OneFiveEight & Mind on Fire present: Hear No Evil, See No Evil

Page 1

The magazine that you hold in your hands is the product of a collaborative venture between OneFiveEight and Mind On Fire with funding from the NOISE Charity Festival and the European Youth In Action programme. Our aim in working together was to give people a chance to get involved in art and music through free workshops. The results can be found in this free magazine and the compilation album that is available with it.


Since 2003 the OneFiveEight collective have experimented with creative projects just for the friggin hell of it. From experimental video to our current online magazine we’ve created all manner of lovely oddities and weird experiences. Our group of artists, photographers, illustrators, writers, musicians and general drunks love to push ideas far beyond what a client in a regular job would let us. We met at Blackpool and the Fylde college where we each participated in creative degrees. It’s here where we gathered together in a house that became famous for its creative output, long parties and beautiful outlook on life. This house was called OneFiveEight Palatine Road. Since then we’ve travelled the north-west with our Herbal Sessions Sound System whilst getting involved with live art, guerilla installations, magazines, exhibitions and music festivals. Not to mention the crate fulls of flyers, posters and CD covers that we’ve produced. Our current focus is on our website,, where our online magazine is available for free viewing. It’s here that we plan to keep on promoting the artists and musicians that we feel should be more recognised for their work. We thrive on encouraging creativity in people and are constantly impressed by the work that goes largely ignored. If you would like to be involved with our future projects contact us at


With over 6 years of supporting the most scintillating sounds on a local, national and international level, the Mind On Fire collective (MOF) is a consistent champion of new Manchester music. Ready to deliver their first ever vinyl LP, MOF will be releasing a compilation that will feature 8 artists who all hail from Manchester. In the spirit of previous MOF releases which have been available both on CD and as free digital downloads, this new LP will showcase an eclectic mixture of established and lesser-known musicians. From the smoky instrumental hip-hop of long-time MOF resident Funk-supplier Wolli Wols, to the colourful synth-driven electronics of LA77 and the up tempo techno-flavoured garage of XXXY. A snapshot of the Manchester underground in 2010 not bound by BPMs or sonic bias, this compilation will be the first in a series of vinyl releases that will also feature artists from further afield, but who have all played at one of MOF’s famous listening parties. Many of the artists have never released their material before, and not for lack of quality, but because there simply aren’t enough solid platforms like MOF around flying the flag for all that’s new and experimental in a music scene hampered by corporatism.

Profit making has never been part of MOF’s philosophy and this new venture has not been made possible by putting on watereddown and over-priced events and don’t expect anything of the sort from MOF anytime soon. This has all been made possible by a four figure grant from Umbro Industries who selected MOF from hundreds of applicants as the most worthy of a helping hand to further their goals in the creative field. MOF also have a long history of artistic collaboration with visual artists, from the days of co-habiting the legendary but short lived independent Upper Space gallery with the Sketch City crew, to having live art and installations from resident VJ Cycloptic at their own club nights. The visual element is never an afterthought in MOF, and the vinyl releases will be no exception. Islington Mill in Salford will be hosting the Launch event for Mind on Fire’s first LP on October 15th.


s t a Wh on r u o y


We were overwhelmed, excited and seriously grooved by the quality and variety of music that was sent in for the music production critique panel.

the various tracks submitted The panel had their ears well and truly pampered whilst discussing the ‘Hear no Evil’ compilation. make ly eventual and it was really hard to determine which tunes would represented whilst still We wanted to ensure that the eclecticism of our contributors was adding up to an album that flowed naturally from start to finish. music being produced We think that the final track list represents some of the most exciting Leeds, Sheffield from artists with afield further from also but ster Manche in just today- not felt. and Barcelona all making their presence and there were some Like I said, we faced some tough decisions making the final selection record labels so expect own our are we , however really great tracks that didn’t make it. Thankfully . websites our and releases future on surface tunes these of to see more You can read more about the production critique on page 12. See no evil, Hear no evil Illustrations by Jay Hayes



Here it is, throw the CD on and listen to the sensual sounds of:

2. Paper Tiger - Brain Shake

1. Raikes Parade & Relic - Collaboration Dub

Paper Tiger began life many years ago as a bedroom experiment producing futuristic hip-hop, broken beats and dub incorporating live instrumentation. Now it takes the shape of an 8 piece live band and is one of the most exciting acts to come out of Leeds in recent years.

Raikes Parade & Relic have collaborated to fuse heavy dub beats with a smooth ambient sound that is an essential in any smoke filled bedroom.

3. Outpost - Flight

Working through the northern scene in the last few years as a member of the Herbal Sessions Collective, he now has a wealth of electronic treats under his belt. Flight is a positively haunting mixture of sounds from another continent.

