PHONiC Issue 5 by Mikey Maguire

Issue five

ph nic 3

4 5 6 7 8 12-13 15-17 16 19-22

PHONiC Magazine

Botanic Media Centre,

15 Tolka Vale, Dublin 11 Call: 01 4415902

Info@PHONiC.ie /// www.PHONiC.ie All rights reserved. PHONiC Magazine is published by PHONiC Media Ltd. No part of this publication may be used or reproduced by any means, graphic, electronic, or mechanical, including photocopying or by any information storage retrieval system without the written permission of the publisher. The views expressed in PHONiC are that of the various contributors and not necessarily shared by the magazine or its staff. © PHONiC Media Ltd 2009

Three-way Your monthly bout of chores. Do em, or else!

The Good, The Bad & The Ugly All the worlds goings-on, rolled into three shallow and predictable categories for your reading pleasure. The London Police We catch up with the infamous UK Street artists for a quick (ish) chat on what they’ve been up to. On Yer Bikes Bikes everywhere, Dublin is under attack! Don’t be a mug, step away from the bicycle. Carl Craig Interview We talk to the Detroit Techno legend during his recent trip to Dublin.

Clubbing round-up A look at the best gigs around Dublin’s clubs this month

Live gigs Guitars, drums, people jumping around stages. We look at the best of these for the next four weeks…

Simple Minds Interview We catch up with the bands manager before their upcoming gig at the 02 Full Gig Listings What’s on, where, who’ll be there, what’ll they be drinking, what’s your name again?

ph nic 4

Go on NOBODY! Yes, we have nobody to support in next years world cup. Nobody. It’s a sorry state of affairs alright, but I wont pretend to care too much. Yes, I watched the match, and yes, I was sorry to see us lose. A world cup would have been great craic. Everybody in the pub, a fortnight of drinking, a chance to get even the most devout drink-avoiders in your group on the lash. Brilliant. Am I sick of hearing about Thierry Henry though? Most certainly. So he handled the ball. I could’ve swore he used his foot to kick it into the back of the net, no? Anyway, that’s not the point. The point is, what the fuck are we all gonna do next summer? Apart from get soaked with the rain everywhere we go. Somebody, somewhere in Ireland, is going to have to do something right. Get us entered into something we can bet on. No world cup, and there’s no way I’m resorting to the GAA. I’d rather snort Susan Boyle. What about Ken Doherty, where the fuck did he go? Or Michelle Smith, or De Brunn or whatever? Can we not put her though rehab and get her back in the pool? Come on Ireland… win something for me!

I love you Santa, you beast of a man! Back in the good old days, Christmas used to start on December 24th and finish at midnight on the 25th. The tree barely had a chance to get comfy in the living room before your good ol’ mother had the rubber gloves on and was ascending up it with an axe, declaring Christmas officially over. Not anymore though, as we all know only too well. Everybody’s favourite moan these days is that Christmas starts too early and that its gone too “Commercial”. Come the first of December for the last few years, Ireland has been littered with thousands upon thousands of homes surrounded in lights, tree in the hallway, illuminous Santa on the roof and twenty ADD kids fighting in the laneway over a doomed selection box. The rest of us threw the eyes up to heaven and reverted to the moaning. This year, do yourself and Mrs. Claus a favour. Flip it 360. Get the Christmas tree up, and do it today. Even if you hate Christmas, even better, get two trees, then convert your neighbours wendy house into a santa’s grotto for the neighbourhood dogs when you’re done. Fuck it, never mind Movember, grow a full on beard and climb into kids bedrooms in the dark of night offering to give them a present. Ok, maybe not that bit, but do get into the Christmas spirit, and do it early! The worst that can happen is that you get really drunk and get a load of great presents from the people you love. Well, socks and cheap aftershave from the fat aunt you see once a year. Bitch. Anyway, that’s not my point. What is my point? I think I’ve forgotten. No, I haven’t! Christmas is here! GOOOO ON!

Charity at Christmas Everyday I run about six chugger’s over in my car. Most people hate these people, but find it in bad taste to openly slate them, as they are doing “good work”. Not me. I fly up and down Dublin’s roads, swatting them out of the way with my windscreen with the accuracy of… well, a smiling madman in a small hatchback car. I couldn’t find the words, so I put the car in gear, and ran the fucker over. Fuck it, some of them mightn’t even have been chugger’s! But they had the potential to be, lets not forget that. Death to them all! Charity though, its not them enemy. It’s the friend. And a friend you should embrace at this time of year. Over the past few weeks and the coming month, we’ll spend a small fortune on piles of shite none of us need, all in the name of Christmas. Lets all try and remember, if we can, to siphon some of it off in the direction of your charity of choice. This year I’m going to recommend the Simon Community who do fantastic work with Irelands homeless. When we’re all at home with family and friends this Christmas enjoying the festive season, spare a thought for the thousands of homeless on our streets. Outside, alone, and definitely not feeling the same Christmas cheer. The Simon Community are an amazing charity doing the very best that they can, and with your donations or help, that best will be even better. Log onto Simon.ie to donate or volunteer….

ph nic 5

Christmas is here! Yes, that’s what I said. CHRISTMAS. So for all those moody scrooge types that claim to hate Christmas and try and shit all over my festive buzz, good day to you!

Xmas Trees Fake trees are the Christmas equivalent of Hitler’s bush. I hate fake trees. They hate me. It’s a mutual contempt we have for each other, and its not going away. So its real Christmas trees all the way for me! Only I’m a lazy bastard, so I have no conceivable way of obtaining one, as while my arms and legs do actually work, I strictly forbid them to. So unless some crafty beggar sets up a Christmas tree operation and starts delivering them around suburban Dublin, I’m fucked! Wait for it. Wait for it. Wait for it….. www.irishxmastrees. com! I’m saved!

PHONiC.ie Forums Do you sit at home all day wondering how to get out of conversations with family members? Are you tired of sitting in the pub, talking endlessly to friends and hot bar staff about “Entertaining topics”? Do you sigh your way through each and every AA meeting, bored to death with what everybody is saying, without wanting to actually say anything yourself? Its not your fault, believe me. Society has let you down. PHONiC on the other hand, hasn’t. The new PHONiC.ie forums are now online, meaning you can chat to your hearts content to other PHONiC readers. You know, decent people. Never mind the outside world. Pull the curtains, log on, forget anything else exists. Forum it up for a while. Its what would Jesus would do.

DJ Galore, he’s a mate of mine. As the local event guide, we obviously keep a very close eye on all the happenings in Dublin’s clubs and we’re seeing a massive rise in the amount of overseas talent hitting our shores, week in, week out, alongside loads of parties with top local talent headlining. Things are looking really good lately on the clubbing scene, lets hope they keep on rising!

Swim Forrest, SWIM! Grab the budgie, the blow-up sheep, and the two Pomeranians. Climb into your Opel Astra and lock all the doors. There’s a flood coming Noah, and your ass is saved. Just don’t forget to turn on the wipers. This is the word of the lord! At least I think that’s how it went in the bible, either way… its back in town, and the midlands are fucked! Never mind God and his floods, global warming is officially here and we are officially all fucked. Enjoy the next few years of your life, as you are destined to tragically drown to your death in the year 2013. Alongside me and the rest of Ireland, and no Pomeranians. I’m a sap, get me out of here! I am the scum of the earth. Its true. I have no redeeming features. I’m stupid, I eat things I find growing in my armpits and I watch reality TV. I’ll literally watch any old shite at all, no matter how bad or devoid of content it is. Big Brother, Big Brother at night when they’re all sleeping, Wife Swap, Wife Swap USA, Wife Swap Enniscorthy, even that thing on TnaG with bogger celebs standing in as GAA Coaches. Brilliant! But what the fuck, what in the sweet name of all that surrounds the word fuck, is this program still doing on the telly? Next… Terrestrial Channels NTL are bastards and have cut my television off, so I’m watching Fair City all week just because I have to. Its fate you see. She works for the telly and hates my guts. I still have RTE & TV3, so Im getting to watch some great examples of why I sometimes want to die. Its called “Very bad television” and it’s a very common disease in Ireland. The comedy, still, isn’t great. Not great at all. The news is never good news and all the newsreaders have turkey necks (Ann Doyle I still love you) which is weird. Shortland Street is ever-present. Shit films are all the rage. Now… where did I leave that remote? Fuck it, pass the rope. Sweets keep getting smaller, I want to die. Fuck this. Nostalgia must have been shrunk in the wash, because every time I decide to indulge in a blast from the past, a la schoolday confectionary, its about a third of the size I remember it being. I picked up a Time Out last week, hadn’t seen one in ages. Got it home, unleashed it, immediately started to cry. I could’ve cleaned my ears with it, it was that small… and I have midget ears. A bag of Burger Bites, these days, wouldn’t fill a camels nostril. And don’t even get me started me on the price of chomps…

Turkeys Turkeys, to put it mildly, are in bits. I’ve done some terrible things in my time. Terrible, terrible things. But never have I, ever, ever, ever, been with an animal. I wouldn’t kiss a turkey. I wouldn’t bring one to dinner. I wouldn’t, if I’m honest, even touch one. Living or dead. So what in the name of god are all you mad yolks at? Again, this Christmas, everybodys gonna go bad for “the bit o’turkey”. Sort yourselves out for gods sake. 2010 is looking, you don’t want him to see you acting the prick, do you? This Christmas, me and my family, as usual, will be eating Cheese Strings. Tis the season and all… Everybody is a dog. Even me. My god, sub zero temperatures are not the Irish peoples friend. What the fuck is the story with us? The temperature drops, and we turn into the strangest looking race of people this side of the Cherynobyl A&E. Our faces go all red, our skin goes all blotchy, I see loads of people running round with purple ears… and our noses light up like Amsterdam. Irish people + The cold = Horrible, horrible, horrible. Just horrible. Its freezing out there folks, make sure to wrap up well. And don’t forget to cover your faces… Otherwise its gonna be a long winter. Daniel O’Donnell He’s on the telly right right now. His new advert, his new album, just in time for Christmas! He confuses me. He’s a sex symbol for elderly women. This seems strange. Elderly women, like the rest of us, have survived the menopause. That is to say, they’ve left their libidos well behind them. Like the rest of us. So wee Daniel is a sex symbol for people with no libidos. The confusion continues. Anyway, back to the point of the “Column”. Wee Daniel is in rag order. That is all. My Shocking Story Channel 4, please stop. Every episode puts me off my dinner. In don’t care if he looks like a tree. If he’s not mates with Attenborough or he cant fly into space, he’s not worth making a documentary about. The man with beans for a face. The women who thought she was a lift. The family with a head shaped like water. The television station with a dickhead for documentary ideas. This has to stop before I vomit. A lot.

