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Mar/Apr 2010

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capsule And now to our third zine! So it’s a big thick book because there’s just so much going on at the moment, Flatpack Festival has another astounding programme of weird and wonderful filmic delights, young collectives are setting up art spaces and co-operatives across the city and there are a magnitude of Capsule shows lined up. Particularly exciting is the announcement of a PLAID collaboration with a Javanese Gamelan Orchestra at the soon to be re-opened MAC (Midlands Arts Centre) and the tons of stuff going on with the Home of Metal project.

Illustration on the front cover by Matt Snowden

Enjoy the pages to follow – look out for another lovely cake recipe, more live music announcements and, oh yea, we’ve only gone and got an interview with Stuart Braithwaite of Mogwai. They’re growing in size each time, so a big thank you to those of you who sent in your illustrations, articles, reviews etc. If you would like to contribute to future Capsule zines email The Capsule Team For tickets to Capsule shows

Screening of ‘Burning’ + Q & A Stuart Braithwaite Saturday 27th March IKON Eastside Early last year Scottish post-rockers Mogwai were filmed during their residency at the Music Hall of Williamsburg in Brooklyn. The resulting document is directed by Nathanaël Le Scouarnec and Vincent Moon, known for some of the best music videos of the last couple of years. Shot over three nights, this black and white film captures the beautiful intensity of Mogwai’s performances. The screening will be introduced by Stuart Braithwaite from Mogwai, and will also include a selection of videos from the band’s Rock Action label as well as five recent promos by French collective Megaforce.

This event is in association with Flatpack Festival 23 - 28 March 2010 Birmingham, UK Taking film to an eclectic array of unexpected spaces and showcasing eye-popping technological tomfoolery, Birmingham’s annual Flatpack Festival offers a platform for new filmmakers and moving image creativity along with a programme of cult classics re-imagined, silent cinema re-scored, and archive material re-invented.

Stuart had a chit chat with us about the event: Can you tell us a bit about the film ‘Burning’ and how it came about? Burning is a Mogwai concert film filmed over 3 nights in Brooklyn. We’d been thinking about doing something with the director Vincent Moon for a while and as we were doing a run of shows in Brooklyn and he was staying there it seemed the right time to do it. The film will be screened at Flatpack Festival, which shows hidden gems from the film world- what are your favourite cult or hard to find films? I really love the documentary American Movie about a guy trying to make a film in Michigan. Vincent Moon directs the film, he has a reputation as an intriguing experimental film maker, how was it working with him? He’s a very easy guy to work with from a musician’s point of view as he just lets you get on with it. Some film people think that they can tell you what to do which as a musician is very annoying. What can we expect from a Stuart Braithwaite DJ set? Presumably back-to-back Mogwai? I don’t think so. It depends on what’s in my record box I suppose. When I DJd the other night I played Jerry Lee Lewis and someone asked me what Shakin Stevens song it was. So maybe some Shakie! What would be your top 3 tunes for an ideal party set? Hot in Herre by Nelly/Supernaut by Black Sabbath/Pump by Errors.

So, who or what is The Lombard Method? We are Jo M, Joe W, Adam, Matt F, Matt G, Rachel, Tim and Sarah. More to the point, we are 8 artists running a new studio and project space in Digbeth. Ok, so how did you meet? Well most of us studied at Margaret Street together, and got talking to Jo M whilst Art Dogging. Art dogging? Yes. It is quite similar to regular dogging in that it involved people spying on cars in a nature reserve, but we were taking a peek at people’s art, rather than, well, you know. It was organised by 100th Monkey, a collective in Manchester. So apart from a shared interest in alfresco activities, what brought you all together to make The Lombard Method? Well we had all stuck around in Birmingham after graduating, and were all looking for studio space to continue our practice. We soon realised there was a real shortage of affordable studio space in the kind of layout we all wanted, that is, open plan rather than isolated rooms, so figured we may as well set up our own studio group. Just like that? It wasn’t quite that simple. We literally trawled Digbeth taking details of empty buildings and landlord’s numbers, eventually we came across a building that a landlord showed us that was unlike any other we had seen. It had holes in the stairs, floors and roof, no electrics or water, no toilet, the walls were crumbling and the floor was covered in about an inch of oily dirt, amongst many other things, but it had so much character we fell in love with it and knew it would be worth the hard work needed to get useable. We spent a long summer cleaning, fixing, rebuilding in places, and basically doing everything we could ourselves. t h e l o m b a r d m e t h o d . w o r d p r e s s . c o m