5. Vei - Brick Red


Vei is the alias of multi-instrumentalist, producer and current ‘Kin’ keyboardist, Jonn Dean. Using a loop station, samplers, drum machines and a plethora of circuit-bent and glitchy fx, Vei’s sound is awash with orchestral and world music samples mixed with complex percussion and lo-fi beats..

7. The Electronic Exchange - Noises


The Electronic Exchange is a collaboration between Tullis Rennie from Barcelona and Najia Bagi from Manchester. This track is taken from an EP that mixes abstract electronica with heavy, off-kilter dub & hip-hop rhythms and was produced with the 2 collaborators never in the same room!

9. Omas - What You’re Looking For

uction from Mancunian Another amazing funk prod city’s At Large and producer Omas, part of the like what you hear make Neighbourhood crews. If you sed on My First Moth relea le sing sure you cop the 7” earlier this year.

11. The Legend Of The 7 Black Tentacles - No Other Way Down The Legend of the 7 Black Tentacles are proud to be one of the pioneers of the Sheffield experimental music scene. The 4 year old project unites the strengths of live experimental hip-hop with post rock, classical music, metal, dub and jazz amongst other elements in a unique stew - performed fully live without relying on loops, backing tracks or any programming.

4. Slave-1 - Briefcase Anomaly

Beautiful home produced sample heavy broken electronica with elements of live instrumentation, Slave-1 is the solo project of Dave Slavin who also plays in the Mind on Fire Band and Go Lebanon.

6. Zoir - Manic Compressive

d on Fire, unleashes Zoir, resident DJ for Min e production. asiv abr ssly another relentle ‘Power Allstars’, k, trac r the ano Look out for Mind on Fire the on d ture fea which will be LP. ut Records deb


8. The Natural Curriculum - Cabbages

Long time Mind on Fire favourites and Manchester hip-hop institution TNC (Joey Average, Chalk, Daysis, Bill Sykes, Jam Box and Omas) bring the humour with this latest offering, always adding a fresh twist to the UK hip-hop sound.

10. Extra Love - No Rush

Natural Selection Collective affiliated, Extra Love’s sound is deep and dubby with an excellent horn section to keep things rolling. Not reliant on any one sound however, the 10 piece are also adept at switching things up and bringing extra noise and textures into the music.


12. Yes Blythe - CEASED.COMPLETE

Callum Higgins a.k.a Yes Blythe’s music is a minimalist drone-driven mesh of styles, created using self designed electronic devices and effects. The brand new FREE album, ‘Keep The Faith’ is available now.



OneFiveEight illustrator Face has produced this design especially for the See No Evil, Hear No Evil project. Together with Manchester’s finest screen printers one69a we’ve been printing these at our workshops and launch event. You can find out more over the next few pages.


s p o h s k r o W e Th

As part of the See No Evil Hear No Evil project, OneFiveEight and Mind on Fire ran a series of creative workshops with some of Manchester’s finest collectives. Over the next few pages we’ll be explaining what each one was about and showing you some of the fantastic results created by the people that joined in.

Percussion & MC Workshop On Friday 27th of August our first workshop was run by the Mind on Fire posse with special guests Natural Curriculum. The work shop was split over two storeys with live MC’s on the first floor and live percussion upstairs. Natural Curriculum are a Manchester based group of individuals who share a love of off-the-cuff lyrics based on a wide range of experience and knowledge. They’re regularly involved in workshops for fledgling MC’s and beat boxers to involve interested minds and bring new ideas to the table. They inspired participants by showing how a group of separate minds can come together to voice their thoughts over beats and bass lines from a beat boxer. Mind On Fire conducted a circle of rhythms, underpinned by a drummer who directed the flow of the percussion workshop. People enticed from the street joined in to add cowbells, maracas, tambourines and bongos to the mix to make up a whole heap of improvised sounds that flowed splendidly.


Live Art


& Screen-printi

On Saturday it was OneFiveEight’s turn to create artwork with a wide range of people. From kids to their parents, we encouraged everyone to get involved. Live art boards as centre stage gave people the chance to paint their layer which would then be enhanced or destroyed by the next person. One69a were also on hand creating custom T-shirts in minutes with their live screen-printing. Wallet making showed how to make an everyday necessity from things you might otherwise throw away. People also contributed to ‘The Machine’: paper cogs, chains, pulleys, axles, handles, boots, pokers, and conveyor belts - drawn and fitted together on a wall to make up an intricate contraption, with a purpose left open to the imagination.