ph nic 6

BROTHERS IN ARMS

The London Police are universally acknowledged as two of the most pivotal voices in the history of street art. Founded a decade ago by best friends Chaz and Bob, the collective is celebrating its tenth anniversary this year with a series of major shows around the world. Their Hollywood exhibition, Brothers in Arms, opened at Carmichael Gallery on Thursday, September 10th. We caught up with them while they were in Dublin last month for the OFFSET festival. Before we start talking about The London Police and how far you guys have come in the past ten years, let’s go back to the very beginning. How did you and Bob meet? I met Bob when he was an emerging youngster in our hometown scene. At the time, I was part of a group of friends who were basically into music, mostly bands, stuff like that. When I first met him, his mum and dad had gone away to live in America, and someone said to me, “Let’s go round this guy Bob’s house for a little party. His mum and dad are away.” And I said, “Oh cool, how long are his mum and dad away for?” And he said, “Four years.” He was like eighteen and his brother was like twenty, twenty-one, and as they had the house on their own, it became a party house. Bob also had a lot of his artwork around his house. At that time, he was making sculptures, out of cardboard and stuff like that, and I recognized quickly that he was really talented artistically. And he was fun to hang around with. How did the formation of The London Police come about? Where does the name come from? Chaz: We started going up to London, trying to do different things from the things people did in our home town, which

was generally go down to pubs, get fucked up, nothing basically. We didn’t know quite what we wanted to do in the beginning, but we knew we wanted to start some kind of group or crew or artistic collective. The main inspiration for starting what would become The London Police was really these trips. We lived thirty minutes outside the city so we’d just jump on the train, neck a couple of beers, and mess around when we got there – wander around, get lost, jump on buses, see where we ended up, talk to people. We were both captivated and inspired by the size of the city. Our home town had very much a small-minded culture, small mentality: “Don’t be different”, you know, quite a lot of violence. London was “Anything goes, look how you want, dress how you want”, open-minded, flexible, and we fell in love with that. It’s why we chose The London Police as the name for the crew; we had the idea that we were going to artistically police London. What were you guys doing before you started working together? I was doing photography at the time, taking photos of bands up in London, showing people my portfolio and trying to get work. Bob was just finishing fine art school; he was doing sculpture. Our initial idea was to go and take photos of people with a wide angle/fish-eye, print them into posters and make galleries in the street, then post it online. We never ended up doing that, unfortunately, because we were a bit young and naïve, although we did get a couple of photo shows in London in a café called Bar Vinyl, over in Camdentown. So the first London Police show was in September, 1998, but that was all photography. You both moved to Amsterdam soon after, right? Why Amsterdam?

Our idea was to travel the world as much as possible and take our artwork with us wherever we went. Amsterdam seemed a fine, liberal place to go – it’s artistic and there didn’t seem to be many rules about what you could and couldn’t do. So with the money that we earned from our London show, we got a portfolio together and jumped on a boat over to Holland to set up two shows there. It was an amazing feeling; we were sitting on the deck of the boat at midnight as we pulled away from England, which was disappearing in the mist. We had a massive, exciting feeling about what we had achieved and what we were going to do. The adventures began there, really. Then after the show went up in Amsterdam, Bob had to go back home for his last year at art school. I stayed on. It was a case of going there with the idea to stay for a few months, then staying for eleven years. What is the history of the LADS then? When did you start drawing them? I remember at the time of the first London show we sent out invites to people, and that’s when I started to draw the characters in a very primitive way – single line, head, body, smiley face, stickman legs. We got really enchanted by them and would sit around Bob’s kitchen table in his parentless house with pads of paper and draw the characters again and again and laugh at how something so simple could be so different every time. These were the characters that would become the heart and soul of The London Police. Later on, when I was working at a music venue in Amsterdam, one of the guys there (Anne, a tall Dutch guy with a seemingly girl’s name), who was a graffiti artist, saw my drawings and encouraged me to put them everywhere in the

ph nic 7

things change and come to an end and as we got bigger and more successful, it became more difficult to continue in harmony. Bob left and Garrett the year afterwards and I carried on on my own for almost four years. I felt like I needed to try and get a grip back on what it was that I initially tried to start and so over the next few years I concentrated more on travelling with the character as opposed to staying in the studio and evolving my art. That’s one of the main things that makes this year so different; now that Bob and I have teamed back up, The London Police is really developing and moving in new directions. Anyway, by 2008, Bob had started doing his drawings, his architectural drawings, and around the time of the New York show, I said to him, “Look, why don’t I draw a couple of characters and you put some of your buildings and backgrounds around it, and we’ll put them in the show.” And so last year we did three of those, just little 50 x 60 cms, and it was really great. I said to Bob, “If you ever want to join in The London Police again, you know, you’re welcome,” so around about November, December 2008 he came to me and said, “You know, I’m ready to go for it, I’m ready to join up with you again and do this show in London next year and let’s see how it goes.” Because of the paintings we’d done in New York, we got a commission from a friend there, so we both flew out in January and created this big piece, like 7 ft by 3 ½. Initially, it was going to be my giant character in the front, you know, with either side a perspective view of a New York street, but as we were drawing we just started to realize that we could interact within his buildings, we could have my characters coming out of his buildings, and have things happening, and we suddenly got that bug again, that same bug we had when we left on the ferry. We thought, “Wow, we’re back, we’re together.” It was all happening again. What makes your Hollywood show “Brothers in Arms” and the work you have created for it particularly special? We’re excited to be doing an exhibition in LA and make the show we’ve been making this year. We worked really hard on mixing the ideas; it’s all Hollywood, the iconography of LA, the films, stars on the street, bits from our favourite movies like the characters from Star Wars and the Delorean in Back To The Future – we’ve got a picture of us two in the Delorean, different crazy stuff like that. walk around the street, town, drawing them on all the posters. In Amsterdam there are these poster walls where they put the advertising, big, round turrets or electricity boxes, and they would have white paper next to them, which was kind of to stop the graffiti. If somebody tagged them, they would just cover it with more white paper. This provided me with the perfect canvas to start drawing my characters. Bob moved back to Amsterdam a year later and by that point we had forgotten the photography and were only drawing the characters, who became known as the LADS. A key moment occurred when our friend Sylvia from our first Amsterdam photography show said, “Look, there are loads of good photographers out there, but only you guys are doing these characters. You should concentrate on that.” It clicked. The next year I worked a few jobs and spent all my free time out on the street drawing and trying to conquer the city. Who or what would you cite as influences in those early days of your career? I was definitely influenced in the early days by spray can art and the whole graffiti scene – people like Mode2 and early Doze Green characters for the Rock Steady crew. I liked the whole b boy scene; that’s where the characters’ big shoes come from. Mode2 was my favourite. I loved his characters and that was what made me want to do characters over letters. It was funny because at that time I was just coming out of the music industry and I didn’t really know what was going on in the art world. I’d never heard of other people doing art on the street until about a year into doing it. I remember this show happened in Rotterdam; it was organized by these guys who came out of Germany called Back Jumps. They were doing a lot of cool stuff at the time and they found us and wanted to talk to us and were interested in what we were doing. Then we appeared in the first Scrawl Collective book without really

We wanted to call the show “Brothers in Arms” for a few reasons: because of the way Bob and I have come back together, the fact that in an obvious way we’re using our arms to make this work – it’s all very much about hand drawing – and because we’re really good friends. Also for this show, as it’s in Hollywood, we wanted to do something extra, so we’re making a couple of movies. We’ve decided to handcuff ourselves together for as long as possible, twenty four hours a day, for like four or five days, and make a film about it. We’ll see what happens. We’re going to go to the places that are in the paintings and try to tie everything in together. It’s also just a bit of fun, a social experiment to test the friendship and see how the lack of personal space affects you as a person, the fact that you can’t think for It’s interesting to think about how different the scene yourself anymore, there’s always someone else, and you’ve was at that time. always got to be on a level with that every time you want to move or eat your food or wash up, so that’s going to be It was great days back then. I realized that in every city I interesting. It was important for us to have a concept that went there was this whole group of people doing something would capture the imagination of anyone coming into the slightly off from the classic graffiti scene, from stickers to gallery. When people come to a London Police show I want posters, and we were doing our hand-drawn pen thing, which them to see more than just what they can click on and see not many people were doing. I definitely feel fortunate that I on their computers. I want them to have a really special was part of all that. We certainly didn’t do it for any other experience there and see something that you can’t see on reason than that we enjoyed it. We had no idea in the start the web. there was a whole scene to be part of; we were just doing it. It’s been a decade of my life now and the LADS have basically taken me around the world, paid my dinners, bought my wife clothes – been my life blood, really. I’m just happy to be here still. I’m really enjoying it. knowing about it and we were pretty excited about that. After that, I saw this show of work by Space Invader, and then I read an article on this guy, Shepard Fairey, who went round the world putting up his posters and I thought, “Man, there are other people out there who are doing the same thing. They have their logo, their image, and they go around putting it up.” I was amazed and intrigued, then the internet burst open. Wooster Collective started, we started our website, and suddenly there were emails coming in from all over the world. “We love your stuff; do you want to come here? Do you want to have a show in Tokyo? LA?” I mean, it just all took off.

Can you talk a bit about the period leading up to the ten year mark of The London Police? Well, for a while there was this golden period of the three of us (an American friend of ours, Garrett, joined up with us) traveling the world, working together, bombing streets, doing shows, meeting artists. Unfortunately, like everything in life,

For more information about Brothers in Arms, visit The London Police website at www.thelondonpolice.com. The London Police were in Dublin for this years OFFSET festival. Visit iloveoffset.com for more details.

ph nic 8

n o

r e

Dublin is under attack. The bicycle is taking over. They’re everywhere. Due to the new tax incentives and the rent-a-bicycle scheme everybody has taken to cycling. Cycling is the new black. Will we now head in the direction of other European cities and become flooded with bikes, saving thousands on public transport, freeing up our roads, cutting down on emissions and making us all healthier citizens? In a word, no. The cyclist is doomed to fail. It’s just too much like hard work. We would love it to work, we would absolutely love it to become the norm. But there are just too many factors out there that go against the cyclist. If you are a cyclist, we’re worried about you. It may be on the increase at the moment, but somewhere down the line… you will become extinct. Best get out now while the going is good. Get yourself a people carrier and six kids, that’s the kind of reliability and stability you need in your life. This cycling lark won’t be around for much longer in Dublin, you need to find the exit. Here are ten reasons why…

! e

k i

The Scumbag Factor

No, it’s not Simon Cowell’s new show in North Dublin. Instead, it’s the little fuckers who are going to mash up your bike like spuds in a carvery. Scumbags don’t understand bikes. If they can’t sit upstairs down the back and smoke a joint while roaring abuse at the driver, they don’t want to know. A very common site around Dublin is to see a bike chained up, with both wheels bent to fuck and the rest of the rest of the bike in bits. A scumbag did this, probably walking to the shop or off to sell some small animal crack, when he spied the bike in the corner of his eye and within seconds had it dismantled and thrown threw the window of a parked car (They hate parked cars too). If you leave your bicycle in town, they will kill it, this much is certain. Your only hope of escape from this sure fate is to disguise your bike as a moped (Scumbags Achilles Heel). Then, and only then, will you be safe. Mopeds are deadly, Bikes are for saps. This is the unwritten rule of life.

ph nic 9

Fashion Backlash

Cycling a bike around town is the new cool thing to do. Just you and your wheels… look at you go! It’s cheap, its eco-friendly, easy to park, they’re just so darn fashionable right now. All the cool kids have one. People are even starting to dress like couriers. This is great, but just remember, fashion goes in cycles (unintentional pun, please forgive me) so what’s cool today may not be cool tomorrow. This time next year, you’ll be the laughing stock of Brown Thomas on your vintage Raleigh two-wheeler. And that just won’t do.