Capsule have co-ordinated We Are Eastside, a guide to cultural goings on across the Eastside area, check out the new blog to find out all about this project:


East Stride

Learn more about the Eastside, join us over the weekend of Flatpack Festival as local hstorian Ben Waddington leads a 90 minute walking exploration of Eastside: hidden gems, industrial heritage and recent creative developments. Tours starting from outside the Old Crown Public House, Digbeth High Street. Saturday 27th and Sunday 28th at 12pm & 3pm Places are limited; so pre-book your ticket via with ‘stride’ in the subject. And it’s FREE

Eyehategod + Totimoshi + Stinky Wizzleteat Friday 19th April: The Asylum . Hockley ‘The undisputed kings of sludge’, and ‘heirs to Black Sabbath’s throne’ are all hyperboles that have been attributed to EyeHateGod. Whilst I don’t completely disagree with any of them, if I were asked to describe the band then I’d just say that they downright destroy! And with them soon playing this fair city for the first time ever, what better time to drink (excessively) to their legacy. EyeHateGod formed in New Orleans, in 1987 with the intention of creating the most vile music known to pretty much any human being. Their first record, whilst lacking in production values, was a pretty brutal opening gambit; mixing the ferocity of hardcore punk a la Black Flag with the groove-driven riffage of Melvins and Black Sabbath and a nice line in blues and southern rock.

Over the years, amidst continuous line-up shuffles and battles with addiction, the band have honed their sound into the most bilious and negative racket this particular writerhas ever enjoyed. Their influence is unquestionable, with many contemporary and bygone heavy bands mixing EyeHateGod’s gift of the RIFF with ridiculous grooves and an ugly smattering of punk rock. I’ll be damned if I’ve ever been so excited to be playing a gig with anyone in my entire life - these dudes are true demigods to me, and I’d advise anyone with even a passing interest to try and get themselves down to party. James Commander Stinky Wizzleteat

Humcrush + Leverton Fox Wednesday 14th April: Hare and Hounds Humcrush is a duo with Thomas Stronen on drums and Stale Storlokken on keys; Thomas has played in UK with the AngloNorwegian group Food and Stale has toured with Supersilent. In Humcrush the emphasis is on vigorous interplay between the two players with a whirlwind mix of free jazz, rock and electronics. They also refer to an influence from oriental theatre music which I take to mean an interest in Chinese opera! But it is definitely an exciting band that has to be heard live and an excellent example of a band that will have an appeal to both Birmingham Jazz’s more adventurous audiences and to Capsule audiences. Having attended a number of excellent Capsule shows in the last 9 months or so, I am aware that Birmingham Jazz and Capsule have separate audiences, but I am also convinced there is considerable overlap between our musical tastes. For example I first heard Chris Corsano playing with free jazz saxophonist Paul Dunmall at a Capsule gig and Kevin Vandermark, who was part of the The Ex and Brass Unbound gig in February, has played in the city for Birmingham Jazz three times in recent years. The music Humcrush play is a perfect example of the overlap and I am sure that Capsule people will enjoy it. Tony Dudley Evans

Since September I have lived in a housing co-operative with four of my friends. None of us had to put up a deposit and we haven’t taken out personal loans. If I want to leave I can do, without owing any money other than my monthly rent (which is £243.60 including council tax and money for maintenance). If the co-op folded, which is very unlikely, we would have to pay up just a pound each. Our co-operative is called Enheduanna and is in Selly Park. Housing co-ops are a way of giving people who couldn’t afford, or don’t want to buy a house the flexibility of renting with the control and stability of owning their own property. Whilst we got a business mortgage from a building society for the co-op (which is a special type of company) to buy the house, we also got a lot of support in setting up, including financial support, from a national network of co-operatives called Radical Routes. Radical Routes is an organisation based on the principles of mutual aid and co-operation, which means that all member co-ops help each other out and run the organisation to make sure that new people have the chance to set up their own co-operatives. Member co-ops of Radical Routes have to be committed to doing work for positive social change, and the stability and affordability of living in a housing co-op gives people a good environment from which to carry out this work. Some of us help support a night shelter for destitute asylum seekers and refugees, we are also involved in letter writing to political prisoners, environmental conservation work and bicycle recycling and advocacy projects. Living in a housing co-op gives you the freedom to make decisions and take responsibility for the way that you live. It also takes properties out of the financial market which means that they are no longer just used to enrich landlords or property developers to the detriment of the communities they stand in. Our house is a home for us now, and in the future, because of the careful way that we will replace existing members, it will continue to provide a base for people who are committed to making a positive impact in the local community, society and the environment. The house cannot legally be sold to benefit an individual, so will continue to be an asset to the co-operative community. We have already used to the house to set up a food co-operative, bulk