Young siblings joined in to take a break from a day out shopping with their Mum and Dad, Dad’s had ten minutes of peace, groups of friends chatted and chilled with a brew and a sketch pad and local photographers added their imagination to ‘The Machine’.

*One69a are a creative collective based

in Manchester who specialise in screen printing. They design, make and print a variety of products from their studio in Islington Mill, Salford. As well as producing the finest custom garments at live events they are also available to run screen printing workshops. Visit their web site to find out more.


Photogram Workshop Dark room processing was a staple part of any creative course a couple of years ago but since the digital revolution the process has been forced aside by techniques that usually rely on Photoshop or other similar computer programs. Although possibly not as efficient, but certainly more charming, the experimentation that takes place when using a darkroom can produce amazing results. And the hands on nature of creating things like Photograms can draw out the creative side in anyone.

The process of creating a photogram involves each person making an arrangement of objects on a glass plate. The arrangement is then placed on top of a piece of photographic paper and is subjected to light from above. Each object blocks enough light to stop the area beneath from being exposed. The results vary from simple silhouettes to complex tonal ranges depending on how the light is refracted through the opacity of the object.



The last of the ‘Hear No Evil, See No Evil’, workshops was focused on giving local artists and musicians advice and exposure. A music production and portfolio critique were led by members of Mind on Fire and OneFiveEight, with the best work being featured in this magazine and CD.

Production Critique

The production critique involved a four-man panel of Manchester’s finest underground producers and record label bosses projecting their opinions about tracks that had been submitted over the previous weeks. The best of these tracks were to be given a spot on the ‘Hear No Evil’ CD available with this magazine. Full details about each of the panelists can be found on the opposite page. Each track was followed by a discussion about the structure of the tune, the intended audience, or just how it made people feel. Some of the feedback was positive and some negative but all of it was constructive. Directed to the audience, honestly and uncensored, the feedback was focused on helping people make their production techniques better in the future.


on your For the full Hear No Evil track listing turn to page 4.


The tracks ranged from Reggae to Electronica. Each was met with the same unbias criticism whether the creators were in the audience or not. It was clear from the feedback that this workshop was beneficial to all of the young producers who attended and hopefully some of the future music in Manchester will have been influenced by it.

The panel INDIGO

s, ndset Recording Manchester’s Mi Head honcho of d Hatti Vatti. an ro nk Sy , XY such as XX o releasing artists lific producer wh aka Indigo, is a pro Liam Blackburn, Open Earz, as ch su els lab terial on has released ma oming release on hodub and a forthc On The Edge, Ec bient electronica am g nin an print. Sp e d:Bridge’s Exit im ates an awesom cre via techno, Indigo y house, and dub alit ear for qu d has an amazing s sonic collage an orted by the like pp su en be s ha production. He Flight DJ s, bb Ho ne , Mary An of Modeselektor 1, istently on Radio and featured cons ’s DENIS JONES b Booth Rinse FM and Ro With his second long rations’ podcasts. player and a limited ‘Electronic Explo 10” about to drop on Humble Soul, as well as an upcoming release on Mind on Fire Records, Denis Jones is one of the most exciting producers in Manchester right now, combining live edit ing, looping and effects with his unique take on T folk and blues guitar. CHRIS McCOURnchester label w Ma Head of brand ne ars of lking and with ye Everybody’s Sta currently is ris Ch , try us ind experience in the Atlantic for t en R departm working in the A& ILLUM SPHERE oup. Gr sic Mu r rne Wa Records, part of for Red Bull Music Ac t for new artists ou k loo ademy graduate the on s He is alway Ryan Hunn, aka tracks in! Illum Sphere, lking so get those Sta ’s dy bo ery Ev already has a nu mber of releases under his belt on Manchester’s Fa t City Records as well as Martyn’s 3024 imprint. He is one half of the duo behind the Sketch City and Hoya:Hoya and is launching a Hoya:Hoya rec ord label this Oc tober. sounds of:

Here it is, throw the

CD on and listen to the


Dub 1. Raikes Parade - Collaboration of various musical Raikes Parade’s slick combinations that is an essential nture adve styles creates an ambient oom. bedr All workshops were hosted Filled e smok in any

at NOISELAB, an innovative Guerrilla Pop Up Shop open since December - Flight 2009 by the award3. Outpost winning creative talent charity scene in the last few the northern through Working Situated on one years of Europe’s busiest miles, Collective, Herbal Sessions of theshopping as a member the NOISELAB is a unique centralofcreative concept he now has a wealth electronic treats under his belt. offering young artists the opportunity to sell and exhibit mixture of sounds from haunting a positivelyfree Flight their work, as well asishosting workshops and continent. professionals. another industry seminars with leading

