The Skinny Scotland August 2014

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Scotland Issue 107 August 2014

COMEDY Tony Law Juliette Burton Kim Noble Mae Martin Natasia Demetriou Marcel Lucont Abigoliah Schamaun Trevor Lock Ellis & Rose Tim Key THEATRE Handspring Puppet Company Theatre of the Absurd Christeene Red Bastard Young Pleasance Fear and Loathing in Las Vegas The Curing Room THE PLEASANCE AT 30 Special 8-page supplement ART Jessica Harrison Paul Carter Where Do I End And You Begin Graham Fagen The Skinny Showcase Exhibition BOOKS Gruff Rhys Letters of Note The Moth Haruki Murakami MUSIC The Bug St. Vincent Trans Am The Last Big Weekend Electric Fields Adult Jazz J Mascis

I T 'S T HE FE S T I VA L! D O N ' T L O S E YO U R H E A D

CLUBS Rustie Erol Alkan Roman Fl端gel FILM Stuart Murdoch TECH Dare Protoplay Fringe Apps

MUSIC | FILM | CLUBS | THEATRE | TECH | ART | BOOKS | COMEDY | FASHION | TRAVEL | FOOD | DEVIANCE | LISTINGS

Regular Music supported by the National Theatre of Scotland in association with Richard Jordan Productions presents

From Fringe First Award winning playwright Peter Arnott and multi award winning director Cora Bissett (roadkill)

Assembly Checkpoint

31 July - 24 August (excluding Tuesday 12, 19)

8.50pm

P.62-63 Fiona Beveridge

P.45-52 Pleasance Supplement

RM HUBBERT WITH

EMMA POLLOCK

WED 20 TH AUG

2 SHOWS ONLY

EDINBURGH QUEEN’S HALL 0131 668 2019

SAT 23 AUG

o n sta g e 7: 3 0 p m & 9 : 4 5 p m

01 – 25 August

01 – 25 August

P.40 Owl John

Photo: Jassy Earl

0131 668 2019

P. 29 Letters of Note

August 2014 THURS 14TH AUG EDINBURGH CORN EXCHANGE

SAT 04 OCT

O2 ABC GLASGOW

Issue 107, August 2014 © Radge Media Ltd.

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Contents

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Editorial Editor-in-Chief Music & Deputy Editor Books Editor Clubs Editor Comedy Editor Deviance Editor Events Editor Fashion Editor Film & DVD Editor Food Editor Games Editor Tech Editor Travel Editor Theatre Editor Intern

Rosamund West Dave Kerr Alan Bett Ronan Martin Vonny Moyes Tasha Lee Anna Docherty Alexandra Fiddes Jamie Dunn Peter Simpson Darren Carle Cathleen O'Grady Paul Mitchell Eric Karoulla Alice McGurran

Production Production Manager Lead Designer

Eve Somerville Maeve Redmond

Sales Commercial Director Sales Executives printed on 100% recycled paper

Company PA Sales Director Publisher

Nicola Taylor Tom McCarthy George Sully Gillian Brown Kyla Hall Lara Moloney Sophie Kyle

In person from Ticket Scotland Glasgow/Edinburgh & Ripping Edinburgh and usual outlets

regularmusicltd

regularmusicuk THE SKINNY

Photo: Alisa Sutcliffe

Edinburgh Queen’s Hall

Contents 06 Opinion: Skinny on Tour; Shot of the

Month; Crystal Baws; Enter the Tonezone with Tony Law; Stop the Presses; What Are You Having For Lunch?

08

10

Heads Up: Your daily culture calendar FEATURES Fringe Comedy Guide: Most-talkedabout comic Kim Noble is back for 2014

11

Juliette Burton introduces Look at Me

12

A comedy class from Mae Martin Natasia Demetriou on her solo debut

15

A lover’s guide with Marcel Lucont Abigoliah Schamaun talks sex & love

16

In defence of the vanishing art of heckling by Trevor Lock Gareth Ellis eulogises the Fringe

18

Theatre Festival Guide: Big Wow on the enduring allure of Edinburgh

19

Handspring Puppet Company at EIF The Theatre of the Absurd

21

The rise of the solo show The art of collaboration

22

Dance theatre at the Fringe An ode to the theatrical misfits

24

43

Glasgow’s own world-renowned producer Rustie returns with new album Green Language

44

Belle & Sebastian’s Stuart Murdoch on directorial debut God Help the Girl

45

Pleasance at 30: An 8-page special Featuring Tim Key, Young Pleasance, Fear and Loathing in Las Vegas, the Curing Room, + the Charlie Hartill fund 2014

53

Trans Am reminisces about longevity

54

The Last Big Weekend closes Glasgow’s East End social with Mogwai, Hudson Mohawke + many more

56

Erol Alkan talks genre blurring

57

Dinosaur Jr’s J. Mascis introduces new solo album Tied To A Star

58 Dare Protoplay indie games festival arrives in Dundee

59

LIFESTYLE Travel: A holiday from health

61

Showcase: Going live in Creative Exchange with four graduate artists, part of EAF

64

Fashion: Scottish Fashion Awards + The Pursuit of Beauty

A guide to the apps that will guide you around the Edinburgh festivals

65

Deviance: Breast Censorship + Egg Donation

25

Kevin Martin, aka The Bug, on his return with Angels & Devils

67

Food & Drink: Fringe Preview, Food News, Phagomania + Craft Beer Rising

26

Book Festival Guide Live literature with The Moth

71

27

Gruff Rhys of Super Furry Animals fame brings his American adventure to the Book Festival

REVIEW Music: Grumbling Fur, Adult Jazz, August live highlights + reviews of all the latest releases

79

Clubs: Featuring Roman Flügel, Vitamins DJ Chart + August highlights

81

Tech: Sebastian Errazuriz + Indiegogo patronage

82

Film & DVD: Reviews & August events

83

Books: August releases in review

84

Theatre: What happened in July with Bard in the Botanics, The River + more

85

Art: Andrew Gilbert + 1 Royal Terrace

86

Competitions: Win. Things.

87

Listings: Art, Music, Clubs + Glasgow Comedy + Theatre

29

Letters of Note go Live – masterminds Simon Garfield and Shaun Usher tell us what to expect

32

Haruki Murakami: A bluffer’s guide

33

Annie Clark, aka St. Vincent, on playing with Nirvana and the hurricane of touring

35

Art Festival Guide: Where Do I End and You Begin. A vast Commonwealth exhibition arrives in the capital

36

Sculptor Jessica Harrison rejects the grotesque with her china figurines

38

A look at the much-anticipated celebration of the work of Paul Carter in ESW

39

Artist Graham Fagen talks cultural identity

95 Top 5s: The best of the fests

40 Scott Hutchison introduces solo effort Owl John, his new album and respite from Frightened Rabbit

August 2014

Contents

5

Editorial ello and welcome to our August issue, aka the biggest issue of The Skinny yet, including more than sixty features on topics ranging across the world of culture. Seeing as there are all those festivals and that, we thought it was a good time to go full on bonanza with our coverage. You’re welcome.

Given the sheer volume of amazing articles we’re talking about, and the vast wealth of experience awaiting you outdoors in the unexpected sunshine, I’ll keep this quick. On our cover you will see a lovely sculpture by one Jessica Harrison, interviewed on p36 and exhibiting this month in Jupiter Artland. Her work has already caused an online furore, and now you can find out about her inspirations here, and then see them in the horrifying flesh in a country park outside Edinburgh.

It’s a busy month for art round here, as we gear up to launch our first Edinburgh Art Festival exhibition, aka The Skinny Showcase Goes Live.

Since 2008, we’ve been selecting an artist from each of the degree shows in Edinburgh, Glasgow and Dundee and showing off their work in the magazine. This year we’re taking that into the real world with a graduate showcase down in Leith’s Creative Exchange gallery, and adding in a graduate from Gray’s in Aberdeen for good measure.

Turn to p61 to find out more about the talented young artists involved.

Elsewhere in our EAF coverage, we look at a retrospective of late sculptor Paul Carter, chat to next year’s Scotland + Venice representative Graham Fagen, and try and convey the sheer breadth of Where Do I End And You Begin, bringing together a host of artists and curators from around the world to explore a myriad of concerns in a post-colonial Commonwealth.

In Comedy and Theatre we valiantly attempt to distill the many competing voices of the festivals guide into one (per section) manageable chunk. May we present… The Flavour Wheels! Our section editors have pored over all those event guides and whittled them down into their constituent genres, beautifully illustrated by Louise Lockhart to present a palatable summation of the acts on offer. In summary, it will tell you what to see if you like, for example, storytelling comedy, as exemplified by Eddie Izzard. Answer? Tony Law. Turn to page 10 for more, and to be gently guided

into our Fringe coverage.

We also celebrate the 30th birthday of festival mainstay the Pleasance with a special pull-out supplement in our centre pages looking forward to their 2014 programme, while acknowledging what a major contributor they have been to the spirit of Edinburgh in August. We talk to comedian Tim Key about being a slut in a hut, and look at some of the emerging talents being directly supported by Pleasance initiatives this year.

For the Book Festival, we’re sponsoring a couple of events, namely the Super Furries’ Gruff Rhys introducing his new book, and Letters of Note taking their celebration of the written word into the live arena, so we spoke to them about what they have planned. In other coverage, we find out more about much-celebrated NY live night The Moth, pitching up over here for a night, and offer a crib sheet on greatest living Japanese author Haruki Murakami, tickets for whose event are like gold dust.

In the world of Music, not to be outdone, we have a succession of exclusive interviews with many people whose names happen to include the prefix Also Known As. There’s (deep breath) Annie Clark aka St Vincent, The Bug aka Kevin Martin, Rustie aka Russell Whyte, and Owl John aka Scott Hutchison. We also have words with Trans Am’s Sebastian Thomson ahead of the release of their tenth studio album, Dinosaur Jr’s J Mascis, preparing to launch his latest solo album, plus words with Grumbling Fur and an introduction to Adult Jazz.

On the clubbier end of the musical spectrum, revered DJ Erol Alkan talks about being well into his indie, while Frankfurt-based producer Roman Flügel introduces his second album, Happiness is Happening. Film eventually managed to track down Belle & Sebastian’s Stuart Murdoch for a chat about his long-awaited directorial debut, God Help the Girl, and Tech this month relaunches in print with a look at some creative uses of technology at the Fringe, and an interview with some of the folk behind Dundee’s Data Protoplay festival.

And so our whistle stop tour of our quite frankly massive August issue comes to an end.

Turn to the Contents page for a map of where everything is or simply read on. Aka I’ll stop now.

[Rosamund West]

Rick Redbeard

THE PLEASANCE SESSIONS RETURN Following the success of last year's debut programme, which brought together a rich combination of musicians, promoters, record labels and publications, we're pleased to announce that The Pleasance Sessions will return for a ten night run this coming autumn, from Thursday 9 until Saturday 18 October.

We had such a ball last time that we've gone and put together another night of live music for you folks; on 18 Oct, two of the most remarkable Scottish groups of recent times are set to appear on the same bill for the first time as The Phantom Band (playing their first Edinburgh show in some years) and Remember Remember cherry-pick from their respective third albums, with Edinburgh psych rock duo Birdhead and special guests to be announced in the coming weeks. Another booking we're particularly looking forward to is The Twilight Sad, who (alongside Hidden Orchestra) will be kicking off the festival on 9 Oct with a rare, stripped down performance of songs from their as-yet untitled fourth album

Photo: Beth Chalmers

H

(due for release this autumn).

Elsewhere among the curators, the likes of Glasgow-based indie folk titans Olive Grove Records, The Insider Festival, Neu Reekie, The List and our neebar Vic Galloway have assembled a gathering of contemporary Scotland's finest bands, poets and filmmakers for gigs and discussion. The full line-up and tickets are available at dustymoose.co.uk. The Pleasance Sessions were recently shortlisted in the 'Best Small Festival' category of the Scottish Event Awards.

WANNA BE THE NEXT ENO/DRE/ SPECTOR/SAVAGE?* Chem19 Recording Studio, based just outside Glasgow, is now open for applications for its audio engineering course ‘SoundLAB - Engineering & Production In Practice’ which is due to start in October. The part time course lasts for 9 months and is the perfect opportunity for young engineers to get hands-on experience and build towards a career in music technology and production. Applicants must be 18-25 and be resident in Scotland. Nominal course fees apply. Application deadline is 31 August 2014. For more information visit chem19.co.uk. SoundLAB is supported by Creative Scotland. * Delete least favourite producers as appropriate.

ONLINE ONLY We ventured to the idyllic Isle of Eigg for Lost Map Records’ Howlin’ Fling in the middle of July and left convinced that this is the way forward for live music. Read our full verdict and the latest reportage from the frontlines of this year’s big jamborees, visit theskinny.co.uk/music Head to the website for daily reviews from Edinburgh’s many festivals, taking in the Fringe, International Festival, Book Festival, Art Festival and much more besides. theskinny.co.uk INTRO TO SKINNED, OUR NEW DJ MIX SERIES Oh, did we not say? We do podcasts now (again).

Our inaugural mix in the series we’re calling Skinned came from Tabernacle co-founder Andrew Ingram. Manchester’s Garth Be was good enough to serve up the second course.

Skinned #2 sums up his style to a tee, so head over to www.theskinny.co.uk/clubs and take an hour to feast on his fine selection of twinkling keys, warm pads and murkier moments designed for the witching hour and beyond. Pure heat.

Shot Of The Month Metronomy at T in the Park, 13 Jul by Jassy Earl

The Skinny On Tour

This month’s jet-setting Skinny reader headed east, to a city whose architecture feels ancient but is in fact relatively new – it’s known as the ‘phoenix city’, given that it’s survived so many wars throughout its history, including the Second World War, where 85% of its buildings were destroyed.

For your chance to win one of Charles M Schulz’s The Peanuts Guide to Life books (we’ve The Philosophy of Snoopy, The Genius of Charlie Brown, The Wisdom of Woodstock and Life Lessons from Lucy to give away), courtesy of our friends at Canongate Books, just head over to the theskinny.co.uk/about/competitions and tell us were you think our reader went on holiday.

Competition closes midnight Sun 31 Aug. Winners will be notified via email within two working days of closing and will be required to respond within 48 hours or the prize will be offered to another entrant. Full Ts&Cs can be found at www.theskinny.co.uk/about/terms

6

Chat

THE SKINNY

Enter the Tonezone Dive into the zone of Tony Law for a brand new show of life-affirming, life-changing comedy from the multi award-winning nonsense maker

With Mystic Mark

ARIES In a bid to convince your new neighbours that they needn’t worry about you, you invite the whole street round for tea, biscuits and a three-hour Powerpoint presentation detailing all the times you could have murdered a child, but didn’t. As they leave, evidently reassured, you warmly hand them each a laminated dossier about all the dogs you haven’t skinned.

Bumblebees provide the smoothest ride

You're hurtling down a hill in a giant wooden shoebox (coffin) with your partner.

Are you...

Screaming

Crystal Baws

True

Citizen of earth or a/some nation(s)?

False

Kissing

Earth

Nation(s)

You have Marcus Aurelius alone for 2 hours. What sports do you teach him?

Tennis

You're in a bar fight.

Who do you prefer on your side – a hungry bear who interprets you as her cub or a tiger who could turn?

Shouty bollocks?

Javelin

Yes

No

Bear

TAURUS You insist that you’re not a premature ejaculator; you’re just incredibly efficient.

GEMINI In a bid to escape the crushing heat, you prepare a tray of refreshing ice dildos in the freezer.

Tiger

CANCER As a proud supporter of David Icke, you believe the only way to end the global reptilian conspiracy is to force the shapeshifters to wear yellow badges while out in public.

If you eat meat are you happy to consider its slaughter?

Vikings

Vikings or Romans?

Do you wear a summer coat in the winter?

Romans

No

Yes

Both good

No

Yes

LEO I would tell you the results of your AIDS test, but I don’t want to spoil the surprise.

VIRGO Wanting to move house, but lacking funds, you cram each room with enormous quantities of rotting meat and maggots before welding the doors and windows shut. At the helm in your sealed off control room you await the hatching and before long your home is alive with the cacophonous buzz of forty million bluebottles. The immense lift generated causes the foundations to crack and you whoop with delight as the writhing black engine pops your house from its crater, floating like a brick balloon in the grey Glasgow sky. But no sooner have you left the ground, the pressure gauge alarm sounds and the shuddering door bursts off its hinges, unleashing a solid swarm of fizzing hell into the room and instantly smothering you in a crunchy ocean of thick horror. With your skeleton still at the controls the insatiable, sentient death house flies off into the sunset in search of fresh victims.

Tony Law has no right to decide the right answer to any of these questions

False

Are manners worth the effort?

True

Yes

No

Great job dude! Your application has been accepted. Enter the Tone Zone will commence daily at 12.10pm at The Stand III this August.

I appreciate you're not just trying to please me. I respect that. Everyone is welcome in the Tone Zone!

Come in – 12.10pm daily at The Stand III this August

LIBRA They say you have to learn to love yourself before anyone else can love you.

Sadly, this month you snap your hard-on while trying to bend it up your bumhole. Nobody will ever love you now.

SCORPIO Your shed is a hive of activity this month as you complete a working prototype of your goat fucking machine.

This month's cover image was provided by sculptor Jessica Harrison, who you will find interviewed on p36. The work was photographed by Chris Park.

Chris Park graduated with an honours degree in Fine Art from Duncan of Jordanstone College of Art and Design in 2006. During the course of his study, his interest shifted from painting, to graphic arts and finally rested in photography. www.chrisparkphotography.com

August 2014

www.jockmooney.com

SAGITTARIUS God doesn’t believe in you either.

CAPRICORN The only disability in life is a bad attitude. That and not having any legs.

AQUARIUS See last month.

PISCES For a Buddhist you really can be quite an inconsiderate prick.

Opinion

7

Compiled by: Anna Docherty

In this our biggest issue ever, Heads Up is suitably beefy – taking you right through from the end of July, to the beginning of September, via an Edinburgh Festival pick or twenty. For even more of our handselected picks o' the bunch, see our listings top 5s at the back of the mag (page 95)

Wed 30 Jul

Thu 31 Jul

The literary lovelies at Rally & Broad host their very first Poetry Slam over two nights, kicking off on the Tuesday with some of Scotland's finest spoken word artists dukin' it out in the hope of securing themselves a place in the following night's final – where the chosen four will then present mini sets in front of a live audience and judging panel. Tron Theatre, Glasgow, 29 & 30 Jul, 9.15pm, £5

All-vegan Glasgow haven of cool, Mono, transforms into a Mexican cantina for one evening only – under the banner Cantina Psicodélica – with the kitchen's head chef serving up a special super-spicy menu inspired by hot dishes from across the globe, complemented by a DJ soundtrack of heavy beats (y'know, for dancing off the chili sweats). Mono, Glasgow, 7pm, free

Made by award-winning director Virginia Heath entirely of Scottish archive footage, From Scotland With Love gets a special outdoor airing on Glasgow Green (as part of the Glasgow 2014 shenanigans), accompanied by a transcendent live score from yer man King Creosote (who produced the film's soundtrack). Glasgow Green, Glasgow, 7pm, free

Rally & Broad

Mono

From Scotland With Love

Tue 5 Aug

Wed 6 Aug

Thu 7 Aug

Fri 8 Aug

Made in response to the emotive debate around the installation of trams in Edinburgh's city centre, playwright Joe Douglas takes to the Fringe for a revised run of his Bloody Trams piece – for which he's gathered new commentary from the good folk of Edinburgh to inform a charged piece of verbatim music theatre (aka tram rantin'). Traverse Theatre, Edinburgh, 5-10 Aug, £10 (£8)

Providing a home for the risky and experimental, Forest Fringe kicks off its artist-led run of events – with highlights including Bryony Kimmings and Tim Grayburn's comedy show about depression, Fake It Til You Make It, and Greg Wohead's The Ted Bundy Project, based on the found confession tapes of Ted Bundy. Out of the Blue Drill Hall, Edinburgh, 6-17 Aug, free (but ticketed)

Following its two million buckaroos makeover, Kelvingrove Bandstand plays home to Summer Nights Festival – an open air gig programme kicking off with gravelly-voiced songsmith Steve Earle, before taking in Scottish rock unit Teenage Fanclub (15 Aug), longstanding new wavers Squeeze (16 Aug), and more. See listings.

Kelvingrove Bandstand, Glasgow, 7-16 Aug, various prices

Chemikal Underground instrumental guitar virtuoso and 2013 SAY Award-winner (plus 2014 nominee) – erm, that'd be RM Hubbert, by the way – plays an intimate set in Rutherglen Town Hall as part of East End Social, cherrypicking from his ‘Ampersand Trilogy’ of albums (First & Last, Thirteen Lost & Found and Breaks & Bone).

Rutherglen Town Hall, Glasgow, 7pm, £12

Kelvingrove Bandstand

RM Hubbert

Joe Douglas (an' a tram)

Bryony Kimmings

Fri 15 Aug

Marking what will be their last show as a unit, Meursault (aka the howlin' tones of Neil Pennycook and a his collaborative ensemble of players) bow out with what promises to be one helluva swansong – curating a night of indy local talent, joined by sludge-pop quartet Plastic Animals and some guests they're cheekily keeping under wraps. The Queen's Hall, Edinburgh, 7pm, £12

Seattle's drone godfather Dylan Carlson and his Earth chums make an all too rare return visit to Scottish soil, alighting at the CCA in celebration of the release of their tenth studio LP, Primitive & Deadly. for which punters will be treated to a characteristically lush set of barely-there drumming, droney textures, and minute guitar licks. CCA, Glasgow, 7pm, £14

Returning for s'more zombie-themed action, interactive chase game 2.8 Hours Later takes to a secret Glasgow location over two weekends (15/16 & 22/23 Aug), where attendees will be tasked with collecting supplies for their survival, before returning to the safety of the asylum. Ticket also gets you entry to the Zombie Disco after-party, obvs. Secret location, Glasgow, from £33

Meursault

Earth

Wed 20 Aug

Thu 21 Aug

Fresh from Belladrum Festival, as well as a dalliance further afield at Slovakia's Grape Festival, reverb-drenched Glaswegian popsters Holy Esque take to Sneaky Pete's basement to celebrate the fact they're finally in possession of an LP's worth of material – having recently returned from recording sessions in Copenhagen with Jon Schumann. Sneaky Pete's, Edinburgh, 7pm, £6

Those kings and queens of modern folk, Trembling Bells, arrive in town fresh from having just finished their tour of Canada and Europe – currently also in the midst of recording a new album and music video, and bolstered by a newly-recruited 5th member (in the form of Alasdair Mitchell from Hidden Masters). Expect bells'n'whistles. Sneaky Pete's, Edinburgh, 7pm, £6

Fledgling Glasgow craft brewers Drygate Brewing Co. host the August Vintage Beer Club, an exclusive session (open to only 40 folk) where one of their craft beer aficionados will guide you through a selected beer type – this edition American Craft Beer – before discussing its history, sampling examples, and generally critiquing its hoppy merits. Drygate Brewing Co., Glasgow, 7pm, £20

Holy Esque

Photo: Ross Gilmore

Tue 19 Aug

Trembling Bells

Photo: Crimson Glow

Thu 14 Aug

Photo: Martin Senyszak

Wed 13 Aug

2.8 Hours Later

Drygate Brewing Co.

Tue 26 Aug

Wed 27 Aug

Thu 28 Aug

The musical clubber's delight that is Milk ventures out of its Glasgow home for a special Fringe Festival Closing Party over in the 'burgh – joined by returning guests of the tropical thrash variety, PAWS, alongside Lady North on support. Plus, since it's a Milk shindig, there'll be all the milk-based cocktails you can tank before turning green. Hurrah. The Electric Circus, Edinburgh, 8pm, £6

Imbued with a magpie-like ability to mix rock and pop lineages at will, talented New York lass Annie Clark (aka St. Vincent) tours her self-titled gem of a new LP – as part of her sprawling Digital Witness tour – hitting up Glasgow for her rescheduled date, with her live band on hand to conjure intense layers of sound as she knocks hell outta her guitar. O2 ABC, Glasgow, 7pm, £16.50

Possessing more nous than the puerile name might suggest, New Jersey outfit The Front Bottoms hit up King Tut's for a set of their acoustic-cum-indie-cum-dancecum-punk – packaged up with a glut of catchy choruses, an often-galloping pace, and lyrics that mix flip humour with sincerity. Support comes from Canadian punk-rock quartet, Pup. King Tut's, Glasgow, 8pm, £8

DJ young guns Beta & Kappa hit Edinburgh's Cabaret Voltaire for for their i AM Thursday night residency, this edition making the most of the 5am festival license by inviting Franz Ferdinand's Paul Thomson into their lair – playing a guest set of dancefloor-ready beats (aka crawl home on your knees at sunrise you shall). Cabaret Voltaire, Edinburgh, 11pm, £4 (£3)

Lady North

8

Chat

Photo: Pete Dunlop

Mon 25 Aug

St. Vincent

The Front Bottoms

Paul Thomson

THE SKINNY

Photo: Euan Robertson

Heads Up

Tue 29 Jul

Sat 2 Aug

Sun 3 Aug

Mon 4 Aug

In celebration of our long-running visual art showcase, we take to Edinburgh Art Festival for a The Skinny Showcase exhibition (31 Jul-31 Aug) – taking in four emerging artists fresh from degree show: Melanie Letore from GSA, Fiona Beveridge from ECA, Caitlin Hynes from Gray's, and Edward Humphrey from DJCAD. Evening preview 6pm8.30pm. Creative Exchange, Edinburgh, 6pm, free

Making his own DIY mark on Edinburgh-Festivaleverything, local label owner and blogger Song, By Toad takes to Henry's diminutive basement for The Pale Imitation Festival – an all-local programme of live music, including Adam Stafford, Deathcats, Rick Redbeard, LAW, and a bounty more. See listings. Henry's Cellar Bar, Edinburgh, 2-30 Aug, 7pm, £5 (£25 pass)

As part of the Scotland Can Make It! project – for which six artists were commissioned to make souvenirs for the Commonwealth Games – food historian Ivan Day takes inspiration from Katy West's ceramic jelly mould souvenir to showcase a series of historic moulds, plus specially-moulded recipes for sampling. To sum up: jelly! South Block, Glasgow, 6pm, free (but registered)

Inspired by Georges Perec's book An Attempt at Exhausting a Place in Paris (for which he recorded three days in a Parisian cafe), Alice Finbow takes to cake haven The Manna House to record a week's goings on, before turning them into a display of drawings, photographs, texts of conversations, and presumably sugary crumbs. The Manna House, Edinburgh, 4-31 Aug, free

Adam Stafford

Fiona Beveridge

Photo: Iona Spence

Fri 1 Aug

The Manna House

Katy West, jelly mould

Sat 9 Aug

Sun 10 Aug

Mon 11 Aug

Tue 12 Aug

Bringing the lost art of letter writing back to life, Simon Garfield, Shaun Usher, and a host of performing pals take to the book festival for Letters Live – reading aloud such lost gems as Elvis Presley's note to Nixon requesting FBI agent status, Iggy Pop's heartfelt response to a desperate fan, and a wartime love affair conducted entirely by post. Charlotte Square Gardens, Edinburgh, 8pm, £10 (£8)

The book fest's Unbound late night programme returns, opening with a curated showcase from Glasgow's The Empire Café (a cultural 'café' created by Louise Welsh and Jude Barber), before taking in Reel Arts' celebration of Syrian writing and music, a Jim Lambie Poetry Club popup, an evening with James Yorkston and pals, and more.

Charlotte Square Gardens, Edinburgh, 10-25 Aug, free

E'er keen to muscle in on the Fringe action, Glasgow's The Stand entice Robert Newman along the M8 for an airing of his first show in seven years (in between his 22-date Edinburgh run, that is) – Robert Newman's New Theory of Evolution – telling of a series of personal disasters and flukes that led him to stumble upon a new theory of evolution. The Stand, Glasgow, 8.30pm, £12 (£10)

The Trav's Breakfast Plays – aye, as in a play with yer butty – returns to brighten the festival morns, featuring the premiere of six plays commissioned following the Traverse Fifty project, from playwrights Tim Primrose, Sylvia Dow, Martin McCormick, Alison Carr, Molly Innes, and Lachlan Philpott. Presented script-in-hand. Traverse Theatre, Edinburgh, 12-24 Aug, £14 (with breakfast)

The Empire Café's Louise Welsh and Jude Barber

Letters Live

Sat 16 Aug

Sun 17 Aug

Mon 18 Aug

Welcoming some of the cream of Edinburgh Fringe comedy to the west – under the banner 'Best of the Fest in the West' – the four-strong line-up of Frisky & Mannish, Jarred Christmas, Gamarjobat, and Abandoman head Glasgow-way for a bit of Fringe respite, making merry under the watchful eye of compere Stephen K Amos.

Kelvingrove Bandstand, Glasgow, 1pm, £10

Marking a big year for Scotland identity-wise, touring film season To See Oursels dig out Danny Boyle's generationdefining Trainspotting for an airing, accompanied by an introduction by Dr Jonny Murray, Senior Lecturer in Film and Visual Culture at Edinburgh College of Art, exploring the film’s assertion that it’s shite being Scottish. Glasgow Film Theatre, Glasgow, 5pm, £8 (£6.50)

Running as part of Edinburgh Art Festival, in collaboration with Glasgow 2014, Where Do I End and You Begin (1-31 Aug) gets a special curators' tour – led by Agnes Gryczkowska, Curatorial Assistant for Edinburgh Art Festival, who'll introduce the exhibition and its themes, exploring common wealth via 20 different artists' work. City Art Centre, Edinburgh, 3pm, free

Frisky & Mannish

Traverse Theatre

Robert Newman

Shilpa Gupta, Where Do I End and You Begin, 2012

Trainspotting

Fri 22 Aug

Sat 23 Aug

Sun 24 Aug

Gruff Rhys pops up at Edinburgh International Book Festival to showcase the book accompaniment to his new doc, American Interior – a solo chronicle retracing a journey to the US made by Snowdonia farmhand John Evans, for which Rhys performed gigs everywhere from Philadelphia to Pittsburgh along the way.

Charlotte Square Gardens, Edinburgh, 8.30pm, £10 (£8)

For those of you looking to up your music festival quota this summer, boutique affair Doune The Rabbit Hole returns for what will be its fifth annual outing – awash with a stellar line-up of local acts, including Errors, RM Hubbert, Ela Orleans, Adam Stafford, The Birthday Suit, Hector Bizerk, and more, plus a smattering of guests from afar.

Cardross Estate, Stirlingshire, 22-24 Aug, £90 weekend

The Visual Artist Unit – a fledgling, artist-led Community Interest Company supporting emerging artists – host a special evening preview of their first ever members' show, which then has its one-day opening the following day (noon-8pm), with the exhibiting artists on hand to invigilate and answer questions about their work. The Old Hairdressers, Glasgow, 6pm-9pm, free

Paul Corbett

Ela Orleans

Gruff Rhys

Sat 30 Aug

Sun 31 Aug

Mon 1 Sep

Following a July voyage with The Martinez Brothers, the Sensu electronic specialists set sail for the Sensu Boat Party Part II – this time joined on the high seas (well, the River Clyde) by Bristol producer Eats Everything, still busily reinventing house music for C21. Sub Club then take care of the official after-bash from 11pm.

Leaves from Glasgow Science Centre, Glasgow, 7pm, £28

East End Social draws to a close with The Last Big Weekend – taking in a Mogwai headered all-dayer on the Saturday (joined by Fuck Buttons, Young Fathers, The Wedding Present, and more), before Optimo and Numbers curate a nine-hour DJ rammy on the Sunday, joined by Hudson Mohawke and pals. Richmond Park, Glasgow, 1pm, £38.50 (or £70 weekend)

Marking the official au revoir to the Edinburgh Festival, the centre of town comes to life in the usual pyrotechnic style for the annual Festival Fireworks Concert.

Punters can either do it fancy style (by booking a ticket for Princes Street Gardens) or on the cheap (by, y'know, standing on Princes Street with everyone else). Princes Street, Edinburgh, 9pm, £12.50 (or free)

A singer/songwriter both simultaneously shy and fearless, experimental Seattle-based musician Mike Hadreas (aka Perfume Genius) takes in Glasgow as part of his current mini tour of the UK and Europe – his emotive vocal delivery so intense and intimate it's been known to induce a pin-drop stillness in't crowd. CCA, Glasgow, 7pm, £12

Eats Everything

August 2014

Mogwai

Photo: Ross Gilmore

Fri 29 Aug

fireworks

Perfume Genius

Chat

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Reaching Out 2014 sees the return of Kim Noble, 2009’s most talked about performer. We find out what’s in store

K

im Noble might seem like a comedic misanthrope but his show You Are Not Alone is one of the most ambitious and anticipated shows this festival. And he doesn’t care if you like it or not; just that you connect with it – whatever that means for you.

He is a professional antagonist as much as a comic. A mandatory traipse through the YouTube memory banks unearths his 2011 Channel 4 program: Noble and Silver. Where he and Stuart Silver brought their disorienting stage aesthetic to the idiot box: weaving interviews, cartoons and sketches together, akin to Chris Morris’s Jam or Tim and Eric’s work – without the amphetamine shrillness. A stroll through his website is the best intro; an archive of projects that revolve around his usual themes, with the acerbic edge ever-so-gently buffed. Among podcasts, stopmotion animation, and short films, there’s his Pinterest account: Close Ups Of People on the Bus, documenting fragments of global transit with surprising grace.

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Interview: Cayley James Illustration: Louise Lockheart

It’s hard to know what to expect. Our interview was conducted via a dodgy Skype connection; the chances of a pixelated car crash more likely than an erudite debate on the poetics of the one-man-show. But the man who appeared on the other end of the line was laid back, selfdeprecating and spoke candidly of well choreographed hecklers (“Although I don’t encourage this – there was a time down here [in London] where six people bought tickets for a show and stood up, in sync and said : ‘Kim Noble you’re a fucking wanker’ and all walked out. Now that’s dedication to a cause.”), his morbid fascination with the internet (“I found myself buying egg timers for an ex-girlfriend who lives in America who I haven’t seen in three years because I found her wedding registry.”) and his fear of returning to the Fringe.

Noble was last here in 2009 with Kim Noble Will Die, a show that dealt frankly with suicide and mental illness. Combining performance art, video and standup, he created a successful

critical cocktail. Is he excited about coming back?

“Not excited at all and very worried,” he responds, throwing his head into his hands. “I’m not very good at performing at all and the nature of the show is that it’s not for everyone.”

Edinburgh was previously kind to him, but that’s little consolation. He balks at being called successful. “I don’t feel successful in any way or form. I feel like I’m starting out again. It’s not like I’m living in a yacht off the south of France or got a film commision from the last show,” he says.

But, “I am lucky to be offered a theatre and to tell this story in front of people. And you can get away with stuff live more so than you can on television or film. There is also that immediacy of contact that is attractive and terrifying all at the same time.”

When asked about the show, he sighs and quickly summarises: “I suppose it’s a bit of a fucked up way to connect with people… a desperation to connect with people. The starting point

COMEDY

is isolation, but it’s finding ludicrous ways not to be isolated. Like befriending your cashier in the supermarket for two years, or getting friendly with the takeaway guy, meeting people on the bus or you know talking to people via made up personas on the internet.”

Noble’s been testing the show in Europe, fine tuning it for its Edinburgh premiere. There is an intimacy I can see being uncomfortable for many, and his work can “ring alarm bells for people.”

On 19 August, Noble will attempt to connect with Fringe audiences; shaking us from our tunnel-vision world; showing us that relationships with strangers and people on the peripheries seem absolutely necessary. As much as we think we’re alone – especially in buzzing metropolises – we most definitely aren’t. And Kim Noble is the one paying attention.

Kim Noble: You’re Not Alone, Traverse Theatre, 19-24 Aug, 11.15pm, £7-19

THE SKINNY

"It's all about perception" Returning to the Fringe with Look At Me, a new one-hour show featuring prosthetics, hijab and nudity, Juliette Burton explains why it’s crucial for comedy to start discussions

Interview: Vonny Moyes

I

t’s a rare find on the Fringe: a show with a heart.

And not just that – this one’s got soul too.

Comic, actress and journalist Juliette Burton has traipsed the yellow brick road, and has emerged from Oz with a show brimming with a sense of self and purpose, creating an original piece of docucomedy like no other. Last year’s When I Grow Up took audiences on a harrowing autobiographical trip through her darkest times, exposing her life as both a recovering anorexic and mental illness sufferer, yet without robbing from the laughter or scrimping on the seriousness of the message.

Juliette seems to have an innate knowledge of the golden ratio that leaves crowds both wowed and feeling better about life.

2014 sees the birth of Look at Me, Juliette’s second ambitious solo hour on the Fringe in a show that considers perceptions and appearances in a way that comedy has so far failed to address. There will be music, prosthetics, hijabs, octogenarianism and nudity in an hour that will tickle you while questioning how we see others and ourselves. In the spirit of such frankness, I took the opportunity to ask Juliette about her relationship with body image, entrenched cultural stereotypes, and comedy’s role in challenging an audience.

“I was a very overweight child with goofy teeth and B.O. problems – just charming for a pre-pubescent. Then when puberty hit, ‘it’ hit the fan. I learned to hate my body and distance myself from it. I struggled badly with anorexia and compulsive overeating which led to me going from four stone to nineteen stone in the space of a few months. I was sectioned and in and out of hospital many times in my teens and early 20s.

“I started getting tired of being judged on my appearance – whether I was fat, thin or healthy-looking. ‘How can you be struggling – you look like you’re coping so well.’ And the more I spoke to friends with physical disabilities or illnesses or mental health problems the more I realised that none of us are what we seem.

“Like any performer or Edinburgh Fringe show – it’s all about perception. How we’re perceived by other people is rarely how we perceive ourselves. We’re all putting a certain image out there – a façade. How true that image is (or not) is down to how brave we want to be. I’d like to try and play with that; tear it down a bit and get people thinking.”

At this point the interview reaches under my skin, in a way that no conversation with a comic ever has. Sure, it’s no great secret that comics often unwillingly sup from the murkiest pools of the human pysche, but the earnestness of Juliette’s confessional probes at something I’ve done my best to lock away: an almost lifelong relationship with an eating disorder and all the unpleasant mental trimmings that go with it.

This resonates; and it won’t be with just me. I ask her about harmful stereotypes and how that’s shaped her life so far.

“When I was first diagnosed with mental health problems I encountered a lot of prejudice and people pandered to stereotypes – for example, in the workplace. I felt as though people assumed I couldn’t do a good job if I had these ‘episodes’ of depression. Or when my eating disorders were first diagnosed, some people thought it was ‘just attention-seeking.’ The worst thing is that this kind of attitude means you end up feeling more isolated, more alone, less likely to reach out and more uncertain that those attitudes are wrong.”

“It was only when I worked for the BBC that I was actively asked how they could help me best manage my issues; when I started being offered

August 2014

support even when I wasn’t aware I needed it; that was when I started to really fulfill my potential.

“And as a woman I get a lot of people treating me in a stereotyped – everyday sexism, casual misogyny – way, but I’ve got more fellow feminists who also, like me, have fun in subverting expectations people have of ‘girls.’ I’ve held Miss Piggy up as a great role model – feminine and feminist at the same time. I’m keen to use that same moxie to challenge people’s views of those with mental health problems, physical differences… and my own self-stigma, too.”

In a show that wears the shoes of so many often stereotyped identities, I’m keen to know if the investigative process unearthed any prejudices of her own.

“I’ve held Miss Piggy up as a great role model” Juliette Burton

“Actually, yes. It surprised me. I was extremely careful on Sexy Day (when I dressed revealingly) and Hijab Day (when I wore the hijab) and Fat Day (when I returned to my obese self) to avoid any prejudices or cheap gags. I also researched heavily into the Everday Sexism campaign and the #YesAllWomen campaign to be as informed as possible about the experiences I encountered. And on Hijab Day I wanted to be as

informed as possible before dressing that way so I spoke with a Muslim Women’s Association.

“But when it came to Old Day I realised I was more than happy to pretend I was confused or make jokes about having Alzheimer’s. When I realised how I was behaving I was shocked at myself.

Why did I stoop to that level of assuming all older people get like that? It was probably because I’m scared of ageing, scared of becoming like that or those I love becoming like that. So joking about it, like with all scary things, kind of lessened the fear.”

Knowing the extraordinary lengths gone to to prepare the show, after extensively touring her previous one, it’s incredible to think Juliette has managed to create not only a cracking comedy hour, but one with sensitivity and genuine insight. It’s clear her journalistic bent is the backbone of what she does, and I’m keen to know what surprised her most during her research.

“The way people treated me on some of the days truly shocked me. And it was surprising to observe the powerful effect the way people treated me had on the way I felt inside.

“I was also surprised that at the end of each day I couldn’t wait to get back to being ‘me.’ My own body was the one I was so relieved to come home to.”

Research for the show involved extensive work with the facial disfigurement charity Changing Faces, body dysmorphic disorder charity B.O.D.Y., the eating disorder charity B-Eat and the Muslim Women’s Association of Edinburgh; organisations that do incredible work, yet the average Jane Doe might be oblivious to. I wonder how important she feels it is to publicly discuss prejudice, and if comedy might help?

COMEDY

“To be able to start a dialogue about all kinds of difficult subjects is so important; for all of us to hear different points of view and become more informed. Understanding leads to acceptance.

“I’ve seen how vital it is to challenge people’s assumptions, break down stigma and seek real equality – not just for people like me with mental health problems, but for those with very different, non-regulation physical appearances, those with hidden illnesses, people of different races, backgrounds, ages.

“Comedy is the ideal tool to discuss anything difficult to deal with. If I can be entertained at the same time as being made to think then my mind can be opened to new perspectives and my perceptions can be completely changed.”

How many other shows feature thalidomide, the physically disabled, cystic fibrosis sufferers, cancer patients, obese people, girls who self-harm, models, 70 year old women, a range of ages, races and genders – but for all the right reasons, instead of piggybacking life’s dicerolling for the sake of an easy gag? This show will speak to people far outside the sometimes parochial comedy demographic. I finish up by asking Juliette what she hopes people will take from her hour.

“I hope people think twice about first impressions. But more than anything I hope, whether they like the show or not, they leave feeling more positive and more alive – ready to face the Fringe knowing how amazing they and their bodies are.”

Juliette Burton: Look at Me, Guilded Balloon, 30 Jul—31 Aug, 2:45pm, £5—£7

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11

Comedy Class Fellow Torontonian Cayley James catches up with Mae Martin, the UK’s favourite Canadian comic, to talk Fringe shows and comedy growth Interview: Cayley James

T

he universe did not want me to talk to Mae Martin. For a week in July I played text-tag with the in-demand comedian, trying desperately to align our schedules. Phone lines cut out, Skype dates were shuffled, mobiles refused to answer calls. In a world of constant and countless communication channels there was something tragic in not being able to get in touch. Finally we managed to sit down – although brief, and over the phone, it was an enlightening chat with one of the UK’s nicest and most exciting comedians. Having made the move to London five years ago from her native Toronto, she has charmed her way into the hearts of comedy lovers across the UK with her wit, candor and refreshing observational comedy.

After her critical hit with Slumber Party at last year’s Fringe, she’s spent the last year touring it and working with the likes of Nina Conti and The New Wave. With two full length shows under her belt, she’s coming to Edinburgh this year with a bit of a different game plan.

“It’s a work in progress. If you come to the show with the understanding that it isn’t a finished, polished product – then you’ll be happy.”

Why has she chosen to use such a public forum to hash out new material? “Where else do you get to perform every day for a month? I love Edinburgh, I love the Fringe,” she chirps. “It’s like going to summer camp for me. You get to see all of your friends.”

Her month’s run at Cowgatehead as part of the Free Fringe will see her play fast and loose with new material, improv, and some guest stars in the form of her crew of very funny comedian friends. “Hopefully,” she notes, “you’ll be able to come to the show multiple times and won’t see the same show twice.”

Though, this experiment isn’t just for shits and giggles. It’s part of a very deliberate two-year plan in developing her next one-woman show.

“Slumber Party was very much about a nostalgia for adolescence,” she explains. “The next

show is going to be about labels, being put into boxes and challenging that. I’ve become more politicised in the past couple of years, so the next show will definitely be about that.” This isn’t the first time Martin has taken to drastically refining her comedic voice. For the first part of her career she became known for her comedic take on pop songs, channelling her keen cultural commentary and self-deprecation through the catchy acoustic guitar-driven melodies. But last year she ditched the songs entirely. “I just had stand-up flowing out of me – the songs weren’t coming and I was bored of singing them,” she explains frankly. She’s all too aware of being pigeonholed and now is the perfect time to experiment with her voice as she becomes an established fixture in London.

As a fellow Torontonian I was curious about the biggest difference between the cities’ respective scenes. “There’s just so much here,” she gushes, “there’s a clique and an audience for everyone. Also comedians in North America really refine and polish their stuff. Whereas British audiences expect to see something different every time they see you and be part of the development process.” That’s one thing she has embraced wholeheartedly. Besides gigging frequently, she hosts Popcorn Comedy at the Hackney Picturehouse and has curated The Mae Martin Experience at the The Invisible Dot every Friday for the month of July. For this, she got to invite her favourite comics to perform while immersing the audiences in the idiosyncrasies of Canadian culture: “I have a snow machine.”

Martin’s passion for the eclectic will undoubtedly be on show this August. Not yet jaded by the rigours of competing with legions of international acts, and coupled with her talent for leaving audiences in stitches, Mae Martin’s Workshop is guaranteed to impress even in its infancy.

Mae Martin’s Workshop, 2-24 Aug, Cowgatehead, 3.30pm, free

Doin’ it for the Laughs Fresh from a few previews down south, Natasia Demetriou speaks to us about her solo debut for this year’s Fringe, You’ll Never Have All Of Me

A

fter a few years’ writing and performing with five-star comedy troupe Oyster Eyes, Demetriou is no stranger to the Fringe or to live comedy. Last year’s Free Fringe offering Doin It For The Cash gave her a taste of solo character comedy, and earned her more than a few fourand five-star reviews. Her writing has made its way onto TV in the form of E4’s The Midnight Beast and Anna & Katy, and as a performer she’s been showing up in Live at the Electric and Badults in the past year alone. So why is she so damn nervous?

Interview: Jenni Ajderian

Demetriou], our brains just aren’t wired for live comedy. They’re wired for sleeping.

Hello, Natasia! Please keep breathing.

I’m fine. Apart from having a nervous breakdown, I’m fine.

You’ve been up to the Fringe for a few years with Oyster Eyes, how did the solo show come about?

Oyster Eyes is still very much a thing – we’d decide that we wanted to film more stuff together, and I had quite a few ideas while I was writing. Some stuff didn’t get used, and other stuff looked like more of a one-person thing, and then slowly that turned into ‘Well, maybe I could do a Free Fringe thing and see how it goes.’ Then the Invisible Dot approached me, and now all of a sudden it’s become the one-woman extravaganza that’s making me not be able to feel my skin.

Sounds like a normal preparation for the Fringe.

Yeah. So self-indulgent, so ridiculous, what am I doing. I think me and my brother [Jamie

The shift from sketch to solo comedy sounds more than a little bit stressful.

Doing sketch stuff is so much more fun, and so much less pressure. In a way solo comedy is

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easier because it’s your voice and you can just try it, but the process is much more daunting – it’s just you in a room with the most serious of faces.

Do you have a few people to act as sounding-board?

I have a group of people who I’m very lucky that I trust completely – like my brother, like Claudia [O’Doherty], Ellie [White], like Charlie Perkins, the producer. We have quite a nice group of sketchcharacter comedians who all trust each other, and who will go to each other’s previews and give notes, but on the whole it’s been a solo effort.

What can we expect from the show?

It’s a combination of me being myself and bits of stand-up, but mainly character-comedy, and not just throwaway characters. Any sort of storyline or narrative of the show is just... I’m doing a solo show, and by doing it I should be able to achieve some heavenly state. I wanted to be able to do

COMEDY

all the things that have been in my head for such a long time, so I didn’t try to shoehorn in some kind of narrative. This is my first show, and these are all the things that I’ve had in my head, please laugh.

I’m sure people will laugh. It will all turn out okay.

Doing live comedy, being at the Fringe whatever you’re doing you feel like the world is ending and you’re the only one who can feel the brunt of the pain. But I’ve found having a gin and tonic is a good way to combat the nerves, I just need to find a happy medium between nervous and drunk. I’ll have a nice watered-down bottle of Bombay Sapphire at my hip at all times.

Natasia Demetriou: You’ll Never Have All of Me, Underbelly Cowgate, 31 Jul-24 Aug, 9.20pm, £6-10.50

THE SKINNY

14

Preview

THEATRE

THE SKINNY

Love on the Fringe D

ear Marcel, I’m a woman in my 20s, and have spent the last few years working hard, pursuing my hobbies and enjoying quality time with my friends. Though I’ve been enjoying the benefits of being happily single, I’ve recently felt that I could be ready for a relationship. I plan on spending the summer in Edinburgh, which seems like the perfect place to meet other cultured, interesting people.

Can I find love on the Fringe?

Anon. 27.

town, as you attempt to hurriedly navigate a cobbled, undulating, tourist-addled domain to foolhardily consummate his checklist of Fringe shows. To locate such an individual, simply enter any bar or café proclaiming free WiFi facilities, find the man frantically browsing his smartphone Fringe application, glance over his shoulder and casually announce that you saw an unforgettable avant-garde production of that show down a well in 2006. Or maybe your plan is to ‘buy local’ and procure yourself a resident of the city. Well, if you can find one remaining during August that’s ysterious Mademoiselle, I fear you may be already quite an achievement. This option is for searching in the wrong place, or at least at you if you enjoy a dinner date with a man ferventthe wrong time. If it is a performer’s long-term ly bemoaning the inflated cost of your current affections you seek, at this Festival you will dismeal during the month of August, and growing cover only those with adulation directed inwards, increasingly irate every time a student drama egos more fevered than the brow of a human group begins assiduously chanting outside the made to sit for an hour in a makeshift, unventirestaurant window. In order to find yourself one lated space. Unconditional love is a less likely of these Scottish specimens, simply wander outcome than “love on the condition that you are around mimicking the accent They cannot get gone before his temporary cohabitants attempt enough of this. to charge you for a night’s rent, but not before he However, beware this final choice of comhas made his feelings unmistakeably clear conpanion. I assume you are English, by your use of cerning a local newspaper’s languid 3-star review the word “woman” over “lassie,” and your distant of his production, which ‘totally read like a 4.’” anonymity. Should this festival dalliance flourish, To attract the attention of one of these after September you may well find yourself a litcreatures, simply wear an item of clothing beartle less welcome north of the border. If you are ing the words, ‘Television Producer,’ ‘Awards going to visit somewhere requiring a passport, Judge,’ or ‘Free Pies.’ go French.

Perhaps it is instead a fellow punter that For a soupçon of what to expect, I can highly you have in mind for this amorous rendezvous. If recommend a show at 10pm at the Pleasance so, expect a certain amount of suspicion on his Dome. You will not be disappointed. part, unless you have been described as a ‘mustMarcel Lucont Is, Pleasance Dome, 30 Jul-25 Aug, 10pm, see’ by a major broadsheet, or recommended to £8-12 him by several friends in the media. If he is only marcellucont.com visiting for the weekend, expect more of an army training course than a romantic stroll around

Flâneur, raconteur and bon vivant Marcel Lucont offers some romantic advice for a lonely heart in August

M

Love & Sex Unapologetic comedy loudmouth and lightbulb munching bendy-person, Abigoliah Schamaun returns to the 2014 Fringe with her new solo show, It’s Pronounced Abigoliah Shamaun Interview: Vonny Moyes

A

fter a year of touring Subtle, shocking and rocking audiences around the world with her particular flavour of dirty, seemingly autobiographical comedy, Abigoliah Shamaun is teaching less yoga, doing more shows and packing her bags for the big smoke right before the Fringe.

We sit down to talk love affairs with Edinburgh, and what happens when you tell dick jokes in front of your mum.

How are you and Edinburgh doing?

Well, this will be my fifth year. It feels like a love affair that’s hot and steamy yet really volatile.

If Edinburgh were my boyfriend all my friends would be saying “Why are you with him? He’s so moody and weird!” And I’d reply, “But you don’t know him like I do!!”

What’s the catalyst for this show?

I found a file my dad kept on me as a kid, sort of like a scrapbook. In the file was a psychological evaluation that I took when I was eight years old.

I thought the results were interesting and it’s all spun out from there.

How do your folks react to your material?

I’m really lucky to have such supportive parents.

My mother has seen me perform and though she doesn’t like thinking of her daughter in some of those situations, she admits it’s funny. My father

August 2014

never saw me do stand-up and I never really wanted him to. He was supportive as well, but I’m not sure he could handle his first-born talking about being gang-banged. What a prude! AM I RIGHT?!?!

I imagine shooting the shit with a room of strangers is it cathartic...?

Yeah, I think it’s easier to talk about embarrassing moments and my thoughts and feelings to a group of strangers than it is with loved ones.

Do you ever worry how certain material is going to go down? Do you ever censor it?

When I do an hour at Edinburgh, no. The audience have paid to see my show, and they’ll see it as written. If they’re a conservative audience I won’t completely change what I do but I might dial it back a bit. People want to have a nice time and it’s my job to give it to them.

In a nutshell, why should people come see your show?

Every year I talk about sex. This year I’m talking about how much I love my mom and dad… and sex… but not sex with my mom and dad, you dirty bird.

Abigoliah Schamaun: It’s Pronounced Abigoliah Schamaun; Gilded Balloon, 30 Jul-24 Aug, 6.45pm, £5-10

COMEDY

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The Fringe is Dead One half of Ellis & Rose reminisces about meeting the charismatic Fringe, before Jim Davidson caused its untimely demise

W

e were introduced to the Edinburgh Fringe early in 2013.

We were in the Soho Theatre bar, celebrating Richard Herring’s acquittal (he wouldn’t be writing for, if only they knew), when Daniel Sloss offered to introduce us. We were led over to a corner away from the bustle, where, crammed into a tiny booth with a couple of honeys, was the Fringe.

He was a short man with a greasy ponytail and a flagrant disregard for the rules and personal hygiene – he puffed away on a Davidoff Slim, choosing to ignore the indoor smoking ban which had come into effect years previously, and coughed up globules of phlegm onto the table.

The Fringe had more charisma than anyone we had ever met. Despite his appearance as a slimy, sweaty letch, he turned out to be a great raconteur. We talked and laughed and drank with him until the early hours. He gave us dirt on all the greats, told us of all the dark deeds which happen down Edinburgh alleyways and dared us to pull out one of his front teeth. Whenever our glasses ran dry he would snatch them from us, run to the toilet and return with our glasses full of fresh, steaming Fosters.

Around 3am the Fringe leaned in conspiratorially and asked “So boys, what is it you want to achieve?” We remember his smile: a wicked, mischievous grin, all gums and yellow teeth. We told him we were just planning on doing our doubleact schtick, but he gave us a better idea; the incredibly controversial Jimmy Savile: The Punch & Judy Show. It was so salacious and tempting, we just could not resist. The Fringe promised us notoriety and an award if we agreed to do the show.

The reviews for Savile were scathing and doing it day after day damn near pushed us to the brink of our sanity, but the Fringe kept his side of the bargain, and we were rewarded with a Malcolm Hardee Comedy Award. A one-off award (The Pound of Flesh) was created for us, and we

Words: Gareth Ellis Illustration: Paul Law

were lauded as brilliant comedic innovators for our antics. We were not proud men, and we are now not proud men with a shiny trophy.

The next time we saw the Edinburgh Fringe was fairly recent. We happened upon him outside Jongleurs in Camden in May, sloshing a bottle of kerosene about and mumbling vaguely about the death of alternative comedy. He did not look well. Pale and emaciated, this was not the man we remembered. His eyes were dead and the loss of his effortless charisma seemed to be the least of his woes.