Bus Drivers

Bus drivers are strange characters. I’m not sure if they care if they knock you off your bike or not. To be honest, I’m not sure if they’re even looking. Bus drivers have massive two storey petrol guzzling machines that hold about 70 people. You don’t even have a horn. You are fighting each other for the exact same space on the road. This is a bad deal for you. Pedalling fast won’t save you, as there is another bus in front. My advice? Get on the bus. Its only €1.60.

The Roads

Irish roads will eat you up. There really are no cycle lanes in Ireland, except where they have made the usual half-arsed attempt and painted then inside other lanes. So sometimes you see a bus lane, but it has a bike lane painted within it. Doesn’t seem like a “Bike only” lane if it has great big double deckers and un-insured taxis mowing after you at 80kph, does it?

Punctures

These will most definitely tyre you out. There is nothing worse that having to fix a puncture on a bike, not even being in a war or having your house destroyed by fire. I would much rather either of those than having to spend an hour squatting beside an upside-down bike with a rubber tube in a basin of water looking for a puncture. The best advice I can give you is this; you are saving a fortune on petrol by cycling your bike everywhere. Hold onto this money. Buy yourself a piggy bank or something cute to keep the money in, Jesus loves that sort of thing and he’ll keep you safe on your bike because of it. Then, every time you get a puncture, just fuck the bike away and buy a new one with the cash. Think of it this way; the minimum wage is about €9 an hour, so if it takes you an hour to fix the puncture and you eliminate that by buying a new one, you’ve saved yourself €9… and you got a new bike. You economical little bastard. The maths there mightn’t be perfect, but sure who’s counting? I could make a joke here about inflation, but I won’t. Because it would be a shit joke.

Couriers

These people are now your kinsman. You’re on a bike, they’re on a bike, you’re connected in a vague transportrelated kind of way, but believe me, you’re streets apart. This connection is not a good thing for the everyday cyclist on the streets. Couriers are not calm people. They’ll fucking kill you. They spend all day, everyday, chasing around Dublin city at top speed, dodging dopey bus drivers, fighting with taxis, trying to communicate with airhead secretaries and doing it all without the help of bike lanes and all while on minimum wage. They realise this, and they ain’t too happy about it. You share the road space with them, and you need to be careful. They will most likely strangle you to death in the middle of the road, slash you open with their pen and eat your entrails right in front of everybody at the traffic lights, and all before the red light even gets a look in. Don’t let the bike fool you into a false sense of security, just because you have pedals and so does he doesn’t mean you’re soul mates. If you want your helmet to stay on your head and not up your arse, stay the fuck away from couriers.

The Weather

When travelling anywhere in Ireland, there are usually three things I look for. First, I need a mode of transport. Secondly, I need that mode of transport to have roof. Thirdly, I need it to have walls. In case you haven’t noticed, bicycles don’t have a roof or walls, and this is shit. Roofs and walls are real handy for loads of stuff, including keeping you dry and warm, keeping the wind away from you and the prevention of small flying animals excreting all over that lovely head of yours. You wouldn’t move into a house with no walls or roof, would you? No. You know why? Because it wouldn’t actually be a house. You would just be standing outside with all your furniture. We don’t do this in Ireland for very simple reasons. It would be fucking madness, that’s why. Consider this the next time you get comfy on that saddle of yours. You’re outside. It’s raining. Roofs have been invented. Cop on.

Pedalling

Pedalling is a necessity on a bike, unless you’re going down a hill, in which case… good for you. So it would seem you have two options here, the first is pedalling the bike, and the second is to lash a great big engine to the side of it and let it do the work. The problem is that engines emit harmful emissions and therefore go against everything the cyclist believes in. But what about in ten years, when hydrogen engines are becoming the norm? They run on hydrogen and emit nothing but water vapour. Zero emissions. How do you like them apples? You don’t like apples? Ok… How do you like them emissions? So what happens in the year 2019 when you’re about to turn purple from cycling your way up a hill, you’re sweating solid bricks of liquid and you are still nowhere near the top, all while in the lashing rain, soaked through and wanting to die (but emissions free!) when from the darkness behind you some jumped-up little ten year old flies past you in his 100% emission free BMW, throwing the puddles to its side up into the air and all over you, soaking you further. You’re both eco-friendly, only he’s dry and not about to have a heart attack. So who’s the healthy one now?

Wheelies

I can’t do wheelies. I never could. As a kid I spent years on a bike and never quite mastered it. I was always too afraid I was going to go flying backwards towards the ground and become impaled on my handlebars. It was a choice between doing a wheelie or staying alive. I chose life. I see loads of other kids doing wheelies all the time. They’re cycling down the street towards me on two wheels, and without the slightest bit of effort the front wheel jumps up in the air and the little fucker is officially doing a wheelie. Lucky bastard. They always cycle in the middle of the road when they’re doing a wheelie, despite the cars behind them. They just don’t give a fuck. And they do it for ages, maybe 200 meters or more. I can’t do that, never could. They can do it. I can’t. They’re about nine or ten years old, I’m way older. They can do a wheelie. I can’t do one. That makes me want to die. You probably can’t do a wheelie either. This will be you! I repeat; if you cannot do a wheelie, do not under any circumstances get a bike. This will be you. Kids will be immediately better than you. Thoughts of uselessness loom in front of you. Do not get a bike.

People are laughing at you

Yes, they are. You might think nobody has noticed you have your trousers tucked into your socks, but we have. It looks… great. But that’s not the only problem, what about that helmet? It looks like a multi-coloured turtle just shat out a person on a bike. Was that the look you were going for?

It’s too far away

I know for a fact it is. You’re not going anywhere close by, why would you? No, I know your sort. You’re going somewhere really far away. Like… a mile away! If you’re taking the bike you’ll have to cycle, the two go hand in hand. Who wants to cycle a mile? Not me. I’d rather eat a big bag of chips and pay €20 to sit with a bloated belly in a taxi talking to the driver about how he can’t handle the job anymore. Never mind the feeling of the wind in your hair, never mind the exercise, never mind the savings, I don’t even care about the fresh air. Giving €20 to a moany racist while being choked to death with the smell of Fabreeze and Magic Tree is too good an offer for me to pass on. On yer bike!

ph nic Take out O K!

Squid

Mackerel

Salmon Roe

Eel

Prawn

Octopus

Sea Bass

Snow Crab

Plaice

Yellowtail

Tuna

Sea Bream

Salmon

Sweet Shrimp

Horse Mackerel

Eel & Cucumber

Tuna & Scallion

Tuna

Cucumber

Pickled Radish

SUSHI, BENTO, JAPANESE CURRIES, SASHIMI, NOODLES, SOUPS, TERIYAKI & MUCH MORE... IRELAND’S ONLY PICK ‘N’ MIX SUSHI BENTO BAR

IEN AM

S Q Y

TOWNSEND ST R E ET ST P E EGE ARS LL E S TRE TRINITY ET

QUAY

CITY

QUAY

HAN

OVE

COLLEGE

RO W

N O RT H

PE AR SE

W A L L

SIR JO HN

R S T EA S

S TR EET

RIV ROGE

QUAY

G EORGE

GH QY BUR

NAL

CUSTOM HOU SE

QUAY

K ST

W ST

WI C K LO

SHERRI

STREE T

WE ST L AN D

E BAR

T DAME STREE

ST.

N EDE

A RD

AST

TEMPL

T GEORGES ST

E DW

ON IN G T

ALK RS W HE L O B AC

Y ST

G HI

H S T RE E

LW OND QY

W EL L

GH ST

TH O M A S STR EET

ORM

Y CHANTS QUA

E T R E S T

Y B E A B

STREET

RCH CHU

IE LD

AL L PL

SM IT HF

QUEEN

BL AC KH

BOW ST

MER

BR IDG EF

OO T ST

Y BR I D G E

W A L TI N G S T

QUA

I N N S Q Y ORMOND QY UP

Y ST

ST NRY

S TR E LB O T

TR E RS

ER S

EET

USH

S IS L

U S H ER

ARR

CHAN CER Y ST RE ET

MAR

STRE

A QUAY

ELLIS Q Y

NE M A RY S LA

EET STR

ONE QUAY

EL CAP

RB STREE T

S T

G K I N

N O R T H

STR

INN

NELL

IL OU R H

ICK ST

UGH

BRUNS W

ORO

LID

N O CO

19AY Lower Liffey Street, Dublin 1 |C K t: 01 872 8787 | w: www.kokorosushibento.ie A

Dunboyne Castle 13cmx3

26/11/2009

11:14 am

Page 1

R I

P24125 11890 Devalera Press 180x125 CK.indd 1

25/09/2009 17:03:50

Drink Deals

Bottles of Corona/ Pints of Heineken €3.50 2 x Cocktails €15 3 til 10pm Daily

Food Deals Lunch Special €9

(Free dessert+Tea/Coffee)

2 x pizzas €15 (3 to 10pm) 2 meals for the price of One (3 to 6pm)

From 9pm on 26th & 31st From 9.30pm on Wednesdays, Thursdays & Saturdays From 11pm on Sundays

digg n es la

A number of Christmas Party options are available, please call 01-8013500 for more details

www.arcprinting.ie

ph nic 11

Dancefloor experimentalist and top Detroit techno producer Carl Craig has few equals in terms of the artistry, influence, and diversity of his recordings. Few others have recorded so much quality music in such a variety of styles as has Craig, who jammed distorted beatbox samples into lo-fi electro riggings, crafted epic house tracks like his remix of Tori Amos' "God," and recorded the most sublime Detroit techno since godfathers Juan Atkins and Derrick May were at their peak. After an apprenticeship during the late '80s with May, Craig began releasing his own recordings in 1989, first on Derrick's Transmat imprint and later on his own label, Planet E Communications. During the following decade, Craig spread his work between solo aliases -Paperclip People, Innerzone Orchestra, 69 -and his own name. With each new project and each change of musical direction though, he distinguished himself as one of the few artists to consistently hit the mark with productions whose subtleties in the living room more than matched their infectious energy on the dancefloor. When he was growing up and attending Detroit's Cooley High, Craig was turned on to a diverse musical diet ranging from Prince to Led Zeppelin to the Smiths. He often practiced on his guitar, but later became interested in club music as well through his cousin, who worked lighting for various parties around the Detroit area. The first wave of Detroit techno had already set sail by the mid-'80s, and Craig began listening to tracks courtesy of May's radio show on WJLB. He began experimenting with recording techniques using dual-deck cassette players, and later convinced his parents to buy him a synthesizer and sequencer. Craig also studied electronic music, including the work of Morton Subotnick, Wendy Carlos, and Pauline Oliveros. While taking an electronics course, he met a mutual friend of May and passed on a tape including some of his home productions. May loved what he heard and brought him into the studio to re-record one track, "Neurotic Behavior." Completely beatless in its original mix (since Craig didn't own a drum machine), the track was just as sublime and visionary as Juan Atkins' blueprint for cosmic techno-funk yet called on emotions previously found only on May's material. This kicked off Carls career in music and since then he has played and been heard by millions across the world and is heralded as one of the golden boys of the Techno scene.