5. Vei - Brick Red

2. Paper Tiger - Brain Shake s ago as a bedroom Paper Tiger began life many year hop, broken beat and dub hipe futur uced prod nt: rime expe musicians. Now it takes the incorporating live instruments and of the most exciting acts to one shape of an 8 piece live band s... nt yearvisitors, Having attracted 36,000 NOISELAB s in rece out of Leedover come

provides free networking and learning opportunities for emerging young creatives with leading professionals such as Peter Hook (New Order), case AnomalyMr Scruff (DJ & tea -1 - Brief 4. SlavePete entrepreneur), Fowler (illustrator, animator and slave-1 com/SuperSuper soundcloud. vinyl toymaker) and Magazine, among e heavy broken electronica ced sampl iful home produ Beaut others. The NOISELAB also provides a direct route tion, Slave-1 is the solo menta instru of live to marketwith for eleme newnts creatives.

project of Dave Slavin who also plays in Band and Go Lebanon.

the Mind on Fire


The portfolio critique gave budding creatives the chance to bring their work along to show to industry professionals for advice, ideas and the chance to shine.

Portfolio C


These weren’t interviews - just one-to-one informal chats. The sessions were focused on helping each of the participants decide what was the best course of action to help with their creative careers. Inspirational and motivational ideas flowed in both directions and some very special work was brought to light...

Through this workshop we were lucky enough to be introduced to the fictional figures and creations of Vineta Gailite. A humble and modest soul, this Latvian lady crafts 3D characters bursting with life and their own personalities. Each one is made to suit a chosen story, put into context to illustrate fairy tales and fables. Nylon tights, fabric and wool encase wire frames. Clay and plaster are moulded to take on posture and display body language. Plastic eyeballs housed in wrinkled faces give life to their owner. These unusual photographs push your mind into a strange world and hold your imagination in their tale. More of Vineta’s work can be seen at



What were you doing when you were 14 years of age? Hanging around out side the local offlicence? Riding bikes down stupidly steep hills with your hands on your head? Stealing your dads whisky and replacing it with orange juice? This is what most of the OneFiveEight crew were doing. When 14 year old Mira Gandzhulova saw that OneFiveEight were doing a workshop for people who wanted advice with their creative portfolios, she brought in her photographs for us to have a look at. Needless to say we loved them. Mira moved to England from Bulgaria and is currently looking for a place on a creative course that includes photography and graphic design in Manchester. She finds her inspiration everywhere, from natural beauty to urban compositions. Amazingly many of Mira’s images have been captured on a camera phone. If you would like to contact Mira send e-mails to





ies t i n u m m ur Co O & s m e t ys Sounds, S

“Yeah, yeah it was mucking in. We all had to just muck in and help out where we could. If there was speakers that needed lifting in the dance we’d do it, y’know it was a community thing really.” Tippa Irie For some a sound system is unnoticed when they go to see their favourite bands, for others sound systems are tools for performing their own music live and for others sound systems and music are a way of life. Tippa Irie was a member of Saxon Sound System, which nurtured a whole roster of talent including Smiley Culture, Papa Levi and Maxi Priest. Saxon went on to form their own record label, tour the world and still maintain a spot at Notting Hill Carnival today; 34 years after the sound was first founded! A sound system is not just amplifiers, speakers and cables. In fact these tools may not be required at all. From Prince Buster’s “Voice of the People” cutting acetates for dances in Kingston, through Kool Herc looping breaks in Sedgwick Avenue, New York, Jah Shaka single handedly stepping all over North London, The Wild Bunch giving birth to Trip Hop in Bristol, to Soul II Soul bringing the style of the streets to the charts and in turn Spiral Tribe bringing demonstration and resistance back to the streets; sound systems take on different shapes and forms to take on the world. 20

All of the above sound systems thrived despite conditions that were dead against them. In the 1960’s Jamaica was struggling into Independence. In the 70’s New York was undergoing massive slum clearances and gentrification. The 80’s saw the UK rioting as it was stripped of it’s national assets through capitalistic, conservative politics. More recently we will remember the passing into law of Criminal Justice and Public Order Act 1994. This Act directly targets sound systems and supporters unifying and contains the classic quote “music” includes sounds wholly or predominantly characterised by the emission of a succession of repetitive beats.”, in case you didn’t know! This act signified a turbulent time for sound systems. Throughout the 90’s businessmen, organised gangs, police and politicians grappled for control of club culture. This ultimately led to the rise of “super clubs” and “super star DJs”, with them taking big money, the gangs fighting for the control of club doors and other venue owners pushing the binge drinking of “British bar culture”. Clubs can be big business, to get an idea of some figures, today the cocaine trade in the UK is probably upwards of £1 billion, Ministry of Sound’s annual revenue is well over £100 million, and the relatively small fry The Warehouse Project probably turn over something like £1 million per season. A lot of dodgy deals and legislation protect these investments. In 2008 London Metropolitan Police introduced “Form 696”, which requests the names and addresses of performers and can be used to stop event licenses being granted. Feargal Sharkey, Head of UK

Manchester is Dead! Long to What the f%$ks happened

live Manchester!!