“Jim Davidson is performing up in Edinburgh this year. I don’t know if I can take it” The Fringe

“Don’t know if you’ve heard,” he wheezed, “but Jim Davidson is performing up in Edinburgh this year. I don’t know if I can take it. I’m weak and the idea of him being inside me for the whole month is going to put me six feet under unless I do something drastic.” He sneezed and a couple of rotten molars fell out. “I’m going to have to kill him. It’s the only way to do it.”

We simply stared at him. He seemed too weak even to land a punch, let alone kill a man.

Then the Fringe turned to us, with that same malicious glint in his eye that we had seen before.

“Ah. You boys owe me a favour, don’t you…?”

Jim Davidson’s Funeral, 12 Aug, one night only. Heroes @ The Hive, 8.45pm

Heckling In defence of the noble art of telling people they’re rubbish

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ecently I performed at a well known comedy club and they had signs up saying ‘Please do not heckle the comedians!’

When I first attempted stand-up comedy in the late 90s, heckling was everywhere. On some bigger stages I was heckled before I even reached the microphone. I’ve been heckled in toilets, in bars, on the street, and usually ended nights heckling myself internally on the bus home. It seemed like every gig I did had at least one brilliant heckler. Half the time they didn’t even need to say anything brilliant, not during my ‘act’ anyway. A brilliant heckler, just like a brilliant comic, is really just a confident one or a stupid one. A heckler, or indeed a comedian, who is too confident or too stupid to realise they’re rubbish is a very tricky proposition – as I’m sure we’re all now well aware.

When I started out, one of the great things about being on a bill with good comedians was watching how they seemed to magically transform the atmosphere of a room and make the audience listen. It seemed to me that hecklers were simply an occupational hazard – if you’re going to stand

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Words: Trevor Lock up in front of real live humans and pretend to talk to them then be prepared for them to sometimes call your bluff and talk back.

Most comics tended to respond with something they’d Blue Petered earlier, but acts like Bill Bailey, Stewart Lee, Al Murray, Sean Lock, Paul Foot, Andrew Maxwell and Ross Noble all were able to respond in the moment and were sometimes brought into the room for the first time by a heckler, with the gig very often becoming better for it.

Although as an act it terrified me, I found and still do find it exciting, because when a heckle goes off, no one really knows what’s going to happen. Like a bird suddenly flying in through the window into a room, it seems to wake everyone up. ‘Fuck! This is really happening!’ – ‘What are we going to do?!!’ – ‘Ah! what if it shits on someone?!!’

Nowadays of course, it’s different as standup has been fully assimilated into the grand media spectacle. Audiences come to live comedy from seeing acts on TV or online and they’re accustomed to sitting back, passively consuming, only venturing to join in on cue. And after all,

who’s going to hear it at the O2 anyway?

It’s not only large scale stand-up comedy gigs that sail dangerously close to Nuremberg.

Nowadays even sitting in some Edinburgh shows I sometimes feel like I’m back at school watching a lesson from a groovy teacher. It’s unhealthy and against the best traditions of all humanity to sit still and listen to someone loudly talking at you without saying anything back.

Whatever you may think of the Nuremberg Rally or a classroom, in the long and varied history of human beings, neither can be said to be natural, or even common, occurrences. Sitting in rows, facing a solitary wind bag, who is reciting something they’ve designed to manipulate a particular emotional response from you, isn’t a recipe for egalitarian social intercourse. However, human beings having a laugh together is natural, and in the context of a comedy gig, the possibility of heckles is the touchstone of authenticity.

Hecklers redress the balance of status between artist and audience.

I get the impression that some acts nowadays seem to think that simply being on stage

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gives them a right to be heard or not to be heckled. Being on stage is not a right; it’s a privilege and a responsibility, and for it to have any value it’s a position that must be vulnerable. A comic needs to keep earning her right to be there every second she’s on stage.

Comics now are often given and expect a false respect from audiences. An unearned, unnecessary deference. Audiences and comics have transferred the fawning obsequious dynamics of fame learned from the media, into the live comedy gig. Some comics even behave like they are celebrities. So now more than ever we need the heckler to remind us all, like the little boy in the fable of the emperor’s new clothes, that a comedian is just another name for a fool.

Of course we shouldn’t only heckle stand up comedians; we should heckle the TV and the radio too. We should especially heckle the TV and radio, so that we’re reminded of the fact that, unlike the stand up comic, the TV and radio are literally incapable of hearing us.

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All the World's Theatre Words: Alecia Marshall Illustration: Louise Lockhart

Our Northwest Theatre editor explains why the Edinburgh Fringe holds such enduring appeal across the country

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he initial allure of the Edinburgh Festival Fringe needs little explanation: it is, after all, the largest arts festival in the world. From big names in entertainment to unknown artists looking to build their careers, last year’s Fringe saw 45,464 performances celebrating a plethora of art forms, the figure rising this year to a recordbreaking 49,487. Not a bad number considering the whole charade began with eight uninvited theatre companies staging makeshift performances at Edinburgh International Festival. “It is an amazing testament to our creativity as a country,” says playwright and director Robert Farquhar, one-third of Liverpool-based company Big Wow. “It truly is an astonishing thing.”

Farquhar is a man who ought to know.

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Working alongside actors Matt Rutter and Tim Lynskey, the trio have visited Edinburgh on numerous occasions – both collectively and separately – amassing a combined experience of thirty years as Fringe participants. Their trademark: fast-paced, wilfully anarchic comic theatre.

This year’s show: The Art of Falling Apart.

“Whenever we put a show together the intention to take it to Edinburgh is always present,” says Rutter. “We will, of course, preview it in Liverpool, but Edinburgh is often our focus.”

“Companies want to be noticed and that is still happening at Edinburgh,” continues Farquhar. “Important people turn up.”

Big Wow seem energised and optimistic regarding their approaching trip – seasoned

veterans that they are. “I am fucking ancient now,” laughs Farquhar, “but there is something in the air at Edinburgh that makes me return. I can’t say with any definite certainty that this will be my last visit.

“We are going with the expectation that we are not going to change the world; we are not going to change ourselves – we just want people to watch our show!”

As costumes are put away and tumbleweed rolls across local stages across the land, all three men admit to the August lull of regional theatres as Edinburgh claims the country’s plays; a veritable black hole that conveniently closes as the autumn/winter season begins. “Theatres go dark,” admits Rutter – and Lynskey is quick to agree.

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“For anyone who really wants theatre they have to go to Edinburgh: theatre on tap!”

But is a trip to the Scottish capital as desirable for the spectator as the performer, forced to navigate their way through a city that sees hotel prices rocket and a piece of theatre from their local community am-dram group leaving little change of a tenner?

Returning to Farquhar’s earlier quote, there is something in the air at Edinburgh that makes both performer and audience alike return year after year. It is expensive, increasingly corporate, and as busy as a Boxing Day sale, but I say go – if you can. After all, if you can’t beat em…

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Theatre of the Absurd The Fringe is an ideal place for emerging theatre companies to try out their latest work, but also for more established companies to experiment with form

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he atmosphere of the Fringe allows for risk, although the losses incurred in the finance department for most – if not all – companies involved seems to work against this. Venues and curators tend to work around this by programming new, quirkier work alongside conventional theatre.

Among the various genres of theatre, absurdist theatre seems to be the hardest to review, since it tends to come down to a matter of individual interpretation. The structures and symbolisms of conventional theatre fall apart very quickly, whether that means there is no clear narrative or the narrative that is provided doesn’t make sense in relation to the ‘logical’ world we inhabit outside the theatre. Playwrights like Harold Pinter, Samuel Beckett and Eugene Ionesco fall into this extremely broad category, as do performance companies like Clout Theatre, or, more famously, Monty Python.

Sometimes it’s just a matter of turning an everyday situation on its head, as demonstrated by the Berserker Residents’ The Post Show.

The show itself begins at the end of the Prodigal Fathers, and launches straight into a post-show discussion about the play the audience have never seen. Part-improv and part scripted, the performers allow for audience interaction, but in turn sacrifice the overall control they have over the material and the end result. The reversal of what would otherwise be a linear story slips into the absurd and surreal.

On the other hand, Klip by Denmark-based Livingstones Kabinet leaves nothing to chance.

Inspired by Kurt Schwitters’ take on collage and the Dadaist movement, the award-winning production has been described as a ‘theatrical collage experiment,’ allowing Livingstones Kabinet to explore form and structure deconstruction. The intense precision in the direction and choreography required to put Klip’s fragments together isn’t something most people would associate with absurdism. The idea that absurdism

Words: Eric Karoulla

consists of a series of thoughtless actions could be considered a terrible stereotype in relation to the careful construction of Klip.

“It was extremely hard to make it hang together,” admits Nina Kareis, director of the piece. “I had to be very tight in the direction, so that it’s staged very tightly – so it doesn’t become boring.”

The open interpretation of the seemingly random actions allows the audience to construct their own meaning, which may be more terrifying, moving or funny than the company intend.

“The other impulse for the show was to make something about fragmentation and things falling apart,” adds Pete Livingstone. “Both culturally, and in the way that information is presented to us today. And collage is the obvious way to work with that, but we wanted to take it structurally a bit further.”

Absurdist performance isn’t limited to theatre, but also crosses over into dance, as showcased quite expertly by Karl Jay-Lewin & Matteo Fargion in Extremely Bad Dancing to Extremely French Music. The absurd seems to return to haunt Dance Base’s programming quite often; this is obvious this year, and came across through last year’s XD (Colletivo Cinetico).

Also, it was indulged in the 2013 Edinburgh International Festival with Metamorphosis, based on Franz Kafka’s homonymous tale about a man who awakes one morning, finding himself transformed into an insect.

It’s easy to overlook and dismiss absurdist-based theatre because it can be extremely comical and nonsensical, but also often can be misinterpreted as utterly pointless. Usually, the first question that springs to mind is ‘What did that mean?’ In this case, the meaning comes from the audience, and their background and experiences. All the performances tend to do is provide an unusual (and sometimes unorthodox!) method of unlocking it.

Puppetry of Apartheid As part of the Edinburgh International Festival, Handspring Puppet Company bring together multimedia, puppetry and acting to present a show about betrayal and apartheid Words: Christine Lawler

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andspring Puppet Company, most recently recognised for their work on Warhorse with the National Theatre, return to Ubu and the Truth Commission, 17 years after it was first performed in Johannesburg’s Market Theatre. Originally part of a trilogy of plays by William Kentridge and Handspring, the play comes to the EIF to mark the 20th anniversary of democracy in South Africa.

“It was the aftermath of the first elections and there seemed to be people with many stories to tell in the emerging new country. Then the Truth Commissions began and we attended several hearings and we felt that this was a pertinent context,” explains Janni Younge, associate director of the company.

The Truth and Reconcilliation Commission was seen as being crucial to the full development of democracy in South Africa, as it allowed victims of apartheid to discuss their

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experiences openly and honestly. Ubu and the Truth Commission brings these real, heartbreaking accounts back into the public domain through the mouths of puppets.

“The testimonies are drawn from the real voices of victims and their families,” Younge points out. “The choice of the puppet is not so much a person ‘acting out’ someone else’s truth but rather an original form created just to speak that part. So the puppet is a vehicle for carrying those words visually and doesn’t bring its own agenda. In this way we feel the audience has greater access to truly hearing the testimony.”

Through using a range of media, Handspring try to resurrect the confusion and unrest that was prevalent two decades ago, thus allowing the audience, who may or may not remember these occurrences, a glimpse into that world of human rights abuse, anger and violence. Its warning of ‘graphic images of violence’ proves the depth of

its potential impact, incorporating what could be disturbing scenes, used to shock the audience into empathising heavily with the story. However, while the content of the show is brutal in its truth, there will hopefully be strong performances to back this up, avoiding leaving the audience cold to the facts of these historical events.

While apatheid grew out of the aftermath of World War One, so did the Edinburgh International Festival itself, “with the aim of providing ‘a platform for the flowering of the human spirit’ by inviting the world’s best artists and companies to perform, whatever their nationality,” as stated on the festival's colourful website.

Conceived in 1947, this initial purpose seems to stand the test of time with part of the current mission being “to be the most exciting, innovative and accesible festival of the performing arts in the world.”

This is obvious from a single glance at

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the diverse events calendar in operation this year. Performances range from music events from violinist Nicola Benedetti, and the Czech Philharmonic, to talks with German cabaret star Ute Lemper, and members of the creative team behind Inala as well as explorations of human nature and history with events such as Women and the Killing Fields: Femininity and War, and Killing Civilians.

The EIF is a member of the European Festivals Association and collaborates with other arts and festival organisations to encourage public participation. This has surely helped form links with a wide range of countries and cultures to provide 24 days of international performances with music, while the theme of war runs through the 2014 programme, a tribute to the 100-year commemoration of the First World War. Ubu and the Truth Commission, Royal Lyceum Theatre, Edinburgh, 28-30 Aug, 8pm (matinee 30 Aug, 2.30pm), £10-32

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The Art of Collaboration Bringing an exclusively designed, brand-new venue into the Fringe brochure, Paines Plough find collaborators in Northern Stage and Summerhall Words: Eric Karoulla

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esigned by Lucy Osborne and Emma Chapman in collaboration with Charcoalblue and Howard Eaton, Roundabout is Paines Plough’s pop-up theatre in the round (as suggested by its name.) The 168-seater can be packed in the back of a van without needing staff who are specifically trained to assemble and dismantle it. While Roundabout doesn’t accommodate elaborate or bulky set design, the proximity of the audience to the action promises a 3D, livetheatre experience unlike any other.

“In 2010, we had the idea of building our own portable theatre so that when we were touring and we wanted to take work to parts of the country that didn’t have existing theatre infrastructure, we had somewhere to take our work to,” explains George Perrin, co-artistic director for Paines Plough. “So that we really could tour to parts of the country that didn’t have a theatre at all; we could go into a village hall, a school hall or a leisure centre, but that we weren’t giving people a compromised experience, it would still be a high-quality, really carefully considered, exciting, experience.”

After four years of prototyping, planning, and designing, this portable theatre will open for the first time at the Fringe, featuring eight

shows in total – four by Paines Plough (Lungs,The Initiate, Every Brilliant Thing, and Our Teacher’s a Troll), and four by Northern Stage (Britannia Waves the Rules, Beats North, Dead to Me, Show 6) – to showcase how Roundabout is meant to work on tour.

Paines Plough are celebrating their 40th year, but they feel the need to partner with more Fringe-experienced companies, like Newcastlebased company Northern stage, who are there for the third year in a row. Moving into King’s Hall, after last year’s Fringe spent in St. Stephen’s, Northern Stage will be round the corner from Summerhall and Roundabout. In total, Northern Stage will be looking after sixteen companies, which is a big step up in scale compared to last year.

“So much about why we do Edinburgh is trying to create opportunity for artists, to nurture and foster collaboration between artists and to try and minimise the risk – either financial, or creative – of taking work to Edinburgh,” states Lorne Campbell, artistic director for Northern Stage. “A big part of that is about a critical context, so you can put newer artists or work of less profile alongside the more established and give the audience the confidence to take the risk on

the thing they don’t know, because of its association with the thing they do.

Collaborating with Paines Plough, the Lyric Hammersmith’s Secret Theatre project, and Summerhall, as well as the Forest Fringe across the street, Northern Stage seem to be in the midst of a relocation of some exciting, ambitious and intelligent work, away from the geographical centre of the Fringe – literally, on the fringe of the Fringe.

“What Summerhall have achieved over the last few years is remarkable,” points out

Campbell. “The energy they put into that spirit of the Fringe of ‘here’s a place of creativity, of internationalism, where the boundaries are being blurred.’ And the long-standing ethos of Paines Plough to support experimentation, new writers, trying to establish new voices. And into that you drop their Roundabout project which is so collaborative in its ethos and it’s about taking that very, very best work and getting it to audiences who might not be able to access it. They all feel like very natural bedfellows.”

One is the Loneliest Number Solo shows are enjoying a resurgence this year – here are a few to look out for Words: Eric Karoulla

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s comedy takes the foreground, it’s hard to compare conventional theatre to standup comedy, particularly as the latter is more economical and sometimes more engaging than a play. Of course, that is not to say there are no viable plays that are engaging for the audience, however, the average turnaround time of a Fringe venue seems to be under the five to six minute mark. This is a challenge for theatre, as the creation of an entire world rests on the shoulders of the acting, and making an intelligent use of the space. Combined with the recession, and the lack of time, one-person shows seem to be handy during the Fringe.

Then again, it could be said putting on a one-person show is to return to the roots of theatre, as it was in antiquity, since surviving scripts from that time indicate a clear evolution from the existence of a collective chorus in the theatre to introducing a distinct actor. Classical tragedian Aeschylus (525/524 BC-c.456/455 BC) is often credited with introducing the second actor, in order to create dialogue and conflict between the two. However, one-person shows seem to be trendy right now.

There are quite a few semi-biographical oneperson shows, like Adrian Campbell's Black is the Color of My Voice that follows the tale of civil rights activist and jazz musician Mena Bordeaux through the filter of Nina Simone and her music.

Then, there’s ex-Bond girl Dame Diana Rigg, with her one-woman spoken word performance Dame Diana Rigg: No Turn Unstoned, in which she reveals anecdotes from her experiences on TV, film and on the stage.

On the less well-known side of celebritybased shows, Glenn Cosby – Great British Bake Off 2013 runner up – makes his stage debut with Glenn Cosby: Food Junkie. There will be baking, and there will be cake. While cake is one of Cosby’s great loves, it is not the focus of his show. Through casual conversation and with the

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aid of said baked good, he tackles subjects from coming out to binging on food and our relationship with food nowadays.

Meanwhile, Gary McNair prepares for his own one-man show Donald Robertson is Not a Stand-Up Comedian at the Traverse. Through mentoring from McNair, Robertson tries to build rapport with strangers in order to be funny and make friends. McNair delves into the dark side of comedy, and perhaps, by extension, of human nature. After all, what would you do if everyone hated you?

Another new writing, one-man show – perhaps the darkest of this compilation – appears in the guise of the Old Joint Stock Theatre company’s revival of Fragile, written by Geoff Thompson. The BAFTA-winning writer presents the tale of a man who was abused by a teacher at the age of eleven, and now strives for inner peace through confessing to a tape recorder.

Sounding like a fusion of Krapp’s Last Tape (Samuel Beckett) and Blackbird (David Harrower), this incredibly dark play is brought to life by Nigel Francis. While already controversial (it was cancelled when first performed in 2012 at Belgrade Theatre, Coventry), it makes for an interesting comparison to existing literature and other plays about abuse, like Nabokov’s Lolita or Harrower’s Blackbird, where the abused character is female, and the dynamics of who is seducing whom are blurred. Thompson’s main character is male, which brings up interesting questions about the nature of abuse, and the victim-blaming culture that female survivors of abuse and sexual harassment are often put through.

Taking into account these shows and many more, it’s clear the one-person show is not the death of theatre by any means. The same rules apply, although with attention spans waning, it seems harder for one person to carry an entire show. Fortunately, the aforementioned performers are extremely talented.

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The Misfits

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very year, the bulk of work that hits the Fringe seems to increase. This might be due to the health of the industry, or just the fact that the organisers end up adding more categories this year, Circus has been attached to the Dance and Physical theatre section, indicating the emerging prominence of the artform. However, there are at least one or two shows that could fit anywhere, from cabaret to comedy to theatre to music.

These can be called ‘the misfits.’

Usually a misfit is considered someone who doesn’t fit in to societal norms or conventions (and is hence shunned), but here a misfit indicates a show so unique or so cross-disciplinary and awkward that it really should be in the category ‘Miscellaneous’ rather than a traditional genre. These are sometimes the most exciting shows, as proven by the popularity of Red Bastard last year. Often, they are immersive or interactive shows, although it seems the buzz around this kind of theatre may have died down a little, particularly due to accusations flying around about people being plants in the audience.

Last year’s arch-misfit, Red Bastard is characterised by his red, bubble-like costume, and his insistence that “something interesting must happen every ten seconds.” He returns this year, with the heady, intense blend of physical theatre, comedy, and interactive life-coaching masterclass that he calls a show.

Some up-and-coming misfits for the 2014 Fringe range from the ambitious HiBrow Theatre to the down and dirty cabaret of Christeene: The Christeene Machine and the alien vocals of the Voca People.

Driven by Don Boyd’s ambition to make arts accessible anywhere, while also providing a platform for talented young people involved in the arts – theatre, literature, music, dance, art, and cinema – HiBrow Theatre presents a programme that has something for everybody, as it has such

Some of the shows on the Fringe defy categorisation.

We have a look at some of the misfit highlights Words: Eric Karoulla

an incredible variety of themes and subject-matter. Each discipline has a curator who is responsible for the shows involved in that section and drives the programming.

“I had this vision that we could be not dissimilar to the Traverse, in Edinburgh, that has a wonderful theatrical experience, where you can go every day almost in the Festival, see something interesting, and then talk about it,” Boyd explains.

The programme that is to be performed in the Festival has been developed over the past two years. It features both established and emerging artists, and encompasses a variety of styles, from Steven Berkoff (Berkoff the Inimitable) to Alison Jackson: A Story in the Public Domain. Each performance will be filmed while it is being performed and streamed live to HiBrow TV, the online home for HiBrow. They will also be appearing live at ODEON cinemas across the UK, while seven of the shows will be taken to the BBC Arts Online. Determined to create a buzz around the arts, HiBrow also include HiBrow In Conversations at Summerhall.

While HiBrow are instant misfits due to the variety of their programming, Soho Theatre bring Paul Soileau’s Christeene: The Christeene Machine to the Fringe. Described as ‘a manic combination of Alice Cooper and Hedwig (of the Angry Inch)’

by Spin Magazine, it’s hard to know what to expect from this Austin-based performer. Cabaret, lately, seems to be the category for acts that have the ‘what on earth is this?’ effect when you read the blurb.

More than your average show, misfits tend to be a risk. There will be haterz, and there will be people who love them instantly. Yet like the important things in life, the gamble can pay off, particularly if you engage with them and keep an open mind rather than dismissing them for fear of being embarassed.

Dance Theatre at the Fringe Lying somewhere between dance and physical theatre, dance theatre is offering a strong showing in this year’s Edinburgh Festivals. We take a closer look at a couple of the shows on offer this August Words: Eric Karoulla

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hile circus blossoms into an artform, honed to near-perfection by companies like NoFit State or Circa, dance theatre still straddles the line between dance and physical theatre. Is it dance with words or is it theatre with more movement and music? Either way, it’s not always easy to pick out, unless a performance company calls its productions ‘dance theatre.’ The seasoned theatre-goer can still struggle with the definitions, yet it’s quite easy to pick up on different styles by juxtaposing and comparing different performance companies. It becomes obvious very quickly that this depends not only on where they are from, but also the context and theatre conventions surrounding them. Here’s The Skinny on two quite different – yet extremely talented – companies.

This year, supported by ProFitArt, Lenka Vagnerová and Company present their latest works La Loba and Riders. La Loba, literally translated as ‘the she-wolf’ (or the wolfwoman) from Spanish, unravels the tale of a mysterious, travelling, bone collecting entity that constructs creatures out of the bones she finds and tries to breathe life into them. Using song, dance and puppetry, this piece thrives on the concept that each bone has a story to tell, and observes the traveller as she gives creatures life, and takes it away.

Initially intended as a solo piece, La Loba grew into an interdisciplinary duet between

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dancer Andrea Opavská and singer Jana Vébrová, set to a haunting, ethereal score by Ivan Acher.

Both Opavská and Vébrová take on very intense personae although there are moments of playfulness dotted throughout.

On the other hand, Riders examines life from above – from the viewpoint of birds looking down on human civilisation both literally and figuratively. Voted Dance Piece of the Year at the Czech Dance Platform 2013 (an annual dance festival for Czech dance), Riders provides a strong contrast to La Loba, not only in theme, but also visually.

Birds seem to make for lighter subject matter, although the music provided by Ivan Acher for Riders sounds more industrial and altogether more forceful. Nonetheless, both showcase the skills of the company, as they are physically demanding and require precision, but also demonstrate the dancers’ talent for creating curiously comical moments alongside intensely dark and dramatic ones.

Closer to home, Dundee-based Scottish Dance Theatre (SDT) have been working on Miann, under the direction of Fleur Darkin.

Premiering at the Fringe as part of the Made in Scotland programme, Miann brings collaborative work to the spotlight. The show fuses live music by experimental Glasgow band, the One Ensemble, with Darkin’s movements and Alexander Ruth’s prize-winning costume design.

“Throughout the piece, we’re relying on each

other so there are moments where they [the dancers] are responding, and cuing themselves back into the music, and there are moments where we – the musicians – are watching and directly responding to the movement,” explains Peter Nicholson, cellist for the band. Like the other three members of the One Ensemble, Nicholson plays more than one instrument.

Formed by Daniel Padden, who recently performed Whirlygig at the Tramway, the One Ensemble grew from a solo project into a live four-piece band. Aside from Miann, they recently played alongside SDT in Scale: Human Scale.

Clearly, the collaboration is working for them.

Devised in non-theatrical spaces, Miann should have no trouble fitting into

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Summerhall’s Dissection room this summer, although it’s only imaginable it will have to compete with other dance-based shows within Summerhall, like auMents Visual Dance Theater’s Malasombra, and outside it, like La Loba or Sonics’ Duum. What’s more, they will have to battle it out with Circa’s Beyond, or NoFitState’s Bianco, both of which are incredibly ambitious, large-scale, circus-based shows from talented companies.

Scottish Dance Theatre, Miann (part of the Made in Scotland showcase), The Dissection Hall, Summerhall, 8-17 Aug, 7.55pm, £10-£12 Riders, ZOO Southside, 1-10 Aug (not 7 Aug), 5pm, £10-£12 La Loba, ZOO Southside, 12-25 Aug (not 18 Aug), 5pm, £8-£10

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Digital Tools for a Smooth Festival Ride Engineering & Production in Practice

How did people figure out the festivals in the old days? Who knows.

Now we have smartphones. Here’s what you need to get you through August with the maximum amount of free time for beer

la un in App ch C Sc lic es h a ot n la ts th em nd m e 19 . F us 4t R h or t Su ro eco b m e pp un rd or ag a or n e te A e ap in d d d o ing d p pr f i S by p pl fo be od ts tu y rm t Cr lic w pl ea a uc ne dio a ee e tiv ti t er w , b a e on se ion n Sc s s, co as 1 ot c vis on 8 st ur ed la lo ar se j nd s it th an tin f us .N e w e d 2 w om 3 g or t o c w ou 5 a in yo u in 1s .c rs n al t Oc un tsi he e d co A to g e de ur ug b a m e se u n be n G 19 d re fe s r 2 gin las h es t . s c o o. w ide 01 ee go ap 20 uk to n pl 14 4. rs w, y. t

Words: Márcio Florindo

Take advantage of our special summer discount during July and August 2014 and get 10% off bookings of 1 day or more.

Artists include: King Creosote / Admiral Fallow/ Deacon Blue / Mogwai / Aidan Moffat / RM Hubbert Remember Remember / The Phantom Band and many more...

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St Vincent

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hen the British Empire was decolonised in 1949 and the Commonwealth of Nations declared, it’s not entirely clear if Queen Lizzie stipulated that Glasgow should host the Club Noir Official Commonwealth Carnival & 10th Birthday Party (O2 Academy, Sat 2 Aug), but she could well have had a kink for burlesque.

Either way, start your August off right with what The Times call ‘the UK’s best burlesque night’ and a club that’s spangled up to the rafters with awards. The theme is countries of the Commonwealth, with over 20 burlesque and cabaret acts to marvel at, and this time they’re even relaxing their dress code to go easy on our international guests.

Relative newbies to the reggae scene, but trailblazers all the same, rasta quintet Raging Fyah (O2 ABC2, Mon 4 Aug) bring their special, soul-infused flavour of roots music to Glasgow this summer. Formed in 2006, but inspired by the way-back greats of the genre like Bob Marley and Peter Tosh, Raging Fyah retain much of the historical character that makes reggae so distinctive, all while giving it a refreshing contemporary edge.

Two big-name dames dazzle Sauchiehall Street later this month. First up is bewitching diva Annie Clark, aka St. Vincent (O2 ABC, Tue 26 Aug), a rescheduled date but still hot off the heels of fourth solo LP St. Vincent (i.e. not including her standout LP with David Byrne, Love This Giant). The ex-Polyphonic Spree guitarist and otherwise very talented singer/songwriter, Clark, in her St. Vincent guise, conjures squelchy, potent art-pop that can be both weird and funky but always spectacular. Not a night to be missed.

The second would be disco punk pioneer Debbie Harry and her Blondie cohorts (O2 ABC, Wed 27 Aug). Her career is substantially longer than the aforementioned Ms. Clark has been alive (this tour is celebrating not only the band’s tenth album Ghosts of Download but also their 40th anniversary), but the band's groundbreaking rock & new wave stylings are no less fresh. A surefire grab-bag of hits await all whose weekends start on Wednesday. Atomic.

If there was ever a band that was made for a country festival, it’d be the Felice Brothers (O2 ABC, Thu 28 Aug) who started playing in the New York City subway and at family barbecues, before self-releasing an album in the mid-noughties and rockin’ it from there. This year they’re opening Glasgow’s own No Mean City Americana extravaganza, which runs throughout September and boasts a stonking line-up of folk and country acts at various venues in the city (stay tuned to www.nomeancity.co.uk for the full bill). Ian and James Felice, the titular brothers, along with three other band-mates, will be touring their latest LP Favourite Waitress, which came out in June. [George Sully] www.o2abcglasgow.co.uk

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n the olden times of, say, 2009, people had to navigate festival-mad Edinburgh by looking at maps, asking strangers for help, and lugging around brochures to figure out the listings.

Good thing we’re civilised now. Here’s what your trusty smartphone needs to save you from sliding back into the dark ages.

1) Edinburgh Festivals Fear not. Although the official Edinburgh Festivals page doesn’t have an app, the website is mobile-friendly, making navigation on a phone a dream. It has a handy calendar listing all the festivities happening until the end of the year, as well as news, links to other festival sites, and plenty of useful tips on how to plan a visit to the city. It’s a solid place to start but, let’s face it, it doesn’t exactly have bells on.

4) Edinburgh Festival Rooms Hotel beyond your budget? Scared of the nasties in the hostel showers? Private rooms can be cheaper, easier, and nicer to stay in. Edinburgh Festival Rooms makes it easy for you to find the perfect accommodation: choose an area of your liking and the dates you’ll be in Edinburgh, and you can refine your search by property type or number of bedrooms. For the hippier types, there’s also the free alternative of CouchSurfing, but you might get a sweaty Edinbugger on your own couch in the future.

5) Edinburgh Travel Guide Triposo This travel guide, free on Android and iOS, comes in handy if you’re hoping to take a look around the city outside the venues. The app will guide you around things to do and places to see, let you read up on local monuments, and give you info on everything from contact details to ticket prices. Best of all, everything functions off-line, including the maps.

2) Edinburgh Festival Fringe The official Fringe app, available for Android and iOS, comes with everything you’d imagine it needs: you can buy tickets, search for shows, or locate the nearest events. Also handy is the ability to save the shows you want to see into the My Planner feature. The app is free, so you can spend your hard-earned cash on more comedy and wine. However, the Android version crashed on us a couple of times, so with the instability, you might want to keep the mobile-friendly site bookmarked as backup. It’s not as complete, but at least it works perfectly.

3) Gigglemaps Is your phone a bit of a dinosaur? Gigglemaps is just what you need to search for events.

The website is super light and fast, has a sleek search function, gives short briefings on the shows, and displays the most important stuff like addresses and timetables. You can use the map to see were the events are happening, avoiding the need to do more than stumble round the block to the next great performance.

6) Transport for Edinburgh There are a few options for getting around on public transport, and none of them are perfect, so having a few downloaded and ready to go can be a good plan. Transport for Edinburgh is free on iOS and Android and includes live info on both buses and trams. It also links to the infamously unstable but still oh-so-useful M-Tickets app, which allows you to pay for tickets with your phone and never again be stranded for want of £1.50. My Bus Edinburgh and Edinburgh Bus Tracker are much more stable, both with simple interfaces allowing you to see exactly when your bus will deign to arrive. You can’t get addressto-address directions, so you might need to add Google Maps into the mix to give your phone’s RAM a bit of a workout.

www.chem19.co.uk

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2480 SoundLab Advert Skinny.indd 1

17/07/2014 15:45

TECH

THE SKINNY

Zonal Pressure The Bug, aka Kevin Martin, on the making of dualistic masterpiece Angels & Devils, his long-awaited follow-up to London Zoo

Interview: Bram E. Gieben

’d been living in the studio for about seven years – it had no kitchen, no shower. It was a very overcrowded, over-machined room in a dire area of London.” Speaking from his home in Berlin – he moved there a year ago – Kevin Martin, better known as The Bug, is reflecting on the genesis of London Zoo. Released by Ninja Tune at the height of dubstep’s ascendancy, it was always going to be a hard act to follow. The righteous anger of that album might have been transfigured into industry gold, but Martin was still living in the nightmarish dystopia it described. “It was a very oppressive atmosphere,” he continues. “I’d had my fill of the city at that time. With music, most people buy into either a fantasy, or into a harsh reality. London Zoo was a harsh reality for me, at that time. I think I’d lived in London for about 23 years, and always in the poorest areas, so London was always a struggle. It just became even more so, until the point I left.”

Leaving for the arguably more civilised culture of Berlin, with a clutch of tracks written but not mastered for the long-awaited follow-up to London Zoo, he found a new perspective on life, not least because he was about to become a father for the first time. Even though the rarefied creative atmosphere of Berlin acted as a palliative, he still had struggles to contend with. A snapped Achilles tendon meant that “during the mixdown sessions for this record, my girlfriend was literally having to push me in a wheelchair to the studio every day... I was actually in a great deal of pain.”

Although he describes his first year as “an epic adventure,” it is still, he says, “far too early, really, for me to have an absolute perspective on Berlin.” The two very different halves of his masterful, measured new album as The Bug, Angels & Devils, are therefore still at least partially rooted in the despair and decay which characterised his London period, while also describing “the move away, and the transformation in my life.” The record’s first half – which sees Martin working with female vocalists including Inga Copeland (ex-Hype Williams), Liz Harris of Grouper, and ragga siren Miss Red – is a meditative, narcotic experience, which Martin repeatedly describes as “zonal.”

“I almost see the last three albums as a trilogy,” he says. “The first one [Pressure] is an exploration. The second one [London Zoo] is incarceration. The third one is escapism, really.

For me, this record points to an outwardness.

It’s not so insular. It’s rooted in my past, but with a direction very much into the future; aesthetically, philosophically and musically.” The most significant thing about the new album is its dualism; the sharp contrast and division between its two sides. “This seems to reflect my present view of life, which is pretty extreme,” says Martin. “I am torn between feelings of complete disdain for the human condition one day, and absolute positivity because I’ve brought a child into this fucked-up world, you know? So I’m actually torn in half right now in terms of how I feel about this planet, and humanity generally.”

The bliss comes first – the album’s opening six tracks will be a surprise for anyone expecting a direct sequel to London Zoo, channelling instead the deep dub of Basic Channel, with dreamlike ambient textures and elaborate sonic sculpture replete with washed-out static and stately, exquisite melodies in the vocals. It is a bold move, and one he had to consider for a long time. “That was a long, long, drawn-out process of discussion between myself and Ninja,” says Martin. “I’d been quite disappointed by the reaction to Dirty, and the Filthy EPs. People were just

August 2014

Photo: Fabrice Bourgelle

“I

saying, ‘It’s more of the same.’ For me, it wasn’t...

So many people, and so much of the media, is just caught up in this idea that it has to be ‘next’ – it has to be fresh. I think a lot of novelty gets put across that way. In time I realised that if I came with something again that people were expecting, I’d be making life very difficult for myself.”

Martin is intensely critical of his own work.

“When London Zoo blew up, it was as much a surprise to me as it was to anyone else,” he says.

“I remember the day I finished the mastering, I came home and shed a tear or two because I thought I’d fucked it all up. It was just a flat, boring, dull record – I thought it wouldn’t translate for anyone.” He’s mellowed since then. “I don’t think it was a perfect album, but I like what it set out to do. I decided that for this record, rather than just burn my past, I would try and improve upon it.”

The second half of Angels & Devils, while still exploring new sonic realms, will be much more familiar territory for those who admired the potent mix of anger and extreme sonics on London Zoo. That fire is never far from Martin’s fingertips. When asked what he thinks of the current musical climate, he unloads both barrels.

“Most music is being relegated to being just an accessory to life, whereas for me, music literally changed my life. There’s not enough anger in music right now, there’s not enough challenge, not enough friction.”

He’s quick to castigate the current crop of dubstep cash-in EDM wankers and pop-sluts who dominate the industry with their slavering lyrical idiocy and the pandering, chart-baiting blandness of their beats. “There was a point where I started working on this record, I phoned Ninja and I said, ‘Who are the new John Lydons, or Ian Curtises, or Nick Caves? Who are the people who are really anti right now, who will really just grate

your face and your brain?’ And there are none...

The best grime, the best dancehall, the best hiphop, has that antisocial edge. Your mum’s not gonna like that shit.”

“There’s not enough anger in music right now, there’s not enough challenge, not enough friction” Kevin Martin

What qualities did the female voices on Angels & Devils bring to the table? “I wanted a sensuality, as well as violence. I wanted some feeling of intimacy, as well as destructiveness.

My own listening habits are torn between zoning out at home, or being in a club and wanting to have the top of my head taken off.” He describes his chosen collaborators as “misfits” in some ways. “Someone like Gonjasufi, or Inga Copeland, or Liz Grouper, they don’t quite fit into any one area. They’re freaks, in the best possible sense – and I guess that’s how I feel I am.”

One collaboration that makes Angels & Devils a must-listen album in 2014 is the appearance of Death Grips, now sadly defunct as a unit.

“I had met them once before, at their first ever London show,” Martin explains. “I was blown away by the energy, by the intensity, and by the sheer fuck-you attitude at work. When I mailed them, or in fact anyone who appeared on this record, my first thought – out of self-doubt – was

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‘I’m probably not going to receive a response.’”

The Death Grips camp’s response was to send him a verse of them doing the lyrics from Skeng.

“All they said apart from that was ‘Fuck yeah,’” he says with a hint of pride.

“I sent them the track, but when the parts came back, it just said ‘Death Grips’ – there was no reference to MC Ride. So I don’t know what part the others played in what I received – I guess it’s the editing of the vocals? I’m not quite sure. But they always mailed me without names, just as Death Grips. I like the fact that half the people who listen to Death Grips fucking hate it, and the other half love it.” Once again, we’re discussing duality, division, opposites. “I swing between optimism and completely nihilistic depression. I think that bipolar approach is what shaped the record. I feel like there is an essential duality to life and death, love and hate.

These are classical confrontations and classic conflicts within people on a day to day level, which have existed since humanity first began.

It’s not meant to be grandiose, it’s just meant to be a very fucking honest record.”

Reinvention, and the pushing of boundaries, are all still key to his process. “I know I could very easily knock out extended noise jams, or singular sonic assaults, and I know how much more difficult it is to work on a song I’ll finally be happy with. That’s not to say it’s any more valid than a sustained frequency attack. Anyone who comes to a Bug show is well aware that this is what I am trying to balance. I want both. I still want that avalanche of sound, I still want to give people that experience where they walk away with their head shaking, like ‘What the fuck?’”

You can almost picture him, a devilish grin on his face, but suffused with a calm, angelic confidence, as he says: “That’s a victory.”

Angels and Devils is released on 25 Aug via Ninja Tune ninjatune.net/us/artist/the-bug

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Drawn to the Flame As The Moth spread their wings and head for Edinburgh, The Skinny speaks to both its founder, George Dawes Green, and director, Catherine Burns, to hear tale of the origin, not only of their storytelling phenomenon, but of storytelling itself

Interview: Alan Bett

L

et me tell you a story. Now aren’t those six simple words just so comforting and intriguing? So, if you’re ready, let me tell you a story of storytellers. They call themselves The Moth, homage to those days before electronic intrusions, when ‘storytellers held court with the moths’ on porches and under the stars. Those seeking these stories, originally in Brooklyn and more recently all across the US, could perhaps themselves be seen as moths, the tellers that alluring light they are drawn to. If you think of a solitary figure on a backlit stage surrounded by darkness, then this simile is not too shabby. Their tag is quite simple: ‘True stories told live’.

“There’s an intimacy of listening to one person talk about their life in a meaningful way for 10 minutes, which you don’t always get from a Facebook update, TV or Twitter,” Moth director Catherine Burns tells me on the line from New York, shedding light on their phenomenal success which sees lines of people snake around the block seeking entry to their live shows. “I think as human beings we really crave that, it’s something in our fundamental DNA that we need, so The Moth if anything is scratching that itch.”

She continues “...we may walk around with these bleeping devices and we’re so connected and in 2 seconds can send a message to Tokyo, but I think in the end, in our hearts, we’re still sitting around that campfire.” Catherine is also editor of a newly published book of 50 of these stories, selected, transcribed and lightly edited from over 10,000 live performances. It’s a wonderful collection of true life tales, sliced thin and raw and sometimes still bleeding. What is beautiful is that amongst their big name contributors – Malcolm Gladwell, Richard Price, Darryl DMC McDaniels – sit those we might view as everyday people. The power of the story has no correlation with reputation or literary prowess. “It definitely is a different skill,” admits Catherine, “some of our greatest storytellers are people who barely write emails and who maybe never thought of themselves as storytellers but in many cases have been telling stories all their lives, to their friends, to their kids, to their families.”

In many ways it’s an egalitarian form, a way to prise open the often closed circle of literary communities. “We certainly are trying to open up that world which can sometimes feel quite exclusive to people who think they might not belong in it.” Catherine provides an example.

“Steve Osborne, he’s a New York City Detective, Steve had never been on stage but turned out to be one of the greatest raconteurs The Moth has ever known because he’s been telling stories to a very, very tough audience for years, which is other cops in bars, and he had really honed his skills so when we stumbled upon him he was an instant sensation.” In the book he recounts the heartbreaking tale of a Hispanic mother, whose dead son’s police mug shot takes pride of place amongst more traditional family photographs.

It’s taken time for The Moth to become what it has, in terms of success, but also in what occurs on stage. So we arrange to talk to its founder George Dawes Green, to hear his own story.

“You’ll love George,” Catherine tells us.

Well, it isn’t easy to love somebody who forces you up at 6am – George is a poet, author and New York night owl, which means an early rise to catch him – but that aside, he's very likeable.

He recounts The Moth’s early days in a Southern drawl designed for storytelling. The original performers were so very earnest and their slots without time limit (stories are all now 10 minutes max), because there was a misguided sense that

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great artists needed as much time as it took.

“They all wanted to be artistic and use heightened language as poets did, and they wanted to be literary and put up a barrier between the artist and the audience in which the artist is a superior person who has ventured to the extreme country and returned with news,” says George. It was a pretension which needed cut, as he explains with refreshing candour. “That was all baloney… the artist who is the raconteur needs to speak in the most elemental human language.”

“Christopher Hitchens. He was inebriated, he hadn’t rehearsed enough, we thought he was going to fall on his face but he just told such a brilliant complex tale” George Dawes Green

He takes us on a cultural history tour; a timeline of storytelling originating at the dawn of man. “Our gift for storytelling and listening to stories is probably what makes us human… it’s this development in the cerebral cortex of episodic memory which really seems to distinguish humankind. A long, long time ago people started to share these episodic memories with the

people they were travelling with. It feels intense and ancient.” We jump many centuries to the democratic language of early English drama, devoid of religious piety, then on to Galileo’s father and the virtues of the Aria. “The Aria was this very simple democratic song about personal feelings… it was something that everybody could really respond to in a personal way.” And now of course we have The Moth. “I feel that storytelling is the same thing, when storytelling is great it’s about a really personal expression of emotion.”

Both Catherine and George readily admit that The Moth did not invent storytelling, even in this particular form. What they have done is move it from the dinner table, the bar, and porch and put it on stage – replacing the velvet sky above with a velvet curtain behind. But it has now developed as an independent art form, which means that those famous experts of writing or performance are not necessarily accomplished storytellers. “It’s completely shocking to them when they can’t do it.” George tells me. “One of the reasons that people can’t is that they don’t grab the very simple principle to storytelling, which is that a great raconteur admits to some fault or human foible or frailty, and the admission is very difficult to some of our fancy literary minds.” He mentions an extremely famous French philosopher (not by name) who refused to admit such failings, unable to view himself in that light. “On the other hand there have been many literary minds who have been incredibly good Moth storytellers,” George continues, his voice warming “...one of them was Christopher Hitchens. He was inebriated, he hadn’t rehearsed enough, we thought he was going to fall on his face but he just told such a brilliant complex tale, and it seemed to wander a bit and then as the timekeeper played him out he managed to pull in all of these threads and just nailed his ending.” Neil Gaiman is another, now an accepted member of The Moth family.

When we spoke with Neil recently on separate matters, he enthused about The Moth as an excited fan might. “Getting out there and doing

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live storytelling about oneself I think is so huge and incredibly exciting. I’ve loved doing Moth things.” The principle pleasure for a fertile mind such as his being able to transport into disparate lives and experiences. “One of the things that fascinates me about The Moth, it puts you inside people’s heads. I don’t know what it’s like to be born without legs, but The Moth stories put me right inside. I don’t know what it’s like to be on a small boat and suddenly discover that you’re being shipwrecked and have to survive, but I’ve read the Moth story, I was there. It’s definitely a way to share humanity.” A second principle and pleasure sits as opposite, not to view these lives as distant and exotic but to map the many connections between them and our own. Catherine recounts the storyteller Bliss Broyard: “…on her father’s deathbed he admitted to her and her brother and sister that he was actually African American and had been passing for white his whole life, and they had no idea – she told that story at The Moth having never really talked about it before, and like, 15 people came up to her afterwards, and nobody had a father who had passed for white but people were like, I never knew I was Jewish, or my father hid from me that he and my grandmother were both gay. Crazy family secrets that made the story very relatable.”

We can all transport and connect when The Moth arrive in Edinburgh this August, adding Scottish voices to their quilt of international stories. For those unable to attend then these true voices are captured in paper and ink – yet with character intact – in Catherine’s book of 50 stories, and also set free on The Moth podcast. The most recent stories of what began with George ‘… on a porch on a Georgia island, while a troupe of moths staggered around the light.’

The Moth will be telling stories at Edinburgh International Book Festival on 23 Aug, 8pm, £10(£8) The Moth: This is a True Story is out 7 Aug, published by Serpents Tail, RRP £15 themoth.org

THE SKINNY

Shattering the Myth Gruff Rhys talks about setting the story straight on John Evans, a legendary 18th-century Welsh explorer and political radical, in his new multimedia project American Interior. He’ll speak about his own adventures at Edinburgh Book Festival this month Interview: Chris McCall

T

here’s an episode of The Sopranos in which a gang of Italian-American street toughs clashes violently with Native American protesters. The root cause is not a Mafia shakedown gone wrong, or a bent construction project come unstuck, but their polarised views on Christopher Columbus and his legacy. The mafiosos view him as an Italian folk hero, and anyone who fails to celebrate Columbus Day as unpatriotic at best and a traitor at worst. The Native Americans' take is rather different.

Creation myths are potent, perhaps none more so than how the Americas first came to the attention of Europeans. The story of Columbus’s adventure across the Atlantic is taught in schools the world over, but rather less well-known is the legend of Prince Madoc, a medieval Welsh nobleman said to have reached America in 1170, more than 300 years before Columbus. According to folklore, Madoc married a native woman and a mythical tribe of Welsh-speaking Indians was born.

What Madoc’s story lacks in hard facts it makes up for in timeless allure, prompting future Cymru generations to make their own voyages of discovery across the Atlantic. Just ask Gruff Rhys.

The musician, searching for suitable subject matter for his fourth solo album, began to research the story of a distant 18th-century relative called John Evans, a farmhand from Snowdonia who set

August 2014

off to find Madoc’s lost tribe himself.

It’s an unlikely yet entirely captivating story that Rhys tells via his American Interior project, which comprises an album, a documentary film and a book. He’ll be reading selected passages from the latter and answering questions at an Edinburgh International Book Festival event, sponsored by The Skinny, on Friday, 22 August.

Evans, unlike Madoc, was a very real character born in 1770. Despite not reaching his 30th birthday, and large tracts of his adventures going unrecorded, what is known is gripping stuff, and provides Rhys with the perfect platform to question the nature of myth-making and vain pursuits of glory.

“I was familiar with a very exaggerated version of Evans’ story, but with the book I had to verify the facts,” he explains. “It was fascinating getting to grips with it. A lot of the basic facts are set in stone, but in Wales he has been written about in the context of Prince Madoc, who I don’t think existed, and in America he was kind of a footnote to the explorers Lewis and Clark, who used an early map of the Missouri that he produced. So I was taking him out of the footnote and into his own volume. I had to go to Seville, as most of his correspondence is kept in the colonial archive, from when he worked for the Spanish in Louisiana and became Don Juan Evans.

It was very strange looking at Welsh language

correspondence in Spain.”

In a time before telephones, when international travel was the preserve of the wealthy, Evans worked his way across the Atlantic, arriving in Baltimore in October 1792. He travelled on to St Louis, then in Spanish-controlled Louisiana, and after being briefly imprisoned under suspicion of being a spy, was eventually paid to explore the Missouri river. Fast forward 200 years to the summer of 2012, and Rhys retraced the explorer’s route through the Great Plains of America by means of what he dubbed an ‘Investigative Concert Tour’ – a series of solo gigs.

The results are chronicled in the American Interior book, which is part psychedelic travelogue, part examination of modern America and the nature of our individual desire for glory.

Gruff will talk about his first book when he visits Edinburgh later this month, and maybe a few other topics of interest. Like anyone with a public

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profile, questions on the fast-approaching independence referendum are certain.

“It’s quite relevant to John. He was part of a community of Welsh radicals, who were very literate, largely educated through the chapels.

They were openly against the monarchy, and very excited by the American and French revolutions.

Maybe, unfortunately for us, a lot of those radicals chose to go to America. It was a class struggle; at that time, you couldn’t own a piece of land.

It was very much in the hands of the elite. Sounds very much like today! I can’t speak for him, but I think John would have been very excited by the independence referendum. It’s something that’s causing a lot of interest here in Wales, something that’s being viewed favorably.”

Gruff Rhys’ Super Furry Odyssey takes place at Edinburgh International Book Festival on 22 Aug at 8.30-9.30pm, £10 (£8 concessions). He also plays Glasgow O2 ABC on 5 Sep american-interior.com

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THE SKINNY

The Lives in Letters The lost art of letter writing will brought to life at Edinburgh International Book Festival by Simon Garfield, Shaun Usher and a host of performing friends at their event, Letters Live

W

hen was the last time you sat down with paper, postage stamp and envelope and scrawled out your mind and heart across the page? When was the last time you got a letter from a friend? Did you just email them instead?

There’s a lot of hype about things dying because of the internet – and it might well be just hype – but the death of letter writing is different. It really is on the way out: it’s a slow, beautiful, curious art form disappearing from the landscape of human communication.

People might not write letters anymore, but they still want to read them. Judging by the success of Shaun Usher’s blog-turnedbook Letters of Note and Simon Garfield’s To the Letter, there’s still an interest in the sort of thing a letter contains. The letter’s unique quality is its personality: the insight it gives into the workings of someone’s mind, whether it’s the Queen, or Elvis, or Jack the Ripper. It’s not just famous people who write excellent letters though – the most striking examples in Simon’s book are those between signalman Chris Barker and Bessie, who conducted a romance entirely through this form during the Second World War. And it’s this correspondence, alongside a choice selection of missives from Shaun’s book, which will provide the content of their Letters Live event at the Edinburgh International Book Festival on 9 August. A group of actors and writers will read these letters live on stage, inhabiting the material to bring the uniqueness of each to life.

The event has worked well in recent months, with a sell-out night at Hay Festival, where Benedict Cumberbatch held the audience in rapt silence as he read the part of Chris writing to Bessie during the war. The main tent

August 2014

Interview: Galen O’Hanlon Illustration: Ailsa Sutcliffe

was full – around 1,700 people - and, Simon says, “That terrible cliché of being able to hear a pin drop was absolutely true – it was extraordinary.” The line-up of speakers for the event in Edinburgh is yet to be announced, but Simon’s advice is to get your ticket now, before the big names are announced and the tickets are gone.

So what makes letters so special, and what is it exactly that digital communication can’t do?

It comes down to two things, says Simon, “One is that we write in a different way when we write digitally. By email or text it tends to be shorter, more instant, and less emotional than a letter.

There’s that feeling that we don’t express ourselves as we once did in the written form.” And the second? “We don’t leave behind the same historical record. We’re not going to discover love emails in the attic. We lose so much of the element of human communication that comes from putting pen to paper – not necessarily just handwriting, but the whole physical process of sending and receiving a letter. So we do lose quite a lot – we lose that feeling of getting something through the post that has been consciously arranged, that’s been sent as a gift and received as a gift.”

The correspondence between Chris and Bessie has been so well received that Simon is now working on a book devoted entirely to the letters. It seems that romance by letter has lasting and universal appeal – Shaun conducted his own long-distance relationship in this fashion.

The woman who would become his wife moved to Spain for a year almost as soon as they started dating. “We kept in touch and fell in love through letters, and it was at that point that I kind of, you know, fell for the whole concept of letter writing.”

Five years later, working as a copywriter in a job that he hated, he set about researching famous letters for a client of his, a stationery retailer. “I went to the local library and got out a whole load of dusty old books full of letters by people like Mark Twain and Charles Dickens and I was hooked, immediately. Three days later I had the website up and running. A year after that I quit my job and started doing it full time.”

Now, as a ‘curator of correspondence,’ Shaun is deeply aware of the loss to biographers and historians as the circulation of letters declines.

Their lasting appeal, he says is “as self-contained stories, they’re the most accessible and most exciting way to learn about history. It’s far more preferable to read the letters of people who were involved in events than to open a history book and read about them there. Letters let you learn about people in a way you wouldn’t normally learn about them. So there’s a letter from Iggy Pop to a troubled fan and it just shows a side to him that you wouldn’t see anywhere else.

“And we’re losing all of that to email and texting and Twitter, where everything looks the same and it’s bland and boring. We’re losing out because of it, and it’s a huge shame.” So did he make a conscious decision to write love letters, to keep the form going? “It was 12 years ago, so we weren’t really using emails much, and it was just far more enjoyable to write letters. When you send an email you immediately expect a response straight away. With a letter you can take a week to gather your thoughts and you get a far better correspondence through it. It was never something we discussed, we just started writing.

They were terrible letters, though, I’d never publish them. Really awful, with terrible hand drawn pictures, but they were endearing and I think if

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we’d have kept in touch through email I’m not sure if our relationship would have survived.”

Will the letter die out completely? It depends – Simon notes that the Canadian postal service is considering stopping personal deliveries altogether, returning to a situation similar to that of the 19th century. Both Shaun and Simon imagine the letter will become increasingly niche, like vinyl, but that the loss to the historical record will only be realised once it’s too late.

Shaun finds the thought of biographers basing their stories on people’s Twitter feeds horrifying – “can you imagine how bland and depressing that would be?”

All this talk of the fading letter could make things a bit gloomy, but both Simon and Shaun are keen to keep the tone celebratory. Indeed, Usher owes his success to the internet – first with the Letters of Note blog, with an audience that grew almost entirely through Twitter, then the book that was crowdfunded through Unbound, the Kickstarter for printed words.

They’re both on Twitter and my phone handily told me I could WhatsApp Simon if he didn’t pick up. He did, so I wasn’t forced to conduct the interview by emoji. The point is that they’re not anti-digital, just pro-letter. The event will conjure the personal, engaging world of the letter – and to escape the uniform world of digital communication, we encourage you to write a letter to a friend, invite them to Letters Live and see how written correspondence can be deeply rewarding.