You seem to be embarking on more live performances of late. As well as the Innerzone Orchestra gigs, you did a show with Les Siècles orchestra at Cité de la Musique in Paris. Are you glad to get out of clubs and into different performance contexts? I don't know if I'd say my attitude has changed. If the right situation presents itself, I agree to it. Some things just work better in a concert hall than a club. The thing with DJing is, it's easier to do more of it - I'm in Canada at the moment and I'm doing three dates in one weekend..."

You’re presenting the UK debut of Innerzone Orchestra at Get Loaded In The Park this summer… Yeah. We did our first date in Rome in January of last year, and another one in Spain. I did a show with Francesco [Tristano], M Kelvin Sholar and a bass player. Then there’s Wendel Harrison and some more players. How did the Re:Constructed [Craig's collaboration with Moritz Von Oswald, in which they "reconstructed" the classical work of Ravel and others] project come about? Well, I’ve known for Moritz for a long, long time; I love the guy. So if he suggests something cool, we do it. Moritz has a classical background, and we’d been talking about Versus for a while, so when he asked me to get involved with this Deutsche Grammophon project, it was a no-brainer. You seem to be working with Francesco Tristano across a range of different projects at the moment - he's been part of your Innerzone Orchestra and also collaborated with you in Paris, while you've remixed some of his work. How did you meet, and why do you think this partnership has proved so fruitful? Francesco came to see me at a gig in Holland, and was introduced to me by a mutual friend. He told me what he was doing, the kind of music he was making and hoping to make, and I was interested – because this guy had formal classical training, but a different kind of approach. People with formal classical training tend to have very restricted ideas about what music is, and can be very limited by that. I know people in the DSO [Detroit Symphony Orchestra] and their concept of perfection is basically to learn a written piece of work exactly. Francesco is a new kid with a completely modern approach. He has different influences. Most importantly, he has a desire to improvise – which is unusual for someone who was formally trained. It’s important that he has a great, wide-ranging knowledge of music – he knows classical music, but he’s also heavily into electronic stuff, and the history of electronic music. He’s like me – I love everything – well, everything that’s great.

What were the respective roles played by yourself, Moritz and Francesco for that show in Paris [the programme included re-scorings of six Craig works for orchestra and electronics] For the performance in Paris, Francesco arranged the music and played piano; the orchestra was conducted by a guy called Francois Xavier Roth. My role in the performance was really to use my modular synths and add effects, and also the drum breaks for ‘Desire’ and ‘Technology’, things like that. Moritz was doing the same, but more subtle, and more improvised, I guess.

You seem to be very fond of collaboration at the moment... Live performance with musicians is not so easy. When I started working, I worked alone – which was difficult in a different way. Having lots of people involved makes the process complex – there's lots of different emotions, moods and characters to manage.

Is the [Detroit jazz label] Tribe album you talked about finished? Yeah, with Wendell Harrison. It’s nearing completion. It’s been a long process. In a way, the recording of the instrumental parts was a straightforward process, it happened quite quickly. But my part as a producer, to put my touch on it as a sound-designer – that’s been more challenging, and taken more time than I expected. Hopefully the finished thing will combine the best of his Tribe legacy with my own in electronic music.

Do you think you’ll return at any point to making a completely solo studio album, like Landcruising or More Songs About Food And Revolutionary Art? Well, it really has to do with the time it takes. More Songs was really a collection of tracks that had accumulated over time, a bit like Sessions, but something like Landcruising – where every song was written specifically for the purpose – well, that’s a different thing. But I will get around to it, I guess. But non-collaborative? I doubt it. Even if it’s “my” album, there are people I know who I’d really want to contribute – Wendell’s horn-playing, and John Arnold, who’s a great guitarist. And I’ve been talking to [Underground Resistance's] Mike Banks for a long time about doing something together, so maybe that will happen soon.

I’m often surprised at how little audio-visual work you're involved in. I mean, I know you’ve worked with visuals before, but it doesn’t seem to be something you’ve prioritized in recent years… Yeah, you're right. It’s strange, because for me, the biggest influence on me growing up was TV – I just watched so much TV when I was a kid. So there’s been a big visual influence on what I do all along, and maybe I should do some more video work. I think I will. One of the reasons I haven’t done it so much so far is because, in Detroit at least, there are no video people I particularly want to work with. There are some good people, but they’re not really right for me. So I guess I’m just waiting for the right collaborator to come through. Who knows, maybe it’ll be one of my kids? Maybe it’ll be my son...

What's your attitude to re-issue culture? How do you feel about re-packaging your past? We have the Planet E Classics series, so I evidently have no problem with re-issues. I understand the importance of keeping things available. But then I also understand the value of letting things go out of print for a while. If you let something go out of print for 10 years, there's obviously going to be more interest when you do decide to bring it back. Anyway, this year we'll be releasing a vinyl box set of the 69 releases, which should be really nice. More and more of your work seems to fall under the banner of Carl Craig these days; you seem less inclined to use the range of pseudonyms and alter egos you used to use… I guess the different name thing had to with me being younger, always moving around, jumping from one thing to the next thing. It wasn’t particularly conscious. And even now, I might just make a record and it’s a Tres Demented record, or I might do something else and I know it’s a Paperclip People record. I don’t really think too hard about it. But maybe one day I’ll do the Planet E Revue, you know? [laughs]. I’ll perform in all my different guises. You know, Peace can open the show, 69 can close it

We caught up with Carl Craig before his gig in at The Twisted Pepper’s first birthday last month.

ph nic 12

clubbing

Hercules and the love affair (DJ Set)

///////////////////////////////////////////////////////////////////////////////////////// Saturday 12th – Tripod Harcourt St – Dublin 2 Doors – 10pm /// Tickets €20

PROSUMER & LEROSA H Y P E at POD

////////////////////////////////////////////////////////////////////////////// Russell Parker / Calvin James Harcourt St – Dublin 2 -Friday Dec 18th /// Doors 11pm // Adm: €14 Prosumer - An introduction... Achim Brandenburg aka Prosumer comes from Saarbruecken and lives in Berlin. He is an expert in classic Chicago House and Detroit Techno. He gained this expertise first as a fervent record buyer at Saarbruecken’s Hard Wax branch, where he later started working behind the counter. It was the heyday of labels like Prescription, the time for soulful house music, which still can be heard in Prosumer’s sets today. ‘My heart is beating for the early Chicago-Detroit-Sound and for music that feels similar and transports this feeling into today. Generally, I like producers who cordially follow their feeling and who work on a personal style which rather caters for longeivity, than a momentary kick. To know one’s trade isn’t a disadvantage it all.’ Slowly, the consumer turned into Prosumer, who by the way is a character in Alvin Toffler’s visionary sci fi novel ‘3rd Wave’, in which the term ‘Techno’ has allegedly been used for the first time ever. Prosumers debut is released on the 240 Volt label in 2004. A year later, it is followed by ‘The Craze’ on Playhouse, which turned into a veritable hit record, followed by collaborations with Murat Tepeli or Sebo K and remixes. With Murat Tepeli, he is also performing live, using not only laptops but equipment like drummachines for the shows and incorporating his voice. ‘Whatever I do has got to be real. If a record doesn’t move me emotionally or physically, I won’t play it out. I have to feel the music and I’m always trying to share my feelings with the crowd on the floor. If everything goes down well, there’s an exchange going on. I try to keep a balance between pushing people’s buttons and surprising them. It’s all about having a good time together. I’m

Tensnake Live Nightflight ///////////////////////////////////////////////////////////////////////////////////////// Friday December 11th – Button Factory Temple Bar, Dublin 2 /// Tickets €10 In a country famed for industrial-sized techno beats, Tensnake must be considered one of Germany’s more idiosyncratic producers. Hailing from Hamburg, Marco Niemerski has spent four active years on the scene developing a rather unique brand of dance music and commanding increasingly more respect and admiration along the way. His sumptuously warm melodies, interwoven with bountiful rococo grooves, are best served with a Piña Colada while the sun sets on one of those languid summer days at the beach. EPs for labels Radius and Endless Flight are must-have classics for anyone with the slightest interest in the contemporary disco scene, with remixes for big-hitters Foals, Junior Boys and Sally Shapiro only adding to the growing Tensnake hype-storm. But that is just the tip of the iceberg. Tensnake’s long awaited third EP ‘In The End (I Want You To Cry)’ dropped on Running Back Records at the start of this year, and the man has delivered a veritable tour de force. Support from the likes of Radio Slave, Prins Thomas, Bill Brewster and Mark E were just an early indicator of just how big a deal this record was going to be in 2009. For those of you whose radar hasn’t sounded him out yet, Nightflight have decided it is about time introductions were made. So without further ado, boys and girls, please meet the mighty Tensnake…

sharing my inner emotions. And dance music has got to be horny.’ Prosumer is a resident at Panorama Bar and plays at clubs like Robert Johnson, Fabric, Paradiso, Zukunft, T-Bar, Pudel, Planeten & Blumen, Watergate, Weekend and Rex Club. Lerosa - An introduction... Born in Rome, Leo developed a love of electronic music through Italian pop music of the 1980s, before discovering hip hop and acid house . He began djing in the early 90s and in 1995 moved to Dublin where he got heavily into darker, deeper electronica and electro by the likes of Autechre, Drexciya and the extended Detroit- inspired musical underworld.

You’d never know it from his press photos, but Andy Butler is a big softy. The world knows him as the head and heart of DFA giants Hercules and Love Affair, but he’s also recognizable for his penetrating stare and imposing physique--and you’d imagine him to be a curt, monosyllabic beast. He’d have little reason to be unfriendly these days however, as things are definitely on the up. Although Butler recently cancelled Hercules and Love Affair’s Coachella appearance, and its members splintered off into separate groups, there were whispers that the band was no more. Andy has put this claim to rest, citing the fact that he intends to rotate the members of the band for each album, changing the faces regularly and keeping things fresh. They are currently working on a new album. But Hercules and Love Affair was never really a band in the first place, and Butler is a DJ first and foremost--which brings him to back to the POD this Saturday December the 12th, to follow up his recent very well received appearance there two months ago. He is currently touring off the back of his current compilation mix for Renaissance, jam packed with beautiful house and disco edits, entitled “Sidetracked”. We’re recommending this one quite highly!

Leo began producing his own music in 2000, concentrating initially on electro but broadening his range into unconventional house and techno styles. His debut release was the ‘Maike ep’ on Dublin’s D1 Recordings in 2005. He followed this up with a critically acclaimed release on Real soon, titled ‘Ruski’. Then followed the equally outstanding “Seeker ep“ on Enclave Recordings , closely followed by a release on The “A touch of class” imprint out of Germany , a brilliantly received ep on Uzuri . More recently he has released on the seminal “Millions Of Moments ” imprint as well as the ace new label , Quintessentials. Since then Lerosa has been on demand as a remixer and has garnered a lot of press coverage from magazines such as Germany’s Groove Mag & De Bug , London’s Strobelight Honey magazine as well as coverage on the increasingly influential music blogs, such as Infinitestatemachine , Test , e.t.c.