MCR’s true City life???

e debate and action.

An open letter to all, to encourag

Music and former lead singer of The Undertones, campaigning against Form 696 states some councils try “to make a direct connection not only between crime and disorder and live music” but “between live music and the prevention of terrorism.”” \l “cite_note-3

The deals start small and get bigger; our cities are sectioned of for redevelopment, our countries tied into wars and our world bought and sold into ruin. But for some profit is not the aim, herding punters like cattle to milk them of their money is not the goal. It is pretty clear that outdated social, economic and political structures have failed the people and it is up to the people to create solutions. In the present times, our independence, self-sustainability, and freedom of expression are of vital importance for healthy communities. Today sound systems enjoy a resurgence with dedicated collectives throughout Europe, Turkey, South America, Japan, Australia and beyond; a global sharing of similar ideas and values. Sound systems are a way to bring music to people with total control, a way to build networks, share skills, to teach, to learn, to celebrate, to live and to love. Louis “Longshot” Sweeting P.S. Many thanks to all the people who helped make our first sound system photo shoot a real success!

built its “City Life” squarely In an incorporated town that haswas initially underground and firmly on the back of what s and communities… Manchester’s music, artists, club ’s getting noise abatement Why are independent small club to the city centre inhabitants, orders slapped on them? Is it due tempted in by the hook lines the same ones that were originally of a happening city centre? venues who let in the cities Why does it seem like only thoseespecially targeted? Is it the get ms syste d independent soun ental Health causing these Council, the Police or Environmter agenda at play? closures? Or is there some grea scene do the Council, What elements of the free party e object to? Is there a way Polic and th Heal l enta Environm ts in a state of mutual, we can be allowed to do our even respectful understanding? that these sound systems, Do the authorities acknowledge venue’s actually do them a huge their people and independent together in an atmosphere of favour? Concentrating people ral positivity that is often self good spirits, great music and gene Deansgate / Piccadilly / the of on avati aggr little with policed Oxford road student corridor. , spaces for us to use to entertain Why can’t we be given ample to seed a new Manchester rs othe and elves ours re inspi excite, strong roots with a desire for art creative explosion? Born from one and all, whether from the and the city to be truly open to l or newcomer. city centre or the suburbs, a loca N FREEDOM OF EXPRESSIO OUR SOUNDS, ART AND ARE INVALUABLE! 21

Excerpt from

Get In The Van

(The Croatia Chronicles) We’d been driving for a long time. Those at the wheel were about to see their third morning in a row without sleep and our minds were beginning to play tricks on us. Strange things start to happen when a group of people are placed in a confined space for long periods of time. Add the constant vibrations of the road and uncomfortable seating arrangements to the equation and the results become truly chaotic. Our motley ensemble rapidly transformed from well mannered gentlemen into perverted truckers who suffered from severe Tourettesinvoluntarily screaming at pedestrians and passing vehicles alike. The overall vibe in the van had shifted, without warning, from naïve excitement to road wearied sleaze. We certainly weren’t proud of ourselves but it couldn’t be helped. The mere sight of an attractive woman was enough to spark a fury of shrieks, hollers, moans and gasps as we grappled over one another to get a better look. This was not how we’d hoped to represent ourselves to the people of Europe but it could not be helped. We were possessed, condemned to cruise dark Gallic streets ordering innocent strangers to “Get in the van!” Imagine the sense of rejection as our advances were met by expressions of horror from the locals, who were certain that this was the beginning of David Cameron’s plans to transport dangerous sex fiends to Eastern Europe. Needless to say, nobody ever got in. However, it was in the grips of this animalistic state that we found ourselves facing our first real test of character. The Law.