Letters Live with Simon Garfield and Shaun Usher takes place at Edinburgh International Book Festival on 9 Aug, 8pm £10 (8) www.edbookfest.co.uk

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Take a Long Hard Look at Your Shelf

Dave Hook

Musician, vocalist and poet Aidan Moffat, formerly of Arab Strap, is performing at the Neu! Reekie! event during Jura Unbound on 14 Aug

Stanley Odd rapper and wordsmith Dave Hook – aka Solareye – is performing with the band during The Empire Café event at Jura Unbound on 10 Aug

What’s the most precious book on your shelf?

I have quite a few – I’m a big B. S. Johnson fan and I went a bit mental a few years ago and bought all his first editions, and I’ve got a couple of rare books by Harry Price, the ghost hunter (and charlatan) from the 20th century, who I’ve been fascinated by since I was a wee boy. There are loads of comics too, although most of the precious ones are probably wrapped up and hidden away from direct sunlight!

What’s the most precious book on your shelf?

The weird thing is that I don’t have a set answer that’s unlikely to change over time. What I’ve found is that I’ve definitely got a type of book.

A book that’s been a big inspiration and I think about a lot is Fahrenheit 451, Ray Bradbury’s dystopian novel from the 1950s. I first read it in my teens and I’ve read it a couple of times since.

It’s got drama and in terms of action and engaging with the characters from a purely storytelling level you’re engrossed. But then it’s also got the alternative reality, which looks more now like a prophecy. That kind of writing – 1984, Brave New World, Animal Farm, Iain Banks and Douglas Copeland – I feel really inspired by. I used the line ‘451 Fahrenheit’ in Day 3 [the final track on Stanley Odd’s Reject album].

That type of metaphorical title is something I think about sometimes for songs. You can form titles just from something you sing in the chorus, but at times you want something else, so people have to think ‘what does that mean? How is it related?’

What’s the best book on your shelf to be given to you by someone else?

I honestly can’t think of one – nobody really buys me books because I tend to get everything myself; I’m definitely a book token kind of guy.

My friend Stevie did get me a great Tom Leonard book for my 40th birthday and inscribed it, but I already had it so I gave him my copy and kept the gifted one.

Which book on your shelf would you most like to give to others? For what reason?

I’ve given away several copies of B. S. Johnson books, mainly House Mother Normal and Christie Malry’s Own Double-Entry, to try and spread the word. He remains a cult figure but I think a lot of his work is a lot more accessible than people think, but the ‘experimental’ tag – which he hated – tends to scare people off. The two mentioned here are actually really funny and moving books, and still have a lot to say about how we live. His self-effacing autobiographical work is great too, and very ahead of its time. His work’s never perfect and he never did quite write the masterpiece he could have, but I can’t help but get sucked into his enthusiasm for innovation.

Which book is your guilty secret, and what do you love about it?

I don’t really have any – I don’t believe in guilty secrets, we shouldn’t be ashamed of anything we enjoy. I suppose some might say a strange one is

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the novelisation of The Goonies by James Kahn, but it’s a book I hold very dear. It’s the first novel I remember reading that had a real conversational, colloquial feel to it – remember, I was only 12 at the time – and it left a big impression on me. I used to collect a lot of film books when I was an 80s kid, it was a big part of the movie business back then, but I’ve sadly lost most of the others.

Which book has been most inspirational to you, both personally and professionally?

I’m not sure at all – although the Penguin Rhyming Dictionary can come in quite handy!

Are ebooks a threat to your bookshelf?

Not at all, I only ever use them when travelling, and even then that’s very rare. You just can’t emulate the thrill of paper and the physical act of turning a page, and I find e-reading pretty dull. It’s no different to reading something online, and I spend most days in front of a screen reading and writing, so I need a different, more physical connection when it comes to reading for pleasure.

What book is missing from your shelf which you know you need to add?

I have the opposite problem – I’ve got shelves full of books that I probably don’t need and never got round to finishing. I’m an awful hoarder and have been from an early age, I can’t let go of anything. I still haven’t read Ulysses though. I have it, but I’ve never read more than the first twenty pages. I really must get round to that, but I’m a little scared of long books. [Alan Bett] Neu! Reekie! is on Thu 14 Aug in Edinburgh International Book Festival’s Guardian Spiegeltent, as part of Jura Unbound, 9pm, free edbookfest.co.uk @Jura_Whisky #JuraShelfie

What’s the best book on your shelf to be given to you by someone else?

A lot of my favourite books have been given to me or recommended by other people. One recently was Nelson Mandela’s autobiography Long Walk to Freedom, given to me by my friend Jenny, [Stanley Odd guitarist] Rune’s wife, because we were asked to write something about Mandela for a book festival, and I didn’t have a real knowledge of him as a man; obviously you know the headlines. That along with Brian Filling’s book about Glasgow’s anti-Apartheid movement (The End of a Regime), those two books were core to the piece we wrote. It’s awe inspiring stuff.

Which book on your shelf would you most like to give to others? For what reason?

Although I’ve never given it to anyone I think The Ragged Trousered Philanthropists is a book I probably do recommend to people. I’d never

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really realised how much of an influence it would have on me and then I’m amazed how many times it pops up in things we do. It’s a really important story but it’s a really unassuming way of explaining capitalism and socialism, the whole thing that working class people don’t necessarily think they deserve any more than they get.

Which book has been most inspirational to you, both personally and professionally?

I keep coming back to the dystopian novel but I love stories that parody society and also create an awareness of how bizarre real life is. Terry Pratchett and Douglas Adams are two of my favourite authors. It’s a vehicle to point out the ridiculous stuff that happens in the real world.

But I’m also just a sucker for a really good story.

Are ebooks a threat to your bookshelf?

I don’t think so, no. Looking from a musical perspective, music’s been digitised for even longer and people’s physical music collections are disappearing but I think what happens is that you still collect your favourite records and limited editions and stuff. I’ve got a Kindle on my phone and I read books on that, but I also still buy books. It’s a two tier system I suppose.

What book is missing from your shelf which you know you need to add?

I was reading about Emile Zola’s Germinal. It might be about the brutality of coal mining in France in the 1800s but there’s a hell of a lot of commonalities across European countries, so that’s somebody I’ve never read but would like to.

[Alan Bett] The Empire Café is on 10 Aug in Edinburgh International Book Festival’s Guardian Spiegeltent, as part of Jura Unbound, 9pm, free edbookfest.co.uk @Jura_Whisky #JuraShelfie

THE SKINNY

To support the Edinburgh International Book Festival, Jura Whisky are holding up a literary mirror to some of this year's Jura Unbound performers. Rebutting the self-absorbed trend of the 'selfie', book fanatics got in on the act by sharing their own #Shelfie seeing literary fans showcasing their shelves and interests across social media Follow @Jura_Whisky on Twitter and share your literary inspirations in the form of a #JuraShelfie to be in with the chance of winning a selection of works by some authors performing at this year's Jura Unbound, alongside bottles of Superstition and Origin for each winner. The competition will be live from the 10 Aug

Anneliese Mackintosh

Rachel McCrum

Rachel McCrum of Rally & Broad, the Edinburgh cabaret of words, music and lyrical delights, will toast the finale of Jura Unbound on 25 Aug

Anneliese Mackintosh, author of the wonderful debut story collection Any Other Mouth, performs on 13 Aug with Vic Galloway & Friends at Jura Unbound

What’s the most precious book on your shelf?

I’m sitting here looking at it... it’s Sylvia Plath’s collected poems which is incredibly battered, there are pages falling out of it all over the place.

It was given to me by two of my best friends on my 18th birthday; it’s got a huge inscription. It came with me to university and ended up being one of the subjects for my dissertation. I think she has this completely unfair reputation as a victim, but she’s not at all if you read the poetry or especially if you listen to recordings of her reading her own poetry, particularly the later stuff. It’s so clipped and so wry, it completely belies how she was painted, this terribly dramatic and tragic story.

Which book on your shelf is most precious to you?

I’ve got loads, and each of them holds some memory – where it came from and when I acquired it. A lot of my precious ones belonged to my dad, like the Terry Pratchett books. They have a lot of sentimental value. I have a lovely copy of Witches Abroad which was his, I’m not quite sure how it has remained intact through so many years and so many hot baths, but it seems to have survived somehow!

What’s the best book on your shelf which has been given to you by someone else?

It’s two copies of Gormenghast by Mervyn Peake, because there was someone I was having a drink with and I happened to mention that I loved it and it was one of the best books I’d ever read, and he was going travelling for a month and worked in a bookshop. Then just before he went these two books arrived in the post for me quite mysteriously, which was lovely... the relationship went absolutely nowhere.

Which book on your shelf would you most like to give to others? For what reason?

There’s one I do tend to lend out quite a lot, and always demand it comes back, which is called Faultline by Sheila Ortiz-Taylor and it’s just the most brilliant book about women, a really beautiful, joyful novel. I’ve given it to my mother, I’ve given it to my best friend. I tend to give it to women and I’ve certainly lent it to friends of mine who are learned feminists.

Which book is your guilty secret, and what do you love about it?

Haha – I love Rebus and Ian Rankin, and what I’ve discovered is that it’s the best way to deal with a hangover, if you’ve got a really, really nasty one.

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What I find myself doing is possibly going out for cheese and orange juice and scouring the local charity shops – because you will inevitably find a good selection of Ian Rankin in Edinburgh charity shops – finding one that I haven’t read yet then just burrowing under the covers for an entire day, it’s brilliant. He’s done something really gorgeous.

Which book has been most inspirational to you, both personally and professionally?

A biography of Georgia O’Keeffe by a woman called Roxana Robinson; it just deals with the process of somebody becoming an artist, if that doesn’t sound too pretentious. It was at a time when I was trying to make a living from poetry and writing and just the steps that you go through to do that. As I was reading it I thought ‘Oh, this is making me think differently about how I look at art, and also what she did to become an artist.’

What book is missing from your shelf which you know need to add?

We’ve just moved house and what I’ve discovered is that I’ve got a big pile of books I call the aspirational pile which I’m meaning to get through and is so huge. I’ve got the selected poems of Adrienne Rich called Blood, Bread and Poetry and it’s my priority to get through that, and the other is Kirsty Logan, The Rental Heart, as I got it off her at her launch. [Alan Bett] Rally & Broad is on 25 Aug in Edinburgh International Book Festival’s Guardian Spiegeltent, as part of Jura Unbound, 9pm, free edbookfest.co.uk @Jura_Whisky #JuraShelfie

What’s the best book on your shelf to be given to you by someone else?

I was given an absolutely amazing one yesterday: it was my last day working in Blackwell’s Bookshop so they got me a signed hardback copy of Bark by Lorrie Moore who is one of my absolute favourite authors. So that one’s at the forefront of my mind at the moment.

Which book on your shelf would you most like to give to others? For what reason?

It depends on who I’m giving it to, what I think they would like. There are some I recommend a lot, but I’m always scared to hand out my own copies in case I never see them again! Naïve.

Super by Erlend Loe is one I recommend a lot. It’s really easy to read, but deceptively simple. Also, it’s got a lovely, uplifting message about finding meaning in life, so it makes a great, positive present.

Which book is your guilty secret, and what do you love about it?

That’s a funny phrase, I’ve never really associated ‘guilt’ with reading. I guess there are one or two that are maybe not so hip and cool to tell people about, like How to Make Anyone Fall in Love With You by Leil Lowndes. It is exactly what it says on the tin; my mum gave it to me when I didn’t have a boyfriend, like ‘You’re going to need this!’ I guess I did enjoy it though. It offered a glimpse into a really sneaky way of life.

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Which book has been most inspirational to you, both personally and professionally?

Not so much any more – especially since I stopped drinking, – but Bukowski was the one that made me want to start writing. He was the first one I felt was really writing as he thought: he wasn’t paying attention to any of the rules I’d been taught to obey, he just rambled straight from his heart.

Are ebooks a threat to your bookshelf?

I’m a consultant at Cargo Publishing and I helped set up Cargo Crate which is their ebook platform, so I believe quite strongly in them! I haven’t seen any negative aspects of ebooks in my daily life, and as a writer it seems fantastic to have access to both formats. People still like to read paper books; they’re nice to hold and they look lovely on a shelf – even when they’re all higgledy-piggledy and mixed up like mine. People have liked telling stories for goodness knows how long so I don’t think that will change any time soon.

What book is missing from your shelf which you know you need to add?

I mean, there are hundreds that I want that I don’t have. Working in Blackwell’s, I had to train myself not to constantly think about which book I was going to buy next because for the first wee while my wages were just disappearing on books; it was like some terrible compulsion. So I’ve forced myself to become kind of blinkered. I’d like to complete my Roald Dahl collection though; I want all of his books. And the Everyman’s Pocket Classics. They’re beautiful little hardbacks and they’ve got great short story writers in them.

Can I just say “everything”? [Ross McIndoe] Vic Galloway & Friends is on 13 Aug in Edinburgh International Book Festival’s Guardian Spiegeltent, as part of Jura Unbound, 9pm, free edbookfest.co.uk @Jura_Whisky #JuraShelfie

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Hypnagogic Hip As Haruki Murakami, aka Japan’s greatest living author, travels west to Edinburgh International Book Festival, The Skinny takes a look at this reticent genius whose work often sits in that surreal landscape between dreams and reality

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n both his life and his writing, Haruki Murakami has always defied convention, playing to his own rhythm at every turn. In 1974, fresh from university and to the shock and chagrin of his friends and family, he invested all he had in a jazz bar named The Peter Cat. He and his wife worked furiously over the next few years to make the bar a success and, against the odds, the young couple’s gamble soon paid off and they found themselves running one of the hottest joints in Tokyo. Then, in 1978, 30 years old and taking a rare break from his hectic work schedule to laze on the grass and take in a baseball game, the notion that he should write a novel struck from straight out of the clear blue. He had never written before, had no evidence to suggest it was something he could do and everyone attested that he would be insane to strike out in this bizarre new direction with his business doing so well. In spite of all this, he remained convinced that this was the thing that he should do, so he did. And so began the career of one of the most widely read and critically acclaimed novelists alive today.

His determination to do things his way has held true throughout his writing career too.

After his 1985 novel Norwegian Wood became an overnight sensation in Japan, he decided that the spotlight was not for him and quietly slipped off to wander Europe before settling in the US. So successful was his flight from fame that he returned to his homeland in the 90s with a name renowned across the land yet a face recognisable to almost no-one.

His time in the States also served to amplify the fascination with American culture which shines through almost all of his writing; though his works are set almost exclusively within Japan, the worlds he depicts are permeated with American brand names, pop culture references and song titles. East and West merge seamlessly together in his prose, crafting globalised tales for a globalised time. In the surreal, dreamlike world of Murakami, ideas, times and spaces spill into one another in hypnotising fashion.

His refusal to be confined by any one culture or tradition has played a major role in the astounding level of global success he has enjoyed, scooping up awards and selling out editions in nations across the world. But his mass popularity is no doubt also largely a result of the simple and

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almost unparalleled coolness of his writing; even in moments of high drama and great strangeness, whether discussing the world, humanity and the meaning of it all or describing the process of preparing pasta, his prose never deviates from the calm, collected manner of a story told slowly in a quiet bar.

Just last year he was shortlisted for the Nobel Prize in Literature and his latest novel Colourless Tsukuru Tazaki and His Years of Pilgrimage sold over a million copies in its first week on sale in Japan. Its critical reception has been no less rapturous, setting up this August as a momentous month for those with literary inclinations: his newest novel hits British shores on the 12th and the man himself won’t be far behind, with two appearances scheduled at the Edinburgh International Book Festival. While his status as a writer soars higher than ever, his personal profile has remained conspicuously low as he continues to avoid the limelight as avidly as ever. That his events sold out in less than a day is hardly surprising then: the chance to see behind the curtain and get a glimpse at the man who stands as one of the most elusive and significant writers of the moment is no small thing.

Three Classic Murakami titles to Consider A Wild Sheep Chase With any author it’s always interesting to to go back to where it all began and check out the first steps in their literary career. Looking back to a familiar author’s beginnings, you mostly find rough diamonds: the techniques and tics are all there along with that signature something that will soon burst forward into their true literary form, but for now it’s all a little gawky and misshapen. Their voice doesn’t carry quite right, the parts can’t congeal into a single, solid whole. In the case of A Wild Sheep Chase, the trappings are present – a smooth, simple style; strange happenings and a vaguely autobiographical protagonist. The central ideas are the same as those that recur throughout Murakami’s later works: a fear of faceless, authoritative organisations with great power and a deeply modern struggle for identity. Yet though the ideas are the same, it doesn’t have the reach of the works which follow and seems mostly content just to bewilder and amuse: the weirdness is laid on in a more comical

style and often – as in an awful lot of ardently postmodern works – seems a lot like weird for the sake of weird. Still, A Wild Sheep Chase retains both Murakami’s easy style and that strange enchanting quality that makes his novels so easy to pick up and so much harder to put down.

‘So successful was his flight from fame that he returned to his homeland in the 90s with a name renowned across the land yet a face recognisable to almost no-one’

Interview: Ross McIndoe Illustration: Eva Dolgyra

that, even fifty years later, it was still working hard to leave hidden in the shadows. Taking on a subject of such gravity and with such purpose, Murakami’s credentials as a ‘serious writer’ could no longer be questioned. Written in his signature otherworldly style, colliding the harsh realities of the past with the surrealities of his own hypnotic imagination, The Wind-Up Bird Chronicle made for a mesmerising rebuttal to his detractors and a powerful assertion of his importance as an author.

After Dark In Murakami’s 2004 novella After Dark, each chapter begins with a clock-face to chart the deepening darkness of a single night, starting with the final train pulling out and ending with the next morning’s first pulling in. For the time in between, everyone still around is left to linger in the liminal zone between days, drifting about at the hazy hour when the city changes and nothing is quite as it is in daylight. This setting is the perfect match for Murakami’s hypnagogic style and creates a place where the boundary between real and unreal softens and everything seems slightly uncanny. Such an in-between time is the natural home of in-between people: After Dark’s The Wind-Up Bird Chronicle cast is made up of those without a place, outsidFor his home country’s literati, this was the moers isolated from the world around them and ment Murakami truly arrived. Though he’d sold detached from even themselves. They are around millions, amassed a devoted following and struck and alone in the middle of the night, struggling powerfully with the nation’s younger generations, with the same feelings of alienation and the same Japan’s higher-browed literary establishment still thirst for human connection. Burdened by the saw him as a kind of of young pretender, a literary seeming impossibility of achieving it in a world pop star. Taking no political stance and showa buzz all hours with neon signs and television ing no social concern, Murakami’s works were screens, coated completely in plastic veneers dismissed as populist, light and not to be taken and empty slogans. This struggle to connect with seriously. Their fascination with American pop one another and find meaning in the modern culture and their colloquial style were seen as world lies at the heart of much of Murakami’s vapid substitutes for real substance, their groovy writing, but it’s in this little book that he is able nihilism dismissed as little more than adolescent to focus on it most intensely. With its hallucinaapathy. All this changed with 1994’s The Wind-Up tory midnight setting, it’s also the book in which Bird Chronicle. In the tradition of authors writing he brings these ideas to life in their most eerily their ‘big book’ to assert their place in the canon, enchanting form.

Murakami produced a towering novel with a masHaruki Murakami will be appearing at Edinburgh sive span, delving into his nation’s history in orInternational Book Festival on 23 and 24 Aug der to deal with its present, bringing to light that edbookfest.co.uk which had been long buried. With tales inside tales leading back to the Second World War, the novel shines a light on a portion of Japan’s history

BOOKS

THE SKINNY

Love Is The Drug After touring the world, joining the Nirvana reunion and releasing a stunning self-titled album, Annie Clark aka St. Vincent tells us how music became like a drug, why touring is like a hurricane, and how an artist’s life becomes a reverent construct Interview: Bram E. Gieben

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ouring is like being in the eye of a tornado – all of a sudden you get dropped down, and you’re in the most mundane kind of circumstances, and you’re trying to find your way again.” Speaking from her home in New York’s East Village, Annie Clark, better known to the world as St. Vincent, is talking about the making of her new, self-titled album, on a brief rest stop between legs of a series of dates across the USA and Europe.

It’s the same situation she finds herself in now, having just toured in her home country, and currently poised to play some European festivals including the gigantic Primavera Sound in Barcelona, and some select dates in the UK. In the meantime, she’s hardly been idle, taking part in the Nirvana anniversary reunion show at the Rock and Roll Hall of Fame in New York this April, playing alongside Dave Grohl, Krist Novoselic and Pat Smear, with Lorde, Joan Jett, Kim Gordon and herself taking the place of Kurt Cobain on vocals.

If there’s one thing Clark finds difficult, it seems, its taking time off to relax.

In 2012, after coming home from touring with David Byrne (playing their collaborative album Love This Giant, about which we spoke with the pair last year), Clark had originally intended to rest. But her creative, driven alter ego St. Vincent had other plans, and within 36 hours or less, she was sketching out ideas for the songs that would become St. Vincent. “I didn’t want that comedown, I wanted to keep going,” she says, subtly confirming that for her, music is the perfect drug. “I had so many things to say, I was just so inspired. So I just kept writing, and this record came out pretty quickly.”

Musicians often say that touring is death to creativity. What was it about the process of touring that inspired her to write? “I wanted to make an audio scrapbook of where I’d been, just so that it felt even more real. I had a year’s worth of nights out, and people I’d met, and places I’d been, which I wanted to... synthesise.” She laughs at having to reach for the word, but it’s an appropriate one to apply to St. Vincent, a record on which angular synth riffs and electronic drum beats are deployed with devastating effect.

“I pretty much write music in the same way I always did. The whole thing is just trusting your instincts, and letting songs be what they want to be,” she says when asked if playing with Byrne on tour affected her approach this time around.

But the experience of working with Michael Gira on his imminent new LP To Be Kind was another matter. “I wouldn’t call it a collaboration – I sang back-up vocals on the Swans record,” she says.

“Collaboration gives me too much credit. I collaborated with David, I sang back-up vocals with the Swans. But it was so exciting, I’m a massive Swans fan, and even singing on that record honestly changed my whole relationship to music. It was a dream come true.” How so? “I was asked to sing the same note for about thirty minutes straight...

That’s basically transcendental meditation, or a mantra. Your whole being changes when you do something like that.”

It is this transformative power, this complete and utter devotion of the self to art and the creative process, that she finds somewhat lacking in modern music, or art and culture in general. On one track from her new album, the undeniably funky Digital Witness, she examines themes of internet-era creativity, identity, empowerment and exploitation. “People turn the TV on,” she sings in

August 2014

the chorus, “looks just like a window.” For Clark, it’s a song about how we elevate the mundane in internet-era culture, without adding real meaning and value in an artistic sense. Or as Clark puts it, “I think sometimes we’re just all bowing to the god of ‘content.’”

She’s careful not to come across as either a Luddite or an elitist, however. “I don’t think it’s all bad, at all. There are some positive, awesome aspects to it. Like the democratisation of technology – that’s very empowering, people have a voice now. They can form online communities, in a way that they certainly couldn’t have done 30 years ago. But then there is this other side to it, which can be a black hole.”

For her, elevating the mundane is an artistic ambition with merit, and a pedigree: “That has roots in art – you can look at Dada, and that’s basically the premise.” But now, she believes, “I don’t necessarily know if we’re taking the mundane and making it feel sexy and new and enervated.

I wonder if we’re all getting a little technologically fatigued, not just from the constant barrage of information... not just that, but being asked to place value, make value judgements on every bit of information that comes at us.” She makes a decent point – who has the time to like every Facebook status, and favourite every tweet? “I don’t have the capacity to do that, by any means,” says Clark. “I just get overwhelmed, then feel depressed.”

“I didn’t want that post-tour comedown, I wanted to keep going”

Annie Clark aka St. Vincent

Going back to the album, we discuss the songs and their preoccupation with love, death, faith and belief, not to mention a delicious and intoxicating physicality. “All of that stuff you mention – it’s just the stuff of life,” says Clark. “In so many ways, I just write my life. Until we all figure out what it is we’re supposed to be doing on the planet, and construct some new mythology to live by, I’ll be writing about the grit and gristle of humanity. Because that’s infinitely interesting, and infinitely explorable.” She pauses, before exclaiming: “And unknowable! Love and death are not opposed. Love is the thing that gives your life meaning. Love is the point of it.”

As to why she named this album after herself, she gives a simple explanation. “I was reading Miles Davis’ autobiography, where he talks about how the hardest thing for a musician to do is to sound like yourself. On this album, I felt like I did, so I named it after myself.” Scratching beneath the surface, there is another reason Clark’s fourth album is her first self-titled work – a growing sense of confidence, but also of how blessed she is to be doing what she loves, has become a guiding principle for her. “If there’s anything fit to worship, it’s music,” she says. “With music, I give it energy, and it gives me more energy back. That’s a bizarre system. If that was a capitalist system, people would treat it like the goose that laid the golden egg.”

It seems like Clark has achieved with music what physicists have tried to achieve for decades with cold fusion. “Exactly!” she exclaims. “That, to me is magic. That’s alchemy. I’m lucky that is where I get to spend most of my days. It’s a crazy, unlikely thing, in today’s world, to get to quoteunquote ‘live one’s dream.’ So few people get the opportunity to do that. I feel this sense of... responsibility, maybe. I mean, it’s not that sexy to talk about. I grew up with people, I have family members, who don’t get to live their dream. Who don’t get to do anything even close to that, who barely even got the chance to dream whatever their dream was. So I feel this sense of responsibility to give it everything I have, because I’m one of the lucky ones who gets to do it.” In some ways, this connects back to her role as a Cobain standin – Kurt was a musician who, rather than feeling blessed to be in the public eye, living his dream, became overwhelmed. If Grohl and Novoselic are ever looking for a more permanent replacement, Clark is one singer who can definitely hack the pace, and feels blessed to do so.

The sense of self that comes with that kind of validation is hard-won, for Clark. “I think that somehow gets a little bit lost, in this day and

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age, where the technology has democratised the process to the point where anybody can be a photographer, or a writer, or a musician – all you have is this very minimal buy-in and then you can make art.” You can sense her recoiling at the implication that not all art necessarily has value; that a half-written, three-chord pseudo-ballad or an auto-tuned, ProTooled beat have less validity than something created through some sort of artistic struggle.

She’s also quick to enthuse about the level playing field that this superconnected world has to offer: “That’s awesome, in some ways, it’s so cool, but in other ways... there’s this whole other realm to it which is like... the task of being an artist.” One can almost visualise her pondering this conundrum, one curl of silver hair wrapped around a finger. “It takes dedication and devotion.

It’s a very reverent construct, and that’s what it takes to make something of value... something that has depth and dimension, and kaleidoscopic colour.” Something like St. Vincent.

St. Vincent plays Glasgow O2 ABC on 26 Aug ilovestvincent.com

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THE SKINNY

The Common Wealth Bringing together curators and artists from across the Commonwealth, Where Do I End and You Begin offers an ambitious and wide-ranging discussion on art practice and life across the globe

Interview: Adam Benmakhlouf

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ith GENERATION exhibitions taking place up and down the country until November, Edinburgh Art Festival director Sorcha Carey saw the opportunity to build a conversation between the rich Commonwealth contemporary art practice and the Scottish art scene. So while Glasgow is being run amok by two-legged thistles (see: Clyde the Commonwealth mascot), in Edinburgh, Where Do I End and You Begin is due to provide a welcome problematisation of the idea of ‘Commonwealth.’ Emphasising reflection of the concept, WDIEAYB is set apart from the widespread rambunctiousness of the Games. That’s not to say the show will not be exciting, however, as it promises a genuine celebration and showcase of the diversity of artistic practices within the Commonwealth.

Charged with selecting from the rich Commonwealth contemporary art practice, five curators of the show have been drawn from New Zealand, South Africa, India, Canada, and England: countries that have a close historic connection with Scotland, whether through emigration or immigration. It only takes a skim-reading of the artists’ CVs to see they’re impressively littered with prestigious biennials from around the world. Despite the international status of the artists, however, for eleven of the twenty selected, WDIEAYB will be the first time they have shown in the UK. While the festival brings together a large number of established artists from around the world, one of the curators of the show, Aaron Kreisler assures that it has not “gone through too many filters – it is not an overly laboured production.” This is especially welcome considering the instability of the concept of the ‘Commonwealth.’

With such a clumsy term at hand, an equally hazardous curatorial strategy is only appropriate.

Discomfort feels deliberate as Kreisler describes curators and artists being “brought together from very different perspectives and situations (and who do not know each other).” Though he admits such an exhibition structure “was and is always going to be risky” he identifies it as “a very real way of trying to reflect on this deeply loaded cultural association.”

With the same disregard for the tried-andtested, the show is far removed from the usual over-representation of conventional art centres.

Instead, the majority of the artists in WDIEAYB are drawn from cities like New Delhi, Vancouver and Johannesburg – only a few London-based artists are featured. Speaking of the decentralising ethos that’s so important to the show, Vancouver-based curator Kathleen Ritter is confident that “in working from places outside of the so-called centre, difference and variability emerge in the work of artists. Centres, both in the geographical and ideological sense, are slower to change. The margins tend to be the sites of movement, responsiveness, political and cultural shifts.” Setting itself far from the usual territories and bringing together curators from very different international contexts, WDIEAYB promises genuine variety.

Speaking to Antonia Hirsch about her proposed WDIEAYB installation, it’s clear that there’s no chance of WDIEAYB being a pat treatment of its Commonwealth theme. Hirsch shares details of one her video works, colour shift, which shows “the shipping and handling floor of the world’s largest flower auction house during the tulip season. The goods–continually moving between auction floor and shipping facilities–create an everchanging palette of colour.” Another video, unstill life, will be projected onto a black velvet screen, a time-lapse ‘still life’ of tulips whose colours

August 2014

Mary Sibande, I'm a Lady

have been altered. Taking its beginnings from the $40 billion-a-year cut-flower industry, the work makes “a distinction between fiscally quantifiable value and a value, or affective charge, that cannot be represented in the abstraction that money and markets represent.” Deconstructing the idea of “Commonwealth” to the exchange of wealth and economies, Hirsch takes a run at the brief from an oblique angle.

Showing again that flowers don’t have to be flowery, London-based Mary Evans explains the work she will include in WDIEAYB, entitled Transplanted. A large wall frieze made from brown paper, gold paper frames, and decorative paper plates, it extends her “interest in the movement of populations to the movement of flora.” Emerging from visits to the Royal Botanic Gardens in Edinburgh and research into tropical plants that are now grown in Europe, Transplanted “is based on the history of African people who were either slaves themselves or descendants of slaves who ended up living in Europe.” Speaking about the Commonwealth “as a family of the colonised and the colonisers,” it can be predicted that Transplanted will be a similarly complicated work on migratory circulation.

It’s no surprise that not even the four floors of the City Art Centre is enough space to do a topic as loaded as the ‘Commonwealth’ justice.

Extending outwards, one of the nearest-thebone choices of venue is Edinburgh’s Old Royal

High School. This High School building houses the debating chamber built to accommodate the anticipated 1979 Scottish Assembly, where New Delhi-based artist Amar Kanwar will show a new development of his ambitious film installation work The Sovereign Forest. This project has continued to take shape across multiple iterations since 2011. In it Kanwar addresses with a visual richness one specific configuration of the “tragedy of the commons,” namely the commercial acquisition of land within the East Indian state of Odisha, and its abysmally detrimental effects on local resources and livelihoods.

Also working in film and off-site, Steve Carr will show Burn Out, a 16mm film from 2009.

Carr describes the work as “pairing a landscape recalling the art historical Romantic Sublime with the mechanical cacophony of the suburban boy racer.” Inspired by the ‘burnout’ culture in New Zealand, which centres on the “condemned (illegal) activity that is associated with ‘troubled’ youth,” of spinning a car’s wheels while it is stationary. Carr reacts to the ‘burnout’ videos on YouTube and “instead of a lot of cutting, heavy music and the sound of screeching tyres, [his] film is shot with a stationary, wide-angle view with the car soundless in the distance, so that the activity’s renegade status becomes a moment of quiet, suburban beauty.”

As well as the 24-hour outdoor screening, the film will also be shown in the City Art Centre

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alongside MK1 Skyline, made specifically for the exhibition. Carr describes this piece as a sculpture, “a discarded tyre from a Nissan Skyline after a burnout has been carved from a solid piece of walnut and then burnt until it is charred and blackened.” Together with the “highly aestheticised clip [Burnout], the [sculpture] both elevates a base activity and questions what is considered appropriate within our society.” Using the multi venue format of WDIEAYB in this way, Carr allows for a further displacement of an already restaged work. This dislocation for him is an opportunity for further “tensions and subsequent discussion” concerning the burnout subculture which already splits opinion on legality.

WDIEAYB spreads across several venues, with its two EAF festival organisers, five curators from across the continents and twenty equally international artists. WDIEAYB is big, almost to the point of being idealist in its ambition. But it’s only what’s needed as the word ‘Commonwealth’ is repeated and repeated on a global scale.

Whether political, poetic, opaque or personal, the work in WDIEAYB proposes some conversation about a difficult history and how to deal with difference and commonality, punctuating reflection among the Commonwealth distraction.

Where Do I End and You Begin, City Art Centre, 1 Aug-19 Oct, part of Edinburgh Art Festival edinburghartfestival.com

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Feminist Figurines Arriving in Jupiter Artland this month, in a pink plinthed, and painted room, are a series of twisted ceramic ladies. Sculptor Jessica Harrison tells us about their genesis, feminism, and going viral

Interview: Rosamund West

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t’ll be an eerie experience to step into the gallery at Jupiter Artland during this year’s Edinburgh Art Festival. With a pink floor, pink walls and even pink plinths, the space is being turned into a contemporary homage to a boudoir – the perfect space to house the lovely porcelain ladies whose mutilated figures are going to be displayed there.

Although they’ve been shown widely internationally, this exhibition marks perhaps the most significant showing of Jessica Harrison’s figurines yet, with the largest selection in a single show and their first group display on home turf. The series, begun in 2009, has developed a significant online following, on which more later. A cursory Google reveals page after page of blogs wondering at the mind-bogglingly intricate work involved and the somewhat vivid subject matter, posted under phrases like ‘Bloody Boudoir,’ ‘Gory,’ ‘Horror.’

The discussion boards of the internet leave work wide open to (mis)interpretation, but to read it as simply an exercise in finessed shock and gore is to do it a disservice. “I’m not a grotesque person,” says Harrison. Rather, she’s using these figurines to explore ideas of feminism, beauty, the question of the gaze. Made starting with the found objects of the naff porcelain figurines so beloved of 70s housewives, the figurines are intricately worked into with chisels and diamond tipped drills, and dissected and rebuilt to form minutely detailed anatomical horrors – the lovely ladies now holding their unravelling intestines, or dancing gaily with a half exposed brain.

“The thing about these figurines is they’re these beautiful ladies with their impossibly fair skin and their worry free expressions and their buoyant skirts, but they’re hollow and empty; I wanted to turn them inside out and expose that hollowness,” she explains. In contrast to the prevailing orthodoxy of passive female representations ranging from Da Vinci to Nuts magazine, these ladies are being depicted as the active agents of their own desires. “They’re all participating in their own turning inside out. I take the pose that they’re exhibiting and I work with that pose, so they’re not being subjected to this disembowelment, or decapitation; they’re actually participating, they’re turning themselves inside out, they’re pulling off their own heads, they are the ones that are exposing themselves to us, really. They’re very much initiating their own demise.”

The anatomical detail was born from years of study of historical medical drawings. “They’re inspired by these traditional illustrations of the self-dissection from the 17th and 18th century.

Typically the anatomical illustration is a very male space – the female interior is only shown when it’s a specifically female part, i.e. the womb, or the reproductive system in general, or a vagina.

And the rest is a very male space,” she explains.

“But that interior space is as much female as it is male, there’s no reason why the female interior space should be much more taboo than the male spaces. That’s why I only use female figurines. It’s a gender imbalance, that interior space, and I’m trying to address that. They may be grotesque, but they’re my small feminist statement.”

Harrison’s work is incredibly detailed, with a laser sharp focus on process to evolve an idea to its ultimate conclusion. Another branch of her practice is stone carving, her Touchstones a series of large scale carvings of magnified fingerprints into limestone that makes the rock appear as malleable as plasticine. While at college, she covered the interior of a skull with multiple casts of her own teeth; another work saw her painstakingly

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experiment with different materials to find the perfect mimic for human skin, which she then used to make tiny furniture. “Sometimes it’s just right at the end [of the exploration of a material] that it turns into something interesting,” she says.

The figures’ genesis was, similarly, much more about the evolution of a process than an exploration of the grotesque. “They were originally supposed to be a maquette for something bigger. I had an idea for working in stone because I’d been working alongside the artist Daniel Silver and I really liked the way he approached stone. He took statues that were discarded, and he worked into them with hand tools and pneumatic tools, going over the surface to make them something much more hand made.” His process offered a way in to the previously quite alienating medium of stone, and sparked an interest in applying a similar form of thinking to another material commonly presented as finely finished, hard and cold.

“It was about starting with the ceramic and doing the opposite, really,” she says. “Ceramic starts as something that’s so malleable, it’s a really instinctive material for children, adults, the elderly. Everyone starts with clay. It’s thousands of years old, how we use it it hasn’t changed that much.” These figurines, treated so preciously in their glass display cases with their inflated prices, were selected due to a deep-seated hatred of the form. Says Harrison, “They’re these mass produced things and there’s millions of them all over the place. I’d quite like to do all of them in

the world because they annoy me so much. I don’t think I’ve got time to do that though. So I’m doing another batch for this exhibition and then I have to move on to other things.”

This will be sad news to her army of fans, currently numbering 15,696 according to the official reckoning of Facebook. This multitude have put her in the very millennial position of being able to sell her work directly, bypassing the usual gallerist middlemen and their 50% commission, thereby affording her the sadly all-too-rare position of being able to make a living from art alone.

This situation came about in part through the odd contemporary circumstance of going viral.

Harrison, still shaken from the experience even some years later, reluctantly explains: “I put up a very short video that I’d made, a little self portrait thing.” The video, entitled Flylash and featuring a short clip of her blinking eye surrounded by false eyelashes made of fly’s legs, lurked online for 18 months, not attracting many hits.

Then someone posting a blog about her figurine work stumbled across it and shit started to get weird. The different strata of sharers went from art fans to goth kids to beauty blogs inexplicably discussing whether this fly leg eyelash was a new trend (“Totes eeeeewwwww!”) and on to the animal rights activists, with a brief, bonkers, stop on Perez Hilton on the way. Harrison removed the video from the web: “I didn’t get many death threats, only about two or three, which isn’t that many in the grand scheme of death threats. But I

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did get quite a lot of abuse, which was upsetting.”

In the process of the viral madness a percentage of the sharers actually took the time to look at her work, liked what they saw and Liked it on Facebook. Suddenly she grew that audience of thousands with whom she can communicate directly about her new work, current exhibitions, and sales. “The internet has enabled me to do what I do, but it’s also the thing that scares me the most in the world,” she says.

The experience has made her hyper aware of interpretation, which is a mixed blessing. “You intend something as one thing and then people latch onto it as another thing and it becomes something completely different from what you intended it to be. I always now consider that when I’m making something, that maybe my intention could come across as something completely different. I can’t help it, because it was such an overwhelming thing at the time that it changed everything.”

Ultimately, though, that legion of fans that formed out of the experience have allowed her to blaze a trail as an artist who sells direct to her audience. She says, “It enabled me to make a living off of what I want to do. I think that’s pretty incredible.”

Jessica Harrison: Broken, Jupiter Artland, 31 Jul-28 Sep, part of Edinburgh Art Festival jessicaharrison.co.uk

THE SKINNY

A R TISTS IMAGINE THE COMMONS 01 A U G U S T 19 O C T O B E R CITY ART CENTRE 2 M A RK E T S T, E D I N B U RG H E H1 1D E M O N – S AT: 10A M – 5 P M

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S U N: 12 – 5 P M

A N D SI T E S AC R OSS THE CI T Y FREE ADMISSION

edinburghar tfestival.com STEVE CARR, BURN OUT, 2009, 16 MM FILM TRANSFERRED TO VIDEO, VIDEO STILL

Inspiring new ways

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1 Second Revolution Part of both GENERATION and EAF, Icaro Menippus [x2] offers a long anticipated retrospective of the work of sculptor Paul Carter Interview: Rosamund West

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pening in Edinburgh Sculpture Workshop this month, in perhaps the most poignant exhibition in the GENERATION programme, is Icaro Menippus [x2], an exhibition of the late sculptor Paul Carter. The show is based on Icaro Menippus, his solo exhibition in Cardiff’s Chapter Gallery from 2002, and will feature three works, being shown together for the first time north of the border, entitled Moses’ Basket, Daedalus and 13.

Says Kate Gray, Collective director, Carter’s partner and the steering force behind this exhibition, “From my point of view I just wanted to have a collection of works that Paul had decided to show together in the past. It wasn’t ever supposed to be a retrospective curated by me; it was more like a re-presentation of a show that he had put together himself.”

Storing large scale sculptural work is notoriously difficult, so while Carter’s studio is still as he left it, many of the individual pieces ceased to exist physically as soon as the shows they were constructed for ended. The works themselves are being rebuilt by sculpture students as part of a practical internship at ESW. Moses’ Basket was previously shown in the Fruitmarket, as part of Carter’s Edge of Darkness show in 2003. Gray describes it as “a propositional sculpture, a hobbyist’s proposition of how you could fly up to investigate the stratosphere.” A large helium balloon containing a sort of air suit, the piece is perhaps autobiographical, perhaps universal, deliberately impractical to deliver the proposal of quest, investigation, of testing the parameters of the physical world and human possibility.

Daedalus Gray describes more as a speculation. “He was also very interested in speculative narratives, you know, science fiction, or Heart of Darkness, those kinds of narratives about seeking, questing.” She continues, “Daedalus, in a way, takes its starting point from a speculative narrative around escape.”

That starting point is, specifically, Silent Running, an environmentally-themed 70s sci-fi where they are trying to export the organic nature of Earth to another planet. Daedalus itself is a sort of allotment-cum-raft, haphazardly constructed from wooden pallets tied to plastic barrels topped with turf and a vegetable patch.

It is a touching work, speaking of hope and also futility, and the blind optimism of humanity. It delivers a stark message beneath its potting shed exterior; Daedalus, whose genius for invention led to the death of his son – human hubris will undermine even our highest ingenuity. Says Gray, “There’s a slightly tragi-comic element, that there is a kind of tragedy within all these different works but there is a real sense of hope as well. This character believes himself to be capable of saving or exploring or travelling, or whatever it is.”

The third piece, 13, is the darkest of the collection. Says Gray, “Most of the work is quite dark, but this third piece is a darker proposition, in that it is a room that you can only see into through what seem to be gunshots that have been fired from inside. The holes the gunshots have made in the wall appear to be in the shape of either Christ, or Che Guevara, this kind of revolutionary or idealised character. When you look through, you can see there’s a kind of handmade weapon that’s gone off. You imagine that there might be someone dead lying in that room, that they have maybe orchestrated this scenario and the last thing that they did actually became

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this miracle. The gunshots made this vision, like finding Jesus’ face in a tomato; those kinds of things that are really prevalent in looking for hope.” It may be a tough and confronting work to redisplay, but Gray is insistent that the exhibition remain true to his vision. “He chose those three works to go together in the past so we are remaking those works, essentially.”

Carter’s influence as an artist and teacher on the Edinburgh artistic community, and the Scottish art scene more generally, was vast. Gray confirms, “My feeling, and the feeling that most of our peers who are showing in GENERATION have, is that of course Paul should be in GENERATION. Paul was absolutely there during that time and made a massive contribution to the art world during that time, and there should be a place for that. I think it’s important that people can see it and maybe see how it has played a part in what has happened over that time and what is happening now.”

“There’s a slightly tragi-comic element, that there is a kind of tragedy within all these different works but there is a real sense of hope as well” Kate Gray

Gray is highly aware of the difficulties of her position, acting as spokesperson and interpreter. She says, “It’s quite a lot of pressure speaking for someone who isn’t here to tell me if I’ve got it wrong or right. But hopefully I have been involved enough over the years to know what I am saying.”

Carter’s role as tutor at Edinburgh College of Art additionally led him to be key in forming countless artistic careers – talk to anyone who studied in the Sculpture department in the late 90s and early 2000s, and they will have a story of an inspirational figure who displayed a genuine interest in students’ work, treating each one as a peer with whom to discuss ideas, rather than a pupil upon whom to bestow superior knowledge.

The seeds he planted in various minds can be directly credited with the development of thought, artworks and careers today.

Gray explains that that influence went both ways. “That was an important thing to Paul as well. Teaching was an important aspect, as he understood the role. He was very interested in what everyone had to say, and possibly more interested in people struggling to find ways to feel that they were making meaningful work right now, than those who had found a way to do it and were just doing it.” That beginning point at which all is in doubt is arguably the most creatively fertile, even if that isn’t obvious to the person crippled by questions of what they’re going to do. Gray elaborates, “I think it’s trying to encompass the sense of possibility next to the darkness of what struggling to do anything is like as well; trying to

hold those two things at the same time. That’s what a lot of us are doing a lot of the time, but making that really tangible and visible.”

This idea of the struggle for meaning in darkness is one that runs throughout Carter’s work. Says Gray, “I think he was really interested in the idea of a quest, and that there might be a real answer to things. We exist at a time where we have transitioned from everyone being told there was an answer and what it was and they held true to that; whereas now, there is a multifaceted nature to everything, and multiple answers as well I suppose, and the sort of lack of clear belief. I think he was very drawn to the idea that there might be a clear belief structure that you might have, but that the rigorous scientific aspect of the way he would think about it would never allow for it. I think he was really interested

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and genuinely struggled with that idea of belief and ultimate truths.”

The positioning of the show within the new Edinburgh Sculpture Workshop is crucial to his legacy – Carter was a board member there, and part of the group that pushed for the ambitious expansion which is now so close to reaching its completion. That the pieces are now being remade in this state of the art facility that he helped envision has a bittersweet poetry to it.

Says Gray, “It seems really appropriate. It feels very much like he had an impact in his time teaching and that’s fed through lots of different people.” It is incredibly fitting that that mentorship will now extend to a new generation of artists.

Icaro Menippus [x2], Edinburgh Sculpture Workshop, 2-30 Aug

THE SKINNY

National Treasures Showing across the country in no fewer than seven projects this summer, artist Graham Fagen talks cultural identity and breaking the rules of the gallery Interview: Kate Andrews

f you thought that your 2014 visual art schedule was shaping up to be a bit brutal, then please spare a thought for Graham Fagen. En-route to representing Scotland at the 56th Venice Biennale next year, the artist, whose genre-defying work evaluates Scottish cultural heritage in refreshingly unexpected ways, limbers up for his position on the world stage by exhibiting in no fewer than seven projects for Scotland’s own national art survey, GENERATION. The Scottish National Gallery of Modern Art has selected Fagen’s Peek-a-Jobby (1998) as a pivotal work from the last twenty-five years. Gallerygoers are invited to enter a stage-set depicting a shabby student flat replete with John Waters videos, empty tinnies and overflowing ashtrays. The invitation to engage is formalised by a scripted narrative which uses language as a framing device for the installation, to examine how meaning can be created and corrupted within the mind of the viewer. Fagen refuses to divulge the famous writer who performed the titular "shocking act of depravity" which forms the climax of the narrative but admits with a grin that it is based on a true story. Although Fagen tells us that he’s less interested in looking back along this timeline, he concedes that the piece played an important part in "breaking rules and preconceptions about what could be shown in a gallery space." And that it still feels fresh and relevant today.

Elements of Peek-a-Jobby’s revolutionary

approach to theatrical narrative have echoed through the work made over the following eighteen years, most notably in his collaborations with theatre director Graham Eatough (the pair have re-configured their 2007 film Killing Time for Dundee’s Cooper Gallery). An upcoming show in Marseille will use similar devices to depict an incident of artistic vandalism; however this time, footage within the set will reveal the provocative deed being done.

In performance it is said that tits and teeth will get you through. Time spent working in America led Fagen to self-consciously reconsider national aesthetic standards of the latter. “Teeth are common to everyone, yet totally unique as an object or form.” says Fagen. His striking tooth drawings, which blossom out of vibrant blackeyed pansies, form a central part of a new body of work shown at Glasgow School of Art’s Reid Gallery. Cabbages in an Orchard; The Formers and Forms of Charles Rennie Mackintosh and Graham Fagen began in 2011 with a commissioned essay in which Fagen reconsiders his own "difficult" relationship with the fellow lover of flowers and plants during his student days at GSA. Institutional force-feeding of Scotland’s cultural poster boys led to resistance from Fagen: “We were made to recite Burns at school [without understanding its context]; we were taught that that was our cultural heritage; but to me it was

EDINBURGH COLLEGE OF ART

MASTERS FESTIVAL

Peek-a-Jobby

always a heritage which came with a biscuittin aesthetic.” Finding common ground in the unexpected territory of Jamaican reggae music has enabled Fagen to reconnect with Burns. For the South By South West partnership, Fagen is exhibiting audio work which looks at the legacy of the slave trade alongside the notion that we almost lost our national bard to the West Indies.

Similarly, his ‘huff’ with Mackintosh was exorcised through finding “three wee watercolours, deep in the archives” which used text as a framing device for the visual composition, adding the kind of drama and context so important throughout Fagen’s own work.

As Edinburgh’s High Street sings with a cacophony of contemporary bagpipe mash-ups and souvenir shops do a roaring trade in punting tartan tat, it is easy to understand why Fagen has developed such a complex relationship with

Scottish cultural identity. Though this busy year leads up to the chance to see oursels as ithers see us on a worldwide platform, for the artist representing us in Venice he has bitten off quite enough for the time-being on his home turf.

“It’s great that [GENERATION] is happening,” concludes Fagen, “but you have to hope that Scottish contemporary art might get a chance to stay [and be shown] in Scotland a bit more often.

That’s what we really have to think of for the nation – the legacy of all this cultural production.”

Cabbages in an Orchard; The Formers and Forms of Charles Rennie Mackintosh and Graham Fagen, Reid Gallery, GSA, Glasgow, until 29 Aug SXSW 2014, The Dick Institute, Kilmarnock, until 16 Aug GENERATION, Scottish National Gallery of Modern Art, Edinburgh, until 25 Jan Urban / Suburban, City Art Centre, Edinburgh until 19 Oct

© Theo Cleary, MA Performance Costume

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DEGREE SHOW & EVENTS

FREE ENTRY 16-24 August 11am to 5pm Late nights till 8pm 20th & 21st Edinburgh College of Art Main Building www.eca.ed.ac.uk/degreeshow Lauriston Place August 2014

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Saving Grace Ten years into his career with Frightened Rabbit, Scott Hutchison came close to calling it a day. He tells The Skinny how solo record Owl John may just have kept the band in business

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think I’ve got a really shit name for a solo project,” says Scott Hutchison, straining to be heard over the blare of hungry seagulls outside a recording studio in Glasgow. Glasgow, he says, smells a bit like cowshit today and may as well be a million miles from the settings and the inspirations behind the eponymous album by Owl John, the moniker he’s adopted for his solo debut in an effort to bypass his own “really shit name.”

The album was recorded between the Isle of Mull and Hutchison’s home of four months and counting, Los Angeles. Both are to be found near their nation’s respective west coasts, but that’s where the similarities begin and end. The melodies were conceived on Mull, in a studio Hutchison booked himself into for a fortnight with Frightened Rabbit keys player Andy Monaghan and touring guitarist, Simon Liddell (also of Olympic Swimmers).

“There was only one rule: to see if we could finish a piece of music every day, and that’s basically what we did,” Hutchison reveals. “We booked the studio on Mull for two weeks and had no songs written, nothing at all. We agreed to do a piece of music every day and see if we could make an album from it. We recorded melodies for 11 or 12 songs, which became 10 on the album.

The running order of the tracks on the album is chronological: the first one is the song from day one and the last one is the final piece of music we finished.”

Hutchison then upped sticks and left Scotland for Los Angeles, where he wrote the lyrics. Understandably, perhaps, there are themes of desolation and alienation and he admits that the settling in process hasn’t been easy and that it’s ongoing. He describes the city itself as “beige and aesthetically unbelievably dull” and says that at times “it can be a right fucking hellhole.”

There are fragments of this sense of remoteness across the lyrics sheet, moments in which you can audibly hear Hutchison trying to get to grips with life near the Hollywood Hills

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Interview: Finbarr Bermingham Photography: Jassy Earl

(particularly on the excellent Los Angeles Be Kind). Like many musicians who have made the pilgrimage, though, Hutchison has found salvation in the surrounding area. For while LA itself may be built on bogus foundations, the landscapes around it are said to be some of the most real and most beautiful on the face of the earth.

“It’s incredible. It’s unexpected as well,” says Hutchison on the Californian countryside.

“You drive two hours out of the city and it feels like you’re in a different country. I just finished a west coast tour, driving up the Pacific Highway 1 and I’ve never seen anything like it, it’s where the mountains meet the sea. It’s not what people associate with California, but it’s on your doorstep.”

Hutchison speaks in awed tones about the “totally inspiring” communities of hippies in Northern California. He mentions Big Sur, the vast area that has inspired the literature of Jack Kerouac and Hunter S. Thompson, the film of Orson Welles and the music of Joni Mitchell and the Beach Boys. But that said, his changing situation made him determined to keep some fragments of home.

The second track (Two) features a vocal accompaniment from Donald Smith, a teacher at a local Gaelic-speaking school in Mull, who reinterpreted an old sermon Hutchison and co. had found on Stornaway but couldn’t clear the copyright for. The two places are very different, but the combination works.

“You’ve got lyrics written in LA and music from Mull,” he explains. “That’s the meeting of two very disparate places and that again helps to add a bit more interest to the whole thing. I’m glad those two places came together. There was this running joke that people would make, friends and bandmates, that you’re going to forget where you’re from, you’ll go out there and get all happy, your songwriting will change. I don’t think that’s happened, but [Donald Smith’s contribution] was a really important part to put on there. I might have fucked off, but not entirely. It’s a reference

back to where a lot of the album was made, the west coast of Scotland.”

The polarity of the locations have combined to create a record that pairs coherence with variety, with more of the latter present than on any of the records he’s recorded with his full-time band.

Perhaps the closest reference point for those familiar with the Frightened Rabbit canon will be the two EPs that preceded last year’s Pedestrian Verse. There are elements of each of the band’s records, and over the 10 tracks, the humour, wit and grit we’ve come to expect from Hutchison’s craft is there in abundance. But the record feels like a collection of rarities: songs which while certainly strong enough to be worth forking out for, may have been too disparate to make it onto a Frightened Rabbit LP, proper.

“I wasn’t sure I even wanted to continue being a part of Frightened Rabbit” Scott Hutchison

It’s this sense of freedom, the ability to let off some songwriting steam, which drew Hutchison into the project and which has been getting more common as the band has been maturing. The EPs featured collaborations with Aidan Moffat, Tracyanne Campbell and Archie Fisher, while the last album was the first occasion on which he’d shared songwriting duties with the other band members. It’s this sort of variety and boundary pushing that Hutchison says has helped keep the band together. He admits to coming very close to calling it quits.

“Having worked really hard on Frightened

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Rabbit for 10 years, it’s almost like having nothing else in your life but this one band,” he says, candid as ever. “Last year everyone was drained and I don’t want to mince words: I was pretty sick of Frightened Rabbit. I wanted to do something else. I didn’t want to sit on my arse and just watch TV shows for a few months while we took a break from it. This album exists so that I, and Andy as well, could get our teeth into something else, almost refresh the palate, to become excited about going back to the band again.

“I wasn’t sure I even wanted to continue being a part of Frightened Rabbit. And if I didn’t want to, the whole thing wouldn’t exist anyway.

It was at that point where, I was kind of thinking: ‘Fuck this’. The whole reason for it existing is to keep the band alive essentially and that purpose has been served, which is nice. I don’t care how it does: I hope people enjoy it, but the reason we did it, that’s been achieved. From here on in, everything else is a bonus.”