Ivan Smagghe (DJ Set)

///////////////////////////////////////////////////////////////////////////////////////// 5th December – Kennedys Westland Row – Dublin 2 Doors - 11pm /// Tickets €12 You’d never know it from his press photos, but Andy Butler is a big softy. The world knows him as the head and heart of DFA giants Hercules and Love Affair, but he’s also recognizable for his penetrating stare and imposing physique--and you’d imagine him to be a curt, monosyllabic beast. He’d have little reason to be unfriendly these days however, as things are definitely on the up. Although Butler recently cancelled Hercules and Love Affair’s Coachella appearance, and its members splintered off into separate groups, there were whispers that the band was no more. Andy has put this claim to rest, citing the fact that he intends to rotate the members of the band for each album, changing the faces regularly and keeping things fresh. They are currently working on a new album. But Hercules and Love Affair was never really a band in the first place, and Butler is a DJ first and foremost--which brings him to back to the POD this Saturday December the 12th, to follow up his recent very well received appearance there two months ago. He is currently touring off the back of his current compilation mix for Renaissance, jam packed with beautiful house and disco edits, entitled “Sidetracked”. We’re recommending this one quite highly!

ph nic 13

Neil Landstrumm-live [Scandinavia]

///////////////////////////////////////////////////////////////////////////////////////// Lief Ryan- live [Growth Recodings/ Bloc] Irish debut @ The Good Bits, Store St, Dublin 1 Friday 18th December Admission: €12

Edinburgh’s Neil Landstrumm is a man with some serious techno stripes. (And not just because two of his tracks got mispressed onto Robert Hood’s Internal Empire LP.) Landstrumm got his start at the beginning of the ‘90s, when he began DJing at the Sativa club in his hometown alongside friends and fellow techno junkies Tobias Schmidt and Dave Tarrida. That’s where he met Chilean electronic wizard Cristian Vogel, a producer he would begin to work with as Blue Arsed Fly. In addition to BAF, Landstrumm also set out on his own with bass-heavy interpretations of jackin’ Chicago house rhythms marking Brown By August, a full-length that’s still considered a classic of mid-’90s techno.

But while he had great success producing techno for labels such as Tresor, Sativae and his own Scandinavia imprint, Landstrumm has never been one to get too comfortable with any particular strain of the stuff, often making great stylistic leaps between albums. Restaurant Of Assassins meshed modern UK bass music with Sheffield bleep, Lord For £39 saw him offer a rave-infused take on dubstep and the recently released Bambaataa Eats His Breakfast showcases Landstrumm’s more playful and melodic side. The thick low-end synonymous with his sound is still there, but there are also clear parallels with the adventurous instrumental hip-hop being pushed by his countrymen Rustie and Hudson Mohawke on top of bleepy dubsteppers like Zomby and Ikonika. On Friday 18th December, Landstrumm is joined in Dublins newest venue, “The Good Bits” by Lief Ryan.

playing quite a hard selection of tunes (Force ink, Network 23, R&S etc.) mainly in free parties between the UK and Spain. In 1998 he moved to Barcelona where he spent about a year without performing to improve his abilities in the studio, and to learn more about playing musical instruments. With the help of a free ads magazine he came across Xavier Roman, another young producer, to whom he sold a “legendary but useless” Roland MT 32 and they decided to start their own label Newtone Records. Shortly after Lief released his first EP, under the alias Twitch that he generally used for DJ performances, they also founded a house division, Overtone Records. This was due to their encounter with Lumiere, a stunning local house duo made up by one life long piano virtuoso Xavi Lloses and a recycled rock guitarist Joan Male; a weird and wonderful mix of classical genius and electronic innovation. After creating Newtone Records he emerged from the studio and started DJing again. He played pretty much all the Barcelona venues, Fonfone, Abaixadors 10, the Placton Party 2 & 3 (annual 8h boat party), razzmatazz (Royal Sessions), Octopussy, BAC (Barcelona Arte Contemporánea), Metropol (where he was resident), IFC 2000 Flying Party @ CCCB (international flyer contest), La Cova, KGB, Risco, Woman Caballero (sala 02), Moog (where he was also resident), Freestyle 2001, and his own Uptone Club. After leaving Newtone Records he moved to Manchester and has now started his new label “growth recordings”. Both Landstrumm & Ryan are joined by local DJs Sunil Sharpe and Nathan Jones.

Lief began his DJ career in the early 90s

Wolf & Lamb

///////////////////////////////////////////////////////////////////////////////////////// Thursday 17th December– Pygmalion South William Street – Dublin 2 Doors 10pm – Tickets €10

For nearly a decade, Wolf + Lamb has prided itself on procuring and presenting some of the finest “gourmet” music from around the world. Using nothing but two turntables and a steadfast determination to make people move, the duo have been lighting up dance-floors in New York and around the globe. The partnership was struck when the two discovered a similar penchant for new and exotic dance styles. The two immediately set out to spread their vision of community, music and the celebration that ties it all together.

In 2005, with opening of Wolf + Lamb Music, their variety label has become a home for established and rising young talent the

likes of Seth Troxler, Shaun Reeves, Deniz Kurtel, Nicolas Jaar, No Regular Play & Soul Clap, publishing original music, edits and everything in between. While leaning towards house, the duo and label’s sound encompass nuevo disco, hipster crossover, “sex house” and strains country, and loads of other stupidly named self-genres. Since then, it has grown to include three record labels, well over 100 community dances — and counting, a clothing line, a legendary 6 star hotel and club, and, their new line of organic pet food: Woof & Lamme. They’re playing Pygmalion. Hopefully they’ll just play tunes and leave the pet food at home…

Marcus Worgull

///////////////////////////////////////////////////////////////////////////////////////// 11th December – POD Harcourt St – Dublin 2 Doors – 11pm /// Tickets €12 Marcus Worgull has established himself in the upper class of House music. Clubs like the “Fabric” in London, “Weekend Club” in Berlin, “Robert Johnson” in Offenbach, “Cocoon” in Frankfurt or 11 in Amsterdam book him, hence spurring the many requests he receives from abroad. DJs like Laurent Garnier and some of the Detroit heroes play and appreciate his tracks. He has already accomplished remixes for Voom:Voom, Karma, Lars Bartkuhn (Needs), and Gerald Mitchell (Los Hermanos/ UR); and he is currently working on remixes for Eva Be, a Sun-Ra project and a mix-CD. Even though Worgull meanwhile works predominantly with straight 4/4-Beats, his productions and DJ-sets have musical depth which reveal his diverse black music background. Worgull’s musical development began in the late 80’s in his hometown Wuppertal, Germany. He found a record store there full of unordinary vinyl discs from diverse musical directions and trends: Rare Souland Jazzgrooves as well as the hottest shit in hip-hop and house. 15-year-old Worgull was a prime customer - and spent most of his pocket money there. The store, named “Groove Attack”, moved to Cologne later and is today run by Marcus Worgull. The only other place to hear such music during that time, was the one club in

Wuppertal:”Beatbox” . DJs like Gilles Peterson or Norman Jay had their first German Gigs there. Little Worgull snuck into the club and experienced, for the first time, how a good DJ can take the crowd on a journey into different worlds of music. Worgull’s enthusiams for black music was born - and so was the decision to become a DJ himself. The first challenge occurred Thursday evenings in the “U-club” in Wuppertal where he soon became the resident DJ. For two and a half years Worgull’s house music allured people to the club and ensured a full-house. He learned how to arrange sets dynamically and how to get the crowd sweating. For quite some time, his sound was even heavily influenced by broken beats. Eventually, Worgull has changed his focuses to intelligent, soulful but danceable house - at the edge of being techno. Influenced by the majestic house of the “Prescription” label or classical Detroit-Techno, he developed his own style. Besides running a record store, landing national and international gigs, producing for the Innervisions label alongside his remix assignments and of course raising his son Ole, Marcus will be spending a little time rocking the POD thanks to the guys at Subject Events. Well done Subject!

ph nic 14

ph nic 15

/ " % Gigs... Modest Mouse

///////////////////////////////////////////////////////////////////////////////////////// The Academy, Middle Abbey Street, Dublin 1, Mon 07 Dec, Tickets at €27

Indie rock trio Modest Mouse was formed in 1993 by vocalist/guitarist Isaac Brock, bassist Eric Judy, and drummer Jeremiah Green. After honing their muscular sound in “The Shed” -- a makeshift practice space built by Brock on the land next to his mother`s trailer -- Modest Mouse entered Calvin Johnson`s Dub Narcotic Studios to cut their 1994 selftitled debut single, released on Johnson`s K Records label. Following a move to the Up label, the trio issued two 1996 LPs, This Is a Long Drive for Someone With Nothing to Think About and Interstate 8. After returning to K, Modest Mouse released The Fruit That Ate Itself in 1997; its follow-up from later that year, The Lonesome Crowded West, was the band`s breakthrough, and in the wake of a major-label bidding war,

they signed to Sony. The rarities collection Building Nothing out of Something appeared on Up in early 2000, followed later that year by their long-awaited Epic debut, The Moon & Antarctica. In 2001, the band issued the Everywhere and His Nasty Parlor Tricks EP and K released Sad Sappy Sucker, a “lost album” that was intended to be the group`s full-length debut back in 1994. Brock kept busy with his Ugly Casanova side project, which delivered Sharpen Your Teeth in 2002. Modest Mouse finally returned in 2004 with Good News for People Who Love Bad News, their best-received record and a Top 40 hit as well. For their next record, Brock enlisted the help of former Smiths guitarist Johnny Marr, who not only added his songwriting and playing skills to We Were Dead

Before the Ship Even Sank -- which was released in early 2007 -- but also toured with the band as a member. No One`s First and You`re Next, an odds and sods collection of songs that included material dating back to the Good News for People Who Love Bad News era, arrived in summer 2009. Now, Due to phenomenal demand, the Seattle rock band have announced a second Academy date this December 2009. They will now play on Monday 7th and Tuesday 8th December at the Middle Abbey Street venue. Tickets at €27 including booking fee are on sale now through all Ticketmaster outlets nationwide. Special guests to be announced. Modest Mouse will also play The Radisson Hotel Galway on Saturday 5th December.

FIONN REGAN + Guests

///////////////////////////////////////////////////////////////////////////////////////// Whelans, Wexford Street, December 19th., Doors: 7:30pm, Tickets: €21 Following on the back of his weekend set at Hard Working Class Heroes Fionn is back for a special intimate show at Whelans just before Christmas on December 19th. Tickets for this special show are €21 on sale this Friday October 23rd @ 9am through Ticketmaster and other usual outlets nationwide. Fionn will be playing favorites from his Mercury Prize and Choice Music Prize nominated début album, The End Of History, as well as a selection of new songs from his forthcoming album The Shadow Of An Empire which is due for release in early 2010

lar across America, as Fionn puts it “seeing the world, the bone structure, the pulp” that he began work on its follow up. It seems natural that his response was to become more outward looking “as a writer you hold up a mirror, its reflections become the work” and in The Shadow of an Empire this manifests itself in a collection of songs that are peopled with characters and conversational dialogue. The often witty vignettes are used to facilitate more complex soul-searching.