If you worked as a Customs Officer, patrolling the highways of rural France, it’s likely that you would have, sooner or later, devised some kind system for spotting potential criminals. This would, almost certainly, be based on stereotypes and wanton speculation, but- hey- if it works, it works. Perhaps you would keep an eye out for tinted windows, loud music or simply nervous behaviour, but- if you know what to look fortravelling drug casualties are pretty easy to spot. As the Mind on Fire van pulled up to a deserted toll booth at 3:00 am on that Tuesday morning, it’s pretty safe to say that we ticked all the boxes. The pounding 4/4 Techno beat blasting out the windows, may well have woken them up. If that didn’t get their attention, the frantic shouts of “EUROS! WHO’S GOT THE EUROS?” and the howls of rage as yet another beer spilt across the passenger seats, must have. To be honest, though, even with out these distractions, nine dishevelled English dudes in a fogged out van was always going to raise some eyebrows. As the first torch glared in our faces, we decided to play it cool. “Guten Tag, Herr Officer!” we called out, before someone remembered that we weren’t in Germany yet. We were directed to a lay-by a few metres away, where we were met by several police cars. The cops gathered en mass around the van.

“Where are you going?” they demanded. “Croatia,” we replied, “We’re musicians on the way to a festival.” “Musicians? What kind of music do you play?” “Umm... Well, reggae... I guess.” Wrong answer. The female officer raised an eyebrow. “Ahh! Like Bob Marley?” Within seconds, the side door was yanked open, and with it several empty beer cans fell to the ground. The degenerate state of the van’s interior can only have confirmed their suspicions, as they shone their flash lights around a dank cavern of cigarette butts, spilled beer and bent playing cards. Six strange men, in various stages of mental decay stared back at them, eyes adjusting to the sudden influx of light. The cops eyed the scene suspiciously. Then they discovered The Smell. Their noses twitched in disgust as the first wave hit them. A Victorian work house for hydrophobic necrophiles would have smelled like the Body Shop in comparison. The questions began. “Do you have hashish, ecstasy or acid?” they asked in chorus. It goes without saying, the Mind on Fire Band would never even consider smuggling such dangerous substances across International borders, but they were not having it. One of them, with seemingly no concern at all for due process, attempted a childishly transparent act of entrapment; asking us if we wanted to buy any cocaine. I decided it was time to create a distraction, so, after making sure there was only a small danger of being shot, I got out of the van and beckoned to the one that seemed to be in charge. We walked to the front of the van. He followed eagerly, perhaps expecting

me to reveal a stash of black tar heroin hidden in the wheel well. I didn’t. Instead, I began asking a series of questions about the converter stickers that we had placed over the headlights. He stared blankly at me for a moment, so I began gesturing wildly and pointing at the beams. Bemused, he said, “Look, I really don’t care. I’m Customs, not some Traffic cop. Are you on drugs?” I replied that I was very concerned that we were breaking his country’s laws with misplaced stickers and that I had not taken any drugs. As my attention turned back towards the headlights, he walked away back towards his car. Meanwhile, the interrogation in the back had drawn to an end. We breathed a collective sigh of relief and set back on our way. The short spell of trying to act like normal people had taken a big toll. It had been the first time in over a day that we had been forced to let the outside world in, and it had raised some serious questions about our sanity. Like I said at the beginning; we’d been driving for a long time, but there was still a long way to go. The van pulled back onto the highway. After a while, a voice from back seats broke the silence. “That lady cop... She could well have got in the van!” And with that, we were on the road again. By Dave Firth This is one chapter of a longer piece documenting the Mind on Fire Band’s travels across Europe for Soundwave Festival 2010. To read the rest, check for regular updates.



oon carving.

erful hobby, sp h brown, has a wond EARL GREEN, aka As it. t estions abou We asked him some qu t spoon?

ve your firs 1. What made you car

well known high street I’m pretty sure I was in a ing through the hobbies look e, stor k magazine & boo hmm I’m bored of all king thin es, section of magazin different. I had knocked ng ethi som try the usual stuff, lets ing skate ramps mak kid a as d about with bits of woo me in picking up ed enc influ and the likes so maybe that k read and some quic a r Afte e. a wood carving magazin spoon carving a ss acro bled researching online I stum ns usiastic about their spoo enth so e wer ple Peo website. with love in that I fell the idea. It’s also very traditional, using hand tools and is a good foundation for further carving styles.

2. What’s the easiest thing you’ve found about starting something new? With all the new social media, networking has by far been the easiest part of spoon carving and has proven invaluable. There is a whole community of spoon carvers out there and people have been so friendly and welcoming. Everyone is keen to share their knowledge and skills, besides viewing peoples work, its nice to speak with people who share similar interests.