The next step is a small solo tour as Owl John, the American leg of which Hutchison says turned into “a bunch of request shows,” during which he became a “Frightened Rabbit jukebox.”

But after that he expects to put the moniker to bed, for now. The experiment has worked and after playing some band shows on the festival circuit, the plan is for Frightened Rabbit to regroup – hopefully reinvigorated – and start writing songs for the follow-up to the superb Pedestrian Verse.

“I wanted this album to be a break from the band but I didn’t want it to get in the way. Once these shows are over, that’s the end of what you would call a very short album campaign. It’s time to get back into writing the next Frightened Rabbit album,” he says, using words which will no doubt be music to the ears of the band’s ever-growing legion of fans. Enjoy this detour while it lasts.

Owl John's self titled album is released on 4 Aug via Atlantic Frightened Rabbit play Bellladrum on 8 Aug and Linlithgow palace on 10 Aug owljohn.com

THE SKINNY

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THE SKINNY

Easy Being Green As Rustie returns with his towering new album Green Language, he discusses his quest for vocalists, the influences on his latest beat work, and his love for playing to gigantic crowds

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or a producer routinely cited as one of the world’s best and brightest, and with a fanbase now spread across a good portion of the globe, Rustie (aka Russell Whyte) is still disarmingly modest and prosaic when talking about his own music. This, in part, is what has inspired his new album, Green Language. The concept is of a language that is "non-dualistic, that speaks directly to your emotions without the mind interfering with the message," he explains in the album’s press release, adding: "Music is like that for me."

If directness, and a wish to present a musical statement that reaches beyond the murky glass of translation and interpretation are the defining characteristics of this new approach, then he fulfils this ambition admirably on tracks like Raptor, a relentless series of crescendoes and drops that channels the feverish peaks of mainstream EDM’s repetitive, impact-driven force majeure, and the considered, artful sonic sculpture of Daniel Lopatin in equal measure.

But this is no concept album – to couch it in those terms would undermine the directness of the ‘green language’ in which the producer has sought to speak. “The concept definitely evolved after,” he is keen to point out. “I didn’t start off with the concept and then write the album, it was more that as I started to get towards 60 or 70 per cent done, I started to tie things together, and get a kind of message or feel for the direction of the concept.”

Asked if he was intentionally trying to construct something that could do battle with the immediacy and enormous riffology of stadium trance on this project, Rustie admits: “I’ve always liked big, over the top, sort of grandiose production and sounds. It’s a big part of my taste.”

Playing stadium-capacity shows has fed into this taste: “I guess a lot of it was influenced by touring and doing bigger shows, festivals and stuff like that. That has been such a big part of my life for the past two years. It’s hard not to be influenced by that environment.”

The album is also notable for containing two of the most infectious MC cuts of the year, with Newham Generals veteran D Double E delivering a fiendishly simple and effective lyrical hook on Up Down, and Danny Brown absolutely smashing it on the appropriately-named Attak. “The collaborations were done over email, sending files back and forth. I didn’t get into the studio with anyone – no-one that made it onto the album anyway,”

August 2014

Interview: Bram E. Gieben

he says, hinting at collaborations still in his back pocket. Nonetheless, he was immediately impressed by Danny Brown’s contribution, given in exchange for the beat work Rustie had contributed to Side B (Dope Song) from the Detroit rapper’s chart-smashing album Old. “I didn’t really request anything, or give him direction – I sent him two or three tracks to pick from, he picked his favourite and just did his thing,” says Rustie deferentially. “He came back really quickly with those verses, no hook at all, just straight verses over the whole thing.” His verse really captures the energy of first-wave grime – is there a sense Brown was channelling his love of early Dizzee Rascal on Attak?

“Definitely, yeah.”

Another featured rap comes from Gorgeous Children, aka duo Gila Monsta and Face Vega. “I didn’t really know much about them – they put out a mixtape on Jacques Greene’s Vase label, and while I was looking for various vocalists, they were one of the groups that came back with something,” says Rustie. “I didn’t know too much about them, apart from that mixtape for Vase.”

The duo have delivered a FACT mix, and the mixtape he mentions – ICE – in the past 12 months, showing once again that Rustie has an ear for upand-coming rappers.

Where does he look for new beats and rhymes? “I guess what I’m looking for are DJ sets, I always like to check out new mixtapes on DatPiff, or what’s on Hot New Hip-Hop,” he says. “I’m looking for stuff to play in clubs and at shows. There have been a lot of good new hip-hop producers that I’ve been feeling. I like 808 Mafia, Young Chop, and I like what SKYWLKR does – he’s one of Danny Brown’s main producers.” Rustie’s preference for more club-aimed, ratchet-style rap certainly makes for an album with some searing highlights, and it’s interesting to note his preference for more in-your-face, party-time fare like Brown and classic grime than for the smoker’s beats and abstract lyricism of the LA beat scene, where his tracks are viewed with a degree of reverence.

He downplays the grime influence on Green Language, reticent to talk about any kind of UK grime revival. “I haven’t been listening to more grime than usual... I’m always on the lookout for new music in general,” he qualifies. “I’m a big fan of Darq E Freaker, and some of the Scottish grime stuff that’s happening like Inkke and some of

sense of structure and progression, on these beats. “That’s something I’ve learned over the past couple of years,” he agrees. “I think Glass Swords was a bit more frantic, it didn’t have so much space in it. Touring with Glass Swords, playing it to an audience, I realised it can get a bit too much for people if there’s so much going on. I guess I learned to let things breathe a little bit more.” Does he feel he has progressed significantly since his first EP release? “I hadn’t really been making music for very long when I released Jagz The Smack,” he says. “I’ve been lucky enough to be able to release stuff and learn in the process.”

Now returned from London after two years in the English capital, Rustie currently resides in his hometown of Glasgow. He has been back for 18 months, on and off, using the city that raised him as a base of operations for his globe-trotting lifestyle. Had the city changed while he was away?

“It seemed different at first, but now I’m back into the swing of it, I’m used to it,” he says. “It’s more grounding living here, and being near your family and old friends you’ve known for years, stuff like that. It’s definitely good for me to back here. It makes you feel a bit more normal, after you come home from touring.”

Are the LuckyMe crew still people he sees regularly? Yes, he says, but only when their schedules allow – nearly everyone involved in Rustie the label is now “really busy,” with their beats in heavy demand. “I see them here and there every now and again,” he says. “It tends to be when we Asked if TNGHT, the duo comprised of cross paths at a show, or when we’re booked on his LuckyMe labelmates Hudson Mohawke and the same bill together. But I still speak to them Lunice, were an influence on the bigger, more on email quite frequently.” expansive sound of Green Language, Rustie Rustie is about to head out on the road to becomes somewhat guarded. He’s unwilling to promote Green Language, starting with a string speculate on the likelihood of their return (“I of large-scale US dates. “I am definitely looking don’t really know what’s going on with them...”) and argues that they were more influenced by his forward to going back to the States,” he says. production than he has been by theirs. “It’s more “I’m out there for a couple of weeks. There are always people I know there now, and I’m taking influenced by rap music in general – rap’s somemy girlfriend with me this time, which makes it a thing I’ve always been into. There are elements bit nicer than travelling back on your own.” But it of this sound on Glass Swords already, which is Glasgow to which he will return – he promises came out before TNGHT – the track City Star in he’ll be back here as soon as the album is out for particular could have been a TNGHT track. So I wouldn’t call them an influence.” There is a preg- some homecoming gigs. After all, this is the city that knows his name, and speaks his native lannant pause. “I guess from an outside perspective, you see the similarities without knowing the guage most fluently. background...”

Green Language is released on 25 Aug via Warp Certainly, the sound of Green Language is warp.net/records/rustie more dynamic. There is more space, more of a

those guys, Preditah and stuff like that. But I’m not super up-to-date on it.” Name checking Inkke, whose crystal-clean, epically fierce rhythms have been some of the best electronic music Glasgow has produced in recent years, shows he still has a keen eye on the scene in his home city.

Given the success of Glass Swords, did he feel pressured to come up with a sequel that would have just as much impact? His answer indicates a groundedness, a confidence, that the young producer perhaps lacked in the immediate aftermath of his debut. “I’m quite happy where I am at the moment,” he says. “I try not to worry too much about success in that way. I’m more worried what fans will think – if they’ll think it’s too different from Glass Swords. This album’s a lot less cartoonish, not quite as over the top, as what they’ve come to expect from me.”

“I’ve always liked big, over the top, sort of grandiose production and sounds”

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Girl Trouble

Stuart Murdoch’s debut film God Help the Girl has been a long time in the making, but this month UK film fans get to see the efforts of his labour. The Belle & Sebastian frontman recalls how his lead character came to him fully formed

Interview: Jamie Dunn

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working man’s club in Govan, Glasgow, July 2012. The decor is 70s wood-panelling chic and threadbare carpet. It’s late afternoon and a dozen or so greying couples are swaying happily to the house band. Around the dancefloor, a dozen more sip on pale ales and G&Ts. It’s a familiar scene. At least, it is until a young, petite woman called Eve, with a cherubic face framed in a dark bob, takes to the stage and blasts out a cheery little ditty called I’ll Have to Dance with Cassie. As she sings, the dancefloor of two-stepping sexagenarians are replaced by twisting teens who look like they’ve just stepped off the set of American Graffiti. Their dancing is freestyle at first, but soon they’re forming ranks, and dancing in step around the elfin singer on stage.

There’s not been a tear in the space-time continuum: this is the movie set for God Help the Girl, the debut film from Belle & Sebastian frontman Stuart Murdoch. It’s a musical – hence the singing, dancing and magical realism – and Eve, played by Australian actor Emily Browning, is the girl of the title.

As the dancers twirl and the handheld camera operator roams the floor to record the action, Murdoch, dressed in black t-shirt and jeans, cuts a calm figure at the back of the hall as he observes the choreography and ushers another take. Considering this is his first feature, he looks surprisingly comfortable. “I’m too comfortable,” says the then 43-year-old Murdoch when we sit down to speak while the cast and crew break for dinner. “I sometimes feel that if I did slip away at this stage, no one would really notice,” he laughs.

While it might seem distant from his day job, Murdoch suggests directing isn’t too far removed from being a bandleader. “When our group is up on stage at a festival,” he explains, “we have us onstage, we have the background crew – it’s very similar to this. It feels like my [director of photography], Giles [Nuttgens], he’s like Stevie Jackson on guitar, he’s like my main guy on the left. And Neil [Wallace], the first AD, he’s like Bob Kildea [B&S’s bass player], he’s the guy who runs around and shouts a lot.”

It’s nine days into the film’s shoot, but Murdoch is looking fresh and energetic. As he holds court with a gathered group of journalists, he happily bats away questions about budget and casting. “I thought this was going to be the hard bit?” he says of the shooting process. “I’ve been kind of dreading this, you know. I’m a guy in a band – we don’t work very hard. These guys in the crew work crazy hours, so I was worried abut my stamina, and having an answer to everyone’s questions. But if I can keep it up, this is the fun part.”

Cut to two years later. God Help the Girl has screened at Sundance (where it won the Special Jury Prize) and Berlin film festivals, and it’s soon to make its premiere on UK soil with a live satellite launch screening from Edinburgh followed by a Belle & Sebastian concert. Speaking on the phone from his home in Glasgow, Murdoch is recalling the moment, over a decade ago, when he first had the idea for the film.

“It was 2003 and I was on tour with Belle & Sebastian. We were playing Sheffield, but I was out running before the gig, and while I was running up some canal I heard the title track, God Help the Girl, in my head like a complete song, and Eve was singing it, and I thought, ‘This isn’t something I would sing in the band, this is a separate thing.’ It took two or three songs, which came in quick succession, and then I kind of thought, ‘Well, she’s a character, I’m going to try and write a script.’”

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God Help the Girl may be a musical, but its premise is far from fluffy. As the film begins, Eve is in a mental institution suffering from an eating disorder and depression. We follow her as she breaks free from her closed-off world of therapy and attempts to heal herself through living. She meets James (Olly Alexander), an upbeat guitarist who takes her under his wing. Together they form a pop trio with piano player Cassie (Hannah Murray) and the film plays out as a paean to the healing power of music and to a glorious summer spent in Glasgow. You read that right: a glorious summer in Glasgow.

romance period when we first came together as a band.”

That’s not where the autobiographical details end. While Murdoch admits to sharing characteristics with the gawky James and the kooky Cassie, it’s Eve’s story, and her relationship to music, that’s closest to his own. “Her downfall in youth that’s unspoken about, what happened to her before the film that was so bad that brought her to Scotland in a mental institution, I had that kind of downfall.” Murdoch is referring to the long period in his early 20s where he suffered from chronic fatigue syndrome. “I got very ill, but shortly afterwards I started writing songs and I sort of clung on to that because I’d given up everything else at that point.” But, he says, these things happened so long ago that “Eve, when she came along, did feel like a real, breathing character separate from me. I could empathise with her, and that’s why I could write her character so easily.”

The songs may have been written in a flood, but the film came at a trickle; ten years from idea to screen is a long time, even for a first-time filmmaker. Murdoch has been no slouch in this period – God Help the Girl’s songs started life as a concept album of the same name in 2009, and he released and toured two albums with Belle & Sebastian (The Life Pursuit and Write About Stuart Murdoch Love) in the intervening years – but the ques“I think perhaps the summer they spend is tion remains: what took so long? “When you say somewhat idealised,” Murdoch admits, “but that’s it took me ten years, it sounds like, ‘Oh my, God, films for you.” As well as the beautifying power of what was that guy doing?’” he laughs. “The thing cinema, the romanticisation of the city may also is I had to learn how to be a director in that time. be due to some unconscious nostalgia Murdoch I learned how to write a script. It took a while – it was channelling into the script. “That was was like going to college.” pointed out to me after Stevie Jackson saw the How did you go about learning? first rough cut – he was talking about the obvious “You learn by doing it, having a go. First off, parallels between those three guys in the film I said, ‘OK, I’m going to make a record.’ We did and our band. It never occurred to me that that that, then I was like, ‘Right, we’ve got to turn this was partly what I was writing about, that great into a film,’ and that ended up taking six years. I

“For every song we do for Belle & Sebastian now I’m thinking, ‘Where’s the film to go with that?’”

FILM

was definitely meant to do it. I woke up every day thinking, ‘I’m in the right place.’”

While it’s rough around the edges (some scenes feel rushed, while others feel like they’re missing altogether), Murdoch has certainly succeeded in creating a film of charm, wit, and energy, and he’s teased out three sparky performances from his leads. A large part of the picture’s appeal can be attributed to its visual style, which calls to mind the fizz and inventiveness of Jacques Demy and Richard Lester films. Anyone familiar with Glasgow’s music and art scene, meanwhile, is sure to have fun picking out the film’s wealth of cameos. As well as members of Belle & Sebastian (Bob Kildea and Chris Geddes join Eve’s band as session musicians; Sarah Martin plays a nurse), there are small appearances from the likes of Marco Rea (The Wellgreen), Sarah Hayes (Admiral Fallow) and Matt Brennan (Zoey Van Goey), as well as a hilarious turn by comedian Josie Long as an intense football captain.

“I love that stuff in movies where it manages to conjure up a sense of community,” Murdoch says.

“It’s a little bit like The Simpsons, where the whole town shows up at the end of the episode.”

What now for Murdoch? When asked on the set visit if this is the end of Belle & Sebastian he fires back a resounding “absolutely not.” What, then, for filmmaking? Can he see himself getting back behind a camera? “I think as long as I live and breathe I’ll definitely make another film,” he says emphatically. “I love the possibilities of the medium so much. For every song we do for Belle & Sebastian now I’m thinking, ‘Where’s the film to go with that?’ It’s hard for me to go back.”

God Help the Girl is screening live across UK cinemas from the Edinburgh Corn Exchange on 16 Aug (where it will be followed by a performance from Belle & Sebastian), and goes on general release 22 Aug

THE SKINNY

30 Years of Pleasance Supporting bright ideas for 30 years

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The Spirit of the Fringe Pleasance founder and former director Christopher Richardson sums up the special nature of Edinburgh in August

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seem to remember, as we were loading chairs onto a friendly builder’s open truck to return them from whence they came, that I would be called to the telephone to talk to someone from Upper Bedfordshire or Lower Wisconsin. “We are a song and dance troupe. We need your largest space for a cast of 150, aged between five and seventy and we will come for two days in early August, coming back at the end of the Festival for the final weekend. We must weld our two-storey set on-site and it will have to remain in position until we return. We need 400 burning candles and a wind machine to symbolise progress. You can have 10% share of profits and, oh, would you have stabling for two rams? The show is called The Journey Towards a New Beginning By Way of The Supermarket and we think it would give your venue a real boost.”

The Fringe is open to all and that is its chief glory. From November there are enquiries and things warm up in January when official applications open. A certain practicality settles over the nice people from Middle Bedfordshire or Western Wisconsin. The cast of The Super Highway of Intention, (as it is now known), has shrunk to those who are available for at least two weeks and the set is to be made of wood (we have an old garden shed…) and a smallish fan now blows a row of slash curtains in yellow and red.

‘Charity’ will be played by a single sheep.

In 1985, we had 18 shows in two venues, each giving ten performances a day. It seemed a lot but now there are 23 stages each with ten shows a day and The Pleasance is only a part of something huge and, to my mind, a still glorious festival.

Nowadays there is a mini army of people,

all year round, seeing shows, listening to ideas, often spreading a little reality upon a choppy sea of creative expectation. There always was a team but, what is remarkable, the current team is by no means a vast multiplication; it just works very hard and carries an ever increasing wealth of experience. By April, we used to have the beginnings of a programme; now, deadlines creep ever earlier in the year.

The really nice people from Wisconsin or Bedfordshire are now programmed for the first week of the festival in a 120 seater with their musical, Hope!

Ideas, amateur and professional, which seemed such fun over chats in the pub, now have to be turned to good. The programme is proofed and printed and you can see what you are up against. And how does anybody choose what to see? Some people make a competition of it.

They see just how many shows they can watch in three weeks. If that is your thing, good luck but in order to avoid indigestion and exhaustion in an Escher-like Edinburgh (Why do all steps lead UP to something?) plan carefully. Buy some good shoes. Choose a day one side of the city and, the following day, try a group of neighbouring venues on the other side. Make a few brave choices in the programme and you may be delightfully surprised by what you discover. When you visit the good people from Wisconsin or Bedfordshire, take joy in their joy in Hope!; its elegant little frame of a set, its polystyrene poodle and its jolly tunes.

They will certainly be sitting next to you in the next show you see, absorbing the great jumble of hope, expectation, good people and sheer fun that is The Edinburgh Festival Fringe.

Looking Ahead Pleasance director Anthony Alderson offers a look at some of the many highlights from this year’s programme

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hether you are in Edinburgh for the whole month of August, a week, a day or even just an afternoon or evening, it would quite simply be tragic if you didn’t get a chance to join us at the Pleasance for what we hope will be one of the most memorable festivals in our 30 year history.

You are welcome to come and spend time hanging out in the Courtyard or Dome, soaking up the atmosphere, enjoying the bars and cafes, but while that is fun, it really is only part of the experience. For those thrill-seeking culture junkies amongst you, the true experience of the festival only really comes to life after you have seen a few of the 230 shows in the programme. Each year I see something that makes me laugh, cry, howl, cringe or just think. Whether you’re after comedy, drama, sketch, physical theatre, music or children’s shows, the Pleasance programme is of the highest quality anywhere on the festival. You really should come and join us.

For those of you with children that you wish were inspired just long enough to part with their iPods and pick up a musical instrument, then check out the incredibly gorgeous and talented Amelia Robinson and her show Mil’s Trills, or the exceptional musical mayhem of Decomposed. If it’s the mischievous world of Dr Seuss or giant puppets (some with teeth), tall tales, famous detectives or good old fashioned storytelling that you think might excite, well look no further than The Cat in the Hat, Dinosaur Zoo, Emily Brown and The Thing, Potted Sherlock or The Little Prince in the Desert. Between shows, there is the Pleasance Kidzone in the middle of the Courtyard, where giant loom band creations, shrinky dinks and puppet making are the craze.

For those of you in need of unending love, tragedy, ecstasy, legend, joy, sadness, jealousy, seduction, scandal, war, sex, cannibalism and hallucinatory drugs, then an afternoon in the

30 YEARS OF PLEASANCE

Pleasance is highly recommended. Forgotten Voices will bring you to tears, Light will fascinate and spellbind you, Kingmaker will charm you, The Curing Room will shock you, Civil Rogues will inspire you, #My Way will lift you, Jamaica Farewell will enthral and move you, Inheritance Blues will rock you, Dracula will seduce you and Fear and Loathing in Las Vegas will take you on the most unexpected journey of your life.

After all of that it might be a good moment to have a cup of tea, or possibly something stronger! There are nine bars and cafes to choose from, you might even manage to blag your way into the infamous and exclusive performers bar Brooke’s Club. It’s a refuge for the press and a sanctuary of peace for performers. You never know who you might meet.

For those of you in search of busting laughter – I laughed so much I wet my pants sort of moments – then our Head of Comedy, Ryan Taylor, has an assortment of treats in store for you. The very best of character comedy comes action packed in the form of Adam Riches, with sketch comedy in the form of Massive Dad, The Pin or The Beta Males. If you like it wrapped in magic and mystery then check out Morgan and West or Pete Firman and for the ultimate in stand-up look no further than the Pleasance line-up. Over the years an act at the Pleasance has clinched the Comedy Award more times than seems fair and this year there are some real treats in store.

And finally my last tip is to check in with those returning legends Ennio Marchetto, Peter Straker, Arthur Smith and The Reduced Shakespeare Company. They may have been to the festival a few times before, but the reason is simple… they’re brilliant!

See you at the festival and above all, have a Pleasance day!

THE SKINNY

Single White Slut The slut in the hut, Tim Key chats to The Skinny about fitting in, magnum opuses and returning to Edinburgh

Interview: Vonny Moyes

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here’s a book that lives in my bathroom. 25 Poems, 3 Recipes And 32 Other Suggestions: For seven years it’s camped out on the windowsill next to the bathtub, sandwiched between other titles – most well-thumbed – of my crappily curated reading material. Most recently it’s been hanging out with Gombrich’s A Little History of the World and Bill Callahan’s Letters to Emma Bowlcut. It’s a small book; tawny owl brown, all untreated paper and crisp typography. It’s always smelled of old book, though it’s recently taken on the floral soupy notes of too many Lush products. I spotted it while dodging an unheralded Edinburgh deluge in Analogue books, a shop I was priced out of in both cash and culture. With the price tag of £7.99, it was a purchase I could make so as not to seem like another skeevy timewaster, without breaking the back of my meagre disposable income. It’s an unorthodox book from an equally unorthodox man. A man who would go on to become one of the country’s most lauded comic curios.

A quick flick through, and I landed on Poem 524 – a pithy verse about mouse death accompanied by a delightfully crap Shrigley-esque scribble of a crudely decapitated rodent. I was sold. The book was purchased, and so began my relationship with poet, comic and lackadaisical recipe suggester Tim Key. One of the more peculiar exports of British comedy, Key can be found occasionally dipping his toe in the mainstream before shuffling back to a giant bathtub, or some other prop, armed with a little notebook fat with the musings of a man in his late thirties. This is a man whose comedy career began with a ruse; the feigning of a Cambridge education to infiltrate the nebulous breeding ground of tomorrow’s comedy greats, the Footlights. Somehow, he’s managed to straddle both the life of the prime-time comic, and that of the ‘comedian’s comedian.’

“It’s difficult to work out where you fit into things. I like doing small things that hardly anyone likes; but those who do, like it quite a lot. And I also like doing bigger things that more people like. The important thing, in both cases, is that I like it. [BBC 2 comedy] Inside No. 9 was seen by more people than listen to my radio show, but I loved it so I felt very lucky to be involved. I’m lucky that once in a while I’m invited into established, popular things and I can meet highly regarded comedians and hug them and try and sit with them at lunch.”

This year sees Key’s fourth hour long show grace the Pleasance Courtyard: Single White Slut – the follow-up to a hat-trick of titular jezebellery, borne of an easy rhyme. “Slut rhymed with Hut and it felt like it suited the show, or a section of the show, involving a character who was down on his luck and lived a scaven existence. Then I called my next one The Slutcracker which I stand by, or try to – and after that it was open season.

The titles kind of write themselves now. One less thing to worry about.”

Key’s shows are the antithesis of the exuberant waffling of the prime-time telly fodder.

His hours don’t read like the product of a finely honed comedy process, specifically engineered to milk laughter from doting punters. It’s interesting to find out how something like this germinates. How do you grow a show from nothing but a pad of poetry?

“I tend to just bring together about thirty or forty poems that make me laugh and do a load of work-in-progress nights. Then I try and talk around them a bit and throw in a few anecdotes.

Meanwhile I cultivate some kind of conceit usually involving a large prop. As Edinburgh

August 2014

approaches I mix all this stuff together. Then I hope I get a bit of luck and it all feels like a show rather than a complete car crash.”

“I can wear the Poet tag as a cloak and bosh out the comedy from underneath it. I also consider myself a wonderful actor and solid voiceover artist.”

Tim Key

This year’s offering promises an hour of stoic recitation and general chatter, gallivanting through the theme of love and life (and possibly owls and fairies). It’s not quite stand-up, and it ain’t no pseudo-beatnik revivalism. How do you view yourself, when the world doesn’t quite know where you fit?

“I think I’m a comedian, but I think I get

asked whether I consider myself one more than a lot of other comedians. I don’t mind people not immediately thinking of me as one though. The poetry thing’s a quite enjoyable smokescreen. It takes the pressure off. I can wear the Poet tag as a cloak and bosh out the comedy from underneath it. I also consider myself a wonderful actor and solid voiceover artist.”

Despite his relative stealth, Key is a prolific creator, contributing to genres that transcend his idiosyncratic comic-cum-poet niche. It’s little surprise to those in the know that he’s worked with Daniel Kitson on his 2013 theatre show Tree. He writes for radio. For TV. Then there’s the occasional book. Not to forget roles in Richard Ayoade’s acclaimed The Double and the role of Sidekick Simon in Alpha Papa, that Alan Partridge flick. He’s become a sort of unsung multi-genre auteur. When you’ve done so much, what really stands out? I ask him about the best thing he’s written.

“There’s a few things I’m proud of. I wrote a radio show about eight years ago, which I liked. It was called All Bar Luke. The final Christmas special was something I was happy with. It was the last time I’d write for that character and I’d been writing his voice for maybe seven years in various guises. I didn’t want to fuck it up, and I made something that was overly sentimental but that I liked. Aside from that, ideally, the most recent thing should feel like the most exciting. I love my current live show, and I think my texts are quite fun at the moment.”

30 YEARS OF PLEASANCE

As much fun as it is to don your poetry clothes, and bed down on the middle of a stage for a week, the gloss of returning to the same place year after year must surely lose some of its sparkle. The same place, the same routine.

The veneer is bound to crack. When you’ve been coming for so long, is there any allure left? How does coming to Edinburgh feel?

“It’s wonderful. I really want to stop doing it just so I can have a decade without it and then go back there. I really look forward to that day.

Smelling the hops and thinking back to when I used to perform there. But at the moment I can’t seem to stop going, one way or another. I love it.”

Our blether finishes on the subject of the Pleasance, the venue that’s hosted each of his successful solo hours, and undoubtedly had a hand in the cult following and loyal following, despite relatively scant appearances on most consumed comedy channels.

“The Pleasance is great. I love the people who run it and I’ve always had a good time there.

When you’ve been going there a while you kind of build up unreasonably strong bonds with lots of the venues. I love watching shows and simultaneously thinking ‘this is funny’ but also ‘we had a lot of fun in this portakabin in 2006.’ There’s also something about The Courtyard. It does feel like a bit of a spiritual epicentre of things. But maybe that’s just because I’ve been in there a lot over the years.”

Tim Key: Single White Slut, The Grand - Pleasance Courtyard, 13-25 Aug, 9.40pm

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“It’s About the World We Live In” A

s part of its 30th anniversary celebrations, the Pleasance presents Lou Stein’s adaptation of Fear and Loathing in Las Vegas. First produced and performed in the 80s, the play is based on the homonymous book by Hunter S. Thompson, which follows journalist Raoul Duke (John Chancer) and his attorney, Dr. Gonzo (Rob Crouch), as they journey to 1970s Las Vegas to report on the Mint 400 – an off-road desert motorcycle race. Sooner rather than later, their attention starts to drift. They plunge into experimentation with various drugs, at the tail-end of the hippie era, looking for the notorious yet elusive American Dream.

It would be natural to assume that adapting such a famous work – especially as it’s considered a milestone in the world of modern journalism – would seem a terrifying, daunting job. After all, an adaptation of a book to a script involves altering the source material in some way, in order to make it more visual and theatrical than a simple reading. So how to go about adapting a book this significant?

“The key to success is to go back to Hunter’s own words and the book,” explains Stein. “I think Fear and Loathing is his best work. Hunter’s language and the way he writes is so alive and full of energy. That’s what you need for a great play.”

Furthermore, he adds: “In terms of the dialogue that I’ve used in the play [taken from the book], you can’t improvise around it. I very often tell the actors ‘You have to treat it like Shakespeare. You have to treat it like the lines are really important.’ The lines are the energy of the show.”

Stein’s adaptation was first produced in 1982, to celebrate his founding of the Gate Theatre in Battersea (now known as Theatre503), sibling to the Gate Theatre in Notting Hill.

Thompson himself turned up to see the original production, and handed over exclusive rights to the play to Stein because he loved it so much.

Clearly Stein's reverence for the original and his respect for Thompson’s words paid off.

“The first thing he said to me when the show was finished was ‘Why weren’t the drugs real?’” recalls Stein with a laugh. “Then he said it was like part of his life replayed for him. Don’t forget, all those characters are real – he experienced them.”

The book is generally considered autobiographical as Hunter S. Thompson shares his experiences of travelling to Las Vegas in 1971 for work with lawyer Oscar Zeta Acosta. Nonetheless he writes as Raoul Duke, which seems to be both a nom de plume and also a separate character in this fictional realm. Raoul Duke is as much Hunter S. Thompson as William Lee was William Burroughs, or Harry Haller was Hermann Hesse in Steppenwolf; generally, a character who shares some but not all of his experiences and views, and doesn’t always express himself in an identical manner.

With the tenth anniversary of Thompson’s death approaching, this production could be seen as both a commemoration of his work and a celebration of his life as depicted through his writing. Of course, it could also be seen as a commentary on our lives; as Gob Squad’s Kitchen points out, the 60s and 70s seem to be that era of experimentation that is completely inescapable, and their influence – from Warhol to Bukowski – is everywhere. Stein agrees: “It’s about the 70s, but it’s also about a view of the world we live in.”

[Eric Karoulla] Fear and Loathing in Las Vegas, Beyond - Pleasance Courtyard, 30 Jul-25 Aug, 4.30pm

Cannibalism on the Fringe S

tripped Down Productions present their debut production The Curing Room directed by Joao De Sousa. Written by David Ian Lee, the play observes seven Soviet officers captured by the Nazis in 1944. Imprisoned in a monastery cellar in occupied Poland, the seven men are stripped, locked up, and abandoned. With no possessions or food, the soldiers begin to lose their sense of order, rank, dignity, and social behaviour. In the fight for survival, it’s hard to say what’s right and what’s wrong.

Based on a true story, this world premiere unravels the darkest side of human nature, especially the importance of maintaining order in view of the need to survive. Although the characters are extremely disciplined as military officers, they crack under the pressure because, after all, they are only human. Nonetheless, perhaps the consequences are even greater since they have the brutal training to keep their cool in a violent situation.

While films like Silence of the Lambs (1991) have demonised cannibalism, it has been proven – as De Sousa explains – that some societies have been known to forgive cannibalism in survivors of terrible events, and even go so far as to condone it under extreme circumstances. Even so, it is difficult to imagine what could push someone to the act.

Meanwhile, for Will Bowden, the production signals a return to his performance roots, as he hasn’t been on stage in a while.

“It allowed me to rediscover the rawness of acting in a theatre,” states Bowden. Bowden has

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a history of appearing in military films like Pearl Harbor (2001) and Captain Phillips (2013) and seems to be still seeking that breakthrough role, although it seems he’s getting closer. His martial arts skills and film career must have undoubtedly prepared him for the part. His willingness – as well as that of the other actors – to appear naked for the entire ninety minutes of this performance surely indicates the extent of their commitment to both acting and the production itself. Consequently, the preparation for the performance involved both physical and mental training, particularly in order to separate the traumatic events of the narrative from real life.

This production coincides with the hundredyear commemoration of World War I, but also the 30th anniversary of the Pleasance. It seems a chilling yet thrilling performance with which to kick off an inaugural theatre run, let alone the Fringe. However, in the past, other attempts at bringing cannibalism into the light of the Fringe don’t seem to have gone down very well. For example, David Hughes’ dance performance Last Orders (2012), which featured the legend of Sawney Bean and his clan, was not particularly well-received. Even so, there might be space for something like this in the Fringe, particularly since physical theatre seems to be widespread, and in this kind of performance the physicality of the performers is vital. It will be fascinating to see how it is received. [Eric Karoulla] The Curing Room, King Dome - Pleasance Dome, 30 Jul-25 Aug, 12pm

30 YEARS OF PLEASANCE

THE SKINNY

Gender Studies S

ociety seems to have come a long way in terms of equality, but how equal is it really when it comes to gender? Have we reached an equilibrium on this subject or have we just become desensitised to the issues that still plague our society? In an attempt to address the issue of gender, Unbound Productions unveils Travesti, a show that sees an all-male cast perform real stories of real women.

The Pleasance Theatre, as part of its 30th birthday, presents an eclectic range of shows covering a multitude of themes including mental health, war and feminism. With Travesti, feminism is explored innovatively and without the strong female lead that often goes hand in hand with feminist theatre.

“Personally, I am frustrated by the theatre I’ve seen that tackles feminist issues, as often I walk out feeling bullied and attacked for being a man rather than rallied and excited by the idea of equality,” states Bradley Leech, the show’s producer.

This is one reason why Unbound Productions was created in 2012 when Bradley Leech and Rebecca Hill decided they would like to make theatre they wanted to see. Their previous production Torque – as stated on their website – “is about communication in relationships, equality regardless of disability, and what we are willing to sacrifice for love.” Equality seems to be an important issue for this relatively new company as they push the theme even further in this piece.

With gender equality constantly in the media, whether through gay marriage legislation, schools staging demonstrations for the rights of LGBT students, or more recently the openly transgender Laverne Cox being nominated for an Emmy for her role in Orange is the New Black, it is

a topical subject that all ages can engage with.

It is refreshing to see a production tackling these themes in a way that may cause people to sit up and take notice. As actor James Lawrence (Zadkiel) says, “We have a responsibility as men and women to keep pushing for change and equality.” This is what Unbound’s latest piece aims to do.

The cast of this adventurous piece sing, dance, and gossip their way through women’s real experiences of what may seem to be trivialities such as unruly body hair, but also the darker side of being a woman, such as being groped on public transport and sexual violence.

Furthermore, it seeks to open up discussion on the social roles given to both men and women.

There is little talk of sexual violence or domestic abuse towards men within the media or society as a whole, yet it does occur, although it might not be reflected in recent statistics. Do these social roles impact on such things being reported, and if so, why? Unbound have also given thought to this.

“My intention with Travesti was to explore both genders – the struggles of both – and remind people that first and foremost we are all human, and we’re genders second” reveals Hill.

With a piece like this, Unbound will no doubt be hoping the audience takes something away from Travesti in the form of questioning their own morals and expanding their own thinking, though with the title being so close to ‘travesty’ they are hoping it is not to be one, as Hill admits that “it is a bit of a risk – if critics don't like the play, we have handed them a pun on a platter for their articles!” [Christine Lawler] Travesti, Jack Dome - Pleasance Dome, 30 Jul-25 Aug, 2.50pm

Underground Dystopia T

his August, emerging theatre company the Human Zoo bring their debut production The Hive to the Pleasance in Edinburgh. Co-written by Florence O’Mahony and Nick Gilbert, the play is set in a dystopian, technology-rich universe not unlike the world dreamt up by George Orwell’s 1984 or the machine-filled domain Neo (Keanu Reeves) encounters in The Matrix Trilogy. The play unravels the story of Koto (Nick Gilbert), who tries to satisfy his curiosity about the world beyond his minute, underground cell. In his quest for truth and knowledge, he begins to doubt everything he knows and along the way meets Miri (Florence O’Mahony), another inhabitant of The Hive.

“It came about when I was working a job in an office I didn’t like, where people would email the person next to them rather than talk to them,” explains O’Mahony, artistic director of the company. The production explores not only the problems of relying on technology, but also, as in the film Equilibrium (2002), unveils what happens when a ‘mindless drone’ begins to think for him or herself.

“We didn’t want to do it in a preachy way,” adds O’Mahony. “We didn’t want to shout at everyone or keep saying that we shouldn’t be using technology so much, because we’re the first to admit that half the play was written over email.

And you know, we’re all on Facebook and such.

It’s about our experience of the world.”

Winners of the Les Enfants Terribles award 2014, the Human Zoo are being catapulted into the Fringe frenzy for their debut, but not without some expert guidance; the award includes invaluable mentoring from Les Enfants Terribles themselves. They also offer a monetary prize

August 2014

(£1000), and a guaranteed slot in the Pleasance programme. Les Enfants Terribles are a company that have the experience of thirteen Edinburgh festivals behind them, and are also bringing two shows of their own to this year’s festival. As Oliver Lansley, artistic director of Les Enfants Terribles, explains: “The intention behind this award is to reward people for their artistic merit and ambition, putting the focus very much on the practical aptitude of creating theatre as opposed to the often long-winded and administrative process of finding funding.”

The play seems to follow the trend of work about technology, and alienation, but how does an emerging company like the Human Zoo bring a technology-driven performance to the Fringe without an immense budget? After all, most of the films cited above are high-budget Hollywood blockbusters. Looking to their mentors, the solution becomes apparent.

“At one point, Nick’s character has to climb a ladder and we knew that we weren’t going to be able to have a ladder in the show and we needed to show that, so it made us get quite creative,” O’Mahony admits. “We’re all quite hands-on people. There’s a lot of workshopping and playing and devising.”

Aside from the support of Les Enfants Terribles and the Pleasance, the company have been lucky to have the support from charity Sophie’s Silver Lining Fund, that offered them rehearsal space at Sophie’s Barn during the play’s development. [Eric Karoulla] The Hive, Jack Dome - Pleasance Dome, 30 Jul-25 Aug, 12.10pm

30 YEARS OF PLEASANCE

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Emerging Talent on the Fringe Now in its tenth year, The Pleasance Charlie Hartill Special Reserve supports emerging talent with a month-long showcase on the Edinburgh Fringe. This year’s batch of comics tell us what they’re planning, and what a Pleasance platform means to them Interview: Vonny Moyes

C

harlie Hartill: writer, performer, one-time president of the Cambridge Footlights, with an eight-year stint on the Fringe board of directors; died at the age of just 32 in 2004. With the untimely loss of such talent, shockwaves reverberated through the arts scene. Though from tragedy, comes promise. A boost for talented youngsters keen to eke out a place for themselves in Fringe history, The Charlie Hartill Special Reserve is now in its tenth year; a phoenix from the ashes of incomparable tragedy. Every year the memorial fund brings four aspiring comics to Edinburgh for a month long showcase at one of the Fringe’s most esteemed venues – the Pleasance.

This year, comedy arrives in the guise of Evelyn Mok, Phil Jerrod, Brennan Reece and Chris Betts. We get a little taste of what’s in store by quizzing the lucky bunch about their material, and what bringing a show to Edinburgh means to them.

Brennan Reece: “I like to do stories and that. I wouldn’t say I’m the coolest guy in the gang. I’m not even in a gang. And that becomes pretty clear as soon as I open my gob. My stuff is about me.

Trying to find my way in the world (and not being any good at it), trying to grow up (while still living at home), and trying to find love (even though I am sexually unemployed). To be honest, there’s an awful lot of trying going on. I should try to put a stop to that.”

Chris Betts: “My material is mostly a runthrough of things that don’t quite ring true to me. Things like words that are carelessly used without any knowledge of their meanings. A class system that defies logic. People’s assumption that they’re special and deserve better for no other reason than that they are themselves. My jokes don’t really follow a through line other than they are the things that I actually spend my time thinking about and they are (I hope) funny.”

Describe your show in a nutshell?

Evelyn Mok: “I am one fourth of the Pleasance Theatre’s Comedy Reserve, their showcase for new talent. It’s been known that compilation shows can be full of surprises as you never know what you’re going to get. It is like a box of chocolates; at least one of us will be liquored up.”

Phil Jerrod: “We are each doing 15 minutes of stand-up so I’ll be doing my normal club set which involves shouting very loudly about how difficult it is to get a job. Oh and monkeys – I’ve got some stuff on monkeys this year. It’s going to be great. The four of us all get to live together in a flat for the month. It’s going to be like a mega long episode of Friends. I’m Chandler – I’m pretty sure I’m Chandler... I’m Ross aren’t I.”

What does coming to the Fringe mean to you?

EM: “In the case of being part of the Reserve, it is a great opportunity to experience the Fringe as part of an established institution. I am grateful as they take care of all the details (flyering etc) and provide us with the privilege of being able to focus on our comedy writing and performance during the Fringe, which is a rare opportunity.

It is also one of the few times you get to see so many of the greats in the same place. And if you’re lucky you might get spotted by a few people as well.”

PJ: “Well it’s the greatest arts festival in the world; I’ve been following it for my whole life. I’m so excited to be a part of it I’m worried I’m going to make a fool of myself. I’ve been up in the past

Evelyn Mok

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Brennan Reece

“I’m very excited... and scared...”

Phil Jerrod

but only to do small one-off spots and competitions, so performing every day at the Pleasance Dome is going to be a steep learning curve. I’m hoping that by the end of August I’ll have become a bullet-proof-comedy-ninja.”

BR: “Well the Fringe is pretty big isn’t it. I came last year, and couldn’t believe how massive it is, and to be part of it feels amazing. Creatively, I get to see unusual things which will hopefully inspire me to be better, like all that French mime stuff.

Socially, I get to meet new people, who won’t judge me for having daft hair. And in terms of opportunities for the future, it is not a bad place to be seen is it?”

CB: “Last year was my first year and it put into perspective the scale of the comedy industry in the UK. Going to Edinburgh is a great chance to see acts that I otherwise can’t afford to see or whose London run I missed, and get to experience what the scene’s best have to offer. It’s also a great chance to really get to know comics because in London with shows ending so late and the Tube closing so early, I normally only get to have a quick chat with comics about gigs and mutual friends before having to shoot off. At the Fringe it’s like summer camp, I get to spend the day running around being silly with other comics. It’s like an equally fun and stressful working vacation.”

How do you feel about performing at The Pleasance?

EM: “It very exciting! Each year I’ve admired and enjoyed their line-ups of comedy and theatre and it’s incredibly fun to be part of a show there.”

BR: “I’m dead nervous. In a good way. The Pleasance has the best venues in Edinburgh, and the list of brilliant people that have performed there is endless. Well, not endless, but it is pretty long. Some of my comedy heroes have played there when they started out, (Frank Skinner, Russell Brand, Terry Alderton, Bo Burnham, Christine Hamilton) and to be included in that list scares the shit out of me. Again, in a good way.”

PJ: “It’s a tremendous honour. It’s right in the thick of the festival and one of the most well known venues. We are performing in the Jack Dome which looks properly lovely. So yeah, really excited. And scared. But mainly excited... and scared. But looking forward to it! General excited

30 YEARS OF PLEASANCE

apprehension I suppose should be the main bullet point to take away from this section.”

CB: “It’s an honour. It’s got a fantastic reputation with acts as well as punters which is a surprisingly rare thing. A lot of the time it’s one or the other but the Pleasance has an incredibly well curated line-up, year in and year out, of innovative and impressive acts so to be asked to be a part of it really means a lot.”

How has the Charlie Hartill fund helped you?

EM: “In the lead up to the Fringe, being part of the Reserve has allowed me to to focus on developing my act alongside performing as much as I can.

I imagine that the Comedy Reserve is one of the few shows that offer this rare opportunity during the Fringe as well.”

BR: “I think the main thing it has helped with is my confidence. I really bloody love the British comedy circuit, like I really care for it. And being invited to do one of the best new act showcases, by one of the best venues, at the world’s best comedy festival makes me feel a tiny little bit like I have been invited into the gang. So forget what I said before. I am in a gang. In a good way.”

PJ: “It’s no exaggeration to say that I wouldn’t be going to the Fringe at all without the fund. Or at least if I did I would have had to sell everything I own in order to raise the money, and probably have lost my wife as a result. She would have probably taken the dog with her – and the car – she’d have needed the car to take the dog.

She probably would have moved back in with her mother. Then I’d have got all the angry phone calls in the middle of the night. The recrimination, the reprisals, the ongoing vandalism of my favourite sports jacket... Okay that might be a slight exaggeration. Sorry. I’m very excited... and scared. I’ve made a fool of myself haven’t I.” CB: “Financially, it’s allowed me to come to Edinburgh without the burden of a massive debt looming over the show which is a boon.

Professionally, it’s allowed me to showcase for agents and bookers that would otherwise be hard to reach. And personally, it’s given me something concrete to show my parents to say ‘See? I dropped out of university for a reason’ and not sound sarcastic. Most importantly of all though, I think the rotating lineup (we each host, open, middle and close) will help me hone a lot of different skills over the month and help me to become a much better comic than I could have been without the opportunity.”

The Comedy Reserve, Jack Dome - Pleasance Dome, 30 Jul-25 Aug, 9.30pm

THE SKINNY

The Next Generation of Theatre At the heart of the Pleasance’s birthday celebrations sit Young Pleasance, infiltrating this year’s Fringe with a triumvirate of performances

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t has been thirty years since the Pleasance opened as part of Edinburgh’s Festival Fringe: two dilapidated union buildings transformed into makeshift theatres, both facing a deserted courtyard-cum-car-park. The story reads somewhat differently now: a multi-venue operation with an international profile and network of alumni that reads like a Who’s Who of contemporary comedy, drama and entertainment.

From the array of successes the Pleasance could boast, Young Pleasance appears to be its most enduring. Headed by joint artistic directors – and brother and sister duo – Tim Norton and Kathryn Norton, Young Pleasance has spent the past 19 years offering dynamic and inclusive opportunities for young people, providing tangible and credible experience to all who participate.

It is Young Pleasance that lies at the heart of its parent’s 30th anniversary, with three impressive performances that encapsulate the breadth of their audacious ambition.

In collaboration with Fringe First award-winning playwright Joanna Billington, YP begin proceedings with an original large-scale performance typical of the company’s exceptional capabilities. #MyWay charts the efforts of one Sinatra obsessed teenager plunging into the Twittersphere in pursuit of his digital darling – but she’s too busy choosing her Instagram filter. Filled with wry observation of the social media vortex in which teenagers revolve, YP have created a swirling multimedia love story for a technology savvy audience.

“The inevitable onslaught of social media is now a huge part of all of our lives, and the younger generations in particular are using it to their advantage,” explains Linda Bloomfield, co-writer and director. “We wanted to explore all sides of the social media debate, both celebrations and pitfalls, but do so through young eyes. Out of this #MyWay was born; both an observational comedy and coming of age story, featuring characters and

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scenarios devised by the very young people that know the medium inside out.”

For those still struggling with the complexities of the hashtag, the explicit Sinatra references add a layer of complexity and contrast to the play and – perhaps most importantly – widen its accessibility. “The main challenge we faced with the show was how to make it accessible to a varied audience, including those who maybe aren’t as familiar with the worlds of Facebook and Twitter as our young company are. For us, Sinatra is the symbol for the analogue world.”

Bloomfield believes the contrast between analogue and digital unlocks huge theatrical potential, particularly if the two worlds happen to collide. “What might it be like to meet Marilyn Monroe in a chatroom?” Bloomfield teases. “Or if the Rat Pack tweeted a selfie?”

It is, in habitual Young Pleasance style, an ambitious performance. Aside from the inclusion of 30 performers, none of whom is older than 20, #MyWay is technically ambitious, promising a multimedia spectacular. Also, the technological visionary behind the piece, Bloomfield is more than ready for the challenge: “We wanted to take YP in a new direction; one ultimately inspired by the young people in our company, and unafraid of the huge technological advances available in theatre. Many theatre companies are starting to give technology an important role within their work, for example the stunning projections used in Les Enfants Terribles’ The Trench or Kill the Beast’s The Boy Who Kicked Pigs at last year’s Fringe. We are excited to be just as brave this year.”

But #MyWay is not the only brave performance in this year’s Young Pleasance programme, as five YP graduates go it alone in the form of newly devised company, Incognito Theatre.

Transforming Nikolai Gogol’s political satire The Government Inspector into a deft piece of physical theatre, Incognito have no intention of making their first Edinburgh entrance quietly; and why

Interview: Alecia Marshall

should they? With an amassed repertoire of over 17 Young Pleasance performances, Incognito are hardly lacking in experience. “Our company of five actors have trained and performed together for years,” tells one-fifth of Incognito, Alex Maxwell. “There is a lot of camaraderie and trust between us that allows us to be both creative and fearless in rehearsal.”

Most of us are familiar with Gogol’s classic narrative: a corrupt Mayor and his officials are alarmed to hear rumours of the impending arrival of a government inspector. Evidently this fellow will be travelling “incognito.” Thrown into a panic, the Mayor and his officials desperately struggle to stifle public dissatisfaction while deflecting the blame for their many and various misdemeanours onto each other. But who is the government inspector and where is he hiding?

According to director Anna Simpson, Gogol’s 1836 masterpiece could not be more relevant, despite its archaism. “If Gogol could see the overt corruption we have witnessed and come to expect, he would be astounded at how little has changed. A piece highlighting this ridiculous state of affairs in a heightened, playful way is both urgent and timely.”

It is a big play, frequently adapted and often performed, but Simpson embraces its stature: “The Pleasance turning 30 is a theatrical milestone and it felt like it needed a piece that could match it in importance and relevance.”

The final triumvir is Civil Rogues. Produced

by Pleasance and developed at RSC’s The Other Place, Civil Rogues is a new play by Tim Norton.

A play that celebrates the value, importance and tenacity of theatre, the audience find themselves transported to 1649: the King has lost his head; the Queen has fled; the Globe has been demolished and all performances have been banned.

It is a performance peppered with Young Pleasance alumni, one of whom is director Marieke Audsley. Audsley insists that although the

30 YEARS OF PLEASANCE

primary themes of the piece may appear anachronistic to a contemporary audience, censorship is not a problem that belongs only to the past.

“Theatre still suffers from censorship,” Audsley begins, “although it comes in different guises: from funding bodies who decide whether the work you want to make fits their remit and will be appropriate for the audiences that they wish to build and sustain, to venue programmers who decide what sort of image they want to present of their theatre. It’s very difficult at the moment to sustain funding and audiences and so there’s a careful line to tread between trying new, perhaps very bold things, and choosing projects that will tick established boxes.”

Performed by an exceptionally talented cast of some of the UK’s finest new acting talent, including graduates from LAMDA, Central, Bristol Old Vic and Drama Centre, Civil Rogues – whose title is inspired by an ordinance published by Parliament in the period, declaring that any actors found performing would be branded ‘rogues’ and punished – is both farcical and thought-provoking, its witty protagonists in the wrong place, the wrong clothes and the wrong occupation.

Although three stand-alone performances, each individual and unique, #MyWay, Government Inspector, and Civil Rogues are grouped under the Pleasance umbrella and it is an enviable place to stand. Dedicated to the nurture of our next generation of theatre makers, Young Pleasance have supported over 600 young artists – and that really is something to be proud of. Another 30 years of the same? Yes please. #MyWay, King Dome - Pleasance Dome, 1-16 Aug, 2.10pm Government Inspector, Below - Pleasance Courtyard, 31 Jul - 25 Aug, 1pm Civil Rogues, Pleasance Two - Pleasance Courtyard, 31 Jul-25 Aug, 5pm

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THE SKINNY

Photo: Liz Caruana

Pump Up The Volume As Trans Am notch their tenth studio album, Sebastian Thomson has an awful lot to reminisce about. He chats to The Skinny about longevity, irony and obscene strategies

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wenty years,” muses Sebastian Thomson, reflecting on his career as one third of post-rock polymaths Trans Am. In that time, the band have reinvented themselves time and time again, flitting from Dischord-inspired guitar experiments to krautrock hypnotics; from hardcore-infused electro soundclashes to arch pop freakouts. Always too far ahead of the game to be tidily pigeonholed, they’ve carved out a uniquely accessible niche for themselves amidst a scene more widely associated with chin-stroking repetition and furrowed-brow textural exploration.

He laughs. “It’s fucking crazy when you think about it.”

Volume X, unsurprisingly, is Trans Am’s tenth album. It’s the sound of a band determined to remain at odds with its own sense of identity – despite drummer/programmer Sebastian’s modest assertion that the trio (completed by multiinstrumentalist cohorts Phil Manley and Nathan Means) have “figured out the four or five things we do well,” the record brims with ideas that have as yet remained untouched by their hyperactive imaginations.

In accordance with the standard narrative, we’re used to watching participants in the rock’n’roll myth as they gradually run out of ideas, their vision diluted by a nagging sense of audience expectation, or soured by touring’s knack for the erosion of enthusiasm. Not so here: opener Anthropocene finds the group toying with stoner rock’s more outré tendencies, whilst the metallic drive of Backlash sees them inventing a genre they call “kraut-thrash.” Their familiar motorik pulses remain; a repetitive mindfuck that anchors these spiralling ripples of invention.

It’s almost enough to make you wonder why they plumped for such an uncharacteristically literal title.

“It’s volume ten, as in ‘Turn it up to ten!’” goes the chuckled explanation. “And if you move ‘x’ over and make it one word, it sounds like a pharmaceutical company: Volumex! In all honesty, the main reasoning behind it is that it’s the tenth album. And I know that sounds kind of boring, but how many bands can do that? Ten fucking studio albums! That’s pretty impressive, I think.”

“In the early days we lived in the same house,

August 2014

Interview: Will Fitzpatrick

for four years or something, and we were on the road together, in the van together... We’d go into the studio every day of the week, to rehearse and to jam and to record. And then we’d go back to the same house! You can’t keep that up. But y’know, we still like hanging out together. We’ve just discovered how to do it, which is to not live in the same city. When we do see each other, it’s more of an event, as opposed to just… ‘Oh, you again?’”

Formed in the mid-90s, Trans Am initially took root in the post-hardcore mecca that is Washington DC, famously home to Dischord Records and its attendant crowd of excitable minds. Sebastian is aware, however, that his band were far from major players in that particular scene.

“We were always a little bit left out,” he recalls. “When you’re younger, those sort of tribal differences seem more important than they really are, you know? We were very much influenced

by Fugazi, Bad Brains and Soulside, and we did start out playing the typical shows of the time – at a church basement as a benefit for a homeless shelter, for example. But we very quickly veered away from that, and I think a lot of people in Washington thought that we were musically traitorous. Like we weren’t keeping true to the aesthetic or the ethos, because… well, we did like to party.”

Gradually, the three young musicians began to drift away from their peers, before stumbling across the sounds that would come to define their most popular records.

“Around ‘93, we were living in North Carolina for a summer, and we were just kinda bored of what we were doing. We were always fans of electronic music, which to us at the time was things like Kraftwerk, Aphex Twin and Autechre, so we thought ‘Why don’t we just incorporate some of this into the band?’ So I went to the music store and bought a drum module with some pads and triggers – it was a really cool way for us to still have the excitement of a rock band, but make this new fantastical sound with a drum machine.

Which now seems totally obvious, but back then it was like ‘What the fuck are you guys doing?’”

