practice “speaking foreign”.

An ever-changing crowd guarantees a unique experience every time. Don’t miss out on the burger, rumoured to be among the best in the city.

The KC to Peaches hasAsian a strong TreatWine your Cave taste at buds delicious foodpassion and sipfor up wine which shows through their extensive affordable Low Calorie, Classic and Dessert Cocktailsyet shaken to selection. their wines are certified organicbyorstar perfectionMany whileoflistening to funky tunes pumping biodynamic, sourced from responsible producers.

Each DJ’s from Musicmaker Dublin.

This is the scene you’ll find Thursday celebrate with Row. suppliers Friday andthey Saturday nightsa region, at Maowork Chatham Savour Sheridan’s Mongers to allow youato experience the flavour Cheese with mouth-watering curries, shared platter, the winefullpairing in Dublin. Their or abest Maocheese classic and for the Thai experience.

Thenmost sip a recent event ‘A taste of Italy’ showcased fresh and delicate CosMAOpolitan, Ginger Dragon or Toblerone to tame the Prosecco, PinotLeinster Grigio, ripe andfood darkpartner Sangiovese flames! Asfloral an official Rugby check and vibrant Barolo paired withbygran kinara, Gorgonzola out healthy dishes as chosen Leinster Rugby’s nutritioncremoso, pecorino toscano taleggio cheese.

This isCall a ist, just look for the little blueand rugby balls on the menu. weekly event pick priced €18 per person. your besties, theatperfect outfit, pack your selfie stick then drop in for a night you won’t forget.

The Cave 28-29 Mao,Wine 2 Chatham Row, Nassau Dublin 2St. @winecavekcp 01 670 4899

Great grub, drink specials and a packed events schedule combine with a captive audience of tourists to give one of the best international bars in the city. Located just off the Luas Redline in the exciting Smithfield District, this bar is a winner for those looking to practice “speaking foreign”.

An ever-changing crowd guarantees a unique experience every time. Don’t miss out on the burger, rumoured to be among the best in the city.

Smithfield Market Fair, Generator Hostel Dublin, Smithfield Square, Smithfield, Dublin 7

Smithfield Market Fair, Generator Hostel Dublin, Smithfield Square, Smithfield, Dublin 7

BEST THEATRE

BEST GIFT

BEST HEADPHONES

LOCKDOWN

BEDFORD STUY BARBERS

BeoPlay H8 Headphone

War and Remembrance: A clash of Politicians, spin doctors and soldiers. ‘Lockdown’ deals with political fun and games in the run up to 100 years of Ireland in Dublin 2016. Led

by Captain Clodagh O’Farrell of Óglaigh na hÉireann (Warrior of Ireland) - her job is to show leadership and clarity on The 2016 Remembrance while around her political hacks try to undermine her every move.Written by Gerard Humphreys. Directed by Anthony Fox.

The perfect gift for that special man in your life. An exclusive range of products available from Temple Bar’s number one barber shop Bedford Stuy. From Peppermint Oil Beard Balm to our popular Pomade, Paste and Clay from Dapper Dan, we have everything you need to ensure he scrubs up well this Christmas. Their custom made gift sets are available at a range of different prices to suit all budgets. Pop in and say hi to one of the friendly team to find out more.

The New Theatre, 43 Essex St E, Temple Bar. (01) 670 3361 Oct 5th - Oct 10th Preview Mon 5th. Opens Tues 6th Oct, 7.30pm Tickets: €15 (€12 conc.)

Bedford Stuy Barbers 1 Cope Street, Temple Bar 01 671 8442

BeoPlay H8 Headphone is Bang & Olufsen’s premium Bluetooth enabled wireless on-ear headphone that provides up to 14 hours of battery life. The wireless capabilities allow you to move about freely and give you uncompromising sound whether listening to music or talking on the phone. The aluminium touch interface gives you full control of the H8’s functionality. The stylish and luxurious BeoPlay H8 headphones with soft lamb skin on the ear pads really are a pleasure to wear. The memory foam inside the ear pads adapt to ensure great comfort you simply won’t want to take the headphone off! Priced at €499.

BEST BYOB BAR

BEST FESTIVAL

CAVERN

BRAM STOKER FESTIVAL

This relaxed environment is perfect for after works drinks or catching up with friends.The wine-friendly food menu offers the best of Irish and international artisan produce.This place is a hive of activity with wine and craft beer tastings, art exhibitions and live music every Saturday. Offering BYOB from the upstairs located Baggot Street Wines (voted one of Dublin’s best beer & wine specialists) between 5-10pm, corkage is priced at a mere €5 on bottles of wine and €1 on beers with over 650 wines and 300 craft beers to choose from.

Maser, Annie Atkins, Evvol, Amy Huberman, Róisín Ingle, Macnas, David Rawle (Moone Boy’s 14 year-old star), Heathers, Somerville and Tonnta are just some of the people taking part in this year’s Bram Stoker Festival this October Bank Holiday Weekend. Delve into Dublin’s Gothic Heart during 4 days of living stories and 4 nights of deadly adventures. From Maser’s installation in Smithfield to the Macnas parade throughout town, or at a transformed Project Arts Centre for New Blood, a Halloween party like no other, there is something for everyone.

17 Upper Baggot Street, Dublin 4 (085) 808 8266 Instagram: @CavernBaggotSt Twitter: @CavernBaggotSt

Check www.bramstokerfestival.com for all the info and to book tickets.

Bang & Olufsen, 6 Main Street, Dublin 4 01 260 2404

BEST RAINY DAY VISIT

The National Print Museum Buried away at the back of the old Beggers Bush Barracks in the gorgeous old Oratory Building is the National Print Museum. It’s a haven for geeks with a penchant for Heidelberg’s.

There are weekly workshops, video documentary screenings and an opportunity to see some of these beautiful antique machines in action. Feats of engineering that made the newspaper possible and which created some of the most decisive documents in history are on display – while the museum is the home of the original Irish Proclamation until 2016.There is a mezzanine floor which acts as a gallery and a kiddie area, while the recently revamped Press Café has delicious sambos and goodies. A nice visit for all the family.

Garrison Chapel, Beggars Bush Barracks, Haddington Rd, D4 +353 (0)16603770 www.nationalprintmuseum.ie