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ordering whole foods to give access to affordable healthy ingredients to local people. This spring our garden should be full of the fruit and vegetables that while we were renting it was never worthwhile to plant. Setting up a housing co-op is a possibility for anyone! To ďŹ nd out more about the housing co-op you can email us on: or call the house at 0121 472 6309. The food co-op address is: Chris Tomlinson

+ Health & Efficiency 27th April @ Hare and Hounds It seems it all started when a classical & jazz musician started to listen to Aphex Twin and other Warp musicians. He merged this background with his new discovery and some mates and amongst all that, Three Trapped Tigers came about. Spectacular musicianship combined with a wealth of influences, it’s sunny and fresh whilst confusing and confrontational. Mathy, noisey and poppy; I’m going to want to dance, but I’m not going to know how. For fans of Battles, Lightning Bolt and Gentle Friendly.

12th May: Grails @ Hare and Hounds They seem to have been on the ATP trail for like, ever. And this show comes just before their appearance at the Pavement curated ATP. They’re certainly a musician’s musician then; members having collaborated with M Ward, Yellow Swans and Ben Nugent amongst others. Plus Grails drummer Emil Amos joined OM in 2008. All rather lofty and impressive don’t you think? For fans of Dirty Three, Faust and OM

22nd May: Wolves in the Throne Room + Tweak Bird @ Hare and Hounds Last year the Hare and Hounds sold out for Wolves in the Throne Room, and that was without Tweak Bird on the bill, so I would certainly suggest buying tickets in advance for this one. Wolves in the Throne Room are a black metal band that make a point of distancing themselves from the politics sometimes associated with the genre, often resulting in mid gig anti-fascist rants. Their strand of metal is ethereal, atmospheric and intertwined with the band’s fascination with pagan folklore. It all sounds a bit serious doesn’t it? But it’s also heavy, thrashing joy that builds to an intensity that would be too much to bear if it weren’t so darned fun. Anyone who saw Tweak Bird support Lightning Bolt last year will know that these two high pitched skinny brothers have the ability to create an all consuming sound that thuds and thuds and thuds. Expect a loud show. For fans of Black Metal, Avant Metal, Melvins, Big Business

31st May: Dead Meadow + Einstellung + Windscale @ Hare and Hounds I love listening to music that makes me feel like I’m at a super sleazy party in the 1970s, the lighting is dim and preferably red tinged, there’s drugs and moustachioed men everywhere and I’m dancing on my knees on a table swinging my super long hair around in a haze. This never happens to me, but it happens in my mind when I listen to bands like White Hills and Earthless. It also happens when I listen to Dead Meadow – they take stoner rock to a surreal, stargazing level so what the hell, I’m gonna try and make this dream come true. For fans of psychedelic rock, stoner rock, blues and Black Sabbath.

Birmingham & the Black Country – Home of Metal Heavy Metal has reached middle-age. Having been forty years this past February since Tony Iommi and his washing-up bottle fingertips saw fit to extort the Diabolus in Musica from his battered Gibson over the backdrop of thunderous rain and ominous tolling bells; the anniversary of Black Sabbath’s eponymous debut album should have been cause for leather-clad hysteria across the land. Whilst pockets of loyal rivetheads around the world raised their glasses and horns in

tribute, the response from its birthplace was characteristically low-key and humble. Unlike say, Liverpool or Manchester, who positively squeal at the musical output created from within their suburbs, Birmingham has never really embraced the fact that it spawned not only the band who kickstarted such a globally popular movement as heavy metal, but also that a number of other Brummie bands have made breathtaking developments in the field since that day.