Over the course of four albums, Trans Am

did as much as anyone to blur the lines between punk’s sweat-drenched rush and the pulsating rhythms of electronica, especially on 1999’s landmark Futureworld. Alongside forward-thinkers like Tortoise and Don Caballero, they came to define early understandings of the nascent ‘postrock’ concept – a term with which our hero still takes issue.

“Post-rock is a strange one for me. It originally meant experimental, underground, instrumental rock music, and it made sense.

And then Tortoise became the most popular of those bands, and they were much more dubby and jazzy, so post-rock came to mean that.

‘Soundtrack dub.’ Which is totally not what we do.

There’s almost two post-rocks; it’s changed over time.”

“Life is hard, life is full of fucking bullshit. You’ve gotta fucking laugh at things, right?”

Sebastian Thomson

With 2002’s T.A., they began to revolt against the general concept of what the band was supposed to be. This resulted in a gleeful collection of upbeat, synthetic pop songs – a deliberate shot at the mainstream, just for the hell of it, which was tragically misinterpreted as an ironic parody of electroclash’s brighter excesses. Again, Sebastian laughs.

“It was a parody of post-rock! No, I take that back. It was a reaction to post-rock. The whole post-rock thing is very po-faced – very few pictures of musicians, all very serious, very intellectualised… and we were reacting against that really. We were like, why can’t you make interesting, innovative music and still have a bit of fun? Why

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does it have to be one or the other? Obviously, because we’re a bunch of weirdos, our idea of a pop album is totally fucking bizarre. But I think people misinterpret that – there’s nothing in our music which is a joke to us. I think some critics sort of can’t believe that we wear these influences on our sleeves, so they’re like ‘this has to be a joke.’ We do like to entertain people, for sure, but it’s not a joke band.”

Where does the band’s Eno-lampooning ‘obscene strategies’ songwriting technique fit into this then?

“That’s a perfect example of our sense of humour – cracks me up to this day. But we never actually used them; we would just write them up. The ones I remember… ‘Leave the studio unlocked overnight.’ ‘Hose down the mixing desk’. And then there’s one that just said ‘PILLOW FIGHT!’ I mean, whatever. Life is hard, life is full of fucking bullshit. You’ve gotta fucking laugh at things, right?”

Since T.A., the band’s output has slowed down, with its constituent members relocating to different parts of the globe and indulging in their own projects (notably, New York-based Sebastian’s bewitching solo outlet The Publicist took off during the five years he lived in London).

The time apart, we’re told, provides the trio with time and space to refresh – not that their enthusiasm ever really seems in question: “Personally I feel like it’s a project that’s pretty unique. Maybe no-one does what we do, and so therefore we should maybe keep on doing it? It’s hard to explain without sounding like an asshole. It’s not nostalgic music. Even though our image of the future in Trans Am is a little unfashionable at this point, it is in some fantastical way meant to be the future.”

So there you go. The best possible summary of Trans Am in 2014: unique. Fantastical. The future.

We’ll gladly take another two decades of it.

Volume X is released on 11 Aug via Thrill Jockey. They play Manchester’s Ruby Lounge on on 10 Nov www.thrilljockey.com/thrill/Trans-Am

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It’s Officially Summer With the likes of Mogwai, Jeff Mills, James Murphy and The Wedding Present onboard, The Last Big Weekend offers up two days of carefully curated food for the soul at Richmond Park in late August. We speak to some of the players involved

Interview: Colm McAuliffe “And Swervedriver, I’ve not seen them for years, so that will be interesting. And it’ll be very interesting for us too as the Wedding Present because, when we were asked to do it, I contacted the current members of the band and all three said ‘No, we’re not available!’ So I said this to the organisers who then offered to provide some Scottish musicians but I turned it down again.

And just as I was thinking about it, I e-mailed Paul Dorrington, an old Wedding Present guitarist who was in the band from 1991 through 1994 and I just mentioned it to him… and he agreed to play. And then I asked an old drummer, Graeme Ramsay, who was in the band a bit later, and he said yes and the bass player on the day is Paul’s girlfriend. So it’s a one-off, unique line-up!”

Gedge has very fond memories of his time working with Chemikal Underground’s founders. “There’s a huge connection between the Wedding Present and the Delgados,” he reflects.

“I heard them first on John Peel, as you heard most things, and I fell in love with them straight away. So we invited them to support us on a Wedding Present tour, we got on really well and the relationship was established then. Later on, when I did the first Cinerama LP Va-Va-Voom in

1997, I actually invited Emma Pollock to come down and sing on it, so we duetted on a couple of songs. And this year, I was doing my own festival in Brighton, and I invited Emma to join Cinerama on stage; then she asked me to come up and play this event in Glasgow! It was great.”

As well as offering a ridiculously talented two day bill of events, the Last Big Weekend also works wonderfully as a showcase for the incredible wealth and breadth of music coming out of Scotland right now. Stewart Henderson is very conscious of The Last Big Weekend’s role in highlighting this: “There’s a shared mind between Chemikal, Numbers, Optimo and Mogwai. There’s a critical discernment at play and it’s good for us to apply that and put a festival line-up together.

The fact that there is a really strong focus on Scottish acts, on the Sunday in particular, peppered with international acts, it draws attention to what we’ve got on our doorstep but it’s also got a real international flavour to it. And that’s how it should be.”

The Last Big Weekend takes place at Glasgow’s Richmond Park on 30-31 Aug. See our listings for full details of East End Social gigs taking place throughout August www.eastendsocial.com

The Wedding Present's David Gedge

C

hemikal Underground’s inaugural East End Social jamboree of outstanding music events comes to a close with The Last Big Weekend, a towering two-day beast of a festival held on 30-31 August in the idyllic surroundings of Richmond Park. The line-up for both evenings is naturally stellar and, if one wishes to be crudely divisive, split between the ‘indie’ crowd on the Saturday – headlined by Mogwai – and the ‘dance’ crowd on the Sunday – headlined by Hudson Mohawke. But on speaking to the organisers and those playing, it seems the lines are much more blurred between everyone involved. As Chemikal’s Stewart Henderson admits, “There are threads of influence to be found and unpicked throughout the programme,” ranging from the grand doyen of indie rock David Gedge and his evergreen Wedding Present through Fuck Buttons carrying on into Sunday’s collision course of wide-eyed electronic madness courtesy Optimo DJs and party specialists Numbers.

Indeed, Numbers have massively revved up the Glasgow electronic music scene in recent times, and co-founder Richard Chater, also associated with Rubadub – the record and music equipment store that moonlights as a major distributor – is understandably proud of their programming for the second night of the festival.

“The Sunday line-up is all about good music, which represents what Numbers and Optimo are all about,” says Chater. “We didn’t want to compromise the line-up to the mainstream, we wanted to represent what both entities do and we all brought our own things to the table.

Optimo brought Golden Teacher and James Murphy, whereas for Numbers, we’ve got SOPHIE MSMSMSM there, Hudson Mohawke – we’ve

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known Ross for years, he used to come into Rubadub – and then you’ve got people like Jeff Mills who has been a longstanding influence on all of us. I think Keith McIvor [AKA Twitch] was the first person to actually bring Jeff Mills to play in Scotland during the Pure days. It’s a dream lineup for all of us, having all these people all playing on the same day, it’s outrageous! We don’t get to do this very often. Golden Teacher also release on Optimo and I think they are the best band in Glasgow right now, we’re massively inspired by those guys at the moment. And then Mills and Murphy’s influence looms large over Glasgow!”

Jeff Mills

“It’s a dream line up for all of us, having all these people all playing on the same day, it’s outrageous!”

Richard Chater

While Mogwai may top the bill over on the Friday night, it is the influence of the Wedding Present that also peers down upon the pretenders. The lineage between the Weddoes, Swervedriver and Mogwai is plain to hear and Gedge is bringing a rather unusual line-up of the band to Glasgow for this show. “Mogwai are one of my all-time favourite bands,” admits Gedge,

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Mogwai

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‘THE MUSICAL OF THE MOMENT.’ MAXIM ITALY

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Festival Highlights.com August 2014 Siddhatha Skinny Full Page.indd 1

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In Like Flynn Erol Alkan has meant a lot of things to a lot of different people, and that’s just the way he likes it

I

nadvertently diverting a generation of indie kids from a bleak future with dollops of Detroit techno and Germanic electro, Erol Alkan once rubbed shoulders with Armins and Armands at the top of DJ Mag’s annual public chart, while still finding the time of day to produce the Mystery Jets. A generation of dancefloors later, and Alkan counts the likes of L.I.E.S. boss Ron Morelli as an ally, and inspires reverence behind the decks at Panorama Bar. But as a man with a lifelong musical mission to push forward, what was the last thing to sound truly fresh to his ears?

“Personally, I look for the ability to convey a certain emotion within a record. Rather than something just being new,” reckons Alkan. “I hear old records that really frighten me. But then I look back on some of the stuff I was into when I was twenty years old, some of which was a bit close to the knuckle. I think perhaps as you get older, what you want from music changes, and your taste becomes a bit more refined.”

Refined is the best term for his label and sincere labour of love, Phantasy, which, like Alkan himself, appears at once both easygoing and unwaveringly precise in its endeavours. A few years ago, the London DJ might have been known best for his somewhat boisterous collaborations with Berlin’s Boys Noize, currently conquering America with assistance from Skrillex. Closer to home, Erol still keeps kids dancing, he just does it on his own terms, and perhaps even with a new audience. Recent solo gigs as well as festival backto-backs with protegé Daniel Avery see Alkan sail on somewhat calmer, slightly weirder musical

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Interview: John Thorp

waters. What’s more, he’s amused and pleased to hear that for perhaps the first time, many of said kids there for Avery aren’t familiar with him at all.

“I have to keep it exciting for myself. I can’t think of anything worse than not enjoying myself, or the crowd not enjoying itself. I still get to play to thousands of people who know their music each weekend. I don’t feel like panicking.

If anything, I’ve probably spent a lot of time putting people off me slightly by not playing ball,” he admits. Indeed, while a thoughtful and measured character, Alkan almost seems motivated by what he describes as the ‘threat’ within his own world.

Does he still feel like an awkward indie kid commanding dancefloors?

It’s an ironic stance, given that in what can seem like a mire of superfluous bullshit, Alkan is perhaps one of the most authentic DJs you could encounter, striving not only for his own creative fulfilment, but inspired by that of those around him. He sees Phantasy, whose releases cover everything from Avery’s world-conquering LP Drone Logic to DIY psych oddball Conan Mockasin and Brazilian experimentalist Babe Terror, as an indirect extension of his infamous club Trash, a Monday night London hotbed that unexpectedly spanned a decade.

“I like all the creative aspects of bringing things together. It’s just the way you communiErol Alkan cate or create with people,” Alkan explains succinctly. “A club can just be somewhere people go “It’s weird because I’ve always felt like a to get drunk and listen to something they know, dance music outsider, but then you meet plenty or it can be much far more than that. And it’s the of people who make you realise you’re not. same with running a label. Anybody can put a Besides, it’s not like everyone’s walked the same record out, so-and-so will sign it, and they’ll see path,” he observes. “I’ve collected records and it through. Or the other way is an incredibly creabeen into music from all over the place. But in tive process with people thinking outside the box dance, where authenticity is such a big thing, I and trying to do it differently than it’s been done feel I have to stand up and say I didn’t have that seismic moment seeing Underground Resistance before. Nobody’s gone and created the perfect in the mid-90s as I was immersed in guitar music.” club, or the perfect label, because these things

“I’ve always felt like a dance music outsider”

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reflect their audiences, or are at least reflecting something.”

It’s difficult to imagine the UK clubbing landscape without Alkan, and with his schedule of touring and production as busy as ever, not to mention his ongoing 6 Music residency, it doesn’t look like anyone will have to anytime soon.

Although not one for heroes, Alkan has previously cited evergreen selectors such as Andrew Weatherall and Francois K as influences. But how does he maintain such energy, in and out of the DJ booth?

“I try to be as honest as I can, and try not to be afraid of change,” Alkan considers. “I just have faith, I suppose, that if I’m playing great records that people will connect to them, and I just try and stay true to that. I want to make great records, or be part of great records. When I go out and play, I want it to be as powerful, but in a different way. I don’t want to play music I don’t believe in, and I don’t want to be someone I’m not.”

Playing Beacons Festival, Yorkshire, 7-10 Aug greetingsfrombeacons.com/

THE SKINNY

“Why would it be the same?”

With solo album Tied To A Star ready to drop, J Mascis maintains the irrepressible form that’s marked his career since reforming Dinosaur Jr ten years ago. We spoke with the reserved guitarist, and occasionally even got a response

Interview: Will Fitzpatrick Photography: Gemma Burke

J

Mascis is famously a man of few words.

Strange that someone with such a uniquely arresting flair for songs’n’solos should seem so reticent; after all, no-one else really speaks the language of the guitar in such breathtakingly expressive fashion, and he’s always had a playful approach to lyrics. How about: “I feel the pain of everyone / And then I feel nothing” as a summary of Generation X’s faux-nihilistic angst? Or this cute, flirty effort: “Please come pat me on the head / Just wanna find out what you’re nice to me for”? Most obviously, there’s Freak Scene’s killer pay-off, perfectly encapsulating the collapse of a treasured intimacy: ”Just don’t let me fuck up, will you? / ’Cause when I need a friend, it’s still you.” Yessir, J certainly has a way with words. It’s dragging them out of him that’s the hard part.

That much is obvious from the beginning of our telephone conversation. After answering with a mumbled, “Hey, it’s J,” the 48-year-old indie rock icon offers nary a whisper over the next few minutes. Indeed, when we enquire as to how he’s doing today, there’s a lengthy pause before he eventually sighs, “Pretty good.” On paper, this appears perfunctory – disinterested, even – but in the midst of our exchange it somehow feels perfectly considered, as though this fairly unremarkable response is, in fact, a thoroughly scientific conclusion. It’s been remarked upon many times – when interviewing Mascis for Melody Maker in 1987, one particular single-word response moved David Stubbs to remark that “stark print cannot do justice to its catatonic deadweight… The pause that precedes this answer is like the death of the word.” So is there anything we can do to pry loose his enthusiasm and glimpse the inner workings of his opaque persona? We can but try.

Let’s cut to the quick. J’s new solo album – the elegantly lush Tied To A Star – continues the rich vein of form he’s maintained since reforming Dinosaur a decade ago. Folksy, pretty and fragile, it’s the wistful yin to his day job’s fiery yang; a mature (no, come back!) way to mope that’s never anything less than utterly absorbing. It also showcases the sense of melodic subtlety that’s increasingly wandered to the forefront of his oeuvre – Sludgefeast this certainly ain’t. Not that he sees it that way, of course.

“I don’t really think about it,” he muses, taking in another of those monumental pauses for consideration. “I was just trying to get a certain vibe, I guess.”

With no clarification forthcoming on the specifics of said vibe, The Skinny enquires as to whether these calmer textures come naturally.

“I kinda try to fight the urge to put… y’know, drums and everything on all the songs.”

So what determines whether a song is for Dinosaur or simply J Mascis?

“Uh…. dunno.”

There’s no thought to those terms during the writing process?

“Yeah, I was writing for the solo record. It kinda captures a mood. And some riffs I came up with didn’t fit into that. I saved ‘em for something else... I definitely wanted it to sound different, to make some distinction.”

One of the key differences proves to be J’s choice of collaborators: bandmates Lou Barlow and Murph are entirely absent, which should prove notable to anyone fascinated by the fractious relationships that tore them asunder in 1989 – now happily repaired following their reformation. Although loaded with fewer helping hands than his 2011 effort Several Shades Of Why, the new record deploys its guests with some style. Take Chan Marshall’s appearance on

August 2014

the sun-splashed Wide Awake, where her breathy timbres interweave with Mascis’s plaintive murmurs to heart-stopping effect – how organic was that process?

“In this day and age, it’s all virtual. Y’know, I emailed her a track and she emailed me back. I was gonna go and see her in the studio, and then she didn’t show up, so I never even saw her.”

That’s unexpected, given the song’s naturally emotive feel. So are you a fan of her work?

“Yeah.”

What was it about her voice that you wanted to capture on that song?

“Some people have good voices,” he says with an audible shrug. “She’s one of ‘em.”

OK. Did you ever wonder what the other members of Dinosaur might have brought to the album?

“No, I made it to be a solo record.”

Bearing in mind the psychodramatic narrative that’s been built around you and Lou, how is your relationship these days?

“It’s alright. He’s talking about moving back to our area, so maybe we’ll be a local band again.”

Watching the stage, you all seem more comfortable with each other these days. Your solo work must surely provide a helpful breathing space to maintain that, along with Lou’s work in Sebadoh?

“Uhh, I’m not sure really. It’s kinda hard to tell.”

On the same subject, is it important that you continue to work on new material?

“Pretty important. I don’t think we’re really big enough to rest on our past, so having new stuff gives us a reason to play. We need it to keep going, I guess.”

Plus, we’d imagine, the reunion never quite falls into full-on nostalgia territory that way.

“Well, it’s not like people just wanted to keep coming to see us play the same thing – if you’re a band, you make records.”

That ‘same thing’ amounted to songs from the band’s first three albums, re-released by

Merge almost a decade ago to prompt their first shows together in fifteen years. How was the experience of revisiting those early works, we wonder?

“Oh, cool. I have no problems with records.”

Had you listened to them much since you made them?

“Not really. Now and again I’d heard ‘em.”

Do you ever listen to your own records?

“Once in a while.” J yawns, so we change tactics.

You’re very widely regarded as being quiet and withdrawn. Is that fair, or does it bother you that people think that way?

“Yeah, it bothers me that people think you’re any way. I just am. You only realise from people telling you you’re quiet; that’s not my experience of me.”

“I kinda try to fight the urge to put… y’know, drums and everything on all the songs” J Mascis

Does it bother you that I’m asking you about this?

regarding the apparently-thawed animosity between yourself and Lou? “No, Lou’s pretty stable for the most part.

Murph’s more the wild card – a lot of it’s oversimplified and he’s never taken into consideration.

Lou’s not that complicated really; Murph’s a more complicated character.”

Murph stuck around for the later years though, when you moved to a major label. How was that experience?

“It was a lot easier. They’d say ‘Here’s the money,’ and we’d give ‘em the record. I liked it – it felt good to get paid on time.”

Have indie labels got their shit together since then?

“Yeah, the ones that have lasted. Back then I had to deal with things like ‘What if I give the money that I owe you to a cat rescue in both our names?’ It was bizarre.”

Our time is running short and we’ve still not quite managed to scrape the surface of this indecipherable character. We begin to wonder – is J Mascis really as enigmatic as his answers suggest? Is he choosing to avoid explanation or elaboration? Or do these matter-of-fact responses point to a man who simply doesn’t see the importance of the minor detail beyond the facts?

We angle for one final thought.

You’ve said before that you think of albums as snapshots of a certain time in a band’s career.

What do you think Tied To A Star’s snapshot would tell you about this point in your life?

“Uhh, we’ll have to see. You can only tell in the future.”

OK. So how do you feel generally about this point in your life?

J pauses for one final time. Millennia pass by.

Stars ignite and burn out. The universe hangs on his response.

“Pretty good.”

“No.” We don’t intend to cause offence, The Skinny explains, and J finally bursts into anecdote.

“It’s fine. Yesterday I was with someone I don’t know that well, and he was asking questions like ‘Why is your temperament different to your songs?’ What does that mean? And why would it be the same? It’s so annoying. Should a father and Tied to A Star is released on 25 Aug via Sub Pop a son be exactly the same?” www.jmascis.com Do you get frustrated by answering the same questions over and over again, particularly

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Who Dares Wins Can you make a working, innovative videogame prototype in just eight weeks? Dare to be Digital asks just that ahead of August’s annual Dare ProtoPlay indie games festival. We spoke to some of its competitors, past and present, about the experience

W

hen American game designer Howard Scott Warshaw was given six weeks to produce the videogame E.T. – the Extra-Terrestrial, the results were so bad that, if you believe the legend and ignore other contributing factors, it decimated publishers Atari and led to the 1983 videogames crash. It’s a sign of the times then that three decades later, the advance of technology and the healthy state of the industry means making a good game within such a tight window is no longer an impossible task, nor is it likely to end in financial apocalypse.

Dare to be Digital is an annual competition run through Dundee’s Abertay University that tasks student teams from around the world with making a game over a period of just eight weeks.

Since its launch in 2000, the size and number of teams has varied, and the location of the competition has eventually settled in Abertay itself, but the core spirit has remained the same – to showcase emerging game designers and innovative ideas within a competitive but fun environment.

“Dare to be Digital was really amazing to do because I’d never made a game with a team before,” begins Sophia George who, along with her team Swallowtail Games, won the competition in 2011 with their game prototype Tick Tock Toys.

“I came from an art background so I didn’t have much experience working with other programmers, so that was probably the most valuable thing that the experience of Dare gave me. Then winning the BAFTA Ones to Watch Award got me a lot of exposure and a lot of contacts.”

Since 2007, Dare has worked in conjunction with the BAFTA Video Games Awards, where the top three teams go forward onto the Ones to Watch shortlist. The candidates are chosen at the games’ showcase event, Dare ProtoPlay, the UK’s biggest indie game festival which will be held in Dundee’s Caird Hall from 7-10 August. “Winning the BAFTA gave us the confidence to properly release Tick Tock Toys,” says George. “It went from a student-y prototype to something that could be properly released on the App Store because

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of that.”

This year there are 15 teams, with five members apiece, all hoping to follow in these footsteps. With the competition launched in mid-June, The Skinny dropped in on the process mid-point to get a flavour of how the teams were coping and the actual games themselves were developing. With a range of nationalities hunched over PCs and huddled around joypads, and an even wider array of game genres being put to the test, the one common factor that unites all is that of innovation.

One of the teams spearheading this thinking is Manchester-based Torque with their crossdevice, local multiplayer game Don’t Walk: RUN! Ostensibly a 3D platform game paying homage to B-movie classics, three players control on-screen characters and are overseen by a fourth human player, dubbed ‘the director’, who controls the environment via a touchscreen tablet. The premise is that the protagonists must work together to overcome the hurdles thrown at them by ‘the director’ while also competing against each other in a score-based league table.

“We do have the option for the director to be AI, and we might implement that later, but not for the competition itself,” explains level designer Niall Taylor. “It would still be a lot of fun that way, but it’s not really Dare to be Digital, is it? It’d just be another platform game really, which would be great – the game has a nice aesthetic and great mechanics – but it wouldn’t be a unique experience.”

As with several of the games in development, technological advances, along with tackling ageold game problems, have borne inspiration. “One of the issues with local multiplayer in the past is that of split-screen,” says Taylor. “You’re watching the same screen, watching each other play, and people would just end up taping cardboard to their TV! Technology has advanced to the point where we don’t have to do that anymore. No one has done this before, we’ve looked – the theory has always been there but no one has actually

done anything with it.”

Just a few tables away, American team Overly Kinetic are tackling a similar issue but in a different way. Their game, Chambara is also a local multiplayer PC game but this time going with first-person stealth and playing out on a single screen accommodating up to four players. The ‘cardboard’ issue is overcome with an elegant bit of game design whereby players can close their characters’ eyes at any time, thereby neutering the issue of ‘screen watching’ to some degree.

It works, mainly due to Chambara’s stealth approach and cool ninja aesthetic.

“We had a very strong core mechanic that we were really excited to implement immediately,” says designer Esteban Fajardo of the game’s eyecatching palette. “The environment is entirely black and white while each ninja will be black or white, allowing players to blend seamlessly into the background.” It’s a striking approach and feels laden with possibility. It also comes with a lot of style, even at this early stage, something the team attribute to their influences. “We drew a lot on traditional cinematic aspects of samurai action where each strike is very elegant, decisive and filled with commitment,” explains Fajardo. “If you slash and you miss, you’re very vulnerable at that moment.”

Not looking vulnerable at all are Five Pixels and their game Seek. Being built for Android tablets, players use the device as a window into a first person puzzle game, turning the pad in all possible directions to view the beautifully rendered island setting. “(Seek) doesn’t really take advantage of people’s familiarity with existing mobile games,” begins graphic programmer Ross Davies of their own unique take on things. “The control scheme isn’t that familiar to people so we really have to beat it into them and find out how best to do that.”

Beyond the controls, Seek has another mind-scrambler to overcome; that of the various child protagonists and their differing abilities.

“Towards the end you’ll come to a big dark cave

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Interview: Darren Carle and to navigate it you need to find the ‘sound child’ who sees in echo location,” explains artist Jess Hider of the incremental puzzle element.

“Then there’s the broken bridge which requires the ‘history child.’ That lets you look into the past and see the bridge as it was, allowing you to cross.”

It’s all extremely forward-thinking, innovative stuff that belies these games’ modest roots.

And whether these individual prototypes make it to the next stage as a fully-fledged game, you can be sure that the unique elements in each will survive in some form or other. It is perhaps this grassroots experimentation that makes Dare to be Digital the ongoing success it is and the reason why Dare ProtoPlay now attracts over 13,000 people through its doors.

“You don’t learn skills like this anywhere else,” claims Torque’s Niall Taylor of the experience so far. “We’ve been a little terrified just because, technology-wise, no one’s done what we’re doing [but] we wouldn’t have been able to do any of it without Dare. We’re just out of university and don’t have the capital to set up our own team, so having this experience has been awesome.”

It’s something 2011’s winner Sophia George agrees with. Now games designer in residence at the Victoria and Albert museum in London, George is well poised to see Dare to be Digital as the platform it is. “It’s interesting to think of Dare as being a stepping stone,” she says. “It led to the BAFTA award which introduced me to so many people and that led to my post at the V&A. It got me involved with the things I really wanted to get involved with. It’s been an amazing experience.”

It’s both an experience that continues for the teams working on this year's competition and one worth having for yourself when the finished products land at Dare ProtoPlay this month.

Game on, as they say.

Dare ProtoPlay takes place at Dundee’s Caird Hall and City Square from 7-10 Aug daretobedigital.com

THE SKINNY

The Seizure A holiday from health – the piecing together of memory, how recollection and re-telling might be compromised, and the implications this has for our version of a journey…

Words: Scott Campbell Illustration: Kim Thompson

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he sharp and jagged pain to the rear of my tongue really only emerged as I half-sat, halflay on a hospital bed-cum-trolley in the corridor adjacent to the A&E department. Affixed by an as yet unexplained fatigue to the bed, I was also gingerly resuming acquaintance with most of my autonomic responses. It’s worth mentioning that at roughly the same time that the pain climbed its own scale of discomfort, I alighted upon the collected tombstone silhouettes of the hospital trolleys’ bed heads.

It was a strange and yet delicate sensation as flaps of skin flit over the surface of my teeth, as if an errant piece of food had become stuck there. Despite the general viscosity of the skin on our tongues, they are nonetheless tautly affixed to the organ itself – as with any other part of our upper dermis. Alongside this ailment, one of the fingers on my left hand had swollen slightly in direct physical counterpoint to the pain emanating from it. My calves too were stiff and sore. I was bedevilled by numerous sources and types of pain, each unique to the limb, protuberance or digit that was its source.

My lips felt dry, and the skin on my face rather pinched. I could almost feel the friction of my eyelids against the surface of my eyes. My brain felt as if it had shrunk to a quarter of its size, and was now bashing around my parched skull. The resultant headache was the one ailment directly medicated during the course of my hospital visit, as the young doctor attending me dispensed a pair of clunky, chalky aspirin.

I had been relatively lucid – or recently returned to lucidity – for about an hour by this stage, and had talked at length to the paramedics who retrieved and admitted me. Had the doctor examining me not queried as to whether I had bitten my tongue, there is every chance that I would not have volunteered it. As it was, this was apparently – no pun intended – the clincher so far as my diagnosis was concerned. The pain, over a week later, was still occasionally sharp and severe depending on the temperature of the food imbibed.

The confusion that I was most definitely still in recovery from could be cured only by insight, and the reflection afforded me by memory. How exactly did I end up here…?

A couple of hours earlier, in the back of an ambulance, a male voice had demanded, “Do you know why you’re here?” fairly insistently. He repeated the question, primed no doubt by my vacant demeanour for little in the way of insight from the patient.

This brief interrogation gave way to a minor personal reverie as I took in the apparatus surrounding me. It is often claimed of Presidential (and Prime-Ministerial) bunkers that such is the infrastructural network contained within, whole wars can be waged and managed from one. Ambulances may be constrained by their dimensions, but the sheer variety of ailments and conditions that they are equipped to deal with – to staunch, to splint, to revive – is never far from one’s attention, no matter the state of confusion one might be in.

“Do. You. Know. Why. You’re. Here?” A female voice this time, though less questioning than designed to command my errant focus – the explanation hot on its heels: “You were found running around in circles; you didn’t know where you were/what you were doing.”

I continued to glance between the faces of the (three, in total) paramedics, my gaze alighting on some tube or tourniquet. I may at this point have mumblingly interjected that I did not indeed

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know, or that I didn’t understand. The fact was that I didn’t understand anything that was happening. One faceless soul volunteered the fact that many runners wear bands or some form of neck-wear bearing details of any prevailing health ‘issues,’ or emergency contact details. This catalysed my own sense of alarm, and momentarily sharpened my focus.

“This has never happened before,” I stammered, or something to this effect. I padded around my midriff for possessions that I must presumably have left the flat with. Reassured by the percussive jangle of my house keys, I told them my name, and there was a palpable release of tension. I am addressed as ‘Scott’ where previously I was but a nameless, and wholly unwilling convict of unexplained circumstance.

Am I a student? Do I have a job? What do I do for a living? Am I supposed to be at work just now?

The sheer variety of likely, and probable, responses to these queries returned me to mass confusion. How many were put to me by the paramedics, and which merely flitted across my mind, I cannot at this stage recall with any confidence.

Before long, it was deemed appropriate to take me to A&E, and I readily complied.

As a regular runner, it is easy for various jaunts to simply blend into one. By dint of their number and steady accumulation there is, for each run, a stealth to their various quirks and features; they are though, all different. Even if one deploys the same route, one is unlikely to feel the same, or to run at an identical pace and time. My run that day was notable in that I only managed to cover the first couple of kilometres of a (planned) longer run…

Back in the ambulance, lunacy jockeyed with lucidity on the journey to the hospital. There were snatched conversations with the two female paramedics about running in general, and races

ran and entered, interspersed with snippets of recollection and reflection as to the event which instigated my own admittance.

The paramedic who squired me from the ambulance to the entrance of the Accident and Emergency department stated that the couple who had found me claimed I was speaking “gibberish – as if a foreign language.” I assured her that I speak no other language fluently, though these comments did fleetingly raise the possibility that my episode may have afforded me a savant-like, near-perfect command of a foreign tongue.

The clinical aroma that shrouds one’s apperception of the frailty on show lingers in the memory. One wonders if actual doctors and nurses can ever completely free themselves from this psychological anchor. Appropriately enough, it is this smell that attends my own memory of the mooted diagnosis: I had suffered a seizure roughly ten minutes after leaving home. A relatively healthy person, I had never previously battled any health issue beside the odd tweak or strain as befits/befalls the average runner. Suddenly I was on an altogether less secure footing so far as my own health and functioning was concerned.

There is a hallucinogenic aspect to my recollections of the seizure itself. I can remember brief impressions and sensations that flitted across my mind’s eye (or mind’s ear; or mind’s extremity) though they are mere synaesthesic snapshots that defy any attempt at re-ordering, or channelling them into some kind of storyline.

There were flashes of light; the brush of a branch (or bush) as my hand mis-gropes in attempting to break a fall; voices of others elide with my mumbled replies from me.

Back in A&E, now ensconced in a room of my own, I was permitted a moment of privacy to relieve myself. Having taken on a fair bit of water during the course of the day, my bladder was now

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full; mercifully so, I ought to add: it is not uncommon for minor bouts of incontinence to afflict the seizure patient. This aspect of my hydration levels was at odds with my other symptoms, as various muscles seemed to be on the verge of cramping up. A vial of my blood was ferried away for analysis, and I occupied myself by pacing around my temporary in my hospital gown – a loose-fitting, backless number.

Alone for a while, I attempted to re-gather the scattered jigsaw pieces of memory. When attempting to imprint a timeline on otherwise abstract sensations, the logical step is – as with frayed wool or thread – to look for a starting point. I can just about remember walking out the door at the foot of my stairwell, I think. Was I recalling That Day’s exit, or merely another identikit run? I would like to think that I can recall jogging downhill onto the walkway beside the river Kelvin.

But these final, pre-seizure and ‘conscious’ steps are sufficiently embedded to preclude divorcing any one instance from the multitude.

One is left instead with piecing together the story from the shards of recollection that emerged from this shattering of sanity, and attempting to weave backwards from the tendrils of impressions that occurred in the ambulance and, later on, in the hospital.

Shortly before being discharged, an elderly female patient and I were afforded the luxury of a visit to the TV area where Question Time was showing. My concentration had not yet recovered to normal levels, though I would, without hesitation, question the holistic appeal of the political squabbling on show. I was eventually released with an assurance that I could expect to be referred to a seizure clinic. At home, in bed, weariness and an adrenal exhilaration were my companions as I lay awake, my psyche like a fist recently clenched, though eventually relaxed; mercifully fatigued by the effort spent.

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THE SKINNY

The Skinny Showcase at Creative Exchange Introducing a new development for the Showcase – an exhibition of a selection of this year’s graduates as part of Edinburgh Art Festival

Edward Humphrey Edward Humphrey is a video and sound artist who graduated from DJCAD in Dundee in 2014.

His degree show was selected for the RSA New Contemporaries exhibition in March, and he has previously featured in group shows at Generator Projects and Dundee Contemporary Arts. He is primarily interested in the distance between abstract thought, language, and physical reality, and he has investigated these areas with film, sound installation, and text-based work.

Words: Rosamund West

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ince 2008, we’ve been selecting an artist from each of the degree shows in Edinburgh, Glasgow and Dundee to display their work in the Showcase section of our magazine in print and online. Over the years we’ve featured dozens of artists, many of whom have gone on to become familiar names on the art scene. Artists like Kevin Harman, Rachel Maclean, Fraser Gray and, just last year, Dennis Reinmueller have all had first coverage here before going on to shows in prominent galleries and festivals at home and abroad.

This year we’ve been offered the opportunity to take this selection into the real world with an exhibition as part of the Edinburgh Art Festival.

We of course jumped at the chance – being able to give graduates from Scotland’s art schools a platform in an international festival of visual art is an incomparable opportunity, and almost definitely worth all the headaches we’ve encountered putting it together. We’ve expanded the selection to include Gray’s in Aberdeen, so there are four artists in the exhibition, namely Fiona Beveridge (ECA), Edward Humphrey (DJCAD), Caitlin Hynes (Gray’s) and Melanie Letore (GSA).

The show runs in the Creative Exchange down in Leith, the venue kindly offered to us by Edinburgh College. We’ve also been given fantastic support from some of the colleges, namely ECA, GSA and Gray’s, as well as our pals at Pilot Beer, who’re providing some casks for the opening, and Old School Fabrications, who’re helping us out with building a screening room for Edward Humphrey’s video work. The Skinny Showcase opens on Friday 1 August and runs until the end of the month. Here’s a bit more about each of the artists involved.

edhumphrey.tumblr.com/

Caitlin Hynes Caitlin Hynes graduated from Printmaking at Gray’s School of Art in 2014. Her work has previously been exhibited at Peacock Visual Arts and AKI ArtEz in the Netherlands, and has been selected for RSA New Contemporaries 2015. She received a Highly Commended in the BP Fine Art Award and a SMART Gallery New Art Look to the North Award for her degree show. She is inspired by the concept of ‘pilgrimage’ – a journey which leads us. caitlinhynes.tumblr.com/

Creative Exchange 1-31 Aug, free. Preview, 1 Aug, 6-8.30pm edinburghartfestival.com/exhibitions/creative_exchange

Melanie Letore French-Swiss photographer Melanie Letore was born in Geneva and completed her Foundation Diploma in Art and Design at Central Saint Martins in 2010. She graduated from her BA (Hons) in Fine Art Photography at the Glasgow School of Art in 2014. The photographic series Places was created in 2013 and 2014 in various locations in Great Britain, France, Switzerland and Italy, where she worked as an Information Assistant for the Scotland + Venice exhibition at the Venice Biennale. melanieletore.com/

Fiona Beveridge Find out more over the page...

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Fiona Beveridge “M

y practice is an ongoing exploration of human-object interaction, working with material that is manufactured primarily to develop perceptions through the senses. I like to playfully approach malleable toys and sensory products, investigating their texture and stretchy consistency. Although in reality they are not living, their disorganised pattern and form gives them lifelike qualities. I am curious about synesthesia and how our different senses can blend together to create an idea of surrealism from simply looking at a specific colour or shape.

“I explore the visual aesthetics of my collected materials through line drawing. It allows me to develop ideas into three-dimensional structures while thinking about the space they will inhabit.

I use sculptural and painting methods as well as film and sound to make the familiar become unfamiliar, challenging the roles of these objects and the spaces they occupy. Light reflecting materials are used to reveal parts of the air as luminous fragments of colour.

“While I mostly use found and shop-bought products, I am also influenced by elements of nature, particularly the growing process of plants.

It fascinates me how natural systems can adapt and alter their own structures to account for new forces and therefore form new orders.

“I mix household and face paints and fabric dyes to create my own palette for applying colour on to surfaces. These include neon rubbers,

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polystyrene, plaster, metal and odd shapes of broken plastic and rocks. I use mostly self-coloured objects and display them in ways that are disconnected from their original purpose by assembling the materials to become three dimensional drawings and installations.

“Purring Bubbles is a movie of two multicoloured stress balls being squeezed and released in motion to a cats purr. This therapeutic influence is aimed at achieving a visually stimulated experience vitalised by colour and metamorphosis.”

Works: Purring Bubbles (Digital film) Pollen Yolk (Rubber, polystyrene, wood) Jam Piece (Household paint, polystyrene, rubber) Lampshade Puff (Metal, clothes pegs, plastic sheet) Exhibitions/Awards: RSA New Contemporaries 2015 Biography: Edinburgh College of Art – BA Hons Sculpture (2014), Edinburgh’s Telford College – HNC Contemporary Art Practice (2011), Foundation Art & Design (2010).

Exhibiting in The Skinny Showcase, Creative Exchange, Edinburgh, 31 Jul-31 Aug, free. Part of the Edinburgh Art Festival.

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In Pursuit of Beauty he fashion industry provokes the idea of unattainable beauty and faultlessness.

Across catwalks, blogs, social media and printed publications the industry emphasises a lifestyle that the public drastically try to achieve, however each image seen has been distorted in a way to achieve the illusion of perfection. Whether it be the perfect body or the perfect skin or wearing the perfect outfit, the theme of perfection is portrayed throughout. In Pursuit of Beauty debates the impression that the fashion industry has set amongst us and seeks to rehabilitate our idea and understanding of beauty.

The discussion event In Pursuit of Beauty will be shown as part of Edinburgh Fringe Festival on 5 August. The discussion is part of the Cabaret of Dangerous Ideas, which is one of the 24 Cabaret shows planned for 2014. The Cabaret of Dangerous Ideas is a discussion panel led by academics across all Scottish universities in which it invites the public to have access to the knowledge universities create, and to debate and contextualise adverse topics.

In Pursuit of Beauty will be curated by Mal Burkinshaw, the programme Director of Fashion at Edinburgh College of Art, in conversation with comedian Susan Morrison. Burkinshaw is an advocate for true representation of beauty within the fashion industry. He has worked with H&M and Caryn Franklin on body image issues and with years of experience in the fashion industry himself, he advocates the proper use of imagery and believes it is possible for a fashion business to be successful by accommodating all body types.

Edinburgh College of Art run the Diversity Network, in which Burkinshaw is director of the teaching programme for fashion. In Pursuit of Beauty is associated with All Walks/Diversity Network, launched in 2011 where the network has become a platform for developing education in promoting a healthy attitude towards body diversity and imagery within fashion.

In Pursuit of Beauty aims to debate why the fashion industry should be more socially responsible and how the industry has the power to change and create socially accepted norms.

Photo: Gareth Easton

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Burkinshaw commented that the industry bombards us with “unhealthy depictions of the body and beauty through fashion media, and there is a lack of sustained use of diverse beauty depicted in fashion; it is usually tokenistic and ‘trend-led.’”

In doing so, businesses are excluding themselves from global markets as they are not targeting a diverse range of body types, race, gender and age in their designs. During the discussion, students at the Edinburgh College of Art will showcase their diversity-aware designs alongside a preview of Burkinshaw’s exhibition collection, Beauty by Design (Beauty by Design: Fashioning

the Renaissance will be shown at the Scottish National Portrait Gallery from October 2014 to January 2015). The exhibition is in association with the mental health charity, Penumbra and is supported by All Walks Beyond the Catwalk. The exhibition will highlight the modern perception of beauty in comparison to historical attitudes and in doing so will question and evaluate the changing (or similar) ideas of beauty.

There has always been an association of judgement with any creative industry. The ultimate goal of In Pursuit of Beauty is to proclaim a positive attitude towards fashion imagery

and how to reshape the distorted attitude that the public have towards what is seen as beautiful and what isn’t beautiful. We are constantly assailed with imagery that is flawless, and even without the fashion industry the thought of trying to achieve perfection will always still be in the public’s mind. However, the fashion industry proclaims it the most and it also has the power to change it. [Morgan McTiernan] sites.eca.ed.ac.uk/diversitynetwork

Celebrating Scottish Fashion A

Paul Carrigan wears Common People

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nnual fashion extravaganza The Scottish Fashion Awards is back for its ninth year with an exciting list of nominees, celebrating the success of industry insiders, designers, brands and models from both Scotland and the rest of the world. Having moved south of the border for the first time last year, the awards ceremony will once again be hosted in what awards founder Dr. Tessa Hartmann refers to as, the “epicentre of British fashion,” London. The event will be cohosted by Hartmann alongside the Secretary of State for Scotland, Alistair Carmichael with the glamorous awards presentation hosted by Laura Whitmore.

The Scottish Fashion Awards demonstrates Scotland’s wealth of fashion and design talent encompassing supermodels, fashion communicators and designers who are making waves not only in Scotland but also on the world stage. This was perhaps a contributing factor in the ceremony’s move to London last year, with the setting of one of the fashion capitals of the world being indicative of the ambition and drive of many of the nominees. Nominee in the Scottish Accessory Designer of the Year category, Jane Gowans echoes this, saying of the awards, “They are aiding the connectivity between Scotland and the wider fashion world, allowing me to work from Dundee whilst raising the brand’s profile across the UK.” The event is clearly as much about introducing the future of fashion in Scotland to a wider

global audience as celebrating the continued success of the established nominees, as is particularly evidenced by the inclusion of categories such as Scottish Young Designer of the Year and Scottish Fashion Graduate of the Year.

Once again the spotlight will be on the work of the nation, as Scotland’s fashion stars take over London. This year’s ceremony includes fifteen hotly contested categories which will be judged by an esteemed panel of judges, influential across the whole fashion industry – including Paisley-born photographer Rankin, Editor-inChief of Marie Claire, Trish Halpin, and Deputy Editor and Head of Fashion at The Sunday Times, Claudia Croft, amongst a host of other impressive international editors, journalists, and leading figures of the fashion industry.

The fifteen categories include nods towards not only Scottish born and established brands, designers and figures but also designers who have been inspired by the country or whose collections have included textiles sourced from Scotland. The International Designer of the Year category – which this year includes nominees Simone Rocha, Vivienne Westwood, Marc by Marc Jacobs, Maison Martin Margiela and Mulberry – highlights the incredible influence of Scotland on the world of fashion. One of the nominees for the Scottish Textile Designer/Brand of the Year award is ten30 and the brand’s founder, director and designer, Alan Moore, is humbled by his

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nomination after a busy year of hard work and pop-up shops. For Moore, “The cherry on the cake would be to win, but to be nominated is great and I’m sure I’ll enjoy a glass of fizz whatever the result.” Other categories include Scottish Model of the Year, with nominees such as Mary Charteris and Christopher Millington who have both enjoyed global success. The Young Scottish Designer of the Year category with its nominees Deetz, Mairi MacDonald, Hayley Scanlan, Saunt & Sinner and Rachel McMillan will surely also be a coveted award.

One of the most important events of the fashion calendar, the ceremony really brings together the Scottish fashion community. Ann Russell, the freelance writer and stylist behind Frock Trade told us, “As a freelance writer, blogger and fashion stylist... I’m able to interact with a brilliant community of designers, retailers and fellow creatives on a daily basis. I’m looking forward to celebrating our collective achievements at the awards ceremony.”

There will also be a series of special awards on the night including the Founder’s Award, Fashion Ambassador, Fashion Icon and Hall of Fame. The full list of categories, nominees and judges can be found on the Scottish Fashion Awards website. [Fern Logue] Scottish Fashion Awards, 8 Northumberland, London, 1 Sep scottishfashionawards.com

THE SKINNY

Breast Censorship We chat to Daria D’Beauvoix about her recent breach of Facebook’s ‘nudity’ rules and what this social media policing of women’s bodies really means

Words: Jessica Walsh Illustration: Jayde Perkin

Egg Donation: One Year On Egg donation may have had no physical impact, but being a biomum has sparked some realisations Words: Ana Hine

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aria D’Beauvoix is an academic burlesque performer and feminist researcher. One of her acts, In My Celebrity Skin, sees her parody buxom blonde barbie perfection by wearing what can only be described as a fake muff and nipples. The aim is to celebrate the realistic female body and discredit ideas of the ‘perfect woman’ and those notions of pressured self-improvement. Keeping this act in her repertoire throughout her career has been of utmost importance as she feels the message it conveys, as a feminist, is relevant and crucial. Her offending image is a projection of her act: fun, lively and a statement for femininity.

However, Facebook recently removed an image of the act for breaching their ‘nudity’ rules.

To be naked in public is not against the law in the UK, unless your nakedness is proven to be anti-social in that it is officially “disturbing the peace”. By acting in a way abnormal to what is socially acceptable, then, you are committing an offence. In the UK our legal system is built by patriarchal men and women who, misguided in their view that breasts are sexual organs, cannot find anything other than sexual arousal from the female form. Complimentary? Yes. How wonderful that female bodies can stimulate such a powerful reaction. But disempowering? Perhaps. While beguiling in its entirety, the human body, both male and female, serves biological functions. The sexual enjoyment of the body can be viewed as both a blessing and a curse to humankind. It is a fine line to tread, respecting its physiological purpose while not being overshadowed by admiration of its form.

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Through her research, Daria has found there is something of a dichotomy between censorship and opinion or perspective. She tells me, “While censorship is supposed to represent popular opinion, there is a constant bombardment of mediatised imagery and propaganda, which leads us to think that what we are being told to believe is a subjective opinion.” Art, both historical and modern, has placed the naked human form on a pedestal, so why did women’s bodies in particular, suddenly, seemingly become taboo? The JudeoChristian ethics that have built around the shame of Adam and Eve’s naked encounter in the Garden of Eden are the reason that sociologically we feel it is important to cover our bodies in cloth in public, and that it is acceptable to feel embarrassed at our naked form and uncomfortable at the sight of someone else’s. Moreover, it is at the root of our disgust and guilt towards our own sexual arousal and our clandestine approach to sex.

Sexual objectification and female disempowerment are often arguments thrown around when I ask artists why public platforms such as Facebook take issue with the sight of female breasts. They explain to me how dis-empowering it is to dictate to an entire female population what they can and cannot do with their breasts, and how insulting is it to assume that men and women cannot enjoy a piece of bare-breasted art, without (shamefully) feeling aroused.

Daria has frequently fallen victim to the Facebook censorship rules, serving time for “nudity and pornography breaches”. Her parody fake muff and fake nips caused enough offence

o, the hospital contacted me recently to say my egg donation last summer resulted in a successful pregnancy and that the baby (sex undisclosed) was safely delivered. I am now a bio-mum.

I feel … empty. Pleased, obviously, for the family who now have a healthy child. But part of me is a little sad. I keep reminding myself it’s not about me, that it has as little impact on my physical health as giving blood and that feeling a sense of loss is incredibly selfish.

It’s not really about that particular child (though I’m sure they’re going to turn out well), but that the nine months of someone else’s pregnancy gave me unwanted time to contemplate my feelings about motherhood. And my feelings changed.

To say I never wanted children would be a little simplistic, but I didn’t really believe I’d be ‘allowed’ to have children. The possibilities of to the online audiences that Daria’s images were single-woman adoption and IVF, lesbian co-parremoved and her account suspended. I ask Daria if she thinks there is a level of discrimination that enting, marriage and a stable home of my own, seemed so remote as to be laughable. exists in the policing of social media sites and if Yet, while my recipient was, presumably, so, where she thinks that discrimination lies. She nervously rubbing her bump, picking out baby explains to me that, in her experience, offence is generally taken at images that are misshapen and names and clothes, decorating a nursery – somehow a transformation occurred in me. do not fit the media-dictated beauty ideal.

I’d made the donation fresh out of univerShe says, “I often see images of models where sity. Unemployed and searching for a way to get they are showing most of their what I call ‘muff mound’ [where pubic hair once was, but has been on the career ladder, I couldn’t afford to do much more than mooch around my allocated room in shaven] and no-one bats an eyelid because it’s perceived as ‘sexy’. If I did the same photographic my own mum’s flat and send off CVs. Nearly a year later and I’m employed in the shot, my muff mound would be covered in pubic industry I want to work in and in a committed hair because I choose not to shave. This image relationship, which grew out of a friendship of would cause an outcry, people would be disgustseveral years. While my laundry has been sitting, ed, and I would most certainly get reported and washed, in the machine for a of couple hours – banned. It’s only hair for muff ’s sake.”

Daria accepts that, in reality, freedom of na- it’s doing so in my apartment. I’m passing for a functioning adult. ked expression has its restrictions, and in order And functioning adults – in the logic of my to function in society one must adopt characters teenage brain – are ‘allowed’ to have kids. Social and uniforms with which to conform. She says, “I services wouldn’t be alerted, because any child of want to be able to dance about in the nude and embrace my body, explore what it can do and how mine would now be warm and fed. The minimum it can look, be beautiful, be ugly, not be restricted standards of societal ideas of good parenting are suddenly within reach of being met. by clothes.

So when the email comes through to say that “It frustrates me that I can’t do this in all the egg donation was successful, a small part of realms of my life. Through photography I plan my brain starts to imagine how a baby would fit to do a few nude self-portrait projects. It’s just into my own life. And I feel empty. Not because of a shame I won’t be able to share it with anyone. some notion that a child has been taken from me, Unless I do it anonymously, and of course, not on but because I suddenly realise that the person Facebook – or most social networking sites for having a baby safely delivered could, at some that matter – because that would be un-social of stage, be me. me.”

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Scran at The Fringe The Edinburgh Fringe is back, and it’s even denser and more impenetrable than ever. But don’t run off screaming in a panic, for we’ve sifted through the eight million pages of the Fringe programme to bring you a selection of the best food-based events

Words: Peter Simpson Illustration: Nicole Miles

Food News: Best of the Rest If you can’t stomach the Fringe, Scotland still has plenty to offer this month, namely beer, yachts, smoke and silence Words: Peter Simpson

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o Edinburgh has a whole world of fun food activities going on this month, with unparalleled scope and unmatched variety. It’s the centre of the food-slash-cultural-event universe in August, and it’s just lovely. These things are all true, but can Edinburgh offer you the chance to learn how to smoke your own salmon? No. No it can’t.

Tasting Scotland’s day-long Food Smoking at Home course will run you through all the basics of food smokage, leaving you the envy of your friends, provided your friends really like bacon.

You’ll get tips on how to do it all at home without setting yourself on fire, as well as the chance to try out some of the great treats you can make by locking your ingredients in a smokefilled box. So take that, Edinburgh – the only thing you’ll see emerging from a thick, meat-tinged mist this month is an £18-a-head comedian delivering 45 minutes of ‘banter.’ Skibo House, Rutherglen nr Glasgow. Sat 20 Jul, £75.

Also in the west this month, gin! The EATING The champagne bar in the Signet Library plays Glasgow Gin Club makes its second appeardelicious food to an audience that’s been living Let’s start with a piece of musical theatre about off takeaway crepes and Paracetamol you’re on to host to a series of ‘meet the brewer and ask him ance in the Hidden Lane after launching several chicken, because it’s August in Edinburgh so why a winner. Stand-ups, take note – audiences love awkward questions’ chats with the folks from months back, with an evening of botanical-based not. Nando’s and Nandon’ts is a comedy about Knops Brewery throughout August, giving you chit-chat and some tasty, tasty gin. Try a range of cake. 1-25 Aug (not 11), 4pm. Assembly Roxy, 2 a couple who meet in a chicken restaurant, and the chance to engage in the rituals of the rich gins, catch up with other members of Glasgow’s Roxburgh Pl, £12-14. it features singing, dancing, and not one but two and lovely (enjoying outrageously nice surround- gin-loving community, and see how many times Next, Dinner is Swerved, a show which in ukuleles. If that wasn’t Fringe enough for you, this last year’s preview we described as “a dining ings) while still sticking to your roots (worrying you can use the word ‘gin’ in one evening. Go on, particular production takes place in a Princes about dribbling on yourself). 4, 11, 18 Aug, 7pm. make a game of it. Hidden Lane Tearoom, 1103 experience involving avant-garde food and some Street mobile phone shop. That’s a musical com- sort of theatre/comedy element that’s explained Pommery Champagne Cafe Bar, Parliament Sq, Argyle St, Glasgow. Fri 8 Aug, 8pm, £12.50. edy about Nando’s, in a phone shop. We may have entirely through sentence fragments.” Having £25.

We have been a little Central Belt-centric reached ‘peak Fringe’ within the first paragraph; If you don’t like beer and big buildings, why so far, and we apologise. If neither Edinburgh nor checked through the reviews it seems we were this does not bode well. 1-10 Aug, 12.30pm. not try gin and big words? A Genteel Tipple Glasgow really do it for you, why not try Dundee? basically right, but it couldn’t hurt to give these Phones 4U, 16 Princes St, £Free.

Through Gin in Literature connects the dots Not permanently of course, but for the duration guys another shot. This year’s blurb: “Edible With that in mind, let’s move straight to between great works of fiction and the G&T, high- of the Alba Real Ale Festival. shrubs. Taste transfiguration. Dream rambles. the discussions about eating genetically-fiddled The fest features over 40 beers from indeInteractive play. Audible dishes.” Sounds intrigu- lighting some of the writers who ‘were inspired’ meat. Would you eat a cow with five faces, or a pig ing. Needs commas. Send help. 8-24 Aug (not 12 by gin. There are of course cocktails involved in pendent brewers from up and down Scotland, that’s just one giant rasher of bacon with hooves? or 19), 11.30pm. C Nova, India Buildings, Victoria this one, so be ready to have a great idea or two. all jammed into one Dundonian yacht club with Much more serious versions of those questions Take a pen and paper. 10 Aug, 8.30pm. Hendrick’s a lovely view of the Tay. It’s basically a giant bar St, £17.50-19.50. will be discussed by Professors Helen Sang and crossed with a Scottish remake of the video for Back to reality, and to the Boxsmall outdoor Carnival of Knowledge, 1 Royal Circus, £12.