Francis Bacon equally. All these people switch the light bulb on, make me connect back to my work”

The album was self-produced (as was the case with the 2007 Mercury Prize nominated The End of History) and recorded in a small, disused factory space in Fionn’s hometown in Co. Wicklow, Ireland “There were no airs or graces about it, we cut live in the room, live vocals… the piano had come off a cruise ship and we wheeled it down the road…the On the subject of influence, Fionn describes it guy who sold it to us threw a couple of cheap as “hard to quantify, I wrote these songs from Silvertone guitars and a circus drum into the If Irish singer-songwriter Fionn Regan’s The the page up, on an Olympia portable, the idea bargain. As far a production goes…I’m very End of History was the sound of the countrybeing that the words would stand up on their much into keeping mistakes, a crack in the side and woodland lanes, this record is the own. I think the percussive nature of typing voice, the natural ebb and flow of live drums, sound of towns and dimly lit streets; heartfelt informed the phrasing. I was reading a lot of so that there’s a sort of evidence of the and with a ragged edge. He has ploughed Welsh, French and American poets, I started process… I think it’s that atmosphere which himself a new furrow. It was during a period of to explore Brecht, Mahagonny in particular, I makes me want to revisit my favourite albums great global upheaval, whilst touring his debut have always loved Kerouac…, then I admire again and again” album for two years worldwide, and in particu- visual artists like Joseph Beuys, Basquiat and

James Morrison

///////////////////////////////////////////////////////////////////////////////////////// The O2 Sun 06 Dec, Doors 6.30PM, Tickets from 39.20 euro (including booking fee) At the ripe old age of 21, James Morrison became an overnight sensation in the U.K. with the release of his debut album, Undiscovered, which wasted little time going platinum in the British Isles after it was released in the summer of 2006. Blessed with a fresh, soulful voice that can seem rough or smooth at will, Morrison recalls both the passion of classic soul and the confessional lyrical stance of the singer/ songwriters of the 1970s. Morrison was born in the West Midlands town of Rugby, where he soaked up the influence of his parents’ record collection; his mother was a fan of soul music, especially Otis Redding, Van Morrison, and Al Green, while his dad was big on country and

classic folk such as Leadbelly and Woody Guthrie. While he’s been short on specifics, Morrison has alluded to an unhappy childhood touched by poverty and illness. Describing Rugby, he told a journalist that “the best thing is I’ve got memories of being a kid there and the worst thing is I’ve got memories of being a kid there” and early on he struck out on his own, earning pocket money by busking on the streets of Porth, a village near the Cornish coast. Morrison worked odd jobs across the country while writing songs and playing gigs whenever he could, and his big break came when a demo of his material caught the ear of an A&R man at Polydor Records. Morrison

was quickly signed to the label, and he went into the studio with producer Martin Terefe to record the 13 original songs that comprise Undiscovered, which hit the streets in August 2006. A well-received appearance on Jools Holland’s chat show Later and an opening slot on Corinne Bailey Rae’s British concert tour made Morrison a name to watch, and his songs “You Give Me Something” and “The Pieces Don’t Fit Anymore” became major hits in the U.K. In January 2007, Morrison played a short tour of the United States as the buzz about his album began to cross the ocean. James plays the O2 on Sunday the 6th of December.

Florence and the Machine

///////////////////////////////////////////////////////////////////////////////////////// Olympia Theatre, Mon 07 Dec, Tickets €24.50 Florence is a mass of contradictions: she’s tough yet she’s terrified, a bundle of nerves and passion, of darkness and pure joy. As a performer she can seem fearless, but she’s also far too quick to pass judgement on herself. This is the woman, after all who got into Camberwell art college by making a huge floral sign telling herself ‘You are a twat.’ She says she’s a geek, who loses all control when in love. She’s also something increasingly rare and precious in a time of karaoke pop: an artist who has found her own, authentic voice.

Her soaring, epic vocals, quirky melodies and self-contained musical world have already won her the 2009 Critics Choice Award at the Brits. Some compare her to Kate Bush. You’ll also find touches of Tom Waits and Nick Cave in her dark visions, and if you heard a little of Bjork too, she’d find it a compliment. But mainly, Florence is out on her own: an exhilarating place to be, she points out, but also a little scary. Her debut album ‘Lungs’ is made of harps, choirs, drums, elevator shafts,

bits of metal, love, death, fireworks, string quartets, stamping, sighing, strange electronic wailing, lambs, lions, sick, broken glass, blood, moon, stars, drink, coffins, teeth, water, wedding dresses.. and the silences in between. Florence and the Machine play on Monday 7 December at the Olympia Theatre, Dublin. Tickets are €24.

ph nic 16

keep it simple

The buzz was the first thing I noticed; the tension in the air before the band came on stage.” Edinburgh music supremo Bruce Findlay is recalling the first time he saw Simple Minds perform. The year was 1978, the venue, The Mars Bar, a small Glasgow pub which boasted Jim Kerr’s newly formed outfit as its resident band. “There, at the mixing desk was Davey Henderson. It was a tiny wee mixing desk, ridiculous, almost like a volume control,” Findlay continues. “Beside him was his sister, Jaine. She had a board with four light switches on it. On stage there were a few lights. Not much, an ultraviolet light and a revolving mannequin’s head with another couple of lights. Jaine was switching these lights on and off. “As the band came on stage they were greeted like long lost heroes, even though they had only been playing for a couple of weeks. “They looked really bizarre. For a start they wore quite heavy makeup. Derek Forbes the bass player resembled one of the New York

“

We’ve all done good stuff individually, but we’ve never done anything as good individually as we did collectively,

”

Simple Minds had cut their first demo in December 1977. A five-track affair, Kerr brought it with him that fateful day.

but it wasn’t. So we managed to get out the Arista deal and signed to Virgin.”

“I put it on and was absolutely blown away by it. Pleasantly Disturbed, a sort of Velvet Undergroundy-thing with violin was a slowbuilding song, and the more poppy Chelsea Girl, which for me was going to be a smash hit, were the two stand-out tracks,” remembers Findlay.

Their first album with Virgin was Sons And Fascination in 1981 but it would be their 1982 studio album New Gold Dream that would finally send them stratospheric.

“Jim was very cautious, so the next Sunday I went to see them and was equally blown away by their live performance. I hung out with them for the next couple of months, got them a couple of gigs and even drove them to some of those gigs.” At the time Findlay had also just signed a licensing deal with Arista records, allowing the larger label to distribute his releases on Zoom. Not that Simple Minds were looking for a big record deal. “The band weren’t interested in any major record company, they were very independent minded. On the other hand, Jim, for all that he was only 19, was very astute. He said, ‘I wish we could get the money and clout that a major label could give us but with the independence and kudos that being with a small independent label brings’. He wanted both,” says the 65-year-old. “Arista had already attempted to sign them direct but had no chance, so I let them know this. When one or two other record companies began to sniff around, Arista came up with the idea that they would give me the money to fund Simple Minds.” The deal was done in 1978 and a year later Simple Minds’ debut album, Life In A Day, was released. Gigs at Heriot Watt University, Edinburgh Art College and Tiffany’s followed and Findlay knew they were hitting the big time when they headlined Clouds at Tollcross and The Astoria at Abbeyhill.

“They probably did more gigs in Edinburgh than they did in Glasgow, but I always said to bands, ‘You must build up your own fan base in your home town but you won’t know you are happening until you Dolls. Jim wore a white tuxedo jacket with tight black trousers. He build a fan base in another town as well’,” says Findlay, confessing looked very unusual with his jet black hair cut in a pudding bowl style that despite negotiating the deal that brought the band that early and, of course, he was skinny and very, very, serious – he spoke very recognition, he didn’t quite think of himself as their manager at that little. point. “Most of the lighting was back lighting, but the very fact that they had lighting made them different.” For the next 12 years, Findlay would manage Simple Minds, taking them from cult status to international stardom. Consequently, he’s in reflective mood as he looks forward to their upcoming concert in the O2.

“I was the record label boss but right from the start they would talk to people about me being their manager because I had got them their record deal; a publishing deal; an agency deal and fronted all the band’s business. “About a year into the deal I said, ‘It’s time you got yourself a proper manager’. They said, ‘But you’re our manager, we’re happy.’ That was it.”

Findlay first met Kerr a few days before seeing him perform live. With a successful chain of music shops to his name and his own record la- They might have been happy with Findlay, but neither were happy bel – Zoom – he was the man to come to for advice, which is exactly with Arista, Despite this, their third album, Empires And Dance, was what the teenage Kerr did in the summer of 1978. released on the label in 1980. “The band hadn’t been too happy with the first album, although I thought it was great. They were delighted “I had started my record label the year before and had a little success with the second album, Real To Real Cacophony, and their third with The Valves and PVC2, so bands were coming to see me all the album. So was I, and so was the world. time,” explains Findlay, who was also responsible for putting Shirley Manson on the music map. “John Peel picked it up and the NME and Melody Maker began writing about them in glowing terms. But we weren’t selling records and “Jim, and his then sound-man/pal and tour manager Davey Henmaking the Top 40, yet we were building a really big following. So we derson got in touch. Simple Minds had only been going a couple of fell out with Arista.” months but were already beginning to build a bit of a reputation. To further illustrate his point Findlay adds, “Empires And Dance “Anyway, they came in and Jim was very serious and they both should have been a hit. A track called I Travel which featured on it, is looked very odd for Weegies, much more arty than punk, almost iconic. DJs still play it today. gothic looking. That intrigued me because right away they looked different to all the other bands that were coming to see me.” “We did a 12-inch remix of it and it should have been a monster hit

“Their first Top 20 single, Promised You A Miracle, came from New Gold Dream. That album was the commercial breakthrough, the moment they became stars,” agrees Findlay. That exposure also introduced the masses to Kerr’s often outrageous dress sense. From black tights to flouncy blouses, Tammy hats to Kohl eyeliner, there was little he wouldn’t don for effect. “Everyone used to have a word with him about that, but Jim had a wonderful self-effacing sense of humour,” laughs Findlay. “He did care about the way he looked, and although he maybe wasn’t the most sartorial pop star, it got him noticed and created an identity.

“

This one kid, he had a Specials tattoo on his arm and when I met him, he started crying. I thought I’d done something to upset him, but it was the songs, the multiracial thing, it had really touched a young generation.

”

“When you went to a Simple Minds gig you would see kids going to the gig dressed as Jim had been at the last one and being well miffed when he came on stage looking completely different.” Simple Minds and their first manager parted company in 1990. They’re still friends, Findlay looks back on their adventures with pride and a great fondness. “When I managed the band I would always say, ‘THIS is my favourite period,’ when asked. Now that I have not been with them for 19 years, I can look back and genuinely say, hand on heart, that my favourite period started in 1979. “That was when they released their second album on which they discovered the sound that is Simple Minds. That’s when they became an influence on the scene and other bands, even though we were still the underdogs, chasing the dream. . . “Just me and the band jumping in a plane, going to America on a cheap ticket, picking up crew, friends and fans as we went - that whole sense of discovery was fabulous.”