It was this very lack of celebration that inspired the Home of Metal project. Originally brought to the region’s consciousness via a number of open days held across the Midlands, laying the foundations of a digital archive of memorabilia and artefacts from five of Birmingham’s most celebrated sons; all of which were either cornerstones of the genre itself, or architects of brand new, exciting subgenres. From the swaggering blues-rock monoliths Led Zeppelin, to the ferociously shocking grindcore of Napalm Death, from the leather n’ studs showmanship of Judas Priest to the shadowy, bleak aesthetics of Godflesh to the granddaddies themselves, Black Sabbath

the events drew large numbers, all eager to support a project that so many of them were emotionally invested in. Already boasting the support of Judas Priest frontman and full-time metal god Rob Halford, as well as Mr Iommi himself, Home of Metal will continue to raise its profile this year, so be sure to keep checking for updates on events coming your way this year and for the chance to make your own contribution to the ever-growing archive. The dream is to one day boast a permanent home somewhere in the city, a place where its denizens can finally lay claim to their home being the Home of Metal. Duncan Wilkins

In March 2010 Home of Metal will be present at this year’s SXSW in Austin, Texas. The new website will be launched alongside a Q&A with Lemmy from Motorhead (ooh) who’ll be talking about the influence of the West Midlands on Heavy Metal. Celebrating the global impact of the downtuned guitar, heavy riffage and general loudness.

+ Rich Batsford

5th June @ Hare and Hounds Beautiful, timeless song writing is backed with loose, almost chaotic guitars, percussion, horns and a great beard. I think it’s fair to say that lo-fi folky artists aren’t usually known for their unpredictable stage performances, I find it rare for them to get up off their chair actually but Matthew Houck, the brains behind Phosphorescent has a reputation for being a manic live artist, stalking and swaggering across the stage with a menacing charm. For fans of Bonnie ‘Prince’ Billy, Iron & Wine and Bon Iver

Warp laptop wizards Plaid are hugely popular and inuential amongst the electronica music scene and this performance is particularly exciting as they will be collaborating with a Javanese Gamelan orchestra and performing work they have composed with Rahayu Supanggah, an Indonesian composer who is as much revered for his contemporary compositions as his traditional work. This special performance will happen at the Midlands Art Centre after it’s two year closure for a complete refurb. Finally, we will have a centre in Birmingham for artistic performance, independent cinema and exhibitions. For fans of Autechre, Chris Clark and John Cage.

Machine Music - Sam Underwood When I’m not writing music or performing live as Glatze, I am often found in my shed circuit-bending, or making odd musical instruments. One such instrument is my midi-octopus, which converts midi data into electrical pulses, allowing me to play and sequence real-world objects, using solenoids and motors. As part of the project I been researching the area I term Machine Music*. These are my findings to date... Music made by or for machines is nothing new. Pianos and harpsichords are machines, but when I talk about Machine Music I am thinking more along the lines of player pianos, barrel organs and other orchestrions, which allow for automated or sequenced playback. Some such machines date back many hundreds of years. The first electronic musical instrument is regarded by most to be the “Musical Telegraph”, a relay organ, invented by Elisha Gray. He took up the building of relay organs after years of working on a telephone system, only to be beaten to the patent office, by one hour, by a certain A G Bell. He found that the vibrations from the relays he had used for telephony could be “tuned” to provide a series of single note oscillators, and electronic music was born. Building on this rich history, there have been many developments and examples of Machine Music over the years. Of especial note: Conlon Nancarrow’s compositions for player piano, which forced the piano to play things no human could; the 1976 CarMen opera, performed by Ant Farm, using an orchestra of cars to generate all of the sounds; the excellent Copying Machine Music album by Xerophonics, which used samples of photocopiers, faxes and printers to make a cold and rhythmical cacophony of sound; Aphex Twin’s Drukqs, which featured many pieces performed on a Disklavier, a modern version of a player piano; and Peter Ablinger’s amazing Speaking Piano. Beyond these examples, there has been a real explosion of Machine Music over the last 5 or so years. This has been fuelled in part by the culture of collaboration and ideas sharing through the web, but moreover by the exciting and enterprising hacker mentality that has prevailed. The easy access to micro-controllers, such as the Arduino, and the way in which this has broadened the maker community, has led to a groundswell of developments.