Bruce Whitelaw in their talk on the pros and cons market at Festival Square. A series of bijou sheds And finally, alcohol and history. A dangerous Rio by Duran Duran. If that won’t sell you on the of GM Food, We’d Eat GM Meat: Would You? idea, then we don’t know what will. Royal Tay in the middle of a patch of Soviet-esque concrete mix at the best of times, but the returning stars They’ll also look at the ongoing research to make doesn’t sound too hopeful, but fill them with food of The Thinking Drinkers’ Guide have us covered. Yacht Club, 34 Dundee Road, Dundee. Fri 22-Sun sure we don’t, as a species, run out of animals to and tiny little bars and things start to look a bit Their latest show on the Legends of Liquor takes 25 Aug, from £3. chow down on. 24 Aug, 3.40pm. The Stand in the a tour through some of history and pop culture’s And finally, if this is all too much and you just more promising. Expect to see the place packed Square, St Andrew Sq, £5. top boozers, and like all good tours you’ll stop off want to sit in a darkened room, we’ve got you covwith punch-drunk Traverse-goers fresh from Another year at the Fringe brings another every so often for some light refreshment. The ered. Dining in Darkness in Deafening Silence, some serious early-afternoon theatre and office star of a TV cooking show hoping to entertain a Fringe does get bigger every year, but it’s good a Glasgow fundraiser for Deafblind Scotland, will types desperately trying to sneak in some Fringe jaded, hungover crowd of media types and burnt- on their lunch break. Festival Sq, daily. to know that the important things – like the com- feature tasty food in said darkness alongside out civilians with a display of precision baking. edy/history shows with lots of free drinks – stay the aforementioned silence. A meal in complete Luckily for Glenn Cosby (off of the Great British pretty much the same. 1-25 Aug (not 11), 3.45pm. silence and the pitch-black that also counts as a DRINKING Bake-Off) he is actually an engaging character The Famous Spiegeltent, St Andrew Sq, £11. charitable deed – sounds like a good night to us.

Now we’re at the business end of this Fringe who can make good-looking bakes, and when The Arthouse, 129 Bath St, Glasgow. Fri 29 Aug, malarkey, kicking off with a genteel, mediumFor tickets and info on all shows, visit edfringe.com the centrepiece of your show is handing out 6.30pm, £35. brow opportunity to drink beer and eat burgers.

August 2014

FOOD AND DRINK

Lifestyle

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Phagomania: The Burger At The Gates Of Dawn

Rising Stars

Summer psychedelia hits Phagomania hard as we trip out to Brittney Meyer’s photographic oddities and wonder whether they might be too much for even this column

The Craft Beer Rising festival makes its Scottish debut next month — we look ahead to a weekend of beer, beats and live brewing

Words: Lewis MacDonald

Words: Peter Simpson

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“F

ar out man. Far f**king out” proclaimed the burnt-out slacker known as The Dude from his bath in The Big Lebowski. Branded as quite possibly the laziest man in Los Angeles county, you could easily imagine the work of fellow LA-based photographer Brittney Meyer hanging on his wall.

But what unashamed oddities are these?

Far from matching The Dude’s sloth-like stylings, Brittney has been blazing away on a vendetta against the stoic conventions of food photography. And when we say that, we mean crafting images such as flying SPAM against a cataclysmic backdrop, or burning ice lollies blazing a chocolatey trail across the moon. Catapulting everyday foodstuffs into freakish scenarios is Brittney’s forte, and she unsurprisingly describes

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surrealism and fantasy as key influences.

She explains: “I am interested in the function of food photography to create desire for consumption.

“Because of the materials used in styling, food photographers make their subject matter inedible by making it appear delectable.” There is certainly a solid irony in regular, commercial food photography that the food is often interfered with in bizarre ways or painted with thick layers of varnish in order to make it look edible.

Brittney’s art takes those conventions and laughs at them through a fog of primary colours and unexpected glitter.

Brittney also sees her work as exploring the visual language of the meme, often taking her photographic work to a new level by creating

beguiling animated gifs. “As a meme, the food object is glorified and at the same time satirised through repetition,” she proposes.

But hang on, isn’t this in danger of sliding into a load of postmodernist gibberish, hipster posturing ,and wasted food? To that charge, Brittney retorts: “People seem to want to label everything; I’m just going to keep making work that I am interested in.”

There certainly seems to be some method behind the madness, but that’s to be expected.

After all, how else are you going to end up with burgers, SPAM and ice lollies floating harmoniously in a fantasy-scape? While the work might match The Dude’s style, it takes a lot of work, man. brittneymeyer.tumblr.com

FOOD AND DRINK

or a while, the food festival has been something of a poor relation to its cultural siblings. Film festivals bring a huge range of movies from around the world to your local cinema, building on what goes on throughout the year.

Music festivals take over-sized bills of bands and DJs from far and wide and leave them in some field miles from anything, as if to say ‘we’ve booked so many bands, we have to leave civilisation behind.’ But a lot of food festivals take the bad parts of both, bringing a load of stuff you could probably get hold of any other day of the year to a place you would never really consider going.

Craft Beer Rising, on the other hand, seems to have the formula right. The weekend-long riot of food, music and, well, craft beer has been an annual fixture in London since 2012, and it makes its Scottish debut in Glasgow next month.

Drygate, the new craft brewery-meets-barmeets-restaurant just outside the city centre, plays host to CBR, and the number of hyphens in this sentence should tell you just why that’s such good news. Drygate meets the film festival criterion of being a genuine home for the scene it serves, with the festival adding a whole load more variety and excitement to proceedings.

That place that does nice beer? It has even more beer when this thing’s on! Yay! With that out of the way, the CBR crew look set to match the music festival ‘book all the acts’ mantra, with around 200 brews set for the taps across the weekend. Expect beers from the best craft breweries in Edinburgh, Glasgow and beyond, as well as the top producers from across the UK and the wider world, as well as some special editions from the hosts. As Drygate’s own Alessandra Confessore puts it, it’s a chance to “create experimental beers and share ideas with some of the world’s most forward thinking breweries,” and a chance for you lot to drink those beers. Everyone wins!

So there’s plenty of good beer, and an ace venue to boot, but any great festival needs a few elements you won’t see elsewhere. Luckily Craft Beer Rising looks to have those covered too, again taking inspiration from the cultural world’s long tradition of holding a big festival and filling it with slightly unexpected stuff.

Of course, there are the usual things like Q&As with brewers, but there’s also some planned live brewing to gaze at in wonder and yeast-based excitement. There’s music, but rather than a limp Spotify playlist or some fellas with fiddles it’s a line-up of hand-picked DJs and bands playing music that you might – gasp – actually want to listen to.

In short, it’s a beer festival with all the punch and excitement of an ‘actual’ festival.

While there may be times this month when the thought of another ‘one-off’ event or pop-up venue makes you want to weep, just persevere – next month is the beer lovers’ time to shine.

Craft Beer Rising, Fri 19 Sep (7pm), Sat 20 Sep (11am & 6pm), Sun 21 Sep (11am). Drygate, 85 Drygate, Glasgow.

Tickets £20, visit craftbeerrising.co.uk

THE SKINNY

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August 2014

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THE SKINNY

Gig Highlights

Electric Dreams

From Earth to Converge, it’s a fine month to be a cultist

As the latest prospect on Scotland’s festival circuit sets out its stall, we go behind the scenes at Dumfries-based one day event Electric Fields with two of its core organisers

Photo: Ann Margaret-Campbell

Words: Freddie Boswell

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efore we even get into August, let’s consider what a high we’re seeing out July on. It’s fair enough to say that for all his incarnations – as a motivational speaker, late night TV personality, club owner and classically trained pianist – Ann Arbor, Michigan’s Andrew WK has been trading on his one point manifesto, allegedly concocted by a crack team of industry gurus back in 2001: Party Hard. Proceed to do so (but please mind the crockery) at the Classic Grand on 30 Jul. Precisely 20 years after blowing open the possibilities for modern metal with a monstrous debut named Burn My Eyes, The Liquid Room presents a tantalisingly rare opportunity to catch Oakland thrashers Machine Head at close quarters on 31 Jul. This is no anniversary show, but with their eighth full length slated for release later this year, now’s as good a time as any to ‘let freedom ring with a shotgun blast,’ an’ a’ that.

Prolific is the word for Jonah Matranga; you’ll have heard his dulcet tones on classics by the likes of Thursday and Deftones, and after a short-lived reprisal of his old band Far, the San Franciscan returns to his lo-fi, low-key, onelinedrawing moniker for the first time in a decade.

His latest LP – Me And You Are Two – is a stew of heart-on-sleeve balladry over an effects board provided by R2-D2. No shit. You can find him at Glasgow’s Glad Café on 31 Jul. Still reeling from the Commonwealth Games’ organisers failure to produce a 70ft high holographic Taggart at the opening ceremony, we’ll settle for the spectacle of Glasgow sextet Remember Remember performing a set of kaleidoscopic instrumentals from their exquisite third LP, Forgetting the Present on 1 Aug at the recently refurbished Kelvingrove Park bandstand (for free, by the way) as part of the festivities. Steve Earle, Teenage Fanclub and The Waterboys also make an appearance throughout the course of the month (see listings for details).

Part of the Merchant City Festival, the 13th Note hosts three nights of mental during the

Sheets Ov Summers Weekend #2 from 1-3 Aug. Particularly scratching our fancy on the second evening is the inspired grouping of veteran avant punks Ceramic Hobs, synth-livin’ Italo horror score devotees Ubre Blanca, barbed noise rock trio Battery Face, plus a one-two surf rock punch in the pus courtesy of Halfrican and Deathcats.

It takes balls of steel to name an album The Classic before you’ve earned your first triple platinum, but Joan As Police Woman damn near got away with it with her intoxicating collection earlier this year. Don’t be surprised if she’s changed pace already. Back we saunter to The Liquid Room on 5 Aug. Endlessly on the road since the release of All We Love We Leave Behind, Jacob Bannon’s post-hardcore wrecking crew Converge return to the Classic Grand (5 Aug), the scene of an absolute smasher in winter 2012. There are few more ferocious sights in live music than Bannon in full-throttle, held aloft by fans to the tune of Hell to Pay. Makes you feel bad for the Pigeon Detectives.

Like Sabbath, Stone Roses and of course Color Me Badd before them, it was just a matter of time before Jeff Mangum got the band back together and Neutral Milk Hotel returned to the live arena for some unfinished business. With the heart growing ever fonder for their 1998 sophomore LP In the Aeroplane Over the Sea (and sales in excess of 300,000, which couldn’t have hurt), the rambunctious, staunchly experimental Athens quartet have been in demand ever since.

Here’s your chance to get reacquainted at the Corn Exchange (14 Aug). Also enjoying escalating cult status in their second life, the latest incarnation of Dylan Carlson’s drone lords Earth circle the CCA with the first live glimpse of their imminent LP Primitive and Deadly on 14 Aug, while Louisville post-rock forefathers Slint bring the seminal Spiderland to The Arches for a victory lap on 15 Aug.

Do Not Miss

The Last Big Weekend, Richmond Park, 30-31 Aug

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art of the Glasgow 2014 Cultural Programme (and a most welcome addition to the Scottish festival season), The Last Big Weekend offers a heartening alternative to the transient shite that often passes for a festival bill elsewhere. Joining Mogwai (for their biggest headline show on home turf to date) on Saturday are Bristolian synth wizards Fuck Buttons, techno sorcerer James Holden, perennial Peel indie rock favourites The Wedding Present, Kilsyth stalwarts The Twilight Sad, rising garage duo Honeyblood, recent Scottish Album of the

August 2014

Year Award winners Young Fathers, resurgent shoegrungers Swervedriver and Chemikal’s own doom rawk trio Holy Mountain. Meanwhile Co-curated by Optimo and Numbers, flanking Hudson Mohawke on the Sunday will be LCD Soundsystem/DFA Records founder James Murphy, Numbers diva SOPHIE and lynchpins Jackmaster and Spencer, Afro-futurist pioneer Nozinja, rising post-industrial mob Golden Teacher and Optimo (Espacio) themselves. Miss this and greet.

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dentify yourselves please, who does what at Electric Fields?

Alex Roberts: We roughly break into three different areas but with anything creative like this it’s great to be able to bounce ideas off each other.

Official titles seem a bit limiting but I’m the festival organiser, Chay [Woodman] is our booker and deals with press while Nick does the marketing. There’s a bunch more people who have been incredibly helpful, dedicating time and effort to getting this thing off the ground.

Tell us about the festival’s genesis – what’s the ethos behind it and how will it differ from all the rest?

AR: EF’s ethos is to get great people together, to listen to great music, in a great setting. We would say in great weather... It won’t rain in August, right? What we want to do is pull together the best bits of the other festivals. Firstly – we wanted it to be affordable, which we’ve achieved.

If you want to come and have a good time and listen to amazing music you shouldn’t be priced out of it. Secondly – have a bill that keeps you interested. We’re so chuffed with the bill, there are so many bands capable of stealing the show on the day and that’s a great feeling to have. And thirdly – it’s the first EF, there’s the chance of teething problems but it’s going to be a great day. What we’re excited about is how we can tweak it in years to come and consistently make it a relevant festival for audiences.

Nick Roberts: We want people to come and be part of the festival and enjoy each element for what it is. The music will be great, it’s such a beautiful location and it’s special to us as a place we grew up near. The beer will also be cheap, and there will be plenty of it.

Do you attend a lot of other festivals as part of your research for Electric Fields? Which others would you say have a sensibility most similar to yours, in terms of the bands they book, the experience they provide, and the value they offer to fans?

NR: I’ve had a magic summer and been lucky enough to go to Primavera, Field Day and Brew at the Bog so far this year. The most obvious one that similarities are going to be drawn between is Brew, and that’s no bad thing – it was great. All three of those festivals got it totally right in my opinion in terms of the atmosphere they created.

If you turned up with six bottles of vodka to down

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and bounce about a field you were in the wrong place. Beacons in Yorkshire is another festival which I’d put on a list of doing it right as well – if we’re talked about in the same way as any of these guys in the next few years we’ll be happy.

AR: In terms of bands, obviously with Chay’s experience with the Solus Tent he has a great depth of knowledge to pull upon. He’s gone and booked one of the strongest line-ups of the year and at the same time been able to pull these acts away from specialist tents and onto the main forum, which is great for everyone.

Which acts in particular are you personally looking forward to seeing?

AR: After seeing Fatherson and that crowd at T it’s hard not to be really excited about seeing them.

NR: I have a real soft spot for Honeyblood.

Totally, totally love them and it’ll be great to see them on an open stage.

AR: Also, having someone of We Were Promised Jetpacks’ stature for our first festival is awesome.

In an ideal world, who would you like to have on board for next year?

AR: We want to make sure we’re always providing an interesting line-up. Most of our acts, if not all of them, hail from Scotland but by no means is that a rule we’ve set ourselves. Good, honest bands that can bring the noise.

NR: It’s people who have an energy about them that we want. Also, I would love to see Jimmy Somerville here one day. Just smashing out Smalltown Boy. What one piece of key advice would you give to any aspiring promoters out there giving thought to organising a festival?

AR: Have a good solid team around you. Every one of us is doing EF for the love of it and nothing else. If you’re doing it to make some money then stop now.

NR: Don’t compromise on the integrity of what you want to do.

Finally, which food stand should we hit first?

AR: Forget the food – head for The Duke!

Electric Fields takes place at Drumlanrig Castle, Dumfries on 30 Aug www.electricfieldsfestival.com

Preview

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While angst remains etched through his music like lettering through a stick of rock, a waistcoated and wise-cracking Conor Oberst appears relatively relaxed tonight. When he sings (on the even-keel country-rock of Moab) that “there’s nothing that the road cannot heal,” the lyrics seem to acquire a new dimension with regards to the current tour, which started under the shadow of a rape allegation but ends with the accusation retracted and lawsuits dropped. Then again, maybe the carefree air has more to do with the fact he gets to fly home tomorrow to New

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Photo: Ross Gilmore

twitter.com/GhostfaceKillah

theafghanwhigs.com

Conor Oberst

Conor Oberst O2 ABC, Glasgow, 21 Jul rrrrr

By the time Ghostface Killah takes the stage before a sea of hand-sculpted W signs, The Arches has just about reached boiling point. Already whipped into a frenzy by the slick turntablism of The Technician, some particularly impatient sections of the crowd have been calling out the legendary MC, via tirades of expletives, for around 30 minutes.

Fittingly, when the main attraction bounds into view, he does so while delivering his opening assault from the Wu Tang Clan’s Bring Da Ruckus, followed in quick succession by a segment from solo hit Nutmeg and Raekwon’s female-fixated Ice Cream. This strong opening medley is the last we will see Ghost in full swing for some time tonight – he is soon joined by sometime collaborator and

LOX founder Sheek Louch, who brings more presence to the stage, though there’s a dip in energy as tracks are all too often cut short and pauses emerge amid repeated requests for the engineer to cut the smoke and lights.

Frustratingly, poor sound too often obscures the finer points of Sheek and Ghostface’s delivery – a persistent and frequently decisive problem for live hip-hop. There are still moments of joyous uproar – Ghost’s lines on bigger hits are heard clearly, if only due to a well-versed crowd practically taking over.

Ghost’s progeny Sun God occasionally joins his father and Sheek on stage, but all three are trumped for gusto by a crowd member invited to fill in Method Man’s lines on Protect Ya Neck – a testament to the enduring influence of the Wu’s first offering to the music world, if not the withering enthusiasum of its makers. [Ronan Martin]

York, his “favourite city in the world,” to which an evocative rendition of Lua is dedicated.

Other Bright Eyes numbers to be given an airing include a de-digitised Hit the Switch and the oft-underappreciated If the Brakeman Turns My Way, though it’s new album Upside Down Mountain that deservedly takes the spotlight.

With borrowed backing band Dawes helping to amplify the rich, rootsy appeal of Hundreds of Ways and Zigzagging Towards the Light (amongst other highlights), it increasingly feels like Oberst has reconciled the lo-fi catharsis of early Bright Eyes with the ensemble folk-rock of more recent projects, fashioning an exciting middle-groundsound full of fresh potential. [Chris Buckle] conoroberst.com

Theo Parrish

Theo Parrish The Art School, Glasgow, 16 Jul rrrrr As house virtuoso Theo Parrish takes time to survey his domain – peering from beneath the rim of a crumpled bucket hat, across the crowd below – a slight sense of trepidation among those gathered about how well his music will translate as performed by a live band is quite understandable. Thankfully, any lingering doubts are abated early on as Theo’s talented ensemble bursts emphatically into life, with early highlights including a mesmeric cover of Stevie Wonder’s Too High and a rendition of his own Walking Through the Sky – its meandering keys setting the pace for a leisurely stroll through one of his most meditative deep house tracks.

The calibre of musicianship on stage is instantly apparent – Theo is joined by the likes of

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keyboardist Amp Fiddler (who has worked with George Clinton and Prince) and gifted guitarist Duminie DePorres. Accompanying them is a fourpiece footwork dance crew, adding an exhilarating extra dimension to the show. When Chemistry gets an airing, the vibe approaches spiritual – its repeated refrain, ‘the chemistry was meant to be’ couldn’t be more apt as Parrish and his band gel effortlessly in front of an enraptured crowd. On a couple of occasions the set does veer off into dense instrumentalism, but such diversions are fleeting. Late on, Solitary Flight soars as Theo and co manage to illuminate the raw emotion of Vangelis’s famous piano part, while also giving the track a cathartic and uplifting percussive edge, establishing Parrish as a live force to be reckoned with... like it was ever really in any doubt.

[Ronan Martin] soundsignature.net

THE SKINNY

Photo: John Graham

“I don’t care what age you are, there’s a fuckin’ 16 year old inside!” After 100-odd minutes of sweating and roaring his way through a heady collection of reinvigorated Whigs staples and compelling new jams, a grinning Greg Dulli – the perennial savior of misbehaviour – finally draws breath and gives an uncharacteristically subdued Glasgow crowd his express permission to lose control for the encore.

Unseen in these parts since 1999, standoffishness was never the Afghan Whigs’ scene; what distanced the reformed Cincinnati hedonists from the nihilistic apathy of their old peers was the will and deft ability to counterbalance the agony with the ecstasy – but tonight’s not just about reliving old glories.

Transcending nostalgia maybe wasn’t the goal when they first reconvened for a run of gigs in 2012, but latest LP Do to the Beast [reviewed here] – the majority of which we see come alive in vivid colours this evening – is reassuring proof that anything’s still possible in rock’n’roll. From

Ghostface Killah

Ghostface Killah The Arches, Glasgow, 15 Jul rrrrr

the grinding brute force of set opener Parked Outside to the measured light and shade of Lost in the Woods, there are lessons to be learned by young indie rock pretenders.

Ever proud to demonstrate their influences, it’s also a whistle-stop ride through the hall of fame. “Let’s ride the Crazy Horse,” Dulli announces as Dave Rosser embarks on Algiers’ fuzzbox solo. My Enemy, meanwhile – exhilarating in the hands of this latest six piece incarnation – could belong to nobody else.

“I’ve never met a mash-up I didn’t appreciate,” Dulli once told The Skinny in interview.

Tonight they arrive by the boatload; When We Two Parted is fused to Drake’s Over My Dead Body, while Fleetwood Mac’s Tusk finishes off I Am Fire, the black clad frontman furiously beating a floor tom front and centre. A visceral interpretation of Jesus Christ Superstar’s Heaven on their Minds is devastating in its fusion with neo-soul classic Somethin’ Hot. They see us off with a touching salute for the late Bobby Womack as Across 110th Street neatly dovetails into Black Love tear-jerker Faded, their enduring charm and cathartic power in plain view. [Johnny Langlands]

Photo: Vito Andreoni

The Afghan Whigs O2 ABC, Glasgow, 18 Jul rrrrr

Photo: Ross Gilmore

The Afghan Whigs

Unfolding The Exquisite Corpse Amidst statements of wanting to transcend the mundane, Alexander Tucker and Daniel O’Sullivan’s latest project really seems to be about their friendship

Interview: Simon Jay Catling

hen Daniel O’Sullivan says that he and Alexander Tucker’s creative and personal relationship exists on an “intuitive” level, he isn’t lying. Interviewed separately the Grumbling Fur duo’s answers fall into easy synchronicity with one another – sharing the description of their creative process as like “putting together an exquisite corpse,” and harbouring the same belief of sculpting music as it comes to them, rather than forcing an idea for the sake of not losing it. “Grumbling Fur is that thing of having a very intense relationship with a friend,” reflects the softly-spoken Tucker down a phone line, following a day of fishing with his band mate and their families.

Although Grumbling Fur as an entity is relatively new, their creative – and life – collaboration is not. Tucker is of course best known for a series of third-eye opening solo albums on Thrill Jockey, likened by some – admittedly to his increasing chagrin – to the pastoral Englishness of Syd Barrett and the Canterbury folk of the 60s and 70s. The perhaps more extroverted O’Sullivan, meanwhile, has an exhaustive list of collaborations to his name; from fronting long-running Norwegian metal and experimental excavators Ulver and his own Mothlite, to working with Sunn O)))’s Stephen O’Malley on improvisational project Æthenor – even frequently donning the robes for O’Malley’s infamous doom ensemble.

The pair first came together before all that, when O’Sullivan was still in his teens and Tucker had reached his early 20s. “Dan’s got a great energy about him,” the latter says. “He’s trained musically but can unravel as well – and I’m someone who comes from a pretty unravelled background.

I used sound before I could really even ‘play’ music, so to speak.” Both admit that their early musical inclinations together foretold little of their subsequent further flung experimentations however; “We just sounded like Superchunk or something,” Tucker laughs.

The two friends drifted apart as the elder artist left behind the hardcore and Straight Edge lifestyle that O’Sullivan was still heavily involved in at the turn of the millennium. However, they reconvened years later after Tucker was asked to join Æthenor on tour. “I hadn’t really seen him in a while but I’d been keeping up to date with what he’d been doing,” O’Sullivan recalls of the man he gleefully describes as “an ambassador for English weirdness.” Re-uniting through a series of relaxed jam sessions, with no pressure placed on anything particularly having to come from them, new bonds were slowly forged. “I’d always wanted to reconnect with him because we had been really close,” says O’Sullivan, “then he went through a big break-up and we both went through changes. It seemed easier to reconvene via music – it was like an automatic setting.”

After recording parts of Tucker’s 2011 record Dorwytch, the pair continued to play together – from which came Grumbling Fur. Tucker admits they’re both big Beatles-heads, while O’Sullivan also agrees there’s lots of common ground. “I think we’re both in love with the process – that’s where we meet. We just play a game really; collaboration for us is more like playing exquisite corpse. It’s call and response,” he says. “We know each other so well that it’s an easy relationship to maintain. It’s about allowing the music to happen rather than getting in the way of it; it almost feels like it’s there all the time anyway, y’know? It’s just choosing which antennae you use to key into it.”

On the outside you wouldn’t have expected that antennae to have produced records so heavy on pop nous – particularly on last year’s

August 2014

Photo: Lucy Barriball

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second LP Glynnaestra and their new, even more refined-sounding, album Preternaturals. What tracks like the Blade Runner-referencing The Ballad of Roy Batty hinted at, in the undeniable anthemia that broke through their amorphous drones and smudged rhythms, has been fully realised on Preternaturals. Tracks like All The Rays and Lightsinisters emerge further from the undergrowth than ever before; in fact, as the pair sing ‘rapid stars are moving out our way’ during the latter’s key-shifting mid-section, there’s the sense of the duo hurtling towards the sort of dizzying high that can leave you gasping for air. “We don’t want it to feel like this obscurantist maze of sonic fug,” O’Sullivan comments. “It’s intended to feel how it felt when the idea was conceived; when you’re making something and the meaning or resonance starts to emerge, the job is preserving it and not caking it with shit.”

A series of epiphanies, Preternaturals breaks up the congealing layers of their previous earthy sound; strings and electronics distinctly separate on the rolling-plains of Feet of Clay, for example, the strains of viola sounding slightly warped and well-worn, but warm and familiar for it. For Tucker, whose past lies in studying Fine Art at Slade, the precision of layering is something that’s long been with him. “I remember when I first got an 8-track and thinking how much it was like painting,” he recalls. “I was making marks on this track or layer, and another track was like creating another surface – and then you were melding them and building a picture.”

The duo partly attribute a more instantsounding record to music journalist Luke Turner, who – as co-founder of music website The Quietus and label The Quietus Phonographic Corporation with John Doran – is putting Preternaturals out. “I’d been listening to a lot of Mad Lib and J Dilla and we were all ready to make a beats album and then Luke said ‘No, I want a big pop record!’” says Tucker, “So we were like

‘Oh, alright then!'” But, he argues, searching for melody has always been key to his work anyway – even in his more off-kilter wanderings. “Even on my noisy improvisation things I’ll try and pull melodies out of obtuse sections – I mean we’re both massive R.E.M. fans! – I like songs, whatever shape they come in, and exploring what you can do within those parameters.”

“It seemed easier to reconvene via music – it was like an automatic setting” Daniel O’Sullivan

O’Sullivan’s pop links are more obvious; at the end of last year he released an album of crystalline structures and big Depeche Modereminiscent goth-pop under the name Miracle, with Zombi’s Steve Moore. He’s also co-written with sometime Radio 1 botherers The Big Pink – at one point he mentions a weekend away in Argyle with the comically incongruous pairing of The Big Pink’s Robbie Furze and Sunn O)))’s Stephen O’Malley (“lots of fishing, walking… and yeah, quite a lot of hedonism.”) However, he’s keen to disassociate himself from the idea of Grumbling Fur ever approaching anything with too many deliberate intentions. “If you’ve got your eye on some sort of defined result I think it’s flawed immediately,” he states. “So when we came upon pop tunes for this it was really quite instantaneous. The most exciting thing for us is when you’re in the creative process and feel like you’re on auto-pilot – but suddenly this web of synchronicity reveals itself.”

MUSIC

Thematically, Grumbling Fur base themselves around the aim of – as they both call it – “extracting the profound from the mundane,” in essence the sense of a truly psychedelic trip where your surroundings take on the extraordinary. It’s something Tucker’s grown up with thanks to a contrasting love of pop art and surrealism, and you only need to listen to the new record’s Mister Skeleton to understand the approach. Taken from O’Sullivan’s daughter – who asked her father at Halloween if the array of fancy-dress spectres and ghouls that kept turning up at their door were their friends – the fleeting moment has been turned into a murmuring cascade, deftly punctuated by finger-picked guitar and the duo’s almost spiritual-sounding tandem vocals. “There’s a certain chemistry when we double track and sing in unison,” admits O’Sullivan. “Although I wouldn’t say we were intentionally putting gospel into it, as much as I love devotional music.”

More than that though, the stylistic nuance represents an on-record recognition of how tightly-woven the pair are. It’s a union that’s altered just once on Preternaturals, with a cameo appearance by The Charlatans’ Tim Burgess on Lightsinisters boosting numbers to three. “We gelled as soon as he came over,” says Tucker, “literally right up to the moment when he had to get his train he was laying down sections.” Won over by his humility, the pair have become firm friends with the singer and have begun helping him on his own forthcoming record. “I don’t ever think of The Charlatans when I see Tim,” says O’Sullivan, “his trajectory’s really interesting, he’s very chameleonic.” That’s certainly a term you could apply to both Grumbling Fur members too – though their bond remains as it ever was.

Preternaturals is released on 11 Aug via The Quietus Phonographic Corporation mothlite.blogspot.co.uk

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Album of the Month The Bug

Angels & Devils Ninja Tune, 25 Aug

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This isn’t the Bug album you are expecting. By splitting the album in two, Kevin Martin addresses some big themes and shows himself to be a producer of remarkable depth and sophistication, eclipsing even the seminal London Zoo in the process.

Grouper’s Liz Harris is up first, with the ethereal, shoegazing dub of Void, a track that feels like drifting in amniotic bliss, removed from reality.

Fall is more recognisably Bug territory – “Tell me the story of your city,” trills Inga Copeland over a brooding bass riff and clattering, muted percussion. Instrumentals Ascension and Pandi

explore densely atmospheric realms, hinting at a placid calm beneath raging surface tension, sensed but unseen. Save Me, featuring Gonjasufi, is the crossing point, a mournful dirge, the placing of a coin in the old boatman’s hand.

On the other side of the river we are plunged into inferno, as Killa P and Flowdan murder a rhythm that is half ringtone, half machine gun; a blast of ferocity. Fuck A Bitch, featuring Death Grips, matches it with a defiant attitude as exciting as it is illicit.

Function, featuring Manga, is the sound of broken machines, both organic and mechanical. On Angels & Devils, Kevin Martin pushes farther and harder than ever before – and it’s his strangest ideas which beguile the most. [Bram E. Gieben] ninjatune.net/us/artist/the-bug

J Mascis

Owl John

Benjamin Booker

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Tied To A Star [Sub Pop, 25 Aug]

Owl John [Atlantic UK, 4 Aug]

Is any phrase in the pop lexicon even half as soul-crushing as ‘solo album’? They’re often drab affairs, characterised less by the artist’s individual talent than the absence of their bandmates. We’re lucky that no-one told Dinosaur Jr’s own J Mascis, whose second solo collection in three years is downright lovely.

Sidestepping Dino’s squalling guitar heroics, that idiosyncratic yowl has rarely sounded as heartbreakingly weary as it does here, particularly on Come Down’s delicate folksiness. The nimblefingered Wide Awake is a winner too, soothing eardrums as gently as summer rain. A sudden crash of chords leads into a quietly beautiful coda, assisted by the sonorous tones of Chan Marshall, but the closest we come to his day job is the not-quite-noise-pop of Every Morning, where hooks comfortably win out over volume.

The tranquility of solitude, in fact, turns out to be a genuine boon for J’s unique muse. Who’da thunk it? [Will Fitzpatrick]

Scott Hutchison, aka Owl John, claims that this record, fun as it was to make, is more about cleansing his palate and exercising a few underworked songwriting muscles before the next Frightened Rabbit album proper. If that’s the case, we’d best start getting very excited about that record already, because the warm-up is a beauty.

Recorded between Mull and Los Angeles, there are clear themes of loneliness here: Hutchison is a fish out of water.

Most will already know, though, that it’s under such conditions that he produces some of his best work. The scintillating Ten Tons of Silence, the reverberating Sounds About Roses and the excellent single Hate Music are some of his most enjoyable compositions yet. There’s a welcome sense of adventure; Owl John shows that Hutchison is continuing to expand his creative arc, which is getting broader and more daring with each successive record.

[Finbarr Bermingham]

jmascis.com

owljohn.com

Benjamin Booker [Rough Trade, 18 Aug] “The future is slow coming,” laments Benjamin Booker on the fourth track of his debut album and the first chance for the listener to catch breath after a barrelling, raucous opening. For a young musician so indebted to the past, there’s a hint of irony in those words.

Booker’s got the blues, no doubt, but he kicks his heritage influences around, scuzzes them up, marries an indie rock energy and punk ethic to his soul man spirit.

He’s a tremendous vocalist and top marks for leaving some performances here in their ‘natural’ state – hey, what’s a semitone between friends? Have You Seen My Son is prime Strokes, the scrape and twang of Booker’s guitar defining his rough-hewn methods as much as that distinctive voice. Sure, it could do with a little more song craft but what it lacks in that area, it more than makes up for in character. A blast of real promise. [Gary Kaill] Playing Glasgow King Tut’s on 8 Sep benjaminbookermusic.com

Soft Walls

Rustie

Okkultokrati

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No Time [Trouble in Mind, 4 Aug]

Green language [Warp, 25 Aug]

Night Jerks [Fysisk Format, 4 Aug]

Confession time. When Cold Pumas dropped their debut in 2012, this hack was thoroughly unimpressed. I said as much via a clumsy whine on a reputable reviews site, culminating in a desperate plea for the band to make a second album so good that I’d be begging for their forgiveness. “They should sneer right back at my pitiful contrition and disdainfully boot my face off,” I added for good measure. Erm. This isn’t quite Cold Pumas, but guitarist Dan Reeves’ psych project Soft Walls has The Skinny reaching for a face guard nonetheless: No Time is a superb collection of motorik rhythms, blissed-out dreamscapes and post-Velvets shuffle. At its exhilarating best – like the shrill motifs that slice through Guided Through’s pulsing hypno-pop – it’s nu-psych par excellence, swimming gracefully through murky waters where less artful types might flounder. Meanwhile, the dizzyingly pretty Transient View provides a perfect palette-cleanser for blown-out ears. Guess we didn’t need our face for much anyway. [Will Fitzpatrick]

There’s a playfulness to the opening sections of Green Language – we are treated to three false starts, Rustie delivering riffs of staggering infectiousness before snatching them away and diving into the relentless, trance-like crescendo-frenzy of Raptor. Rustie’s rhythms have taken on some of the hypercolour polish of mainstream EDM – this is dayglo, experimental rave for a new century.

The tropical feel of Paradise Stone provides a breather before the album’s centrepiece – D Double E, delivers a simple but effective grime flow on Up Down, and Danny Brown destroys Attak, easily one of the year’s best tracks in any genre. He goes so hard and smashes it so thoroughly that the rest of the album struggles to reach those heights. Tracks featuring Redinho, and an unknown R&B singer (Dream On) may be less welcome to seasoned heads, perhaps, but give the album serious pop crossover potential.

Leaner, more focused than its predecessor, this is a giant leap forward. [Bram E. Gieben]

Norwegian punk-metal outfit Okkultokrati are an offshoot of the Black Hole Crew, along with Haust and Blackest Woods. They basically do for dark metal what Pissed Jeans did for hardcore and grunge – take it outside and give it a stiff beating, then bring it back inside the bar and get it blind drunk. With guitarist Pål Bredrup faced with injuries which prevented him from playing on the record, some of the guitars are here interspersed with gloomy, funereal synths. But the thing that marks Okkultokrati out are the vocals – the guttural howl of Norwegian black metal here tempered with anger, wild abandon, and what sounds like a considerable amount of alcohol.

If the singer isn’t shitfaced, that makes the album even better, frankly – his rambling, lurching performance imparting a sense of dangerous brinkmanship. The alternation of claustrophobically dark, synth-driven grave music and full-throttle, punk-infused metal gives the album more dynamic range than most modern punk and electronica records can dream of. [Bram E. Gieben]

softwalls.tumblr.com

warp.net/records/rustie

okkultokrati.bandcamp.com

James Yorkston

The Cellardyke Recording and Wassailing Society [Domino, 18 Aug]

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James Yorkston’s eighth album of original material finds the erudite Fifer facing up to mortality in his most sparse and contemplative album to date. Yorkston’s gift for lush folk songs has long been underpinned by his defining feature: the man is a master storyteller, a 21st century seanchaí, crafting bruised vignettes, steeped in breathless narratives and candid reflection. Produced by Hot Chip’s Alexis Taylor, CRAWS is not as immediate as its predecessors but possesses a rare and subtle charm.

And the man is in wonderful voice: on the masterful Feathers Are Falling, Yorkston eschews his usual half-spoken delivery in favour of swoonsome vocals while KT Tunstall is on hand throughout to provide both foil and cushion for Yorkston’s laments. Despite the often despairing subject matter, he’s never downbeat or depressing; in fact CRAWS is uniquely life-affirming. It’s also incredibly warm and inviting, as one would hope any true wassailing society to be. [Colm McAuliffe]

Cold Specks

Trans Am

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Neuroplasticity [Mute, 25 Aug]

Volume X [Thrill Jockey, 11 Aug]

Slip on the second album from Cold Specks (aka Canada-born/UK-based singer-songwriter Al Spx), and it’s the voice that hooks you first. As opener A Broken Memory awakens to voodoo organ chords and mournful Mardi Gras trumpet, smoky vocals implore a darling to ‘dance’ in a tenor that’s tantalisingly difficult to pin down – appropriate for a performer who cloaks herself in not one but two nom de plumes.

The album title refers to the brain’s capacity to form new connections and learn new things – a meaning that’s reflected in an expanded musical palette that pushes Neuroplasticity beyond the ‘doom soul’ territory confidently staked out on 2012 debut I Predict a Graceful Expulsion. And speaking of new connections: following Spx’s appearance on Swans’ To Be Kind, Michael Gira returns the favour by embedding rumbling guest vocals at a couple of junctures, their infrasonic undertow most powerfully felt on closer Season of Doubt. [Chris Buckle]

There’s a mind-blowing moment halfway through Night Shift, the third track on Trans Am’s Volume X; having shuffled gloriously through two minutes of wide-eyed glam-kosmische, the drums suddenly trip over themselves chaotically, before racing towards the finish line in a fit of motorik euphoria. It makes no sense whatsoever, and is utterly fucking brilliant. But then again, we should expect no less from the D.C. bred trio, whose attention spans have veered down innumerate dark alleys for the best part of 20 years.

Things get underway with Anthropocene’s tripped-out riffology, tweaking the noses of the nu-psych generation while beating them at their own game – a tidy warm-up for Backlash’s searing blowtorch thrash. In calmer territory, Nate Means takes the lead on the shimmering, vocoder-drenched I’ll Never, channelling the phase of Skynet’s self-awareness where it abandons the extermination of mankind after getting into Julee Cruise and Suicide. Ten albums in and still no let-up: treasure ‘em. [Will Fitzpatrick]

coldspecks.com

thrilljockey.com/thrill/Trans-Am

Playing Jura Unbound, part of Edinburgh International Book Festival, Guardian Spiegeltent, Charlotte Square, 24 Aug, 9pm, free

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RECORDS

THE SKINNY

Adult Jazz

Maybeshewill

FKA Twigs

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Gist Is [Spare Thought, 4 Aug] There’s something reluctant about Adult Jazz’s debut LP. The four-piece, Leeds Uni alumni and students of Joanna Newsom, Van Morrison and Animal Collective, have taken their time to craft nine songs of enduring scope and warmth. While songs like Spook swell and meander, tugging the heartstrings in all the right places, they’re hobbled by lyrics that would rather deconstruct the anthemic impulse than sate it.

Bizarrely, this makes for consistently thrilling listening. Am Gone, which underlays the carcass of stadium folk with eviscerated African rhythms, double-bluffs cynical listeners by applying weary vocals and elegantly sighing harmonies to a carefully crafted pop structure. Spook’s conflicted protagonist embarks on a seemingly overwrought quest for major key rapture, yet the song whisks the listener into its meta-universe with aplomb. Wild Beasts, These New Puritans – to this list of prospective national treasures, be sure to add Adult Jazz. [Jazz Monroe]

Fair Youth [Superball, 25 Aug] At some point during Fair Youth, you’re going to feel absolutely knackered. There seems little point in denying the emotive vastness of Maybeshewill’s fourth full-length, particularly when its dizzying scope is perhaps its most impressive quality. It’s just too much.

There’s no let-up, no give, no subtlety. It’s an album in dire need of a breather.

Go nutzoid, if you must, for the brass-swollen dramatics of In the Blind, or the soaring synthetic choirs of epic closer Volga.

Gingerly sidestep any notions that these instrumental histrionics might secretly amount to little more than mood music for emovampire teen flicks. After all, this is catnip for anyone who yearns for an ear-boxing from The Big Music, as filtered through Trail of Dead, Minus the Bear and Mogwai. Do consider, however, the negatives inherent in too much of anything – grand though it is, Fair Youth has too much of everything. [Will Fitzpatrick]

Rumour Cubes

Appearances of Collections [Cognitive Dissonance, 18 Aug]

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LP1 [XL Recordings, 11 Aug] LP1. Love that. Dismissive of the po-faced, bow-down-before-me hubris displayed by most fêted progeny, Tahliah Barnett opts for low key and ego-free. As statements of intent go, here’s an album title all about the future. But it begins in the past, album opener Preface lifting directly from 16th-century poet Thomas Wyatt’s I Find No Peace (“I love another and thus I hate myself.”) From there on in, it transforms into an impeccably crafted melange of chill electro and skeletal R’n’B. “Motherfucker, get your mouth open, you know you’re mine,” breathes Twigs on Two Weeks, but LP1 is a million miles away from potty-mouthed sensationalism. Instead it emerges as a candid but tender work, playful but secure in its vision. It reads like a whispered confessional; a generous and sure-footed adventure whose studio smarts (snappy beats, exquisitely detailed backing) provide foundation for a unique and thrilling new voice. [Gary Kaill]

Kan Wakan

The New Pornographers

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Moving On [Virgin EMI, 11 Aug]

Brill Bruisers [Matador Records, 25 Aug]

Oh, this is a beauty. Don’t let it get lost in the bewildering murk of the release calendar, or side-lined by the fickle fancies of the taste-makers. Seek it out.

For Appearances of Collections is a far-reaching and fearless work, a dizzying instrumental adventure whose orchestral origins are given form and flight by the addition of traditional pop/rock instrumentation and the subtlest electronica.

The London-based six-piece gave notice of their vision and reach with their 2012 debut, The Narrow State; this follow-up is stronger, more cohesive, more attuned to the very particular talents of its creators. It welds the chamber pop of Ólafur Arnalds or Michael Nyman to a rhythmic nous that brings to mind the rich beats of Remember Remember. It is also, most notably on the devastating A Homecoming, in which a rich wordless narrative is revealed, a deeply emotional work; one that connects on a level far beyond mere technique. [Gary Kaill]

The free-wheeling debut from this LA-based trio is a winning concoction of dreamy atmospherics, bubbling grooves and orchestral arrangements. It’s a toss-up as to what will grab you first – the sweeping, sumptuous arrangements or Filipino vocalist Kristianne Batista’s voice, a grainy burr and the centrepiece of this likeable album.

Cynics might balk at their beats-driven MO but Moving On has songs aplenty – less the beach pop of Morcheeba, more the cool playfulness of Poliça.

It’s easy listening but always with a twist. Like I Need You marries keys and horns to a Stax beat. The instrumental break in Are We Saying Goodbye, an unexpected and unsettling chord sequence, is one of many passages where Kan Wakan stretch and strive. Just when you think you’ve nailed Moving On as sweet aural wallpaper, it gets properly weird on you, and all to the good; epic two part closer Midnight Moon heads off to somewhere unexpectedly out there. An intriguing start, all told. [Gary Kaill]

Perhaps it’s just the afterglow imparted by the pristine, peppy power-pop that’s been their stock in trade for the last 15 years, but life in The New Pornographers has always seemed like a pretty liberating pastime; a chance for A.C. Newman, Dan Bejar, Neko Case and company to put aside creatively taxing solo ventures and kick loose with something sweet and simple.

Except, of course, sweet and simple doesn’t just fall in your lap; ‘effortless’ takes effort, and crafting melodies as perfectly proportioned and catchy as those driving Brill Bruisers is an estimable achievement (as is making it to album six without noticeable lassitude). Dopamine triggers are numerous: right at the top, the title track’s lively pace and cheerful backing ‘ba-ba-ba’s set a heady benchmark, while the infectious chorus of Fantasy Fools delivers a slick, quintessential NP vocal harmony, comparing favourably with anything from their still-vibrant debut Mass Romantic. [Chris Buckle]

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kanwakan.com

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The Ramona Flowers

Celebration

Mndsgn

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Dismantle and Rebuild [Distiller, 4 Aug] There’s a particular seam within the current indie strata that’s all but been mined out. The mass hunger for sweeping, fist-pumping anthemics, however, shows little sign of abating. Kodaline. Bastille.

The 1975. Chancers all; purveyors of the very slightest soft rock.

The Ramona Flowers fight for a place at the table with staggering cynicism. “The stars are out tonight / They’re as wide as my eyes,” strains singer Steve Bird on the title track. The stars, they’re wide.

Obvious, really.

Other titles dismiss this half-baked enigma for festival field mass consumption. Lust and Lies. World Won’t Wait. Modern World. The production, all sharp beats, clean electro backing, processed guitars, is a soulless, teeth-rotting goo. Dismantle and Rebuild’s homogenised sheen is the very worst kind of formulaic, careerist rot. Desperate to be loved, it compromises at every juncture, rolling on its back like a kitten desperate for treats. Let the fucker go hungry. [Gary Kaill] distiller-records.com/artists/the-ramona-flowers

A slice of zen from the LA beat scene, courtesy of Mndsgn (‘mind design’), a producer with one of the strangest bios ever written, involving flight from the mysterious Aum Supreme Truth Cult, and a childhood spent without electricity or modern techology. Each composition here was created in “a state of bliss” free from worldly cares, resulting in a hazy, dreamlike feel. Drawing as much on electronic shoegaze and post-dubstep as on the meticulous beatwork of J Dilla and Madlib, it’s another convincing entry in the increasingly rich catalogue of sampledelic psychedelia emanating from the City of Angels.

From the washed out lounge funk of Homewards, to the looped, pitch-bent vocal snatches and hollow drums of Frugality, to the lo-fi stoner folk of Exchanging, there is a measured fragility and sun-dappled wooziness to Mndsgn’s production. Richlytextured, minimalist but complex, it’s an excellent fit for Stones Throw, and dovetails neatly with the efforts of the Brainfeeder stable’s more esoteric, experimental artists. [Bram E. Gieben]

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mndsgn.bandcamp.com

Merchandise

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Drew Lustman’s follow-up to Hardcourage finds him in much more experimental territory, composing tracks to accompany pieces of video art

by Chris Shen. New Haven’s bubbling synths, delicate pianos, processed breathing and MIDI-keyed vocal snatches never quite coalesce into house music, but convey a sense of motion and growth.

Do Me’s deconstructed footwork pattern dissolves into strange, fragmented techno, while the tribal rhythms of Greater Antilles Part 1 circle and loop like birds in flight before vanishing.

Where vocal samples are used, and more structure is playfully broken down, as on tracks like the heavenly Frontin, Falty DL achieves something similar to the techno tone poems of London producer Actress. This is dance music divorced from dancefloor, DJ and even listener – the rhythms and vocal snatches evoking traditional structure but never aping it. It’s a searingly intellectual record, and although its purely tonal passages drift by somewhat forgettably, there are moments of white-hot brilliance.

[Bram E. Gieben]

Yawn Zen [Stones Throw, 25 Aug]

Celebration was born in 2004, when Katrina Ford, Sean Antanaitis and David Bergander dropped the name Birdland for something with more of a triumphant tone. But ten candles on the Celebration cake is only half the story, with Ford and Antanaitis’ joint musical ventures extending back another decade; a lengthy partnership for which breakthrough-level attention has never quite manifested.

Albumin is the latest attempt to correct the apparent oversight, and the band put their best foot forward with opener Razor’s Edge – a brooding beauty built from throbbing synths and brawny guitars. It introduces Celebration’s most multifaceted album yet, with Tomorrow’s Here Today showcasing their brighter, sparklier side and Chariot melding phantom church organ with a disco rhythm. But tracks like Sostice Rite lack definition, and despite wearing its psych-soul skin handsomely, I Got Sol doesn’t satisfyingly elaborate on its vintage ingredients. Not a runaway success then, but worth raising a glass to. [Chris Buckle]

Falty DL

In The Wild [Ninja Tune, 11 Aug]

faltydl.com/inthewild

Albumin [Bella Union, 11 Aug]

After The End [4AD, 25 Aug] So what exactly do you want from Tampa contrarians Merchandise? A return to their hardcore roots? More post-punk noise-pop? Sorry kids. After The End is their most grandiose yet conventional offering thus far, nonchalantly booting expectations into the gutter.

Occasionally, wonderful things happen: Telephone’s Tindersticksplay-Blondie pep, for instance, with its glorious chorus poised on the balance beam between hope and inevitable gloom. True Monument isn’t far behind, finding room for melodic pathos amid dramatic Eastenders drum fills.

Still, the record feels problematic – even deadened by the pristine clarity of the production, with some numbers coasting pleasantly but unremarkably. The ears yearn for a little spice or grit, or just anything to latch on to. On balance, it’s worth seeing this determination to avoid filth or fury as symptomatic of Merchandise’s dogged mission to put as much distance as possible between their past and present. After all, whose expectations have they really got to meet but their own? They owe you nothing.

[Will Fitzpatrick]

The Top Five 1 2 3 4 5

The Bug

Angels & Devils

Cold Specks

Neuroplasticity

Rustie

Green Language

Trans Am

Volume X

FKA Twigs

LP1

merchandisetheband.co.uk

August 2014

RECORDS

Review

75

Deconstruction Works After a long incubation period, pathological brainboxes Adult Jazz are finally ready to release their genre-busting, metanarrative-laden debut. We ask the four-piece to give us the gist Interview: Jazz Monroe

I

s this what change sounds like? Maybe it’s a case of selective hearing, but it feels like what passes for ‘British indie’ in 2014 is getting a little less... sweaty? Stiff? Angular? Decades-late in the mid-noughties, these were the torchbearers of monoculture and masculinity, mugging ‘indie’ for its aesthetic parts and erecting totems to their own ordinariness, before internet borderbusting, the rise of dance-pop and pluralisation of taste helped flip the tables.

Adult Jazz have aspirational heritage too, but theirs are indie icons of a different stripe. Virtues coveted in this domain are gender-blending flamboyance (Wild Beasts), eccentric social pathology (Everything Everything) and solemn grandiosity (These New Puritans), qualities previously ghettoised in the ‘art-rock’ fringes – Field Music, the Wave Pictures, British Sea Power, even Clor and Broadcast. Maybe the broadening awareness of these fringes is a fuck-you to the lingering dark ages of ‘guitar music’, that tribute to the rolling tombstones that witness rock’s fortnightly resurrection yet, curiously, never a notable rebirth.

In any case there’s an eccentricity creeping into indie, and its latest proponent is Adult Jazz.

Formed at Leeds Uni, the Guildford-based four-piece are modern indie deconstructivists.

They’re rampant self-skeptics with a penchant for worship music. Debut album Gist Is, set for release on their own label Spare Thought, reimagines the music of folk pioneers like Van Morrison and Joanna Newsom with the worldly pizzazz (but none of the wackiness) of Dirty Projectors and Animal Collective. The record confronts themes of religion, legalism and systematic oppression, influenced in part by singer Harry Burgess’s ejection from his community church after coming out. It’s hard not to see such trials of self-reckoning as significant: Adult Jazz are that rare indie band whose articulacy matches their anthemics, and Gist Is – one of the year’s most exciting debuts – is all the tastier for it.

It’s a bright and early Monday morning when we catch the four-piece zipping down through Scotland and back home. They’ve just played certifiable dreamfest Howlin’ Fling, the insular community event sequestered away on the Isle of Eigg. It’s something of a boon for the band, who caught wind of the festival (run by Johnny Lynch, AKA the Pictish Trail) via a short film by British Sea Power and swiftly fell in love, before management pulled some strings and secured their billing. “There’s a sense of small community, an ecoproject vibe,” reflects singer Harry Burgess. “We had some technical issues, but we were happy to endure a slap in the face to be there.”

If Howlin’ Fling has the air of a sanctified musical haven, Adult Jazz are perfect picks. In an age when, to many, religion feels slightly archaic next to the altars of celebrity, political ideology, ad culture’s physical and lifestyle ideals and, most pertinently, music, there are few strands of alternative rock that really address whether anyone is gatekeeping our faith. When we talk of musical spirit, Adult Jazz ask, what spirit exactly are we invoking? Never ones to shy from a challenge, the young band occupy these territories with pitchforks and party hats.

A large part of Adult Jazz’s appeal is their ability to invite scrutiny. Their songs have a levity about them. Throughout the nine tracks and 50 minutes of Gist Is, cogs whirr into overdrive to stimulate your pleasure centres. Songs of restraint and puritanism jerk and tease before erupting into slurred ululation. It’s in these

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euphoric passages, songs like Springful and Bonedigger, that you begin to grasp the folky soul beneath Adult Jazz’s postmodern critique.

The band insist that the album’s major-key aspirations are not piss-takes of calculated folk so much as comments on its psychological “interestingness.” Still, certain signs might be read differently – the mewling, bluesy anti-anthem titled Idiot Mantra, for one, or album highlight Spook, which raises an eyebrow at its protagonist’s journey through “the suburbs.” “I write these songs to trigger,” Harry sings on the track, “And I do not take it lightly.” What exactly is their position on the trad-folk landscape?

“I always end up mentioning Arcade Fire when I talk about this sort of stuff,” Harry begins, laughing. “I’m always a bit conscious about using collective phrases. So many choruses these days are like, ‘We all do this, we all do that.’” “We were interested in the composition and structure of modern worship music,” elaborates drummer and trombonist Tim Slater. “We want to explore the legitimacy of emotional responses to music that’s designed to get those responses. Spook is a slightly sarcastic look at that intention.”

“But honestly,” Harry quickly adds, “it started because we wrote a big buildy song and we liked it. But the context became about what was happening in the song. We decided it would be set in a church. The guy’s done the reflective middle, the joyous explosion. He’s doing the slow build to hopefully the final release – trying to speak in tongues, and have that special spiritual moment – and he’s really reaching for that, because he’s singing all that eh-neh-neh-neh kind of stuff. And I think he manages it at the end.”

“I like the idea of longing to be moved, and when it happens, asking ‘Was that just a chord or was it something more?”

Harry Burgess

The origins of Adult Jazz stretch back to childhood, when Harry, who also plays guitar, keyboard and sampler, first met Tim Slater at school.

At 15 they rekindled that friendship, sacking off their “slightly dull indie bands” to make a new line-up with Steve Wells, who plays bass, guitar and drums. It wasn’t until their teething phase passed that Tom Howe, a production whizz with MPC credentials who they knew through a mutual friend in Fun Adults, encouraged the band to record. When songwriting intensified and the trio setup felt restrictive, Tom joined permanently.

The group existed more often in hard drives than hard reality, isolated from the fast-moving Leeds scene, of which, Tim notes, they’re “only tenuous alumni.” Instead, recording began during summer holidays at a friend’s barnhouse in the Scottish borders, where hand-built wood jacuzzis and the attendant parties eventually gave way to the serious work of song-building. After a few years’ refining, getting bored, adding sections

and re-refining, they vowed to set down instruments and fine-tune the album on-screen, a long post-production process to which Tim credits the record’s intricacy and complexity.

Pathologically clever and self-justifying, the resultant record isn’t flawless – sometimes distance makes the heart grow cold, after all. But buoyed by redemptive melodies, multi-textured sound beds and feisty African rhythms, it quickly ignites a kind of intellectual euphoria, teasing difficult questions out of the listener. One way they do this is deconstruction, usually of the manufactured ecstasy of the ‘anthem’. At gut level, they hypothesise, would explicit awareness of its mechanisms – a sort of play-by-play exposé of the anthem’s journey in time, tense and key – affect our capacity to enjoy it? By the band’s advanced reckoning, this is the question that links the paradoxes of stirring folk music and religious experience, and it boils down to one question: in the postmodern era, how will we ensure that our advancing knowledge and inherent spirituality can coexist?

“I’ve always felt I can contain science and religious experience quite comfortably,” muses Harry. “Even if I know it’s just ‘cause of serotonin or dopamine, I like the idea of longing to be moved, and when it happens, asking ‘Was that just a chord or was it something more?’”