Simple Minds play The O2 on Wednesday December 9th,

ph nic Sean Fletcher & Modern Media in assoc with Yamaha Music present

Secret Affair + Guests

/////////////////////////////////////////////////// Whelans, Wexford Street, Dublin 2 Saturday December 12th Tickets: €27 , Doors: 8pm Secret Affair (Ian Page, Dave Cairns, Dennis Smith & Seb Shelton) formed in 1978 from their previous incarnation as the “power pop” band New Hearts . In a period of a little over two years, they posted five releases in the UK Singles Chart, and released three albums. The debut single ‘Time For Action’ sold over 200,000 copies and reached number 13 in the UK chart, putting them at the forefront of the mod revival movement. More chart success followed with ‘Let Your Heart Dance’, ‘My World’ and ‘Sound Of Confusion’. They also drew up plans for a smart-dressing youth movement the Glory Boys – based around the idea of 1960s gangster chic, influenced by the movie, Performance. In 1979 Page and Cairns enlisted the services of bassist Dennis Smith, drummer Seb Shelton and saxophone player Dave Winthrop. From their very first gig, opening for The Jam at Reading University in February 1979, the band were adopted by a group of East End mods, who readily embraced Page’s Glory Boy concept. This group of fans began referring to themselves as Glory Boys. Secret Affair had become so closely linked to the emerging mod revival that in March 1979 Cairns wrote what would become the youth movement’s main anthem, ‘Time For Action’. Secret Affair were soon signed to Arista Records& formed their own label, I-Spy Records. After Time For Action charted it was soon followed by ‘Let Your Heart Dance’, ‘My World’ and ‘Sound Of Confusion’. Their first two albums, Glory Boys (December 1979) and Behind Closed Doors (September 1980), with its more complex orchestrated arrangements, proved successful and in their first year Secret Affair regularly appeared on the BBC Television show Top Of The Pops, and were cover stars of many UK music magazines, including New Musical Express, Sounds and Smash Hits. The mod movement that had swept Secret Affair into the pop

charts had all but evaporated by mid 1980, losing out to the rival 2 Tone fashion movement, and after the release of the band’s second album, drummer Shelton quit to join the ‘Come On Eileen’ era Dexys Midnight Runners. Secret Affair regrouped, recruiting ex-Advertising drummer Paul Bultitude and embarking on a lengthy tour of the United States, before returning in late 1981 with their final chart hit, ‘Do You Know?” One more single followed, ‘Lost In The Night’, before the release of Business As Usual, an album that saw the band

return to the rock-soul fusion of their earlier work. Secret Affair with founder members Ian Page & Dave Cairns are now joined by Russ Baxter on Drums and Sean Kelly on bass, with a horn section consisting of Andy Brush on Sax, Steve Rinaldi on trombone and Martyn Blagden on trumpet. Secret Affair are delighted to be able to play in Ireland for only the second time in Whelan’s Dublin on Dec 12th.

White Lies www.whelanslive.com presents

DECLAN O’ROURKE + Guest - Ari Hest

///////////////////////////////////////////////////////////////////////////////////////// Whelans, Wexford Street, Dublin 2 Sunday December 13th Tickets: €20 , Doors: 8pm

///////////////////////////////////////////////////////////////////////////////////////// The Kissaway Trial, Neon Indian, Rob da Bank. The Academy, Middle Abbey Street, D1 Wednesday 09 December Tickets available from www.heinekenmusic.ie

White Lies, The Kissaway Trail, Neon Indian and Rob da Bank play live at The Academy Dublin on 9th December, and at the Opera House Cork on 10th December. Kickstarting the year with a debut album that topped the UK album charts in its first week, White “Singing in a velvet-tinged bartitone with a killer Planxty and Bob Dylan. Lies continued their upward trajectory throughout the falsetto… it’s a rare gift that his music can bear year and last touched down on Irish soil as part of a comparison with so many classic era troubaDeclan is currently supporting New York supernova sized Coldplay tour. The next few months dours, Fred Neil, Jackson Browne and Bruce songwriter Ari Hest on a five-week tour of the see them capping off a year that saw them pick up Springsteen while still sounding so completely U.S. He plans to make a more extensive tour best breakthrough act at the MOJO awards, best new original” - Uncut of Australia in Spring 2010 in the wake of the release of his 3rd studio album, due for release act at the Q Awards and a nomination for Best New Band at the NMEs. The rest of the year sees entails Declan is praised for his heartfelt, intimate perfor- in Spring 2010. a mammoth tour schedule that includes two dates mances as well as his larger, energetic concerts. with Heineken Green Spheres in Ireland. Meanwhile, He supported Snow Patrol on their European tour Declan recently duetted with Swedish singer The Kissaway Trail’s career started with a big bang in 2006, playing Wembly Stadium and the Odys- Peter Jöback on a cover of R.E.M’s Everyin 2006, when their self-titled debut was released in sey Arena among others and made a number body Hurts. The Scandinavian sensation has of special guest appearances on stage with the also covered Declan’s song I Can See A Little the UK to reviews like “savagely beautiful noise” and band. Again, he will support the boys on some of Something and both songs have been included “debut album of the year so far.” their Irish dates in December this year. on Peter’s current album, ‘Eastside Stories,’ Hailing from Odense, Denmark, the five piece released in late October ‘09. In December, recently departed for new lands, armed with an His popularity continues to grow steadily, with a Declan will appear at all four of Jöback’s album full of love, hope and loss. The Kissaway Trail vast amount of sell-out performances in Ireland’s Christmas concerts at Norway and Sweden’s join bands like Oh No Ono, Kashmir, Nephew, The most prestigious venues. He has toured in biggest stadia. Broken Beats and WhoMadeWho to complete the England and mainland Europe, supporting such Danish invasion that has swept the globe this year. notable names as Paul Weller, The Cardigans, But what about Neon Indian? The latest project from Paulo Nuttini, Paul Brady, The Beautiful South, Mexico born Alan Palomo, whose previous alter-ego Nizlopi, while appearing on the same bills as VEGA produced glossy synth-pop, Neon Indian is

a decidedly more lo-fi, blissed out affair for the talented 21 year old. Taking cues from Bugglesstyle 1980s pop, video game soundtracks, and cheeseball elevator music, this latest incarnation has been likened to MGMT on a budget and with less face paint and drawn comparisons as diverse as New Order and Future Bible Heroes. Having already crossed the radar of online music bibles Pitchfork and our Irelands own Nialler9, its clear they are on the right course, we have no doubts 2010 has big things in-store for them. And lets not forget Nu Disco Aeroplane, who’s orbit originated from an unlikely dot on the globe called Walonie in southern Belgium. It was here that DJ and store owner Stephen Fasano and producer Vito Deluca decided to launch their vision on the world in 2007. Since then the pair have become renowned for their blend of Cosmic, Psychedelic and Balearic beats, rolling pianos and soaring synths that make them worthy of their name. Their much in demand remix skills have seen them undertake projects for everyone form Cut Copy, Bloc Party and MGMT to Grace Jones and Robbie Williams.Tickets to all Heineken Green Spheres gigs are free. Music fans can register their interest for the gig on www.heinekenmusic.ie

www.bavaria.com

ph nic 18

We’ve been brewing great beer since 1719 using the finest natural ingredients

- Malted barley, hops and the purest mineral water. Experience has taught us one very valuable lesson:

If it ain’t broke, don’t fix it.

ph nic 19

once off club listings

---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

Friday 4th December ////

Friday 27th November //// Nightflight Present: Tony Lionni The Button Factory Curved St, Temple Bar, Dublin 2 Tickets €10 - Doors 11pm www.night-flight-music.com 515 Present: Booka Shade Tripod Harcourt St – Dublin 2 Doors – 11pm /// Tickets €22.50 Vitalic The Academy Middle Abbey Street, Dublin 1 Tickets €33.60 www.MCD.ie DBRIDGE [Exit Records - UK] The Good Bits, Store Street, D1. Doors 11:00pm Support for OneSevenFour residents & friends Test Presents: Levon Vincent Dan McElligott Kevin O Shea The Mezz @ Twisted Pepper Middle Abbey Street Admission €10, Doors 11pm Creme de la Creme - IMTV AfterParty Handsome Paddy & Dj Scope 11pm-3am Free entrance Doors 11pm - 3am with cocktails The SugarClub, Lower Leeson Street Chris Duckenfield @ The POD Harcourt St – Dublin 2 Doors – 11pm /// Tickets €12 POD: Chris Duckenfield / SWAG House Set Mr. Rossworth & Guest Lobby Bar: Chris Duckenfield / SWAG Disco Set Ro Flynn & Guest www.Subjectevents.com FIRE HOUSE SKANK @ SOUTHWILLIAM BASEMENT Roots Reggae DJ Club 10pm – 3am Free Admission SOUTHWILLIAM BAR, 52 South William Street, Dublin 2 www.southwilliam.ie The final installment of the legendary basement dub club with DJs Enda & Paul at the controls

Saturday 28th November //// ChoiceCuts & POD Concerts present The Breakestra feat. Afrodeyte (Lp Launch) // support from The Candidates The Button Factory, Curved Street, Temple Bar, Dublin 2 Admission 22.50euro Doors 8pm (Early Show) www.choicecuts.ie Carl Craig Twisted Pepper Middle Abbey Street Admission €10, Doors 11pm

DJ's Tu-ki & Scope (4 turntables & EFX ) With Handsome Paddy in The Button Factory plus live visuals from Donal Thornton The Button Factory, Curved Street Temple Bar Doors 11pm - 3am Admission 5euro email info@choicecuts.for guestlist John Daly @ The POD Harcourt St – Dublin 2 Doors – 11pm /// Tickets €12 www.Subjectevents.com AFROBASS @ SOUTHWILLIAM BASEMENT 10pm – 3am Free Admission SOUTHWILLIAM BAR, 52 South William Street, Dublin 2 www.southwilliam.ie Featuring: DJs: Leroy Culture, Lex Woo, & MC Little Tree spinnin: dubhouse, dancehall, jungle, dubstep, afro & brokenbeat

Saturday 5th December //// BigDishGo Present: Ivan Smagghe The Underground @ Kennedys Westland Row – Dublin 2 Doors - 11pm /// Tickets €12 RE:TECH Present: BILLY NASTY The Loft Electric Avenue, Waterford Support on the night comes from RE:TECH's Joe Gould and NEXUS head honcho Jay Millar. Doors: 10.30p.m. Admission: 12 Euro

Friday 11th December //// Subject Events Present: Marcus Worgull @ The POD Harcourt St – Dublin 2 Doors – 11pm /// Tickets €12 www.Subjectevents.com Nightflight Present: Tensnake Live [Running Back Hamburg] The Button Factory Curved St, Temple Bar, Dublin 2 Tickets €10 - Doors 11pm www.night-flight-music.com Test Presents: Mike Dehnert [Fachwerk - Berlin] Paudi Ahern – Test Jay Galligan - Test The Mezz @ Twisted Pepper Middle Abbey Street Admission €10, Doors 11pm

Saturday 12th December //// DIG DEEP @ Bia Bar Lower Stephen's Street DJs Mark Finn, Steve Kinsey and Conor Smith with Evan Kenny on live percussion FREE IN 10pm - 3am :-)

POD presents HERCULES AND LOVE AFFAIR (LIVE) Support: Jason Kending, Neosupervital, Veda, Subject DJs Tripod – Harcourt St – Dublin 2. Doors – 10pm Tickets €20 (inc. booking fee) available from Ticketmaster, City Discs, Sound Cellar and usual outlets. www.ticketmaster.ie Delay Presents: EXIUM Live (Spain) Support Jovi Kelsa Visuals by VJ Julyo Dani The Underground @ Kennedys Westland Row – Dublin 2 Doors - 10pm /// Tickets €12/€15