The diverse community of hobbyists that have built their take on early electronic machines and have experimented with new technologies and ideas has finally led to this breaking through into more mainstream realms. Recent examples of this include: David Byrne’s “Playing the Building” installation, in which he wired up a building, using solenoids and motors, to a large organ that people were invited to play; Pat Metheny’s Orchestrion, which is a fully mechanical jazz ensemble, that plays along with his guitar work; and Jon Large & Spencer H W Marsden’s “Tone Float”, which is a mad as you like rave milk float! OK, the last one isn’t particularly mainstream, but it is cool as fuck! Of course, many will argue that Machine Music is soulless and un-expressive, and many exponents of it are trying to build machines that address this. I, on the other hand, celebrate the natural confines of my midi-octopus, and Machine Music in general. Ultimately, it is just another musical instrument, use it as you will and play to its strengths! * I define Machine Music loosely as the use of electro-mechanical devices for music making.

Sam Underwood

Illustration by Ben Waddington

22nd Jan Baroness @ Hare & Hounds With the main room at the Hare & Hounds packed from front to back, atmosphere was fever pitch and as the first notes drew out from frontman Jon Dyer Baizley’s guitar, Baroness could do no wrong... the trio acted as a magnetic force, with guitars held skywards, heads propelled downwards with such force it became less a bang and more of a plummet, and the delicious two and three-part vocal harmonies made for an irresistible performance as memorable as any that have preceded them... Granted, it’s three weeks into January, but I can imagine the couple of hundred present tonight would all be putting tonight’s show onto their best-of-2010 lists at the end of the year. Duncan Wilkins

1st Feb The Ex & Brass Unbound @ Hare and Hounds This was an amazing gig bringing together the energy and anarchy of the punk rock band The Ex with the drive of Brass Unbound... The sheer volume of sound and the swirling rhythms created a

stunning degree of excitement...It wasn’t jazz rock as that term has become associated with a certain style that emerged in the 1960s and 70s. Here it was a rock gig incorporating strong elements of free jazz , but in a very structured way. And it certainly wasn’t jazz drawing on rock. We will have to start thinking of new names to capture this important and exciting music.

Tony Dudley Evans

In times of pure magic The Ex and Brass Unbound managed to unleash a wavering sound layered deep with brass and guitar. An awkward grind would reach a cathartic climax as each player pranced about the stage bellowing with emotion. Mike Coley

11th Feb Cluster@ Town Hall Birmingham All hail Cluster! Dragged kicking and screaming from retirement about 5 years ago, it was truly heartening to see that for talented people with a love for their art, that growing older need not mean growing stale, as we were about

to witness...Their music is hard to describe, as it never settles into a comfortable groove, but explores a soundscape, and creates a mindspace that is beyond routine experience - as only the best ambient electronic music can... Paul Jeffrey

Even by their usual high standards, those wonderful people at Capsule have excelled themselves with this show. Tonight they have laid on for us two hours of the finest Krautrock, in one of Birmingham’s best venues...Music fans who listen to anything that is remotely “experimental”, even relatively mainstream acts such as Radiohead, will find plenty that is familiar to them here. By the end of the show, I am nothing short of amazed at how much these two elderly men have shaped modern music, while remaining relatively unknown themselves.

Illustration by Edward Clay

Check Please! or, Sunset over Battenberg The Battenberg cake is in crisis. In 2008, the British Food Standards Agency requested a voluntary ban on artificial food colourings, and this seemed certain to affect the famous yellow and pink quadrants of the Battenberg’s cross - section. However, the deadline to adhere to these demands ended late last year, and judging by the ingredients of the cake I bought this morning (for research) the Battenberg is prepared to fight! The Battenberg is familiar with warfare, and indeed is a casualty of the First World War. In 1917, some of British Royal Family had the surname Battenberg, others Saxe-Coberg. With anti-German feelings running high, the Royals became Windsor, and the Battenberg name, where still used, became Anglicised to Mountbatten. Around this time, the origins of the cake became lost. Each square is thought to represent a Battenberg Prince, but the cake does not closely match the Battenberg coat of Arms, which is quarterly gules and vert (red and green). However, something does seem familiar with the cake: visit Germany or Austria and you will find the houses are often painted in these bright colours, yellow especially. Whatever the true history is, the BFSA want to shut it down! Meanwhile, on the other side of the world, Lapis Sarawak cakes have taken the Battenberg (um) baton and are running with it. They are extraordinarily complex layer cakes from Malaysia, taking existing, layered assemblies, chopping them up and reassembling. The effect is an astonishing intricate pattern or mosaic picture in pastel colours, with different regions and even streets having in their own approach. The style - which I urge you to seek out - reminds me of