Harry’s pursuit of meaningful songcraft has passed Battles and early Animal Collective and now rests somewhere more accessible, between Wildbirds and Peacedrums and his dad’s Van Morrison LPs. Lyrically, however, his ideas manifest in multi-dimensional characters, imbued with that semi-autobiographical

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conflict between puritanism and perplexity. “The characters in songs like Am Gone and Springful are maligned people who try to be good,” he elaborates. “Those songs are kind of about celibacy, from a religious perspective. That’s what a lot of religions will ask of gay people, or anyone who’s different in that profound, identity sense. There’s a lot of chat these days about how loads of religious figures say, ‘God made you gay and that’s cool,’ but at any juncture where that person enacts ‘gayness’, they are moving away from an ideal. For gay people especially, [there’s a notion] that anytime you do anything, you’d be transgressing, and that feels like a horrible bomb inside you. To acknowledge that there’s contention about homosexuality is the most offensive thing in the world.”

It’s a discussion that Harry has nonetheless sought with members of his church community, whose reactions vary from “dastardly” dismissal to a massive empathy that, he feels, transcends liberalism’s often legalistic take on the subject.

“It’s that idea of securing meaning from something that has been formalised, and how that’s never as good as an intuitive, twinge-based notion of truth,” he concludes of his philosophy. “Gut feelings, those kind of things. The gist, basically. Say to the kids, ‘Don’t throw stones in the playground’ and the legalistic attitude can license them throwing sticks. But it should be based on the twinge, the intuitive knowledge. It wasn’t about the stones.”

Gist Is is released on 4 Aug via Spare Thought. Adult Jazz play End of the Road festival on 30 Aug adultjazz.bandcamp.com

THE SKINNY

August 2014

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THE SKINNY

By Any Other Name Interview: Ronan Martin

Photo: Nadine Fraczkowski

Long a man of many monikers, Roman Flügel seems increasinly content in one guise as he prepares to release a second album through Hamburg’s Dial label

“I

just try, not to be different, but to open the next door and take a look at other things I haven’t focussed on before.”

In discussing the transition from his last album to this year’s follow-up, Happiness is Happening, Roman Flügel could just as easily be describing his entire journey in electronic music.

Over the past two decades, the Frankfurt-based producer has waltzed confidently through many a musical doorway, during a career primarily defined by his ability to continually evolve and remain varied in his output. His extensive back catalogue, comprising releases from a plethora of production monikers and collaborations, has seen Flügel dabble in early 90s acid (Warp 69), deep and sensuous house music (Roman IV/Soylent Green), upfront techno (Tracks on Delivery) and just about every other electronic variant you care to think of.

Of course, many will have first encountered the prolific German through his two massive hits of 2004. His tech house screecher Geht’s Noch? was played to death that year, and for many a year after – as was Rocker, the rasping dancefloor wrecker he released as Alter Ego in partnership with long-time collaborator Jörn Elling Wuttke.

As enjoyable as these triumphs were for Flügel, they were “also a kind of a burden sometimes,” he admits. “I mean success, or a big tune, is great. I would never complain about it. But, on the other hand, people are waiting on the same thing to happen all over again, which I can totally understand, but I’ve never worked like that.

“Sometimes it’s a lot easier to have different monikers – you put out certain styles with different monikers. Some people will buy this project, but they don’t buy another because they don’t like it. But nowadays I try to focus on [releasing] everything I do under my own name. I say ‘that’s it. That’s part of me; part of my work’ and I try to present it that way. It’s a question of artistic freedom, finally. I try to keep that, somehow.”

True enough, in recent years Flügel has carved out more of a solid identity, though his

August 2014

output is still pleasingly varied, if a little more narrowly focussed than in his formative days. The dawn of the millennium saw him strike up what has now become a particularly fruitful relationship with Hamburg-based label Dial, founded, amongst others, by Carsten Jost and Peter Kerstner (AKA Lawrence). Having released an early remix for the label, Flügel put out his first EP for the outlet in 2010, the sombre but beautiful How to Spread Lies – a record that typifies the kind of depth and emotion Dial has in abundance.

Often described as postminimal in style, the outfit has always managed to steer a steady and distinct course, avoiding the voguish carbon copy formulas which destroyed the antecedent minimal movement.

“I was looking for a new platform,” says Flügel of his decision to commit more material to the label. “Since I’ve known the Dial guys for a long time, and I really like what they do, it was easy for me to ask them to continue the work. I also like that they are taking care of the sleeves, the artwork and all of that. It’s quite a classic way to run a label I think – it’s all about vinyl and [presenting] a nice product at the end. It’s not only about putting out some files on Beatport.”

The relationship with Dial was firmly enshrined in 2011 when Roman released Fatty Folders – his first album under his own name – garnering much critical support. Reviewers noted his ability to both work to the label’s established style but also to subvert it and broaden the scope where necessary bringing some elements of his trademark robust sound to an outlet very much known for subtlety and introspection.

There is a similar range in intensity in Happiness is Happening, set for release on Dial next month. Flügel again displays his ability to produce lush, atmospheric compositions – signalling his intent with hazy opening track Connecting The Ghost and providing similar moments of serenity with the likes of Occult Levitation and All That Matters. Yet, as befits a producer with such a wide-ranging pedigree,

there are also flashes of unrestrained panache as in Friendship Song (which Gerd Janson rightly identifies as an almost Depeche Mode-style machine pop instrumental). Then there’s the punchy old school vibe of Parade, in which ascending bleeps plot a course through swirling synths and melodic phrases that recall the crispest electro of Afrika Bambaataa.

The ease with which Flügel shifts perspective on the album displays a long-standing fascination with electronic music of all kinds. “Even as a child, listening to early Kraftwerk tracks on the radio, I was totally interested from the first experience,” he explains. “So I got into this kind of music – I got into a little bit of disco here and there in the early 80s, even though I was not able to go to discos because I was too young. Then there was new wave and things like the Belgian EBM stuff and I really enjoyed that – all these electronic sounds. This, combined with the more funky stuff I was playing as a drummer, shaped my style of work.”

Having learned classical piano from an early age, Flügel values patience and the importance of a trained ear in aproaching his work. “It was quite important to learn how to be focussed on something; to stay with something and to work on things because it usually takes quite some time to learn classical music. For me it was good training for everything I would do afterwards. It’s not about harmonies or anything, or the ability to play super-perfect solos when it comes to electronic music, but when you learn an instrument, you learn how to listen and I think that’s very important and always helpful.”

Flügel is as much a product of his surroundings as of his musical background though, and he emphasises the impact of growing up around the electronic scene in his native Frankfurt – which he is quick to point out was at the cutting edge some time before Berlin became the “magnet” it is today. He has long been associated with the famous Robert Johnson club in his hometown and favours the spirit of experimentation and

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freedom that is afforded to performers there. “I think we have a vital scene in almost every bigger city in Germany,” he adds, pointing to the Smallville label and Dial in Hamburg as well as Kompakt in Cologne as evidence of Germany’s rich heritage.

His optimism about the contemporary electronic scene extends beyond geographical boundaries. When asked how he views the artistic playing field he finds himself on, over twenty years after he started out, Flügel’s enthusiasm is clear. “There are lots of young people working on things that are new and unique,” he affirms.

“There are certain styles and trends I would never have thought of. When you think of footwork or something – it’s suddenly there and you think ‘that’s actually quite interesting;’ I would never have thought of a style like this.”

Yet, he is rightly wary of the often fleeting hype that is cast upon so many emerging forms of music – “some of them are there for a couple of months and then they are off again; no one is interested in them anymore.” It is perhaps for this reason that Flügel’s own output in recent years has mostly retained a remarkably personal feel and seems largely untroubled by passing trends.

As with his current label Dial, Flügel seems happy making his own sense of a multitude of electronic influences and, on the evidence of both Fatty Folders and this year’s follow-up, his approach often yields outstanding results. “I’m trying to slow down; just take a step back and not try to jump on certain trends, but do my own stuff,” he concludes.

“If I look 20 years back to when techno and house started, I would never have thought of something being so global and so strong for such a long time. It’s great for me to still be into the game and to be able to produce and release music. I’m really happy about that.”

Roman Flügel’s Happiness is Happening will be released through on 1 Sep via Dial

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Clubbing Highlights

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e kick off in Glasgow, with the promise of analogue spontaneity as Cymatic Response debut the live hardware collaboration between Marco Bernardi and Perseus Traxx.

Billed as an improvisational journey through each artist’s respective material, the Poetry Club should be in for a rare treat, given the armoury both are able to draw from. Glasgowbred Bernardi has been a key player in the city’s scene for a number of years, releasing techno and electro as Octogen through Soma, as well as under his own name for a range of top labels such as Crème Organization, Clone and Planet E. Future Flash founder Perseus Traxx is similarly well-equipped and perhaps best known for his blistering acid offerings on the likes of M>O>S, Bunker and Snuff Trax (Fri 1 Aug, £5).

It’s off to the Art School next, where Animal Farm have a huge one lined up with their Ostgut Ton label showcase. The release platform of Berlin’s legendary Berghain club, Ostgut needs little introduction. Heading up the bill is Marcel Dettmann, long-running resident of the club, whose sound is dominated by the kind of powerful, stripped-back techno Ostgut has become known for. Headlining the second room is Dutch favourite Martyn, founder of the 3024 label, serving up dub-infused techno, house and bass music. Completing an impressive line-up are Function, Answer Code Request and Ryan Elliot.

The Art School has quickly re-positioned itself at the centre of Glasgow’s clubbing scene – nights of this calibre are testament to that (Sat 2 Aug, £25 adv).

On Saturday 9 Aug, SWG3 will play host to the exciting combo of Detroit electro heavyweight Dopplereffekt and bass-sculpting techno purveyor, Objekt – the pairing release a joint EP on Leisure Systems next month. Gerald Donald’s inimitable electro guise Dopplereffekt has seen something of a rebirth, with last year’s Tetrahymena EP a hit with critics and DJs alike, continuing a formidable career that saw him partner the late James Stinson under the revered Drexciya name and release a range of inspired futurist electro from Japanese Telecom

Illustration: Sophie Freeman

to Arpanet. Objekt AKA TJ Hertz came to prominence in 2011 with his captivating blend of bass music and techno for Young Turks and his own self-titled imprint (£8/10).

Other highlights in Glasgow include jazzleaning deep house from Max Graef (Hot Wax @ The Berkley Suite, Fri 15 Aug, £5 adv/£10 door), La Cheetah’s Mood Hut showcase including Pender Street Steppers (Fri 15 Aug, £10) and Sandrien, whose residency at Amsterdam’s Trouw has kept her highly in demand (Tribal Pulse @ Saint Judes, Sat 16 Aug, £5/8).

Moving on to Edinburgh, and the Summerhall Festival Opening Party, which will play host to Awesome Tapes From Africa – a project born out of Brian Shimkovitz’s desire to share the many fruits of his cassette-digging travels in Africa. Bringing together a myriad of styles dating back four decades, ATFA started out as a blog but has quickly evolved into a record label and a vehicle for Shimkovitz to share rare and hidden gems in his DJ sets. Also on the bill are Scotland’s own Golden Teacher, whose early work on Optimo Music has turned many heads, blending elements from house, punk and afro beat. DJ Support includes David Barbarossa and Cry Parrot (Fri 1 Aug, Summerhall, £10).

Later in the month, Studio 24 is taken over

by Pulse, who this time showcase London’s Perc Trax label. Representing Edinburgh by way of Leeds is Forward Strategy Group, whose stark, grainy techno is tailor-made for dimly lit, sweaty club spaces. Then there’s Truss, aka MPIA3, a London native with a knack for driving, percussive workouts, often seasoned with acid squelches and atmospheric chords. Rounding things off is label head Perc who, as you may expect, disseminates similarly robust techno cuts (Fri 22 Aug, £10).

Also worth checking out in the capital are Neil Landstrumm and Hobbes (Thu 21 Aug, Sneaky Pete’s, £5), while Aberdeen heads can look forward to the company of Dutch maestro Gerd aka Geeeman aka NY Stomp, who plays MWU’s first birthday bash (Sat 30 Aug, The Tunnels, £10/12). [Ronan Martin]

DJ Chart: Tanner This month’s 10 track selection comes courtesy of Tanner of Glasgow’s mighty Vitamins Interview: Ronan Martin Sandrien – I Left My Girlfriend At The Club [Theory] This somehow went under the radar, in terms of how little it’s been played out. Packed full of energy, with that classic ghetto feel to it which, coupled with the vocal hook, makes it an out and out winner.

Brain Machine – Pulsations (Majeure Remix) [Emotional Response] I’m struggling to find words for this other than that one of the few situations I can imagine hearing it is when I’m pretty much out the game at the end of a night at Sub Club.

Kahuun – Batteri [Sex Tags UFO] This is one of those ‘hot summer day’ tunes.

Starts off like it’s going to go into some sort of dark techno belter and then transforms into something completely different.

John Swing – Dirty Disco [Relative] John Swing has put out a lot of good stuff lately.

It’s a very similar style to Lucretio – that rough, driven, disco-sample sound, but sounds great – anytime I’ve heard or played it in a club, it’s gone down a storm.

Ulysses – Nanook [Online only via The Bunker NY] Not standard ‘club music’ by any stretch of the imagination. It’s a very eerie piece, yet fairly addictive because of the way the elements of it all seem to piece together nicely. It ends up putting you into a sort of hypnotic state. Great trippy piece of music.

Floating Points – Montparnasse [Eglo] Couldn’t leave this one out. I’ve had it on repeat for the last week or so. The sound design is excellent, and the high hat in particular is something I always end up drawn to when listening to it. One of those records you just have to sit back, turn the volume up, and give a proper listen to. No laptop speakers allowed though.

C.P.I – Proceso (Barnt Remix) [Hivern Discs] Barnt is one of those producers who gets me excited every time I see his name near a release. The claps closely followed by the big synth melody in the middle are what stand out over the original.

Dark Sky – IYP [Mister Saturday Night] Released on the Mister Saturday Night compilation that came out recently, IYP is definitely up there as one of my most listened to tracks of the year so far. First time I heard this on a big system was when Mia Dora dropped it in the Slam Tent and it blew the roof off. Rightfully so as well.

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Nami Shimada – Sunshower [Crème Organization] I’m quite late to the party with this one, having only discovered it after its second reissue on Crème this year, but it’s an amazing record and deserves to be heard by as many folk as possible.

Le Knight Club – Mirage [Crydamoure] Crydamoure, a now defunct record label coowned by Guy-Manuel of Daft Punk, has seen a bit of a resurgence in recent Vitamins’ sets.

I debated what record to go for, but Le Knight Club is made up of the two guys who ran the label, so it was only right to go for one of their own Penny Penny – Dance Khomela [Awesome Tapes productions.

From Africa] This came out on Awesome Tapes from Africa last Luke Vibert – Acage [Hypercolour] year, but it’s one I’ve revisited quite a bit since.

Sexy, seductive acid from Luke Vibert to finish Go explore the Soundcloud page – picking just off. This and Acid Jacker are the best of a great one track doesn’t do the the label justice. I went bunch on his new album. for this one because it wouldn’t feel right for me to compile a list like this without including some sort of piano house anthem in it. And this fits the bill perfectly

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THE SKINNY

12 Shoes for 12 Lovers Bombardment with images is making us aesthetically obese, but 21st century tech is equipping artists with a new range of tools, says artist and designer Sebastian Errazuriz Interview: Cathleen O’Grady

“3

D printing is the new industrial revolution. It’s going to change absolutely everything about the way makers create things,” says Chilean designer and artist Sebastian Errazuriz. “Even though the tech we have now is super-basic – it’s the equivalent of Steve Wozniak and Steve Jobs’ first Mac right out of their garage; it sucks right now – but in 10, 15 years it’s going to be very advanced, and it’ll be a lot easier for people to do things with it.”

Errazuriz worked with shoe company Melissa to create the 3D-printed 12 Shoes for 12 Lovers, a collection of twelve shoes inspired by the memories of Errazuriz’ ex-girlfriends. The shoes, which recently exhibited at Edinburgh’s Summerhall, vary distinctly in tang and tone: the decidedly bitter Cry Baby bemoans the briefness of a brief post-breakup comfort fling, while Honey is a fine, yellow, honeycomb mesh alluding to the sweetness of a nurturing lover. The highly textured, barely shoe-shaped Rock, by far the least aesthetically sleek piece in the collection, conveys the pit-in-the-stomach heaviness of love and the stability of a more meaningful sweetheart.

Using 3D printing rather than more traditional techniques had no impact at all on the process of creation, declares Errazuriz, other than allowing him to create ideas that he wouldn’t have otherwise been able to bring to life. On the contrary, he sees visual art as being greatly enabled by a greater arsenal of digital tools: “The medium that captures an idea in the purest form with the fewest distractions allows the audience to see it in its purest form, and is closest to the experience of the artist. When we’re limited in our techniques and skills, obviously we can do less. The more precise the tools we have within the visual arts world, the better images we will be able to construct.” However, there is a value judgement attached to the use of plastic as a material, because “we tend to think that a piece

made in a more valuable material is a more valuable piece. If I had done these pieces in marble, they would be more valuable as sculptures.”

The material and medium lead people to label the work as design rather than art, he notes, adding that it’s just a matter of time before perception changes. “Design is all about function, and art is not supposed to function, so the more a functional piece gets decontextualised and taken to the world of meaning, the more it becomes art. [The shoes] are sculptural, they have a background story, and they could be presented side by side with a sculptural piece, but they lack a stronger intellectual depth or political depth.” Errazuriz doesn’t take the collection particularly seriously, at times coming close to disparaging it: “It’s a light project, just a series of very beautifully made exercises that expect to steal a smile from people, and get them to imagine other possibilities. It’s no more pretentious than that.”

New media might be opening up new techniques and tools, but the constant glut of images resulting from information overload is deadening our reaction to art. “After a certain point, you start to become aesthetically obese, hoarding images to a point where images have a really hard time getting to you. The chance of a child these days having an image stay with her for even a week is low, because her visual consumption is so fast right now, and her ability to retain anything is so little.”

This image overload makes the 21st century a double-edged sword for artists, Errazuriz thinks. It brings them more tools, but also a more difficult task. “Artists need to create work that is much sharper than it needed to be before, to really reach people and burn something in their unconscious.” meetsebastian.com

Reinventing the Patron Crowdfunding is bringing the arts back towards a patronage model. Sculptor Carrie Fertig and IndieGoGo pro Anastasia Emmanuel discuss how the internet can give an idea wings

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dinburgh-based sculptor Carrie Fertig wanted to create a giant pair of flameworked glass dove wings in Chichester Cathedral. Made from three hundred individual feathers, the wings would hang from a metal frame 61 feet above the ground. Why? “Because it is going to be completely amazing.”

Unfortunately for Fertig, funding bodies didn’t seem to agree, and her applications were turned down. Undaunted, she turned to crowdfunding, and after her campaign on IndieGoGo hit its target, she was able to bring Glass Wings for Chichester Cathedral to life. “I would definitely do it again,” she says. “I feel like it’s getting back to a kind of patronage model. It’s particularly poignant in Chichester Cathedral, because all cathedrals got their art based on patronage, and still do.”

Crowdfunding is booming, and more projects than ever are flocking to the web to bring their ideas to life. The recently-launched

August 2014

Interview: Cathleen O’Grady

GoCrowdfundBritain campaign aims to see more than 1000 tech, music, fashion, arts and charity projects across the country raise £1 million, with a particular focus on encouraging projects in the regions. “I’m from Yorkshire, and it kind of frustrates me that all these really good ideas aren’t coming to life as much outside of London,” says Anastasia Emmanuel, IndieGoGo’s UK Marketing and Community Manager. “It’s not because of a lack of innovation, or great creative talent, and so I figured it must be because of the lack of awareness of crowdfunding as a viable way to raise money. The whole point is, you shouldn’t have to come to London to fund your idea.”

For many artists, musicians, inventors and philanthropists, crowdfunding is churning up possibilities for funding that would never otherwise have existed. “Crowdfunding opens up the possibility of making a much larger project than you might get based on the normal income streams an artist might have,” says Fertig. “Not

everyone ticks the right boxes for standard funding bodies.”

With the recession having caused banks and investors to tighten their belts, raising funds over the last few years has been harder than ever; but this is only part of the story, according to Emmanuel. “The banking crisis wasn’t the originator of the problem, but it was the catalyst.

Even out of a recession, banks don’t lend money, so your options are payday loans or bootstrapping your company. Or knowing investors, and a lot of people don’t have a black book of angel investors.”

Like Google with information and Twitter with communication, the aim of crowdfunding is the democratisation of finance. “Traditionally, if you had a great idea, you would have to raise a lot of money to get production going,” Emmanuel explains. “But someone without that experience, or without those contacts, wouldn’t make it. So you end up with the same people monopolising

TECH

industries: the same filmmakers making the same films, the same musicians being able to fund their albums. It works across every single category, and what crowdfunding does is completely level the playing field.”

It’s become about more than just raising the funds, she adds: “It’s everything else you get too: market relations, reaching out to community and customers, validation, incubation. It’s a way to create people that are very involved and excited about what you’re doing. Maybe a bank or an investor wouldn’t fund you, but the crowd wanted to, so they did. The crowd is genuinely very good at telling whether ideas are good or not.”

The validation aspect is a vital one for artists, says Fertig, who may find themselves discouraged when turned down by big funders.

“They go, ‘Oh, it’s not a worthy project.’ One of the big things crowdfunding does for you is say ‘Yes, this project has wings.’ Sorry. That was pretty bad.”

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August Film Events S

The Congress

Obvious Child

Welcome to New York

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Director: Gillian Robespierre Starring: Jenny Slate, Jake Lacy, Gaby Hoffmann Released: 29 Aug Certificate: 15

Director: Abel Ferrara Starring: Gérard Depardieu, Jacqueline Bisset Released: 8 Aug Certificate: 18

Hollywood films have famously shown great reluctance to engage with the issue of abortion in an honest way, so the frankness of Gillian Robespierre’s debut feature, Obvious Child, is refreshing. When stand-up comedian Donna (Slate) finds herself pregnant after a drunken one-night stand, the film refuses to indulge in sanctimony or angst over her decision to deal with it in her own way.

Obvious Child’s straightforward approach is personified by the disarming Slate, whose sharp one-liners ensure that we are never far from a laugh, but the film surrounding her occasionally seems a little threadbare.

Supporting players (including David Cross and Gaby Hoffmann) are shortchanged, and while Donna’s burgeoning relationship with Max (Lacy) works hard to avoid the usual romantic comedy complications, the resulting lack of real conflict leaves the film feeling increasingly trite. But Obvious Child is a genuine attempt to drag the moribund rom-com genre into more relatable and mature territory, and while it sometimes falls short of its aims, it’s an admirable step in the right direction. [Philip Concannon]

Abel Ferrara’s blunt-force Welcome to New York is a thinly-veiled fictionalisation of the sexual assault incident that disgraced former IMF chief Dominique Strauss-Kahn, one that posits its lead as indisputably guilty of the crime. As Devereaux, Gérard Depardieu gives a warts, balls and all performance as a brutish sex addict, whose standing in wealth and power have fuelled a complete removal from contemporary morality.

Despite punishment for the attempted rape of a maid, and the subsequent decimation of his planned political pursuits, he is unrepentant. In one of three fourth-wall-breaking moments, Devereaux looks right at the audience and mutters, “They can all go fuck themselves.”

His wife (Bisset) is understandably sick of his shit, but Ferrara’s film, compelling in bursts in its first half, proves taxing as it lumbers on. Heavy on pompous monologues, the second of its two hours sheds little further light on its protagonist’s monstrous behaviour, and a hollow late attempt to shape Devereaux into a typical Ferrara anti-hero (e.g. King of New York ) doesn’t gel. [Josh Slater-Williams]

The Congress

We Gotta Get Out of This Place

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Director: Ari Folman Starring: Robin Wright, Harvey Keitel, Jon Hamm Released: 15 Aug Certificate: 15

Director: Simon Hawkins, Zeke Hawkins Starring: Jeremy Allen White, Mackenzie Davis Released: 15 Aug Certificate: 15

The Congress hinges on big ideas, but falls apart under light scrutiny; your enjoyment of it will depend on how much you care about the actual mechanics of the world it creates. It starts out as a live action satire of Hollywood before becoming an animated sci-fi about a mind-altering drug that allows you to literally live your dreams. This shift in tone and genre is jarring at first, but soon a grander scheme appears, revealing The Congress as a treatise on choice and freedom.

There is a very strong chance that you will hate The Congress – it is (perhaps fatally) muddled, with a reach that exceeds its grasp. Or you may be like this reviewer, for whom the reach is so dazzling and the execution so beautiful that the grasp doesn’t really matter, the flaws becoming as insignificant as the holes in Swiss cheese. It is, quite possibly, a work of genius.

Either that, or it’s a load of nonsense. Fittingly for this film, that choice is up to you. [Nathanael Smith]

Love, betrayal and escape in rural Texas drive the pulpy small-town noir We Gotta Get Out of This Place, the promising feature debut of director brothers Simon and Zeke Hawkins. With best friend Bobby (White) and girlfriend Sue (Davis) heading to college in a few weeks, reckless, swaggering teen BJ (Huffman) robs the safe of his boss (Pellegrino) to give the pair a lavish sendoff vacation. After spending the money, BJ’s sleazebag boss works out they’re responsible, and forces them to commit an additional robbery to reclaim the cash, which actually belongs to an infamous gangster.

The Hawkins brothers coax captivating performances from their talented central trio, and the sense of place and complicated character interplay proves engrossing. It is a shame, then, that the final stretch of this brisk thriller devolves into convoluted plot twistiness that doesn’t cohere with what has come before, while Pellegrino becomes a cartoonish, wisecracking ham who disrupts the film’s otherwise consistent tone.

[Josh Slater-Williams]

Night Moves

God Help the Girl

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Director: Kelly Reichardt Starring: Jesse Eisenberg, Dakota Fanning Released: 29 Aug Certificate: 15 In her follow-up to Meek’s Cutoff, Kelly Reichardt’s trademark languid, stripped-back style is maintained for her most narrative-driven film to date.

The seductively shot Night Moves sees three activists (Eisenberg, Fanning and Sarsgaard) collaborate to destroy a hydro-electric dam in order to stir public consciousness, only to confront growing senses of paranoia, futility and remorse when their plan proves misconceived for multiple reasons.

Reichardt, who co-wrote the film, refreshingly opts out of defined moral judgements concerning both the central trio and supporting figures peppered throughout the story. The first hour, including both the grand eco-terrorist gesture and the build-up to it, is the strongest section interms of character work and almost suffocating suspense. The aftermath, however, sees a dilution of the earlier psychological depth despite the new ethical dilemmas that arise. Eisenberg, the focus of the second half, in particular struggles when he needs to rely on his face, rather than words, to convey conflict. Night Moves subsequently loses much of the gripping momentum that previously sustained it. [Josh Slater-Williams]

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Review

Director: Stuart Murdoch Starring: Emily Browning, Olly Alexander, Hannah Murray Released: 22 Aug Certificate: 15 In the pop song format, Belle and Sebastian’s Stuart Murdoch is a deft storyteller, with a couple of stanzas being all that’s needed to sketch a compelling tale populated by characters that seem poised to step out of the lyrics and into life. On 2009’s God Help the Girl album, Murdoch initiated a larger narrative project, introducing a troubled protagonist named Eve and promising to complete her story with a feature film. Five years on, B&S fans will be relieved to discover that many of the finer qualities of Murdoch’s musical penmanship have found cinematic equivalents: Nouvelle Vague cover-sleeve style, free-spirited charm, self-conscious wit, and so on.

But other aspects are compromised by Murdoch’s inexperience as a screenwriter/director: the more they’re fleshed out, the more clichéd and less interesting his characters and their predicaments become; and with disappointingly few exceptions, the musical numbers are flatly staged (or, in the case of Pretty Eve in the Tub, downright creepy). Nonetheless, it remains winsomely engaging, largely thanks to Emily Browning’s gamine lead performance. [Chris Buckle]

FILM

cots have a chance to see oursels this month with To See Oursels, an excellent selection of films made by Scots about Scots. With an emphasis on Scottish identity, the movies range from well known titles like Local Hero (3 Aug, GFT; 5 Aug, Filmhouse; 9 Aug, DCA – director Bill Forsyth will be attending the Edinburgh screening for a live discussion) to screenings of television programmes such as Your Cheatin’ Heart (6-7 Aug, DCA; 10 Aug, Filmhouse; 24 Aug, GFT).

Several guests will be touring, including musician King Creosote, performing live following new release From Scotland With Love (25 Aug, Filmhouse; 30 Aug, DCA; 31 Aug, GFT) – check local listings for the full programme.

Super Furry Animals frontman Gruff Rhys will be at the Cameo in Edinburgh for a live Q&A session following the screening of American Interior (21 Aug), a documentary in which the musician retraces the steps of explorer John Evans on his search for a fabled tribe of Welshspeaking Native Americans. Rhys’s journey, undertaken some two hundred years later, includes an “Investigative Concert Tour,” while the resulting film blends documentary, rockumentary and travelogue into a whimsical adventure – sure to be an amusing and intriguing combination.

While the Edinburgh Fringe dominates the capital this month, the CineFringe (Sweet Venues in Edinburgh, 31 Jul-3 Aug) provides a nice, film-based alternative. Showcasing independent short films, the programme offers a varied, international selection ranging from high octane documentary to experimental animation. Some noteworthy events include Fringe Docs (2 Aug), which includes a bonus film, Clavel, and the festival’s closing selection, Total Cult!, featuring the eccentric YouTube hit, MeTube: August Sings Carmen ‘Habanera.’ Check festival.cinefringe. com for details.

Belle & Sebastian frontman Stuart Murdoch’s directorial debut, God Help the Girl, is released this month, and he and various cast members will be attending the GFT (17 Aug) for a live Q&A. Various cinemas (including the Cameo and Grosvenor) are also showing the film (16 Aug) accompanied by a live set from Belle & Sebastian, broadcast via satellite from Edinburgh’s Corn Exchange. (Turn to page [insert page number] for our interview with Murdoch.)

Further emphasising Scotland’s love of animé, the GFT is showcasing the best of Hayao Miyazaki’s works – Princess Mononoke (9 Aug), Howl’s Moving Castle (16 Aug), and Spirited Away (23 Aug). The latter, which won an Oscar and brought anime a new, global mass appeal, is widely acknowledged as one of the finest animated films of all time – don’t miss the chance to see it on the big screen. [Becky Bartlett]

Spirited Away

THE SKINNY

The ’Burbs

The LEGO Movie

Branded to Kill

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Director: Joe Dante Starring: Tom Hanks, Corey Feldman, Carrie Fisher, Released: 25 Aug Certificate: 12 With its white picket fences, perfectly tended lawns, and boring, unending conformity, suburban America can be a pretty strange place, and never more so than in Joe Dante’s quirky horror comedy.

Ray Peterson (Hanks) is a family man enjoying a holiday at home when a series of spooky coincidences convince him that the weird new family next door might actually be devil-worshipping serial killers. When an elderly neighbour goes missing and all signs point to the mysterious Klopeks, it’s time to take action.

Dante milks the absurdity of the situation with an ensemble cast that includes Carrie Fisher, Bruce Dern and Corey Feldman, and the result is one of the funniest and most original films of the 80s. There isn’t a chance in hell a studio would take a risk on a comedy involving Satanism, serial killers and cannibalism these days – all the more reason to grab this impressive Arrow rerelease while you can. [Scott McKellar]

Director: Phil Lord, Christopher Miller Starring: Chris Pratt, Elizabeth Banks Released: Out now Certificate: U Phil Lord and Chris Miller have made a name for themselves by transforming dubious prospects for film adaptations (21 and 22 Jump Street; Cloudy with a Chance of Meatballs) into genuinely inspired, very funny plays on formula. The LEGO Movie is the poster child for their brand of cinematic mischief. The antithesis of the cutesy nostalgia of video game mashup Wreck-It Ralph, there’s a grand point being made with the film’s pop culture world-blending (see a pompous LEGO Batman meeting C-3PO, Milhouse and Abe Lincoln).

Lord and Miller turn what’s seemingly just a product placement movie into a manic comedy about social engineering and the compromises of a healthy creative community, and infuse a ‘chosen one’ story with the same sense of possibility that makes those little blocks appealing to children in the first place. Somehow their overload of ideas and hilarious jokes doesn’t fall apart, leaving a jovial, clever delight for all ages. [Josh Slater-Williams]

Shoot the Pianist

Faust

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Director: François Truffaut Starring: Michèle Mercier, Marie Dubois Released: Out now Certificate: 15 Sandwiched between The 400 Blows and Jules and Jim, François Truffaut’s frequently neglected second feature is only marginally less essential than these definitive statements of the French New Wave.

A wildly irreverent work, with which the former critic sought to confound domestic audiences by paying homage to vintage Hollywood, Shoot the Pianist is a particularly handsome grab-bag of broken genre conventions. For all its pastiche, however, the movie remains a characteristically personal work from the auteur.

Bilingual polymath Charles Aznavour exudes shabby charm as the fallen piano virtuoso who finds himself unwillingly drawn back into the world of petty crime from which his talent once saw him escape. The bickering criminals on his trail are frequently cited as inspiration for Quentin Tarantino’s most memorable creations.

[Lewis Porteous]

The story of Faust had already inspired a wealth of haunting artworks by the time F.W. Murnau turned his hand to an adaptation of the enduring German folktale. These images, particularly Rembrandt’s etching of its titular anti-hero, provided the director with an atmospheric blueprint upon which he would construct the most expressionistic work of his career. Released in 1926, the movie is a masterpiece of design and composition.

With Emil Jannings embodying evil as only a nascent Nazi supporter could, and Gösta Ekman suitably tormented as the alchemist seduced into making a pact with the devil, this silent fantasy is as much a triumph of concise storytelling as it is of technical innovation. Presenting viewers with a beautifully restored print, this release also includes excerpts from the movie’s international cut, the sloppiness of which goes some way to explaining Faust ’s delayed recognition as a classic. [Lewis Porteous]

The Moth

What Ends

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Here is the latest in Comma Press’s The Book of… series, a cycle that’s taken in cities as geographically and culturally disparate as Tokyo and Leeds. This collection of Gazan-authored short stories is certainly timely. Though, in truth, it would also have been timely in 2008-2009, or again less than two years ago, in late 2012.

Curated, translated tales, dating from 1980 to the present, sourced from a region described in the introduction as ‘the largest prison on earth,’ serve as something of a rarity for English speaking readers. This in itself recommends The Book of Gaza. It exists as an affecting companion piece to the sterile and familiar news reports.

Indeed, that is the hope of the collection’s editor Atef Abu Saif, who touts the stories as a ‘composite reflecting the rich world of fiction in [Gaza], better known for feeding the world’s hungry media with a stream of headlines.’

The quality of the writing is inconsistent, though. Mona Abu Sharekh’s When I Cut Off Gaza’s Head certainly boasts that taut magic so particular to the short story form. And Ghareeb Asqalani’s A White Flower for David thrives amidst the bleak and violent predictability of the region. But, frankly, Yusra al Khatib’s Dead Numbers is a nonentity. This and a couple of others besides undermine an otherwise vital collection. [Angus Sutherland] Out now, published by Comma Press, RRP £9.99

The film to earn outlaw master Seijun Suzuki his P45, Branded to Kill is the flawed masterpiece of a misunderstood genius. Asked to follow up his stylised classic Tokyo Drifter with something a little more mainstream, Suzuki petulantly ignored studio instructions and instead deconstructed the well-worn hitman subgenre made famous by Nikkatsu pictures, turning it fully inside out. The result is a misshapen jigsaw of pop culture, noir, and new wave influences dipped in acid.

Stripped down, it’s all very simple. The Number Three Killer – the hamster-cheeked Shishido – fails in his commission to kill, which leads to the Number One Killer taking up a hit on his head.

Time and space are altered through surreal editing techniques. It forms a fever dream that unravels alongside the characters’ sanity. The exquisite monochrome photography bloomed into garish colour for Suzuki’s surreal 2001 remake and feminine reflection of sorts, Pistol Opera. [Alan Bett]

Frau im Mond

Director: F.W. Murnau Starring: Emil Jannings, William Dieterle, Gosta Ekman Released: 18 Aug Certificate: PG

The Book of Gaza

By Atef Abu Saif

Director: Seijun Suzuki Starring: Shishido Jo, Ogawa Mariko, Released: 18 Aug Certificate: 18

By Catherine Burns

Taken from the US phenomenon that consists of a single person, standing on a lit stage, telling a true story from their life. These are brave and revealing moments, souls bared to a room of strangers, and now the world, as they are captured in print in this self titled book – a collection of 50 of their finest tales, simply transcribed and lightly edited. And what tales they are – a man’s psychological journey after being practically gutted in a New York gang initiation, a young preacher telling the story of Jesus in a Texan biker bar. Some stories are of significant moments in the wider world – Massimino’s spacewalk, Clinton’s PR; others so personal and introspective – a death bed wedding, a meaningful shared cigarette between abused women.

Yet while these tales transport us into the lives of others, they also invoke recognition with our own; there are connecting wires with even the most disparate experiences and existences, the ‘I’s are turned into ‘we’s. They fulfil our fundamental human need to communicate, learn and grow through others.

This is a wonderful and addictive curated batch of real life moments, told in a natural language that wrings out every possible human emotion and holds great literary heads no higher than cops or convicts. Each may contain some sort of moral, but they are told too truthfully and skillfully for these to be crudely tacked on.

[Alan Bett]

Director: Fritz Lang Starring: Gerda Maurus, Willy Fritsch Released: 25 Aug Certificate: U

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Soberly billed as ‘the first scientific science fiction film,’ Fritz Lang’s final silent feature, 1929’s Frau im Mond, is really almost a pure fantasy-adventure romp, lighter than the air the movie insists you can breathe on the moon, and much more indebted in tone to the utopian fantasy comics it references than to the heady sci-fi dystopia of Lang’s Metropolis, released just two years before.

While the science itself is laughable at times (the Jazz Age uniform for space travel consists of cosy jumpers and tweed shorts) and the narrative is beyond silly (it involves an evil consortium intent on securing all the moon’s gold – gold!), the expressionistic set design and cinematography, and the inventive effects are pure kitschy, imaginative fun. Frau im Mond is a must-see for historical science fiction buffs, and for those whose sense of childlike delight trumps their desire to have something make actual sense. [Michelle Devereaux]

By Andrew Ladd

In his debut novel, Andrew Ladd explores what ends when an island community disintegrates.

Set on East Fior, a fictional but no less Hebridean isle, the narrative weaves its way through the lives of the last inhabitants: the family that runs the guesthouse, with three children who grow up more or less unwilling to take on the family business. Barry, Flora, and Trevor are forced to come to terms with the island life that they’re becoming locked into, struggling to reconcile their ambitions with familial responsibility.

Ladd’s prose is simple, lyrical, given free reign to explore a family saga that feels a lot fuller than might be expected from a 250-page novel. He fits in three narratives of growing up, of what it means for an island to transform from one of idyllic childhood days spent playing on the beach, in the heather, to the isolated and claustrophobic reality of running a condemned business. It’s a touching and precise examination of the family dynamic, of how things go when no one quite matches up to the expectations of other people. The question is, to what end can anyone maintain such a floundering way of life, and at what cost? [Galen O’Hanlon] Out 7 Aug, published by Oneworld Publications, RRP £11.99

The Table of Less Valued Knights

By Marie Phillips

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Everyone’s heard of the Knights of the Round Table, but tucked away in the draughtiest corner of Camelot’s hall is the rarely-mentioned Table of Less Valued Knights, home to “the elderly, the infirm, the cowardly, the incompetent and the disgraced.” Sir Humphrey is one of these, but sees his chance to win back a place at the Round Table when Elaine, a damsel in distress, comes to the castle looking for help. The pair, joined by a rather short giant and an elephant, set off to rescue Elaine’s fiancé, but become entangled with another quest involving a magical sword, a not-quite-a-boy, and at least one man in an iron mask.

Marie Phillips proved she has a deft comedic touch with her debut novel Gods Behaving Badly, and again she takes myths we know well and subverts them, with very funny results. From the bureaucratic difficulties of being Lady of the Lake to the inconvenience of questing in armour, it’s a real joy to read a novel that makes you snort out loud with laughter. Comedy in novels is hard to do well, and riffing off already beloved stories even harder (think of all those terrible Austen and Rebecca spin-offs), so Phillips’ seemingly light touch shouldn’t be underestimated. Whether you need cheering up or are just looking for a laugh, this book will do the trick; so gallop through it and then hope that she writes another as soon as possible. [Alice Sinclair] Out 7 Aug, published by Jonathan Cape, RRP £12.99

Out 7 Aug, published by Serpent’s Tail, RRP £15

August 2014

FILM / BOOKS

Review

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Bard in the Botanics: A Festival in Review

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As Bard in the Botanics hits its thirteenth year, it doesn’t show signs of stopping. While sifting through William Shakespeare’s ‘back catalogue’ might not be everyone’s idea of a good time, the open-air theatre seems to work its magic, although it’s hard to discern whether the people who turn up are exclusively a Bard in the Botanics crowd, or a mix of regular theatre-goers and lovers of the Botanic Gardens. Either way, the calm of the park and the proximity of the actors creates the effect of in-your-face theatre that is engaging, without the seriousness or formality that Shakespeare is treated with so often.

For the Shakespeare fanatics, the source text is greatly respected throughout the Bard in the Botanics season. From The Comedy of Errors to Hamlet, it’s obvious the actors learn their lines, which frees them up to actually focus on acting without worrying about the complications of the Yoda-like language. This seems even more important as the limited (in relation to an indoor theatre) sets and props don’t give the actors much to hide behind. Productions accommodate a variety of acting experiences, giving a goodly number of Royal Conservatoire Students – or emerging artists like the Wilderness of Tigers – a chance to play in front of a live audience, whose reactions they can observe, since the lack of house lights means most of the lighting is natural and, during a Scottish summer, this can extend to 9 or 10 o’clock at night.

The only downside is the festival’s reliance on precarious Scottish weather, meaning that a production can be cancelled on the day due to rain, even if the entire week is sunny. Nonetheless, this is an experience for both die-hard Shakespeare fans and those new to Shakespeare, as the Bard in the Botanics programme provides for a variety of tastes and ages; comedy, tragedy, and historic plays with more than 40 productions’ experience to go on, and many more scripts left to tackle. What’s more, it’s outdoors, and perhaps one of the best forms Shakespeare can be consumed in, understood, and appreciated: through the magic of live acting. [Eric Karoulla]

The Comedy of Errors

Project Y

Until 2 Aug Project Y

bardinthebotanics.co.uk

Scottish Youth Dance company, YDance, present Project Y as part of their talent strand. In its ninth year, Project Y is designed as a 4-week programme for 12 to 21 year olds who are interested in dance, giving them a taste of what a dancer’s lifestyle is like.

This year, guest choreographers Colin Connor and Lina Limosan collaborate with artistic director Anna Kenrick, who has a strong background in all things dance, to create the pieces for this year’s Project Y programme. Since its conception, Project Y has created a variety of projects specifically targeted at young people from all across Scotland. In 2008, Project Y set up Under the Same Sky, which involved weekly dance sessions for refugees, asylum seekers and friends to explore a variety of dance styles. Inclusivity of groups that may otherwise feel excluded is something that can only benefit the city as a whole and will surely have a positive impact on those involved.

The Scottish Government Health

Department (SGHD) funded the Dance in Schools initiative (2005-2008) aiming to boost self esteem and get young people active, while also providing teachers with the skills and resources to continue it. SGHD also funded Free to Dance from 20082012, which enabled Project Y to offer free dance sessions and opportunities to take their dancing further to students across Ayrshire, Glasgow and Orkney. This is the kind of thinking that laid the groundwork for this year’s Get Scotland Dancing, aiming to get more Scots dancing for health reasons, and for fun.

The Project Y performances in Glasgow, Stirling, and Aberdeen follow YDance’s Commonwealth Youth Dance Festival, which celebrated the diversity of the Commonwealth by bringing together its 53 nation-states through energetic, vibrant dance. [Christine Lawler] Platform, Easterhouse, Glasgow, Thu 31 Jul, 7.30pm Macrobert, Stirling, Fri 1 Aug, 7.30pm Aberdeen International Youth Festival, Arts Centre & Theatre Aberdeen, Sat 2 Aug, 7.30pm

The River

The Briggait

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Barrowland Ballet, the Macrobert, and East London Dance present The River, a performance piece that takes its audience on a journey from the Briggait along the Clyde, and back again.

Choreographed by Natasha Gilmore, artistic director of Barrowland Ballet, The River kicks off with languid, flowing movement, fitting to the waters associated with the piece’s title. The numerous dancers involved come from a range of backgrounds and showcase the entire spectrum of ages; some are dancers at a professional level (Jade Adamson, Kai-Wen Chuang, Julie-Ann Minnai, Natalie Trewwinard, Vince Virr, Chrissie Ardill, Hayley Earlam, Salma Faraji) while others compose the recruits specifically for this piece, like the Leap of Faith group, made up of more mature dancers.

Overall, Gilmore’s choreography and the musical arrangements by Katy Cooper, alongside Quee MacArthur’s musical direction, work well together. In particular, the dance sequence reflecting the lives of people who are too busy talking on the phone or commuting to even talk to each other comes across as a very intelligent piece of work, aware of its surroundings and its time. It eventually escalates into the safer and more elegant version of a street party on the banks of the Clyde. The sheer scale of the performance reveals it to be well-thought out, but at the same time doesn’t subtract from its ability to be entertaining, fun, and engaging. [Eric Karoulla]

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Preview

The River

Under Milk Wood

Tron

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Originally a radio play (1954), Under Milk Wood is inevitably word-heavy. Thomas’s language frames each scene quite well, while the fifteen-strong cast (not including the three musicians) seem to have their work cut out for them

in order to ensure they keep each role they play separate. They convey each character through their accessories, tying identity to the small details, such as the kind of drink the characters might have – for example, Lord Cutlass (Grant McDonald) who has 66 clocks in his house, drinks from a glass that resembles an hourglass.

Nicholls’ choice of setting the play in the Sailor’s arms, Llareggub’s local pub, and giving the bar staff (Matt Littleson, Peter Lannon and Nicole Sargent) the roles of the three narrators comes across as slightly bizarre and distancing from the action, as actions are described but not performed. On the other hand, it seems a wise directorial decision, since the bartender-narrators

THEATRE

remain consistent throughout, and uphold the idea of the bartender as someone who tends to hear a lot about people’s individual lives.

For a play that covers twenty-four hours over an hour and five minutes, Nicholls’ Under Milk Wood doesn’t feel rushed, and seems to follow the trend of inserting live music (with an enticingly dramatic double bass) into theatre. With moments of comedy, awkwardness and fantasy dotted throughout, it becomes fun to watch, as it follows the lives of ordinary people. [Eric Karoulla] Run ended

THE SKINNY

Andrew Gilbert

Summerhall, Edinburgh

Photo: Frances Lightbound

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Skin and Bones

Skin and Bones

1 Royal Terrace, Glasgow

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Royal Terrace Committee Show Skin and Bones hosts the architecturally enhanced but bodily based sculptural installation from its founding artists Ruth Switalski and Petter Yxell.

Yxell’s monstrous pine beams dominate the show, with the etchings ‘Love, like meaning arrives retrospectively’ towering from majestic height. Dependant on your eye-line, the beams separate Skin and Bones’ main body of work and structurally manipulates objects within space.

Yxell’s hand carved axe wholesomely conflicts the deftly placed granite sculptures from anatomy-inspired Switalski.

Stratum Corneum (horny layer) shows the largest wall section as a silicone installation.

Layers of tacky white material demonstrate the body’s ability to onionate itself while resisting bare levels of danger. As the ‘skin’ spills onto the wooden panel floor, and remains unkept Blind Hamlet 126x76 10:51 from where it fell, we’re faced24/6/14 with an idiosyncratic creature. Named Saint Bartholomew, the

weeping white cloth is humanely hunched with a drooping head staged on withered shoulders.

The torso slithers into a shapeless fantasy while a wavering limb gently cascades the bookshelf it calls home. Pinning the body into submission are two wrought iron nails – a physical portrayal of Bartholomew the apostle’s date with a brutal destiny.

Placed by the window is Marrow. A joint effort between the artists, this concrete slab provides an appropriate closer. Singularly, it’s not mesmerising, yet juxtaposed with the colossal scaffolding and ‘Quality Development’ sign that can be read via the next street’s building site, Marrow’s organic potential comes into being. Broken but intact, the artist’s use of graphite and varnish fill the gaps while allowing the slab to stand upright in a soothing gallery space.

It’s the stealthily ergonomic but justly tender overture that Royal Terrace’s end of season Committee Show gently exudes. Switalski and Yxell have cleverly engineered a quaint West End Page 1 into the intimately dynamic Skin and tenement Bones exhibition. [Franchesca Hashemi]

Andrew Gilbert returns to the motherland for his colonial-inspired exhibition at Summerhall Gallery. Littered with trinkets from the contemporary past and heady imagery from a religiously destructive future, The Glorious Return of Emperor Andrew is more than an inventive look to 19th century kingdoms, but a comparison between ideological modernism and cheap ethnographic museums.

Primitive art and the people’s destruction seeps from Emperor Andrew’s Imperial Palace: a Saharan diorama reeking of the steely desert with wire fencing, model sculptures and tribal masks rejuvenating Britain’s military history.

The central sculpture is a tribute to Shaka Zulu, the deranged African dictator. He boasts a leopard-print cape and idolises petrol tanks of instant coffee. It’s a monumental offering from Gilbert, however its prophecy is contradicted by the Catholic imagery beneath. A gold teapot beckons for pouring while holy toast and feather dusters appear next to the general’s eye-line, as if by fetish.

Enforcing the artist’s ode to the fall of European religion is a simple painting of a flower.

The caption reads ‘Battle of Isandlwana (22 January 1879)’ – a brutally memorable fight which saw thousands of British soldiers maimed by Zulu warriors. From this, Gilbert offers a cultural contamination as we consider the Reformation coinciding with the perilous date.

Shaka Napoloean is another giant model sculpture within Gilbert’s sun-torn stretch. It serves as Emperor Andrew’s Zulu-Euro secretary by making pots of coffee and answering business calls from the nearby telephone. Wit, style and significance reek from the sculpture however a tribal mask showing ‘Gordon of Khartoum’ radiates a contrasting and godly authority.

Expressing every ancient elite’s desire,

Trophy Head of Emil Nolde

and destiny in some unfortunate cases, are the five consecutive and expressionistic paintings of the Emperor’s executed ex-wives. Screaming animals infiltrate the pose however as the murdered women puff on cigarettes or tug their penis earrings, parallels between contemporary necessity and brutal history conveniently merge.

[Franchesca Hashemi]

FROM THE CREATORS OF DAVID GREIG’S ‘THE EVENTS’ FRINGE FIRST AND THE GUARDIAN BEST THEATRE 2013

ACTORS TOURING COMPANY

BLIND HAMLET

BY NASSIM SOLEIMANPOUR

IMAGE: REZA ABEDINI

DIRECTED BY RAMIN GRAY @ATCLONDON #BLINDHAMLET

31 July - 25 August 2.50pm £10-£15

August 2014

ART

Review

85

Win tickets to five Nightvision shows!

Win tickets to The Last Big Weekend!

Joy Orbison

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o celebrate the arrival of new clubbing brand Nightvision to Edinburgh, The Skinny have teamed up with the folk behind it to give one lucky reader the ultimate guestlist prize.

Paving the way for a new era of electronic music in the city, house and techno brand Musika and bass heavyweights Xplicit have joined forces to launch Nightvision, a series of specially curated events that will see over 50 world renowned artists from across the spectrum of electronic music perform in some of Edinburgh’s most loved venues.

Kicking off mid-September right through until Hogmanay, the series promises to bring the cream of the crop from across the fields of house, techno, bass and electronica to the city, with the likes of Chase & Status, Nina Kraviz, Skream, Hot Since 82, Annie Mac, Gorgon City, Bondax and many more all confirmed for the season.

If you fancy seeing some of the world’s most talented artists perform in venues right on your doorstep, simply enter our exclusive competition and you’ll be in with a chance of winning a pair of tickets to five different shows, meaning you and

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a friend will have the luxury of choosing whatever you want to go to, even if it’s sold out!

For your chance to win this amazing prize, simply go to theskinny.co.uk/about/competitions and answer the following question: Which Radio 1 DJ is confirmed for Nightvision this autumn? a) Zane Lowe b) Annie Mac c) MistaJam

Hudson Mohawke

For all the line-up and ticketing details, visit www. thisisourvision.com or stay tuned to Nightvision’s Facebook at /thisisourvision and Twitter at @thisisourvision. A selection of shows have just gone on sale, with many more to follow in the coming weeks.

Competition closes midnight Sunday 31 August. Winners will be notified via email within two working days of closing and will be required to respond within 48 hours or the prize will be offered to another entrant. Our T&Cs can be found at www.theskinny.co.uk/about/terms Entrants must be aged 18 or over. Prize is not transferable nor can it be exchanged for a cash alternative. Prize is two tickets only per show, for five different shows. The winner must attend each show and bring a guest of their choice.

The winner must confirm their choice of shows at least two weeks prior to each chosen show.

G

ive yourself the chance to win one pair of tickets to the dance extravaganza that is the Sunday leg of The Last Big Weekend being held at Glasgow’s Richmond Park on 31 August, brought to you by The East End Social. Hudson Mohawke, Jeff Mills and James Murphy headline. You can find out all about it in our extended feature on p54.

If you fancy a chance at bagging tickets for you and a pal, just head along to theskinny.co.uk/ about/competitions and answer the following multiple choice question:

COMPETITIONS

What was the name of Hudson Mohawke’s debut album, released on Warp Records in 2009?

1. Cheese 2. Milk 3. Butter Competition closes midnight Wednesday 20 August.

Winners will be notified via email within two working days of closing and will be required to respond within 24 hours or the prize will be offered to another entrant. Our T&Cs can be found at www.theskinny.co.uk/about/terms Entrants must be 18 or over.

THE SKINNY

Glasgow Music Tue 29 Jul HANS CHEW

KING TUT’S, 20:30–23:00, £9

American pianist originally from Tennessee, now based in New York City, where he’s holed up with a typewriter, some New Orleans records and a piano.

GUITAR WOLF (LOS TENTAKILLS + DJ TIGERMASK)

MONO, 19:30–22:00, £12

The Japanese total rock’n’roll experience bring the mayhem to Mono.

THE SPOOK SCHOOL (HOW TO SWIM)

THE GLAD CAFE, 19:30–22:00, £TBC

The indie-styled Edinburgh quartet do their thing, with the usual dash of 60s pop thrown in for good measure.

RACHEL SERMANNI + THE CAIRN STRING QUARTET

GLASGOW GREEN, 18:30–19:30, FREE

The much-lauded young Scottish folkstress plays as part of the Glasgow 2014 Commonwealth Games shenanigans, taking to Glasgow Green accompanied by the fine young string players of The Cairn String Quartet.

Wed 30 Jul

PUBLIC ENEMY (MIXKINGS DJS)

O2 ABC, 19:00–22:00, £25

The US hip-hop pioneers delve into their rag-bag of greatest hits, fierce polemic and incendiary rhythmic patterns still very much at their core. All hail.

ANDREW W.K.

CLASSIC GRAND, 19:00–22:45, £15

Mr Wilkes-Krier takes to the road for his UK and European tour, playing anthems for the quadraspazzed in a series of intimate club settings. All together now: “We want fun...”

Thu 31 Jul

ONELINEDRAWING (MADE AS MANNEQUINS + SAMMY H STEPHENS)

THE GLAD CAFE, 19:30–22:00, £10

With Massachusetts-born singer/ songwriter and guitarist Jonah Matranga’s old band, Far, welland-truly on hiatus, he returns to Scottish soul under his emotive lo-fi solo guise, onelinedrawing.