Thursday December 17th FUNK 45s @ SOUTHWILLIAM BAR 6 hour funkathon 8:45pm-2:45am Free Admission SOUTHWILLIAM BAR, 52 South William Street, Dublin 2 www.southwilliam.ie funk soul jazz disco afrobeat latin hip-hop breaks

The Twisted Pepper 54 Middle Abbey Street, Dublin 1 Admission 10euro with Echo Party Mix for sale at event Doors 11pm - 3am www.tickets.ie www.ticketmaster.ie City Discs

Saturday December 19th BEST FOOT FORWARD @ SOUTHWILLIAM BAR 9pm – 3am Free Admission SOUTHWILLIAM BAR, 52 South William Street, Dublin 2 www.southwilliam.ie featuring: DJs: Rizm (Choice Cuts) & Colm K (Cork) hip-hop, funk, afrobeat, house

174 & HERTZ-U Present: MARCUS INTALEX [Soul:r] THE UNDERGROUND, WESTLAND ROW, D2. 19/12/09 DOORS 11:00 Support from 174 & Hertz-U Residents

Friday December 18th //// Prosumer @ The POD Harcourt St – Dublin 2 Doors – 11pm /// Tickets €12 www.Subjectevents.com CLIMAXXX @ SOUTHWILLIAM BAR 8:30pm-2:30am Free Admission SOUTHWILLIAM BAR, 52 South William Street, Dublin 2 www.southwilliam.ie featuring: DJs: Chewy & friends electro-global grooves Psychonavigation Records Xmas Party The Mezz The Twisted Pepper, Middle Abbey Street 9pm - 3am Admission 5 Euro ChoiceCuts present 'Echo Party' Launch featuring EDAN THE DEEJAY and special guest Ricky Powell

Want you gigs feature r d Just post th here? ee in the PHON vent iC.ie forums and we’ll automatica lly list them here, free of charge...

ph nic

Live listings

Friday November 27 //// HOMELIGHTS PRESENTS Adrian Crowley & friends (solo & collaboration) Upstairs @ Whelan’s, Friday November 27, 8pm Tix: WAV [lo-call 1890 200 078], Tickets.ie, City Discs, Road Records & Ticketmaster outlets nationwide Mundy Seamus Ennis Centre, Naul, Fingal, Co. Dublin. Doors 7.30pm /€20 Tickets from www.seamusenniscentre.com / 01 802 089 Messiah J & The Expert Richter Singles Club, Twisted Pepper, Dublin. Doors 8pm/€10 ticket price includes an extremely limited edition (200 copies only) two track 7" single on the night. www.messiahjandtheexpert.com Jenny Huston – In Bloom: Irish Bands Now (book launch), Tower Records, Wicklow Street, Dublin. 6pm: Book signing with bands TBC/ 7pm In-store acoustic sessions with bands TBC Admission: Free DUBLIN UNDERGROUND Line up tba - €10 Hosting over 100 gigs and 250 bands last year Dublin Underground proves that the underground music scene is very much alive and kicking and producing some great music in Dublin. Check listings nearer the date for a full line up. www.myspace.com/dublinunderground LATE BAR WITH DJ JOHN WALSH Whelan's Open Late 7 Nights a Week 25 Wexford Street, Dublin 2. Phone: 353-1 4780766 www.whelanslive.com

Saturday November 28 //// HOMELIGHTS PRESENTS ADRIAN CROWLEY, JAMES YORKSTON, ADEM, KATELL KEINEG, ALASDAIR ROBERTS Whelan’s, Saturday November 28, 3pm – 10.30pm Tix: WAV [lo-call 1890 200 078], Tickets.ie, City Discs, Road Records & Ticketmaster outlets nationwide Pod presents Ivan St. John + Funzo €10 Upstairs @ Whelan's Open Late 7 Nights a Week 25 Wexford Street, Dublin 2. Phone: 353-1 4780766 www.whelanslive.com

Sunday November 29 //// HOMELIGHTS PRESENTS VASHTI BUNYAN, ANDY IRVINE, ADRIAN CROWLEY w/ GEESE, MINOTAUR SHOCK, LORD CUT-GLASS & more Whelan’s, Sunday November 29, 3pm – 10.30pm Tix: WAV [lo-call 1890 200 078], Tickets.ie, City Discs, Road Records & Ticketmaster outlets nationwideMark Kelly and Mark Allton and playing a wide range of Soulful music for Dancing 10pm til 3am

Ultan Conlon Ultan Conlon - €8 Upstairs @ Whelan's Open Late 7 Nights a Week 25 Wexford Street, Dublin 2. Phone: 353-1 4780766 www.whelanslive.com IARLA Ó’LIONÁIRD with Steve Cooney and Graham Henderson Sunday 29th November, St Audoens, Dublin Special Guest Caoimhín Ó Raghallaigh (Dublin only) Iarla O'Lionáird (vocals) Steve Cooney (guitar) Graham Henderson (piano, electronics) Tickets 20 Euro including booking fee available from www.tickets.ie

Monday November 30 //// HOMELIGHTS PRESENTS DOSH, HULK & more TBC Whelan’s, Monday November 30, 8pm Tix: WAV [lo-call 1890 200 078], Tickets.ie, City Discs, Road Records & Ticketmaster outlets nationwide Keith Mullins, The Sugar Club, Dublin 2 Doors 8pm / Adm €10

Tuesday December 1st //// Eamonn Keane Whelan's Open Late 7 Nights a Week 25 Wexford Street, Dublin 2. Phone: 353-1 4780766 www.whelanslive.com

Wednesday December 02 //// THE WOUNDED KNEES + TAPING: AN INSTALLATION BY SOUTH STUDIOS Upstairs @ Whelan’s, Wednesday, December 02, Doors 8pm Tix: WAV [lo-call 1890 200 078], Tickets.ie, City Discs, Road Records & Ticketmaster outlets nationwide

Thursday December 03 //// Foggy Notions presents CASS MCCOMBS & special guest Goodtime John Whelan’s, Thursday December 03, 8pm Tix: WAV [lo-call 1890 200 078], Tickets.ie, City Discs, Road Records & Ticketmaster outlets nationwide Phone: 353-1 4780766 www.whelanslive.com

Friday December 04 //// EARLY DAY MINERS (SECRETLY CANADIAN) Upstairs @ Whelan’s, Friday December 04, 8pm Tix: WAV [lo-call 1890 200 078], Tickets.ie, City Discs, Road Records & Ticketmaster outlets nationwide The Tragically Hip, Tripod, Harcourt Street, Dublin 2 Doors 7.30pm Tickets €29.65 incl. booking fee from www.ticketmaster.ie

Whats the plan for Christmas Clive?

Im going to me Grans, du wanna come?

Monday December 14th //// HEFTY HORSE CLUB W/ THE CRAYON SET Whelan's Open Late 7 Nights a Week 25 Wexford Street, Dublin 2. Phone: 353-1 4780766 www.whelanslive.com

Sunday December 06 ////

Thursday December 17th

DEER TICK Whelan’s, Sunday December 06, 8pm Tix: WAV [lo-call 1890 200 078], Tickets.ie, City Discs, Road Records & Ticketmaster outlets nationwide Phone: 353-1 4780766 www.whelanslive.com

Whelan’s 20th Anniversary Concerts and Aiken Promotions present Damien Dempsey Whelan's Open Late 7 Nights a Week 25 Wexford Street, Dublin 2. Phone: 353-1 4780766 www.whelanslive.com

Wednesday December 9th //// U:Mack presents Dirty Three & Josh T Pearson [www.lukeslater.com] Whelan's u:mack's 15th birthday party Featuring BATTLES (Debuting new material from their forthcoming album) THE EX 65DAYSOFSTATIC !!! DJ's ADEBISI SHANK SKINNY WOLVES DJ's Thursday December 10 Tripod, Harcourt Street, Dublin 2 Doors 8pm till really late Tickets €35 From Sound Cellar, Road Records, City Discs, Sentinel & online at www.tickets.ie/umack Line up subject to change

Saturday December 12th //// Secret Affair Whelan's Open Late 7 Nights a Week 25 Wexford Street, Dublin 2. Phone: 353-1 4780766 www.whelanslive.com am.

Sunday December 13 //// KURT VILE & special guests TBC Twisted Pepper, 8pm Tix: WAV [lo-call 1890 200 078], Tickets.ie, City Discs, Road Records & Ticketmaster outlets nationwide Whelanslive.com presents Declan O'Rourke Whelan's Open Late 7 Nights a Week 25 Wexford Street, Dublin 2. Phone: 353-1 4780766 www.whelanslive.com

Tuesday December 15th //// RIG THE JIG Whelan's Open Late 7 Nights a Week 25 Wexford Street, Dublin 2. Phone: 353-1 4780766 www.whelanslive.com

Wednesday 16th December //// Tidal District Whelan's Open Late 7 Nights a Week 25 Wexford Street, Dublin 2. Phone: 353-1 4780766 www.whelanslive.com

Thursday 17th December //// LAND LOVERS, LIE-INS + I [HEART] THE MONSTER HERO Whelan's Open Late 7 Nights a Week 25 Wexford Street, Dublin 2. Phone: 353-1 4780766 www.whelanslive.com

Saturday December 19th //// Fight Like Apes, ‘Get In The Ring’ The Academy, Dublin 1. Doors 8pm / Adm €19.50 including booking fee Whelan’s 20th Anniversary Concerts and Aiken Promotions present Fionn Regan Whelan's Open Late 7 Nights a Week 25 Wexford Street, Dublin 2. Phone: 353-1 4780766 www.whelanslive.com

Want you gigs feature r d Just post th here? ee in the PHON vent iC.ie forums and we’ll automatica lly list them here, free of charge...

ph nic 21

ph nic 22

80%

Who wants off Laser Hair Removal? ph nic 23

If you donâ&#x20AC;&#x2122;t want the hassle of shaving or waxing ever again, then why not consider laser hair removal? At our medical clinic, we use the most sophisticated technology to quickly and safely remove unwanted hair forever. And now with 80% off treatments every Friday, thereâ&#x20AC;&#x2122;s never been a better time to get smooth hair-free skin. We treat all areas for both men and women. So put down the razor and pick up the phone! Call 01 2962747 today to book your free consultation.

01 2962747

www.venusmedicalbeauty.ie Heritage House, Dundrum Office Park, Dundrum, Dublin 14

FITZSI MON S TEMPLE BAR

BAR

VENUE

would like to wish everyone a Merry Christmas

& Happy New Year

NIGHTCLUB

ive

S LIN’ DUB 1 LUB NO HTC NIG

FITZSIMONS

DUBLINS NO1 PARTY VENUE SET ON 5 PULSATING FLOORS Drink and Dine al fresco at Dublin’s only open-air, heated, roof - top terrace RESTAURANT & FULL BAR

THE FITZSIMONS HOTEL, TEMPLE BAR, DUBLIN 2

Tel: 6779315

Live acts Bands & Club every night with Guest DJs & Late Bar Largest Plasma screens in Dublin showing all major sports events live on all floors

Fax:6779387 E: info@fitzsimonshotel.com www.fitzsimonshotel.com