English brick buildings in the Arts and Craft Tradition, where size, colour, shape and orientation of brick was suddenly no longer standard. A great example of this is St Basil’s church on Heath Mill Lane in Digbeth: this small church looks like a sampler for the available combinations of bricks known to the architect (AS Dixon). Surprisingly, several factories and warehouses in Digbeth also show this Arts and Crafts aspect: check out the Battenberger parapet of Latif’s Cash & Carry on Bordesley Street. (Cake Architecture also appears in Germanic fairytales and folklore, prominently in Hansel and Gretel. But it surely reaches its apex with Wedding Cake architecture: Victorian opulence taken to its limit. The faded glory of the Grand Hotel on Colmore Row is a local example. Many tiers, rich decorative embellishments, ionic pilasters expensive grandeur all painted virgin white. By contrast, the Ibis is barely a jam sponge.) As our noble cake prepares for battle, perhaps it has bought itself a reprieve: on the eve of an election, it is a brave Government that proposes banning a cake. Perhaps the cake can learn a defensive strategy from its Asian cousin and learn to adapt, opening its regimented, simplistic grid to new directions. Check it out! Ben Waddington

Tropical Concept Cake This cake tastes somewhat like eating a tropical summer (the best bits, not mosquitoes or dengue fever); obviously it is wholly impossible to eat a concept, but I think that it is possible to make something taste like a concept. For example, I find emotions like sadness, self-loathing or whatever the opposite of dignity is have been excellently distilled into Asda ready meals; I’m not sure how they’ve done it, but hats off to the Food Technologists at Walmart Towers. Anyway, this cake is very easy to make but do splash out on the pre-skinned and stoned mango though, as destoning soft fruits isn’t high on the agenda when I could be desperately searching for the perfect sheltered spot which allows me to expose my pasty skin to the tepid sun whilst keeping it out of the frozen gusts that get right up your kilt.

Ingredients: 1 medium, ripe mango (buy pre stoned, its easier) 2 ripe bananas 1 tsp vanilla extract 225g butter 140g light muscovado sugar 2 eggs 60g desiccated coconut 220g self-raising flour 1⁄2 tsp bicarbonate of soda 1 tsp mixed spice For the filling: 220g full-fat soft cheese 3 tsp lemon juice 25g icing sugar (plus extra for dusting) Method: 1: Preheat the oven to 160C/Gas 3/140C fan assisted. Butter and line the bases to two 20cm/8in round sandwich tins. Get the mango and if you’ve bought it fresh you now have to peel, stone, chop and puree the flesh. If you’ve bought it pre-stoned and chopped then you’re clever (or rich) and have just saved 10 minutes. Mash the bananas then mix in half the mango puree and the vanilla. 2: Beat together the butter and sugar until light and fluffy. Beat in the eggs, a little at a time, the stir in the banana mixture and the coconut. Sift in the flour, bicarbonate and spice, then fold in lightly (dont pack it down). Divide the mixture between the tins and smooth. Bake for 30-35 minutes. Cool in the tins for 5 minutes, then turn out on to a wire rack. 3: Beat together the filling ingredients, then stir in the reserved mango. Spread one cake with the filling then put the other cake on top and dust lightly with icing sugar. Illustration by George Collum

23rd – 28th March Flatpack Festival 24th March Birmingham Jazz present Troyka at The Rainbow 27th March Capsule presents ‘Burning’ - Mogwai film screening + Q&A at Ikon Eastside 31st March Stitches and Hos @ Wolverhampton Art Gallery Arc @ The Vaults 9th April Capsule present Eyehategod at The Asylum 14th April Capsule present Humcrush + Leverton Fox at Hare and Hounds 27th April Capsule present Three Trapped Tigers at Hare and Hounds 12th May Capsule presents Grails + guests at The Hare & Hounds 22nd May Capsule presents Wolves In The Throne Room + Tweak Bird at The Hare & Hounds 31st May Capsule Presents Dead Meadow + Einstellung + Windscale at The Hare & Hounds 5th June Capsule Presents Phosphorescent + Rich Batsford at The Hare & Hounds

w w w. c a p s u l e . o r g . u k

Capsule Zine Mar/April10  

Welcome to the third edition of Capsule’s very own zine where you will find a variety of articles, reviews and rants, doodles, recipes and l...