3. If you had to on pick one, would you spo Nora Batty? Margaret Thatcher or

Nora Batty... is she the one I think I would have to pick e? Actually no I think win mer sum out of Last of the I haven’t offended any e hop I ers? she’s out of Eastend ng. I really don’t think wro I’m if Coronation street fans n for spooning based dow be ld Margaret Thatcher wou I’m pretty sure she and s view on our different political iron holding the spoon! A big one the be to t wan ld wou a bit. me es scar ght thou t Tha spoon!

sible to make a 3. Do you think it’s pos love doing? you ing eth som m living fro

Yes. ion for whatever you do. As long as you have pass often thought about had I e, mak to rs hou Spoons take ly want to be sat every day selling them, but do I real could be produced quicker ons Spo No. carving spoons? ldn’t be anywhere near as wou that using machines but n’ time to sit somewhere nice e spar nice as taking my own are endless re The ing. carv d han spend little or much time have ey in what you do, you just possibilities to make mon to find them and be prepared to work extremely hard at them and even make sacrifices. If your still happy then, then fair play to you. Damn that’s a tough question!

4. What’s the weirdest thing you’ve eaten with a spoon? This Chinese guy who lived with me for a couple of weeks during university, once served us quite a strange cold mushroom noodle dish, that was pretty weird but nowhere near as weird as he found our big greasy fry up the next day. We didn’t cook for each other again after that.

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musana- the most consistently quality 3. Com unism in the world. When Russia ditched comm cheese opolising in favour of villainy and fossil fuel mon country’s there was one group that stayed red: the a life of to ers mast er form their ng Leavi livestock. to the us exod an rtook unde skulduggery the cows milking mountains of Georgia where they began had enough themselves as Marx intended. When they their creamy milk for everyone they began pressing yummo. discharge into sickle shaped blocks of ess. fairn is The secret ingredient


Written and illustrated by H.S Wilsy & Infected By Design


Ibizan Brain Mash- if you roam the street s of San Antonio after dark you may run into a gang of midnight cheese buccaneers scraping the psychedeli c rave residue from the lips of the blissfully comatose. Eurgh you might think. And why? Because that residue is foul enough to curdle the most potent milk of all: that which was lactated by Arnold Schwarzenegger when he becam e pregnant for the hit film ‘Junior’. Anyone consuming it is advised not to operate heavy machinery afterwards.

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dict invasion nation from an uninvited that would safeguard the it of ter snif est mer the l that force: a cheese so powerfu ction of inje an like s boy our would supercharge brain. And so our brave Popeye’s stem cells to the ating from his proud lact ted star r Prime Ministe ic display of heroism riot nipples in the most pat in Stalin’s lunch t sha n apli Ch e arli since Ch a similar plan had ler Hit box. Interestingly ed was wetter than duc pro he iry -da war the but is why decadence beats a mermaid’s flannel. Which e tim ry eve Nazism hands down 27


Photography by Joe Smith


The Retribution of Andrzej Zulawski The first thing I noticed when I began researching for this article is that the events in Andrzej Zulawski’s life, much like his films, are not straightforward. I wasn’t wholly surprised to find out that many of his films drew from personal experience, despite the highly hypnotic and theatrical nature of some of them. What makes his films so fascinating is not only his ability to get deranged performances from his actors/actresses and career best work from his cinematographers, but also is his talent for hysterical scripting, which fill his films with grand psychological themes, a disregard for formal structure and hyper real, frenzied violence. In an attempt to pay homage to Zulawksi’s methods, I won’t begin to examine his career from the beginning but from the pivot on which it sits, his most popular film, Possession.


The first feature he made after his official expatriation to France, Possession (released in 1981) was inspired by his recent divorce from his first wife and his experience of looking after their young son during this period. In the story, a man and wife violently split and in an attempt to come to terms, create idealised doubles of each other. The most important part of the story, and the element that ties it in with at least two of his other films, is the creation of those doppelgangers; The personalities of these doubles are of course completely different; One is the husband’s manifestation of his wife as an affectionate, maternal school teacher and the other is his the wife’s creation of a sex object in her husband’s image one that naturally begins life as a horrific monster with phallic limbs (with effects by Oscar winner, Carlo Rambaldi.) Tellingly, this was drawn from Zulawski’s personal perspective and has had him accused of misogyny in several reviews. Zulawski was actually told to move from his native Poland before Possession, the first time was after he made the impossibly dark sociopolitical allegory, Diabel (The Devil, 1972) which thinly veiled it’s critique of the Polish governments’ recent manipulation of anti-censorship protests, under a 19th century setting. The censors obviously saw through this and he was advised (along with the gift of a passport from the authorities) to leave to country. Andrzej decided to move to Paris, and found himself directing Belgian film star, Romy Schneider in L’Important C’est D’aimer (The Most Important Thing Is Love), which became an art house success, prompting him to be invited back to make films in Poland again.

With new found respect, he started on his most adventurous film yet, an adaptation of his great uncle, Jerzy Zulawski’s Lunar Trilogy; An epic story that was as respected as the work of Stanislaw Lem or the Strugatsky brothers in terms of Soviet science fiction literature. Filming on Na srebrnym globie (On The Silver Globe, 1988) was halted by the authorities and props were even destroyed, due to supposed negative political elements in the plot. The film wasn’t picked up again until the democratization of Poland in 1986, and Zulawski now regards it a “broken film”. It was after the initial halting of the film that the filmmaker was ostracized to France again and wrote about a violent separation and the creation of a second chance in Possession. Doppelgangers, doubles or idealised images are a recurring idea in his films, maybe inspired The Double by Fyodor Dostoyevsky, a writer who Zulawski undoubtedly admires, and paid more direct homage to in his adaptation of The Idiot, L’amour Braque (Mad Love) and also his inclusion of The Possessed as a play within the film (another repeated device) in La femme Publique (The Public Woman.) La Femme Publique also featured a character who poses as the dead wife of a her employers friend, which is, in a way, a mirroring of the more fantastical doppelgangers seen in Possession and his first feature film, Trzecia czesc nocy. Trzecia czesc nocy (The Third Part Of The Night, 1971) is an intense, apocalyptic fever dream that gave him his first taste of censorship and maybe fuelled the angst that we see in his later films. It begins with a quotation from The Book Of Revelation,



which describes the events that lead up to the end of the world, and sets the tone for the first scene, in which a mother and her two children are killed outside their rural home by four men on horses (of course.) The only survivors are her husband and his father, who flee to the city, Lwow. The husband’s experiences in Lwow are bizarre; he flees from the Gestapo and meets a woman who looks exactly like his late wife, then whilst he is suffering from typhoid fever, he either undergoes or imagines his reconciliation or retribution and receives a second chance. The film involves events of the Nazi occupation of Poland, including the rounding up and deportation of people, the resistance and the voluntary typhoid vaccine developments, which his father was involved in. Despite the events we see, the film feels like it was set in the present day, which I’m sure was deliberate, and allows Andrzej to insert his own experiences, including the birth of his son (which happened during filming) and the effect of communism in Poland. Andrzej Zulawski now lives in France, but still considers himself a Polish film director and has made a film in Poland since the change in government, Szamanka (1996). He hasn’t made a film since 2000’s La fidélité (Fidelity), and now works as a novelist, a profession he found success in before his first film. In a way, you could say Zulawksi’s career has come full circle, but has new found wisdom and perspective in his new life.

This article is illustrated with images from Possession, which is to be released in the UK on DVD by Second Sight, the current release date is October 25th 2010.

Written by Jake Baldwinson. Illustrated by Jim Bestall.


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A word from our sponsors... The ‘Hear No Evil, See No Evil’ project has been supported, through NOISE Festival, by the Youth In Action programme. NOISE is an innovative charity, established in 2005 to broker multi-platform media coverage to showcase the best new creative talent; particularly those young people disadvantaged by their geographical location, lack of formal education or their lack of contacts within the Creative Industries. To do this we stage a virtual biennial festival with categories including Architecture, Fine Art, Moving Image, Photography, Fashion, Product Design, Word and Music. These are curated by a panel of maverick role-models who have made a difference to their industry, including Zaha Hadid, Wayne Hemingway, Peter Saville and Badly Drawn Boy. To date there are more than 18,000 submissions by young creatives, aged 30 and under, to the NOISE Festival. For more information and how to submit your creative work to the festival visit The British Council is the UK’s National Agency for the Youth In Action Programme, funded by the European Commission. It provides young people with a variety of opportunities for non-formal and informal learning with a European dimension.

How did the Youth In Action Programme help us? The Youth in Action programme encouraged us to organise a project that would give people the chance to work with people from counties and cultures other than their own. The Hear No Evil, See No Evil workshops saw people actively getting involved in the works and passions of others. People were brought in from the busiest street in Manchester to discover a creative space where they were pushed out of their comfort zones into undertaking fun and informative activities. Those involved were made more aware of activities taking place in their city and the discussion topics made people think about new ways of learning and enjoying themselves.

How can the Youth In Action Programme help you? - It can teach you more about your society as well as other cultures around you. - I t can help you get back into work if you’re unemployed. - I t can help you get involved in volunteer projects around the world that deal with global issues and can change our futures (e.g. Climate Change, Sustainable Resources). - I f you have a disability, it can help you get involved in projects that bring together people from all walks of life to work towards a shared goal. To find out more about the Youth In Action programme and the opportunities they offer, visit, email them at, or call +44 20 7389 4030




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