THE HAZY SHADES (THE LONELY WHALE + FORBES + RAIN)

KING TUT’S, 20:30–23:00, £6.50

The Glasgow rock’n’rollers play a selection of new songs for your aural delectation.

PERFECT PUSSY + JOANNA GRUESOME (TUFF LOVE)

MONO, 19:30–22:00, £8

Double headline tour from US rockers Perfect Pussy and UK C86 noise-punks Joanna Gruesome, with support from the Weege’s own lo-fi popsters Tuff Love.

SLOMATICS (FROM HIGH MOUNTAINS + HEADLESS KROSS) 13TH NOTE, 20:00–23:00, £7

The Belfast daddies of doom take their new LP out on’t road.

FROM SCOTLAND WITH LOVE (SCORED BY KING CREOSOTE)

GLASGOW GREEN, 19:00–20:30, FREE

Live screening of the new film made by award-winning director Virginia Heath entirely of Scottish archive footage (showing as part of the Glasgow 2014 Commonwealth Games shenanigans), airing accompanied by a transcendent score from yer man King Creosote.

Fri 01 Aug

REMEMBER REMEMBER

KELVINGROVE PARK, 21:15–22:00, FREE

Graeme Ronald and chums play a special free mini set at the newlyrenovated Kelvingrove Bandstand, as part of the Glasgow 2014 Commonwealth Games shenanigans.

ASIAN DUB FOUNDATION (MC SOOM T)

O2 ABC, 19:00–22:00, £15

Genre-traversing big beat collective blending drum’n’bass with punk and Eastern sensibilities.

August 2014

THE MOVE:MENT (THE CARAVAN CLUB + THE SINSHEIMERS + THE OUTLAWED) KING TUT’S, 20:30–23:00, £6.50

Experimental music-makers intent on packing their tunes with as much feeling and meaning as they can.

LAURA J. MARTIN (HONEY AND THE HERBS)

THE GLAD CAFE, 19:30–22:00, £7

Liverpool songstress mining the darker, esoteric underbelly of folk.

SHEETS OV SUMMER WEEKEND #2 (KHUNNT + SUFFERINFUCK + BLOWN OUT + GRIMMELKIN555 + CHERRY WAVE + PYRE OF THE EARTH) 13TH NOTE, 18:00–23:00, FREE

Second outing for the Streets Ov Summer showcase weekend, featuring a bountiful selection of up-and-coming bands across Friday, Saturday and Sunday. And all for gratis.

Sat 02 Aug

PIGSASPEOPLE (OWLS IN ANTARCTICA + FELIX CHAMPION)

THE ROXY 171, 20:00–23:00, £5

Belfast-based noise rock trio built on a minimalistic set up of voice, guitar, bass and drums.

CRASH CLUB (THE DUKE, DETROIT + THE CAROLS + KROOKED SAINTS)

KING TUT’S, 20:30–23:00, £6.50

Scottish electro-rock unit comprised of McHarg brothers Aran and Neal, plus Sammy Todd and a collection of session pals.

ELECTONE SHOWCASE (THE RED SANDS + THE WICKED WHISPERS + THE LEVONS)

BROADCAST, 19:00–22:00, £5

The Liverpool-based independent record label hit Glasgow for a showcase of bands.

THE URCHINS (SWINGING MABLES + HAYDN PARK-PATTERSON)

NICE ‘N’ SLEAZY, 19:45–23:00, £6

Glasgow rock’n’roll six-piece led by Steven O’Neill on vocals.

PEPPERMINT FICTION + BEDFORD RASCALS + LINDSEY SMASH

STEREO, 19:00–22:00, £TBC

A showcase of bands pitch up for an Oxjam fundraiser session, hosted

by Ally Scott.

SHEETS OV SUMMER WEEKEND #2 (CERAMIC HOBS + UBRE BLANCA + HALFRICAN + DEATHCATS + BATTERY FACE + FELICITY HUGHES + STRANGE COAST + FROTH) 13TH NOTE, 16:00–23:00, FREE

Sophomore outing for the Streets Ov Summer showcase weekend, featuring a bountiful selection of up-and-coming bands across Friday, Saturday and Sunday. And all for gratis.

GLASGOW MIX TAPE (THE PHANTOM BAND + ERRORS + MALCOLM MIDDLETON + HOLY MOUNTAIN + EDWYN COLLINS + BIS + UBRE BLANCA + ALARM BELLS + TREMBLING BELLS + RICHARD YOUNGS) GLASGOW GREEN, 10:30-21:30, FREE

East End Social project-curated all-dayer, with The Phantom Band, Errors, and Malcolm Middleton amongst the headliners on the main stage, alongside the likes of Ubre Blanca, Alarm Bells, and a rare acoustic set from Edwyn Collins.

And it's free. Rejoice!

Sun 03 Aug

THEO BROWN AND THE FOLKLORE OF DARTMOOR (N. RACKER)

THE GLAD CAFE, 19:30–22:00, £7

Musical celebration of late folklorist and artist Theo Brown, exploring the hidden tales of seven Dartmoor villages through experiments in sound and vision.

SHEETS OV SUMMER WEEKEND #2 (TRONGATE RUM RIOTS + REVERSE COWGIRLS + DIRTY CELLO + PRECIOUS PENNY PLUCKERS + CAILLEACH BHEUR + TOM SNOWBALL BAND) 13TH NOTE, 16:00–23:00, FREE

Second outing for the Streets Ov Summer showcase weekend, featuring a bountiful selection of up-and-coming bands across Friday, Saturday and Sunday. And all for gratis.

Mon 04 Aug

RAGING FYAH (I FOUNDATION + SAMSON SOUNDS + MAXI ROOTS + ARGONAUT SOUNDS)

O2 ABC, 19:00–22:00, £13

Jamaican outfit whose songs traverse the line of roots and rock.

DAVID SPENCE, + ADRIAAN BLOOM + CHRIS HART

13TH NOTE, 19:00–00:00, FREE

A selection of singer/songwriters take to the stage, coinciding with the launch of Jenny Robertson’s first solo exhibition (adorning the walls of 13th Note, 4-17 Aug).

Tue 05 Aug THE NEW MENDICANTS

THE BOWLERS BAR, 20:00–23:00, £10

Banter-heavy performance from Glasgow-born Norman Blake and the Massachusetts-hailing Joe Pernice, now neighbours in Canada and making music under their sublime pop guise, The New Mendicants. Part of East End Social.

THE CHERRY WAVE (FATALISTS + OP)

BLOC+, 21:00–01:00, FREE

Fuzzed out Scottish shoegaze unit incorporating melody and heavily reverberated vocals into their dense fog of sound.

LOWER

BROADCAST, 20:00–23:00, £6

Copenhagen punk quartet formed from a long-standing friendship between vocalist Adrian Toubro and drummer Anton Rothstein, who met at primary school.

Wed 06 Aug THE NEW MENDICANTS

THE BOWLERS BAR, 20:00–23:00, £10

RM HUBBERT (RICHARD DAWSON)

MICK TURNER

RUTHERGLEN TOWN HALL, 19:30–22:00, £12

BROADCAST, 20:00–23:00, £10

The Chemikal Underground instrumental guitar virtuoso plays an intimate set in Rutherglen Town Hall, cherrypicking from his ‘Ampersand Trilogy’ of albums (First & Last, Thirteen Lost & Found and Breaks & Bone). Part of East End Social.

HALO TORA (A SUDDEN BURST OF COLOUR + MOUNTAINS UNDER OCEANS)

KING TUT’S, 20:30–23:00, £6.50

Glasgow-based ensemble blending rock sounds into something fresh and interesting via soaring dual lead vocals and three part harmonies, guitars and piano.

SLOTH METROPOLIS (THE OPEN MUSIC SOCIETY + HERBERT POWELL)

THE ROXY 171, 20:30–22:30, £3

Inspired indie-folky-jazzy excellence hailing from our own fine shores, previewing tracks from their forthcoming Work/Play LP. MAGNERS SUMMER NIGHTS: THE WATERBOYS

KELVINGROVE PARK, 18:00–21:00, £35

The Magners’ Summer Nights programme at Kelvingrove Bandstand continues with a set from longstanding Mike Stott-led Celtic rockers, The Waterboys.

ALI AFFLECK

THE GLAD CAFE, 19:30–22:00, £7

Vintage jazz and blues vocalist, awarded the ‘Best Jazz Vocalist 2013’ by the Scottish Jazz Federation.

THE SEA KINGS

STEREO, 20:00–02:00, £5

The Iffy Folk lot hole up in Stereo, hosting the live gig launch of The Sea Kings new LP, following by a club session with the beatsmiths of DSSS Music Club.

Sat 09 Aug

Banter-heavy performance from Glasgow-born Norman Blake and the Massachusetts-hailing Joe Pernice, now neighbours in Canada and making music under their sublime pop guise, The New Mendicants. Part of East End Social.

KINGSLAND ROAD (CANARY SWING + IN HINDSIGHT + MR MEANOR)

BLOC+, 21:00–01:00, FREE

The hardstyle hellraisers play their first ever UK show; expect something dark, hard and unquestionably raw.

GARDEN OF ELKS

Alternative indie newbies composed of Bronto Skylift and ex-Vasa members.

Thu 07 Aug STRUGGLE

BLOC+, 21:00–01:00, FREE

Monthly punk and post hardcore selection of bands from DIY collective Struggletown.

MAGNERS’ SUMMER NIGHTS: STEVE EARLE

KELVINGROVE PARK, 18:00–21:00, £27.50

The Magners’ Summer Nights programme of al fresco gigs at Kelvingrove Bandstand kicks off with a set from gravelly-voiced American songsmith, Mr Steve Earle.

HANA (CLENCH + DIAMOND MINDWORKS + UNIT SEVEN)

KING TUT’S, 20:30–23:00, £6.50

Glasgow-based alternative rock unit with each member hailing from a different rock background.

MARUSO (EXTREMIS + OLA IS DEAD + NICKY SCAT MARKET + WORD OR OBJECT) THE ROXY 171, 19:30–23:30, FREE

Breakcore-meets-grindcoremeets-gabba project from Japan.

ROWAN ROSS

THE GLAD CAFE, 19:30–22:00, £10

The local singer/songwriter performs his debut LP, Second Fiddle, live and in its entirety, backed by a live band of players.

THE SEAN ARMSTRONG EXPERIENCE

STEREO, 20:00–22:00, £DONATION

The Yawns' singer Sean Armstrong in a new live guise, performing tunes from his surprisingly extensive solo catalogue.

Fri 08 Aug

THE RECOVERY (SERVERS)

13TH NOTE, 20:00–23:00, £TBC

Full-on blend of hardcore punk from the Glasgow five-piece, with a bit of metalcore thrown in for good measure (read: extra noise).

O2 ABC, 18:30–22:00, £8

X Factor breakthrough act (but not winners) who’ve been co-writing with McFly’s songsmiths.

GUNZ FOR HIRE (RAN-D + ADARO)

O2 ACADEMY, 21:00–03:00, £16

MAGNERS SUMMER NIGHTS: ALISON MOYET

KELVINGROVE PARK, 18:00–21:00, £32.50

The Magners’ Summer Nights programme at Kelvingrove Bandstand continues with a set from English singer/songwriter Alison Moyet, marking a return to her electronic roots of late.

ANGUS LYON + DUNCAN LYALL

CCA, 19:30–22:00, £12 (£10)

The duo of Scottish composers embark on a double bill tour of their 3G and Infinite Reflections work – which originated as Celtic Connections Commissions in 2011 and 2012 respectively.

THE PHANTOMS (THE VUDU ZOO + THE SLATER PROJECT + THE DOTS)

KING TUT’S, 20:30–23:00, £6.50

Glasgow-based ensemble blending rock sounds into something fresh and interesting via soaring dual lead vocals and three part harmonies, guitars and piano.

FLOURISH HOUSE BENEFIT (FRIENDS IN AMERICA + DAVID MACGREGOR)

THE GLAD CAFE, 19:30–22:00, £TBC

Musical fundraiser in aid of Flourish House, featuring sets from Friends in America and Kid Canaveral’s David MacGregor in his solo acoustic guise.

Mon 11 Aug THE GARDEN

BROADCAST, 20:00–23:00, £6

Neo-punk Californian duo, featuring identical twin brothers Fletcher and Wyatt Shears.

STEPHANIE FRASER

KING TUT’S, 19:00–21:00, FREE

Young Blackpool songstress discovered by the same Island Records A&R who unearthed Mumford and Sons. Playing the King Tut’s bar.

Tue 12 Aug AMEN

CATHOUSE, 19:00–22:00, £13

The hard-hitting punk band just got heavier, with Slayer’s Dave Lombardo joining the group on drums.

The Dirty Three guitarist goes it alone, playing a solo set of tunes.

Wed 13 Aug YUNG LEAN & SAD BOYS

AUDIO, 19:00–22:00, £12

Stockholm experimental rap trio made up of mainman Yung Lean, joined by Yung Sherman and Yung Gud.

Thu 14 Aug EARTH

CCA, 19:00–22:00, £14

Seattle’s drone godfather Dylan Carlson and his Earth chums make an all too rare UK visit, alighting in celebration of the release of their tenth studio LP, Primitive & Deadly.

GOOD GRIEF’S GOOD SHOP (THE PHYSICS HOUSE BAND + SHAMBLES IN A HUSK + VASA)

NICE ‘N’ SLEAZY, 19:30–23:00, FREE

The DIY label and zine collective present an evening of alternative sounds.

WITHERED HAND + JUSTIN CORRIE

THE BOWLERS BAR, 20:00–23:00, £12

Double dose of songwriter talent in the intimate environs of The Bowler’s Bar, taking in Withered Hand (aka Dan Willson) and Justin Currie (aka ‘im from Del Amitri).

Part of East End Social.

MAGNERS SUMMER NIGHTS: CAPERCAILLIE

KELVINGROVE PARK, 18:00–21:00, £25

The Magners’ Summer Nights programme at Kelvingrove Bandstand continues with a set from the Karen Matheson-fronted Scottish folk ensemble, Capercaillie.

ECHO VALLEY (THE ALLEYS)

KING TUT’S, 20:00–23:00, £8

Ayrshire rock quartet led by Daniel Taylor on lead vocals and bass guitar.

ANTIQUE PONY (HERBERT POWELL)

THE ROXY 171, 20:00–22:30, £3

GLASGOW GLAM BANGERS (SCUNNER + RITTERSKAMP + POTUS) 13TH NOTE, 20:00–23:00, £TBC

Glam-styled Glasgow trio made up of Paxton Andrews, Piano Reeves and Reginald Shite – all their actual birth names. Probably.

MAGNERS SUMMER NIGHTS: SQUEEZE

KELVINGROVE PARK, 18:00–21:00, £35

The Magners’ Summer Nights programme at Kelvingrove Bandstand continues with a set from longstanding new wave quintet Squeeze, celebrating their first new material in some 14 years.

WE WERE HUNTED

KING TUT’S, 20:30–23:00, £6.50

The indie-rock locals take to the stage to do their ever-energetic live thing.

SLINT

THE ARCHES, 19:00–22:00, £18.50

The seminal Louisville post-punk outfit make a rare UK appearance, playing their classic album, Spiderland, live and in its glorious bloody entirety.

MAGNERS SUMMER NIGHTS: TEENAGE FANCLUB

KELVINGROVE PARK, 18:00–21:00, £25

The Magners’ Summer Nights programme at Kelvingrove Bandstand welcomes mighty Scottish rock unit Teenage Fanclub for a special set.

ABEL GANZ

CCA, 20:00–22:30, £5

The veteran Glasgow proggers return to the live stage, launching their self-titled new LP on the night – an album which sees them actively embracing new directions.

GINGERBEARDMAN (COUNT CLOCKWORK)

NICE ‘N’ SLEAZY, 19:30–23:00, £5.50

The Glasgow alternative electro duo mix it up across laptops, controllers and live instrumentation.

THE GLAD CAFE’S 2ND BIRTHDAY WEEKEND

THE GLAD CAFE, 19:30–22:00, £TBC

The Glad Cafe celebrate their 2nd birthday with a special musical weekender, for which they’ll be revealing an exciting line-up of acts nearer the time.

Sat 16 Aug MARK EITZEL

BROADCAST, 19:00–22:00, £14

Live set from the respected American underground musician, best known as the lead singer of American Music Club.

West Virginia stoner rock trio made up of guitarist William Mecum, bassist Rich Mullins and drummer Rob Oswald.

ASHLEY COLLINS

O2 ABC, 19:00–22:00, £10

The former Scottish New Music Award nominee does her uplifting pop thing.

THE GLAD CAFE’S 2ND BIRTHDAY WEEKEND

THE GLAD CAFE, 19:30–22:00, £TBC

The Glad Cafe celebrate their 2nd birthday with a special musical weekender, for which they’ll be revealing an exciting line-up of acts nearer the time.

SKAM

STEREO, 19:00–22:00, £5

Leicester rock trio blending classic British rock sounds with elements of punk and heavy metal.

Sun 17 Aug

CAMPBELL MILLER (SKULL PUPPIES + XGETXREALX) 13TH NOTE, 19:30–23:00, £3

Glaswegian singer/songwriter serving up his tunes in an honest and sometime humourous manner.

Tue 19 Aug

DESOLATOR (TERROR DRONE + NNGNN + BLACKENED RITUAL)

STEREO, 19:00–22:00, £5

KING TUT’S, 20:30–23:00, £6.50

LOVERS RITUAL (IVOR KALLIN + NEIL DAVIDSON)

THE OLD HAIRDRESSERS, 20:00–22:30, £6

Debut Scottish gig from self-described ‘psychbrain duo’ Ilan Volkov and Maya Dunietz (aka Lovers Ritual) – working in a sometimes amplified, sometimes acoustic and always in flux live style.

GRAVELTONES

STEREO, 19:00–22:00, £TBC

The Australian blues-rock duo play their debut headline Scottish show.

Sun 24 Aug

ZFE (NO FORM + BLACK COP)

13TH NOTE, 20:00–23:00, £5

The Leeds hardcore unit hit Glasgow, abiding to their usual loud fast rules.

Tue 26 Aug ST. VINCENT

O2 ABC, 19:00–22:00, £16.50

The Polish underground death metal unit continue to ride the wave of their first full-length LP in some 20 years.

Annie Clark returns to the UK in support of her brilliant self-titled new album, her live band conjuring intense layers of sound as Clark herself knocks hell out of her guitar.

13TH NOTE, 20:00–23:00, £TBC

Wed 27 Aug

A reliably noisy bunch of tunemakers do their metallic-tinged thing.

ENEMIES OF THE STATE (MECHANICAL ARMY + THE HOLLOWS + THE DIRTY SUITS)

KARMA TO BURN (DESERT STORM + BACCHUS BARACUS)

CLASSIC GRAND, 19:00–22:00, £12

Mancunian live house four-piece, responsible for dream pop anthem, I Will Lead You On.

The fledgling Glasgow rockers launch their new single.

Fri 15 Aug

THE ROXY 171, 20:00–22:30, £4

The Glasgow-based noise quartet play an intimate show of new material.

NICE ‘N’ SLEAZY, 19:30–23:00, £TBC

THE METAL ROADKILL TOUR (TEN TONNE DOZER + TOMESTONE CREW + WITCH CHARMER + SEMPERFI)

The Glasgow alternative Americana night takes up residence at The Roxy 171, with Cuddly Shark playing a special acoustic set, amongst other delights.

EARTHS (YUSUF AZAK) THE ROXY 171, 20:00–22:30, FREE

MDNGHT (CHERYL RISK + COURTNEY GIBSON)

The art rock experimentalists play a headline set, with support from pop-rockers Herbert Powell.

VAGABOND SOCIAL CLUB (CUDDLY SHARK)

THE DIRTY BLONDE 13TH NOTE, 20:00–23:00, £3

Wed 20 Aug JULIE BYRNE

BROADCAST, 20:00–23:00, £5

The Seattle vocalist and guitarist plays a set of her hushed and mysterious tunes.

Thu 21 Aug TUFF LOVE

STEREO, 20:00–22:00, £DONATION

Female-fronted trio of the fuzzy lo-fi guitar pop variety, built on wispy soft vocals and loud instruments.

ACTION BEAT (SILENT FRONT)

NICE ‘N’ SLEAZY, 19:30–23:00, FREE

Multi-drum kit bashing noise rockers all sonically malevolent in their approach.

Fri 22 Aug

PLUM (GRNR + NORDIC GIANTS + ROMAN NOSE)

NICE ‘N’ SLEAZY, 19:30–23:00, £TBC

Eclectic musical project of songwriter and producer Shona Maguire.

MISS THE OCCUPIER (THE DARK ARTS + WEIRD DECIBELS + CICERO’S SECRET)

13TH NOTE, 20:00–23:00, £TBC

The punk-inflected Glasgow popsters continue to blast Sister-era Sonic Youth through ace girl group melodies.

RAIL FAN (MARK COPELAND + BLACK AND WHITE BOY)

THE GLAD CAFE, 19:30–22:00, £3 ADV. (£5 DOOR)

Stirling born and bred post-blues indie outfit channelling a distinctly Americana vibe.

THE BROKEN RAVENS (THE DEAD RAVEN + RIPLEY + IQONS)

KING TUT’S, 20:30–23:00, £6.50

The Stornoway thrashers deliver their usual wall of head-banging, foot-stomping fuzz.

Sat 23 Aug

THERE WILL BE FIREWORKS

ORAN MOR, 19:00–22:00, £7

The Scottish-brogued indie foursome take to a hometown setting.

LET’S PLAY GOD (SPLINTERED HALO + WARHEAD + BLOOD, FIRE & ROSES) NICE ‘N’ SLEAZY, 19:30–23:00, £5

The Glasgow metalers take to the stage for an evening of shredding riffage.

THE FRONT BOTTOMS (PUP)

KING TUT’S, 20:00–23:00, £8

Possessing more nous than the puerile band name might suggest, the New Jersey outfit do their acoustic-cum-indie-cum-dancecum-punk thing – packaged up with catchy choruses, an oftengalloping pace, and lyrics that mix flip humour with sincerity.

MORDRED (FURYON)

O2 ABC, 19:00–22:00, £12.50

San Francisco-based thrash metal with added turntable action and a promise of funky basslines.

KIKI EBSEN

THE GLAD CAFE, 20:30–23:00, £7

The longstanding session player showcases music from her new LP, Scarecrow Sessions, as well as tracks from her back catalogue.

Thu 28 Aug

PHANTOM BRAKE PEDAL

NICE ‘N’ SLEAZY, 19:30–23:00, £5

The Dundee alternative rockers build their usual wall of creative and atmospheric rock sounds.

THE FELICE BROTHERS

O2 ABC, 19:00–22:00, £16.50

NYC five-piece formed by brothers James and Ian Felice, ready to take you on a mud-stomping folk journey, as is their way. Part of No Mean City Festival.

NICK WATERHOUSE

KING TUT’S, 20:30–23:00, £12.50

The 1950s influenced soul singer returns to the UK in support of his second LP, Holly.

JOHN RUSH

THE GLAD CAFE, 19:30–22:00, £TBC

The local singer/songwriter performs a hometown show before shooting off to play New York.

Fri 29 Aug

WECAMEFROMWOLVES (ALBURN + GOODCOPGREATCOP + BRIGHT SIDE)

KING TUT’S, 20:30–23:00, £6.50

Borders via Glasgow punk and folkinfluenced troupe, with support from recent Gerry Loves Records signing, Yusuk Azak.

THE HOLY BIBLE STEREO, 19:00–22:00, £TBC

Manic Street Preachers’ appreciation night with contributions from Jim Dick, Kylie Minoise, FK Alexander, Claire Biddles, Iain Findlay-Walsh, Seconds, Charlotte Prodger and more.

Sat 30 Aug BLAZIN’ FIDDLES

ORAN MOR, 19:00–22:00, £14

Contemporary fiddle troupe hailing from the Highlands and Islands, mixing it up with sympathetic keyboard and guitar arrangements.

INDIEVOUS (KAMBLU + THE CHELSEAS + BIG DIRTY RIDE + BITE NITE + JORDAN REID)

PIVO PIVO, 19:30–22:00, £5 (£4)

Live music showcase featuring an indie-centric selection of bands.

LIGHTS OUT BY NINE

THE GLAD CAFE, 19:30–22:00, £10

Eight-piece soul/r’n’b ensemble known for bringing the sound of the Mardi Gras.

EDGEVILLE HELLRIDE (LITTLE HANDS OF SILVER + WATCHER’S GUARD)

13TH NOTE, 20:00–23:00, £5.50

Penicuik-based heavy metal quintet who formed in 2010 and finally got their arses in gear in 2013.

THESE LITTLE KINGS (GHOST ALASKA + PSEUDO SATELLITES)

NICE ‘N’ SLEAZY, 19:30–23:00, £3

Young Glasgow ensemble who bring the noise via biting solos from their two guitarists.

EAST END SOCIAL’S THE LAST BIG WEEKEND (MOGWAI + FUCK BUTTONS + JAMES HOLDEN + THE WEDDING PRESENT + THE TWILIGHT SAD + YOUNG FATHERS + SWERVEDRIVER + HOLY MOUNTAIN + HONEYBLOOD) RICHMOND PARK, 13:00–22:00, £38.50 (£70 WEEKEND)

East End Social draws to a close with The Last Big Weekend – with Saturday’s shenanigans taking in a Mogwai headered all-dayer, joined by the likes of Fuck Buttons, Young Fathers, The Wedding Present and more.

FREDDIE GIBBS

O2 ABC, 19:00–22:00, £13

Indiana-hailing rap chap, known to his mammy as Fredrick Tipton.

THE JANOSKIANS

O2 ACADEMY, 19:00–22:00, £23.50

Australian boy band who proved a hit on YouTube, if nowhere else. Oh, and the name means ‘Just Another Name Of Silly Kids In Another Nation’, obv.

GHOST OF DEAD AEROPLANES (MISS THE OCCUPIER)

THE OLD HAIRDRESSERS, 20:30–23:30, £5

The defiantly noisy Birmingham outfit hit Glasgow, following their recent split single with Bis.

Sun 31 Aug

EAST END SOCIAL’S THE LAST BIG WEEKEND (HUDSON MOHAWKE + JEFF MILLS + JAMES MURPHY + OPTIMO + SPENCER + SOPHIE + NOZINJA + GOLDEN TEACHER) RICHMOND PARK, 13:00–22:00, £38.50 (£70 WEEKEND)

East End Social draws to a close with The Last Big Weekend, with Sunday’s fun curated by Optimo and Numbers – who invite the likes of Hudson Mohawke, Jackmaster and Spencer to join ‘em for a ninehour DJ rammy.

PINK MOUNTAINTOPS

BROADCAST, 19:00–22:00

Canadian rock outfit led by Stephen McBean, sharing members with many of Canada’s finest – including the Black Mountain collective and Godspeed You! Black Emperor.

FOR THE KILL (NOTHING BUT THE NIGHT)

Perthshire post-rockers big on the euphoric choruses, hooks and harmonies.

13TH NOTE, 20:00–23:00, £5

KING TUT’S, 20:30–23:00, £6.50

Mon 01 Sep

HERCULEAN (FOREIGNFOX + JUSTHOPE + EMJAY)

Glasgow ensemble of the melodic alternative rock-meets-pop soundscapes.

The Midlands hardcore rockmeets-metal quintet hit the road again, following their debut UK tour in May. PERFUME GENIUS

CCA, 19:00–22:00, £12

Seattle-based musician Mike Hadreas (aka Perfume Genius) takes in Glasgow as part of his current mini tour of the UK and Europe.

Listings

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Edinburgh Music Tue 29 Jul

PIGSASPEOPLE (OWLS IN ANTARCTICA + DONNIE WILLOW + EMILIO LARGO)

OPIUM, 20:00–22:30, £5

Belfast-based noise rock trio built on a minimalistic set up of voice, guitar, bass and drums.

Thu 31 Jul MACHINE HEAD

THE LIQUID ROOM, 19:00–22:00, £25

Californian metallers heavy on the paint-by-numbers guitar riffs.

KIRAN LEONARD

ELECTRIC CIRCUS, 19:00–22:00, £6

Experimental singer/songwriter hailing from Oldham, sharing tracks from his debut LP, Bowler Hat Soup.

DANIEL PEARSON

SNEAKY PETE’S, 19:00–22:00, £5

Stripped back showcase of songwriting from the Hull singer.

Fri 01 Aug

THREE BLIND WOLVES

SNEAKY PETE’S, 19:00–22:00, £5

More singalongable, dancealongable alternative countryesque tunes from the Glasgow lads.

DOUGIE MACLEAN

THE QUEEN’S HALL, 19:30–22:00, £22.50

The renowned Scot (aka he who penned Caledonia) returns to the Edinburgh Festival for a set of hits.

DOG TIRED

BANNERMANS, 20:00–23:00, £5

Penicuik metal quartet led by vocalist Chris Thomson.

SCOTTISH TOUR COLLECTIVE SHOWCASE (UNIVERSAL THEE + ONE LAST SECRET + BALOR MILE + THE AGE + THE OOH LA LA’S + RANK BERRY + THE NEX-TIDE + HUXTABLE + BEDFORD RASCALS) HENRY’S CELLAR BAR, 19:00–05:00, £8

Eclectic bill of nine bands hailing from Edinburgh and around Scotland, snaking across a mighty 10-hour bill!

THE CHILLS

ELECTRIC CIRCUS, 19:00–22:00, £15

Guitar and keyboard-based New Zealand rock unit, the continuing project of singer/songwriter Martin Phillipps – the group’s sole constant member.

Sat 02 Aug

BROKEN RECORDS (KID CANAVERAL + BOOK GROUP) THE QUEEN’S HALL, 20:00–22:30, £12

The 2007-formed Edinburgh mainstays play a special hometown show – in celebration of the release of their third LP, Weights & Pulleys – with their usual wide variety of instrumentation complimenting their eclectic sound.

THE DARK JOKES

SNEAKY PETE’S, 19:00–22:00, £5

The Edinburgh-based indie-rock ensemble take to the stage with their mighty mix of originals and covers.

THE PALE IMITATION FESTIVAL (ADAM STAFFORD + LE THUG)

HENRY’S CELLAR BAR, 19:30–22:30, £5 (£25 FESTIVAL PASS)

DIY label and blogger Song, By Toad brightens August with a series of special music outings – under the banner The Pale Imitation Festival – focusing on showcasing quality local acts and providing a refreshing enclave from the hubbub of the Fringe.

PHANTOM RIFFAGE (STONEDEATH + A SHITE STATE OF AFFAIRS)

OPIUM, 20:00–22:30, £5

Energetic grunge-rock unit birthed back in 2002, and currently enjoying a new injection of life since their reformation in 2013.

ASIAN DUB FOUNDATION

THE LIQUID ROOM, 19:00–22:00, £15

Genre-traversing big beat collective blending drum’n’bass with punk and Eastern sensibilities.

NATIONAL YOUTH ORCHESTRA OF SCOTLAND: 35TH ANNIVERSARY GALA CONCERT

USHER HALL, 19:30–22:00, £15 (£10)

Scotland’s National Youth Orchestra perform a programme of works in celebration of their 35th anniversary, joined by celebrated trumpeter Hakan Hardenberger.

88

Listings

THE CINNAMON SERVICE

JASON ISBELL

BANNERMANS, 20:00–23:00, £5

THE LIQUID ROOM, 19:00–22:00, £15

Aberdeen indie-rockers built on a diet of rocky hooks, wacky rhythm section, distorted guitars and lovelorn melodies.

THE BARE BONES

HENRY’S CELLAR BAR, 23:00–04:00, £TBC

Late night session of blues and rock’n’roll.

Sun 03 Aug

BORN TO BE WIDE: EDINBURGH SHOWCASE (JAMIE & SHOONY + MEGAN D + NEIL PENNYCOOK)

ELECTRIC CIRCUS, 20:00–03:00, FREE (BUT TICKETED)

Ten acts perform ten-minute sets, interspersed with promoters, journalists, label owners, broadcasters and other music scene stalwarts playing their favourite four records by Edinburgh artists.

BEEFHEART AND CHEEZE

HENRY’S CELLAR BAR, 20:00–22:00, £7 (£5)

The music of avant-rock icon Captain Beefheart interpreted by sax/guitar/bass/drums outfit Orange Claw Hammer.

EDINBURGH BRASS BAND: SOUNDS OF FREEDOM

ST JOHN’S CHURCH, 16:00–17:00, £10 (£8)

The former Drive-By Truckers chap continues to tour solo after leaving the group in 2007.

NEST OF VIPERS + MEGALOMATI

BANNERMANS, 20:00–23:00, £5

A double dose of Edinburgh and Glasgow rockers team up to destroy Bannermans, musically y’understand.

LEON JACKSON + ERNIE HALTER

ELECTRIC CIRCUS, 19:00–22:00, £8

Leon Jackson and Ernie Halter collaborate for a one-off live special, creating a totally original performance live on the night.

THE NEW MENDICANTS

THE FAMOUS SPIEGELTENT, 20:30–21:30, £15 (£10)

Banter-heavy performance from Glasgow-born Norman Blake and the Massachusetts-hailing Joe Pernice, now neighbours in Canada and making music under their sublime pop guise, The New Mendicants.

Fri 08 Aug

THE LITTLE KICKS (REDOLENT + GOLD ISLAND)

ELECTRIC CIRCUS, 19:00–22:00, £6

The brass ensemble present a programme of thought-provoking music inspired by one of the most fundamental human rights: freedom. Part of Just Festival.

More upbeat and catchy tunes from the Scottish four-piece, peddling their own chirpy brand of indiedisco-pop.

Tue 05 Aug

THE QUEEN’S HALL, 22:00–00:00, £12.50

JOAN AS POLICEWOMAN

THE LIQUID ROOM, 19:00–22:00, £16

Joan Wasser continues to mix sweet pop melodies with a more hard-edged guitar nous; she tours in support of properly good new record, The Classic.

RAGING FYAH

STUDIO 24, 19:00–22:00, £10 EARLYBIRD (£12.50 THEREAFTER)

ORKESTRA DEL SOL

The Edinburgh-based ensemble play a special late night set as part of Edinburgh Festival, continuing to reinvent the global brass band sound as they go.

SCOTTISH TOUR COLLECTIVE PRESENTS... (LADYKILLER CATERPILLAR + ART OF PRIVILEGE + THE FIGHTING 69TH + THE APPARELLS ) HENRY’S CELLAR BAR, 19:00–23:00, £5

Jamaican reggae outfit whose songs traverse the line of roots and rock.

Eclectic bill of bands hailing from Edinburgh and around Scotland.

SNEAKY PETE’S, 19:00–22:00, £8

THE LAST BATTLE (PENNY BLACK + JOSIE LONG)

SLOW MAGIC

Anonymous-styled muso going under the banner ‘the sound made by an unknown imaginary friend’ – so, y’know, gossamer melodies, airy synths and looping vocals.

THE CAPTAIN’S PALOOZA (STEVE HERON + BENNY MONTEUX + MADE OF GLASS)

ELECTRIC CIRCUS, 19:00–22:00, £2

The Captain’s celebrates its birthday with a trio of live guests – Steve Heron, Benny Monteux and Made of Glass – plus free cookies for the first ten down.

Wed 06 Aug

YOUR DEMISE (WAR CHANGE + TRIAL & ERROR + NORTHERN) OPIUM, 19:00–22:30, £TBC

The hardcore punk bunch play a selection of tracks cherrypicked from their first two LPs, EPs and demos.

EASY STAR ALL STARS

THE LIQUID ROOM, 19:00–22:00, £19

The go-to choice for anyone who likes their rock dubbed up a little, known for their tribute albums Dub Side Of The Moon, Radiodread and Easy Star’s Lonely Hearts Dub Band.

SCOTTISH TOUR COLLECTIVE PRESENTS... (ECHO ARCADIA + MATT OTIS + RYAN MORCOMBE + THE UNKNOWN)

HENRY’S CELLAR BAR, 20:00–00:00, £5

Sat 09 Aug

ELECTRIC CIRCUS, 19:00–22:00, £7

Edinburgh’s own folk-pop outfit do their ever-lovely orchestraltinged thing.

KARINE POLWART

THE QUEEN’S HALL, 19:30–22:00, £16

The Borders lass brings the loveliness with her provokingly poetic and bittersweet folk tunes.

THREE DAYS FROM RETIREMENT (WOZNIAK + OSKAR) OPIUM, 20:00–22:30, £3

Edinburgh post-rock lot on guitars (times two), drums and bass.

KING EIDER

SNEAKY PETE’S, 19:00–22:00, £7

Edinburgh-based folk-blues quintet rich with alternative melodies.

THE PALE IMITATION FESTIVAL (THE YAWNS)

HENRY’S CELLAR BAR, 19:30–22:30, £5 (£25 FESTIVAL PASS)

DIY label and blogger Song, By Toad brightens August with a series of special music outings – under the banner The Pale Imitation Festival – focusing on showcasing quality local acts and providing a refreshing enclave from the hubbub of the Fringe.

TOMMY CONCRETE AND THE WEREWOLVES (MASTIFF + SAPIEN)

BANNERMANS, 20:00–23:00, £5

Eclectic bill of bands hailing from Edinburgh and around Scotland.

Old school Edinburgh extreme metalers led by Tommy Concrete.

SNEAKY PETE’S, 19:00–22:00, £5

Sun 10 Aug

THIRTYTHREECONNECTION

The piano-driven indie outfit play a hometown set.

Thu 07 Aug

THE PALE IMITATION FESTIVAL (THE LEG + NOW WAKES THE SEA)

HENRY’S CELLAR BAR, 19:30–22:30, £5 (£25 FESTIVAL PASS)

DIY label and blogger Song, By Toad brightens August with a series of special music outings – under the banner The Pale Imitation Festival – focusing on showcasing quality local acts and providing a refreshing enclave from the hubbub of the Fringe.

RED HOT CHILLI PIPERS

THE QUEEN’S HALL, 20:00–22:20, £21

Fusion of rocked-up bagpipes and genre-spanning covers from everyone’s favourite kilted pipers.

THROUGH COLOUR

ELECTRIC CIRCUS, 19:00–22:00, £5

Rock-meets-pop ensemble hailing from Holyhead and Manchester.

COMMON RECORDS NIGHT (ALGERNON DOLL + NOW WAKES THE SEA + ANDREW PEARSON AND LOVERS TURN TO MONSTERS + CHRISSY BARNACLE) HENRY’S CELLAR BAR, 19:00–22:30, £5

The micro DIY Scottish label present a special festival showcase, including a set from rising troubadour Algernon Doll (aka the off-kilter and chaotic folk project of Glasgow’s Ewan Grant).

BECCA SHEARING

SNEAKY PETE’S, 19:00–22:00, £5

The Scottish YouTube popstess marks her Edinburgh Festival debut with a set in Sneaky’s diminutive lair.

ARGIES (BUZZBOMB + SAD SOCIETY)

OPIUM, 20:00–22:30, £TBC

Argentinian punk-meets-skameets-reggae lot, playing as part of their 30th Anniversary tour.

Mon 11 Aug TWIN ATLANTIC

THE LIQUID ROOM, 19:00–22:00, £16.50

The Glasgow alternative rock fourpiece do their Brit rock-inspired thing, rich with stabbing guitars and vocalist Sam McTrusty’s charming style.

THE ONE ENSEMBLE

SUMMERHALL, 22:30–23:30, £9 (£7)

Glasgow’s Daniel Padden and his merry band of sonic wanderers play a one-off gig, shifting from hard rhythmic workouts to string miniatures, between wayward waltzes and open-throated song, as they go.

Tue 12 Aug

SPEEDY ORTIZ (HAPPYNESS)

ELECTRIC CIRCUS, 19:00–22:00, £9

US-of-A-hailing indie rock quartet, built on the lo-fi output of singer Sadie Dupois.

DANIEL PADDEN + WOUNDED KNEE

SCOTTISH STORYTELLING CENTRE, 17:00–18:00, £8 (£6)

Preview of a new work by Daniel Padden and Wounded Knee, commissioned by The Glad Cafe for the Made In Scotland showcase during the Edinburgh Fringe – showcasing a new song cycle celebrating the seasons, inspired by Edinburgh and the Pentland Hills.

FIONA RUTHERFORD: SLEEP SOUND

SUMMERHALL, 22:30–23:30, £12 (£10)

The Scottish harpist/composer showcases her new music project – originally a Celtic Connections commission – inspired by the structure of a night’s sleep and featuring well-kent Scottish musicians from both the traditional and contemporary circuit.

Wed 13 Aug

MEURSAULT (PLASTIC ANIMALS)

THE QUEEN’S HALL, 19:00–22:00, £12

Playing their last show as a unit, Neil Pennycook and co. bow out with one helluva swansong – curating a night of indy local talent, joined by sludge-pop quartet Plastic Animals and some special guests they’re keeping cheekily under wraps.

DANIEL PADDEN + WOUNDED KNEE

SCOTTISH STORYTELLING CENTRE, 17:00–18:00, £8 (£6)

Preview of a new work by Daniel Padden and Wounded Knee, commissioned by The Glad Cafe for the Made In Scotland showcase during the Edinburgh Fringe – showcasing a new song cycle celebrating the seasons, inspired by Edinburgh and the Pentland Hills.

FIONA RUTHERFORD: SLEEP SOUND

SUMMERHALL, 22:30–23:30, £12 (£10)

The Scottish harpist/composer showcases her new music project – originally a Celtic Connections commission – inspired by the structure of a night’s sleep and featuring well-kent Scottish musicians from both the traditional and contemporary circuit.

COURTNEY LYNN (JASMINE RODGERS)

BANNERMANS, 20:00–23:00, £5

Toronto-born, Edinburgh-based singer/songwriter making quirky folk with distinctive voice and unconventional acoustic guitar style.

NICK MERCER JR

SNEAKY PETE’S, 19:00–22:00, £6

The former Sergeant frontman previews material from his new solo project.

Thu 14 Aug

Sat 16 Aug

SNEAKY PETE’S, 19:00–22:00, £5

ELECTRIC CIRCUS, 19:00–22:00, £5

FUZZYSTAR

YOUNG AVIATORS (THE RICH)

More lo-fi indie musings from the Edinburgh foursome, debuting new tracks on the night.

More alternative new wave from the Glasgow-via-Ireland trio of cheeky chappies.

THE QUEEN’S HALL, 19:30–22:00, £12

THE QUEEN’S HALL, 19:30–22:00, £16

RACHEL SERMANNI

The much-lauded young Scottish folkstress plays songs mostly from her debut album and follow-up EP. THE CAIRN STRING QUARTET

ELECTRIC CIRCUS, 19:00–22:00, £8

BATTLEFIELD BAND

Celtic-inspired musical ensemble, pioneers of the integration of bagpipes with fiddle, keyboards, guitar and voice.

THE JOKERS (LYXX)

In-demand classical troupe, with a challenging and avant-garde take on classic orchestral music.

The classic-styled rock lot do their, erm, classic-styled rock thing.

HENRY’S CELLAR BAR, 19:30–22:30, £5 (£25 FESTIVAL PASS)

Relatively new indie-folk outfit, fronted by Ryan McGlone of People Places Maps.

THE PALE IMITATION FESTIVAL (DEATHCATS + GARDEN OF ELKS + PASSION PUSHER)

DIY label and blogger Song, By Toad brightens August with a series of special music outings – under the banner The Pale Imitation Festival – focusing on showcasing quality local acts and providing a refreshing enclave from the hubbub of the Fringe.

THE CANYON (DROPKICK)

OPIUM, 20:00–22:30, £5

The heavy rockin’ locals take to the stage for the first time since their debut LP dropped in April, so expect a fair few tracks offa that.

NEUTRAL MILK HOTEL

CORN EXCHANGE, 19:00–22:00, £23.50

Musical leading lights of the fertile mid- to late-90s breeding ground of Athens, Georgia – with legendary status bestowed on ‘em after the release of monumental LP In the Aeroplane Over the Sea in 1998.

BANNERMANS, 20:00–23:00, £8

THE YOUTH AND YOUNG

SNEAKY PETE’S, 19:00–22:00, £5

THE PALE IMITATION FESTIVAL (JONNIE COMMON + JESUS H. FOXX + ANDREW R. BURNS) HENRY’S CELLAR BAR, 19:30–22:30, £5 (£25 FESTIVAL PASS)

DIY label and blogger Song, By Toad brightens August with a series of special music outings – under the banner The Pale Imitation Festival – focusing on showcasing quality local acts and providing a refreshing enclave from the hubbub of the Fringe.

EDGEVILLE HELLRIDE

OPIUM, 20:00–22:30, £5

Penicuik-based heavy metal quintet who formed in 2010 and finally got their arses in gear in 2013.

GEEK MAGOT BINGO

ELVIS SHAKESPEARE, 14:30–15:30, FREE

RM HUBBERT (EMMA POLLOCK)

JUSTIN CURRIE

THE QUEEN’S HALL, 20:00–22:30, £14

THE QUEEN’S HALL, 19:00–21:00, £22.50

The Chemikal Underground instrumental guitar virtuoso cherrypicks from his ‘Ampersand Trilogy’ of albums (First & Last, Thirteen Lost & Found and Breaks & Bone), joined by former Delgado lass, and labelmate, Emma Pollock.

Thu 21 Aug WITHERED HAND

THE QUEEN’S HALL, 20:00–22:30, £13

Edinburgh DIY folk-rock troubadour Dan Willson returns to The Queen’s Hall for his fourth Fringe appearance, joined by an invited selection of special guests he’s keeping under wraps for now.

TONIGHT ALIVE

THE LIQUID ROOM, 19:00–22:00, £12.50

Aussie rock ensemble led by ballsy young songstress Jenna McDougall and her inimitable soaring contralto.

THE PALE IMITATION FESTIVAL (RICK REDBEARD + KITCHEN CYNICS)

HENRY’S CELLAR BAR, 19:30–22:30, £5 (£25 FESTIVAL PASS)

DIY label and blogger Song, By Toad brightens August with a series of special music outings – under the banner The Pale Imitation Festival – focusing on showcasing quality local acts and providing a refreshing enclave from the hubbub of the Fringe.

Sun 17 Aug HENRY’S CELLAR BAR, 20:00–22:00, £10

Fri 22 Aug

FIONA RUTHERFORD: SLEEP SOUND

SUMMERHALL, 22:30–23:30, £12 (£10)

The Scottish harpist/composer showcases her new music project – originally a Celtic Connections commission – inspired by the structure of a night’s sleep and featuring well-kent Scottish musicians from both the traditional and contemporary circuit.

OLD DOLLAR BILL

BANNERMANS, 20:00–23:00, £5

Edinburgh alternative country and bluegrass duo made up of Ed Henry and Stephen Clark, playing a full-band set.

Fri 15 Aug KING CREOSOTE

THE QUEEN’S HALL, 20:00–22:30, £16

The Fife-based singer/songwriter – otherwise known as Kenny Anderson – plays a showcase of songs from his latest album, From Scotland With Love, the soundtrack to the film of the same name.

HAPPY SPASTICS

BANNERMANS, 22:00–23:00, FREE

More DIY-styled hardcore punk from the Edinburgh hellraisers.

DANTE (DONALD MACDONALD AND THE ISLANDS)

ELECTRIC CIRCUS, 19:00–22:00, £5

Folk-flecked indie project of Seán McLaughlin – also a member of The Birthday Suit – joined by ex-Aberfeldy traditional fiddler Vicky Gray.

SCOTTISH TOUR COLLECTIVE PRESENTS... (SCARECROW TRIBE + INSIDE ALL + LITTLE LOVE AND THE FRIENDLY VIBES + VANDETTES)

HENRY’S CELLAR BAR, 19:00–23:00, £5

Eclectic bill of bands hailing from Edinburgh and around Scotland.

SCHNARFF SCHNARFF (STELLA REILLY + INDIGO VELVET + LOGAN’S CLOSE)

SNEAKY PETE’S, 19:00–22:00, £5

The Inverness chappies do their inimitable line in staccatto grunge pop.

AGNOSTIC FRONT

THE LIQUID ROOM, 19:00–22:00, £16.50

Notorious hardcore punk outfit, still going strong some 17+ years on.

THE QUEEN’S HALL, 20:00–22:30, £22 (£18)

Poignant celebration of WWI songs featuring a gaggle of well-kent folk musicians, including Dick Gaughan, Ian Anderson, Phil Cunningham and Siobhan Miller.

JEFFREY LEWIS AND THE JRAMS

ELECTRIC CIRCUS, 19:00–22:00, £10

SACRE NOIR

ELVIS SHAKESPEARE, 14:30–15:30, FREE

Edinburgh garage rock’n’rollers, playing an intimate in-store session at Elvis Shakespeare.

KARMA TO BURN (DESERT STORM + LORDS OF BASTARD)

BANNERMANS, 20:00–23:00, £10

OPIUM, 19:00–22:30, £TBC

West Virginia stoner rock trio made up of guitarist William Mecum, bassist Rich Mullins and drummer Rob Oswald.

Mon 18 Aug

Irrepressible Orcadian eight-piece mashing up folk melodies with blues, dub and klezmer.

CABIN BOY JUMPED SHIP

The Leicestershire electronic metalers bring the noise, as is their way.

TEN TONNE DOZER (SEMPERFI + TOMBSTONE CROW + WITCH CHARMER) BANNERMANS, 20:00–23:00, £5

Shetland-based noisemakers making slovenly metal mixed with downright filthy rock.

THE DROPPER’S NECK (MOTHERTONE + SAPEN) OPIUM, 20:00–22:30, £5

Essex ensemble built on a diet of noisy punk-rock sounds, dark chaotic energy and raw intensity.

Tue 19 Aug

HOLY ESQUE (REBEL WESTERNS + THE MONTY HALL PROBLEM)

SNEAKY PETE’S, 19:00–22:00, £6

Much-hyped and reverb-drenched Glaswegian art-popsters, finally in possession of an LP’s worth of material.

SAMANTHA CRAIN (THE JELLYMAN’S DAUGHTER)

ELECTRIC CIRCUS, 19:00–22:00, £9

The Oklahoma-residing singer/ songwriter navigates her American roots through song.

Wed 20 Aug MAIN STREET BLUES

HENRY’S CELLAR BAR, 20:00–22:00, £10

The high energy Scottish blues outfit head up a night of acoustic and up-tempo electric blues.

TREMBLING BELLS

SNEAKY PETE’S, 19:00–22:00, £6

The kings and queens of modern folk arrive fresh from their tour of Canada and Europe – currently in the midst of recording a new album and music video, and bolstered by a newly-recruited 5th member (Alasdair Mitchell from Hidden Masters).

OLD FIRM CASUALS (CONTROL + RUNNIN RIOT + PANIC ATTAK)

BANNERMANS, 20:00–23:00, £11

Lars Frederiksen-led San Franciscan oi punk unit.

Hardcore punk trio from Harrogate, influenced by the likes of Black Flag and Minor Threat.

Sun 24 Aug

YOUR NEXT FAVOURITE BAND

HENRY’S CELLAR BAR, 19:00–01:00, FREE

A selection of six alternative upand-comers fight it out to be your ‘next favourite band’, with two of them being invited back for a cash prize final.

Mon 25 Aug RICHARD THOMSON

THE QUEEN’S HALL, 19:30–22:00, £25

The unassuming elder-statesman brings it with his acoustic and electric guitar virtuosity.

COLOUR ME WEDNESDAY

OPIUM, 20:00–22:30, £TBC

Tue 26 Aug

The folk-tale telling, NYC-hailing anti-punk hero plays a set with his new band, The Jrams.

FAR, FAR FROM YPRES

BAD MANIFEST (NO FORM + JASON AND THE ARGONAUTS + BLACK COP)

OPIUM, 20:00–22:30, £TBC

BANNERMANS, 20:00–23:00, £5

The Stornoway thrashers deliver their usual wall of head-banging, foot-stomping fuzz.

DANIEL PADDEN + WOUNDED KNEE

The high energy Scottish blues outfit head up a night of acoustic and up-tempo electric blues.

The indie rock scamps return with their generally stage-stomping bag o’ tunes.

THE BROKEN RAVENS (MASON HILL + THE DRAYNES)

SCOTTISH STORYTELLING CENTRE, 17:00–18:00, £8 (£6)

MAIN STREET BLUES

THE ELLIES

BANNERMANS, 20:00–23:00, £5

West London quartet of the punkmeets-indie-meets-pop variety.

Gloomy electronic trip-hop from the Edinburgh-based noisemakers, playing an intimate in-store session at Elvis Shakespeare.

Preview of a new work by Daniel Padden and Wounded Knee, commissioned by The Glad Cafe for the Made In Scotland showcase during the Edinburgh Fringe – showcasing a new song cycle celebrating the seasons, inspired by Edinburgh and the Pentland Hills.

The Scottish singer/songwriter – famous for his role as a founding member of Del Amitri – plays two gigs on the same evening (7pm & 9.45pm), previewing tracks from his third solo LP.

THE CHAIR

THE QUEEN’S HALL, 22:30–00:00, £13

BEEFHEART AND CHEEZE

HENRY’S CELLAR BAR, 20:00–22:00, £9 (£7)

The music of avant-rock icon Captain Beefheart interpreted by sax/guitar/bass/drums outfit Orange Claw Hammer.

STANLEY BRINKS AND THE WAVE PICTURES

SNEAKY PETE’S, 19:00–22:00, £7

The former Herman Dune man plays backed by English rockers, The Wave Pictures, still riding high on the back of their first joint release in four years.

ACTION BEAT (SILENT FRONT)

OPIUM, 20:00–22:30, £5

Multi-drum kit bashing noise rockers all sonically malevolent in their approach.

Sat 23 Aug

RANDOLPH’S LEAP (TUFF LOVE)

ELECTRIC CIRCUS, 19:00–22:00, £8

The Glasgow melody merchants continue to twist the folk-pop genre into odd knots, creating witty ear-worms of joy as they go.

QUIET AS A MOUSE

SCOTTISH ENSEMBLE: COMMONWEALTH STRINGS

THE QUEEN’S HALL, 11:00–13:00, FROM £8.50

14 musicians from the Scottish Ensemble are joined by 14 of the talented pre-professional young string players from across the Commonwealth, creating a unique double string orchestra as they go.

Wed 27 Aug NICK WATERHOUSE

ELECTRIC CIRCUS, 19:00–22:00, £12

The 1950s influenced soul singer returns to the UK in support of his second LP, Holly.

Thu 28 Aug ABSOLVA

BANNERMANS, 19:30–23:00, £7

Classic metal unit hailing from Manchester, upholding the British tradition of twin lead guitars.

THE PALE IMITATION FESTIVAL (EAGLEOWL + IAN HUMBERSTONE) HENRY’S CELLAR BAR, 19:30–22:30, £5 (£25 FESTIVAL PASS)

DIY label and blogger Song, By Toad brightens August with a series of special music outings – under the banner The Pale Imitation Festival – focusing on showcasing quality local acts and providing a refreshing enclave from the hubbub of the Fringe.

Fri 29 Aug FRANTIC CHANT

HENRY’S CELLAR BAR, 19:00–22:00, £5

Nuggets-era garage, shoegaze and psych-rock scamps, mixing it up for your general rockin’ and rollin’ pleasure.

JESUS H. FOXX (BATTERY FACE)

ELECTRIC CIRCUS, 19:00–22:00, £6

Edinburgh’s own tight indie-pop ensemble make all the noise a drummer, three guitarists, one bassist and one multi-instrumentalist percussion bashing cornet player can. And everyone sings!

THE CUNDEEZ (SNIPES + NINE BULLETS)

CITRUS CLUB, 19:00–22:00, £7

SNEAKY PETE’S, 19:00–22:00, £5

The Dundee folk-rockers do their thing, fusing raw Dundee dialect with punching guitars, pounding drums and the occasional bagpipes.

THE PALE IMITATION FESTIVAL (LAW + NUMBERS ARE FUTILE + WOZNIAK)

Sat 30 Aug

HENRY’S CELLAR BAR, 19:30–22:30, £5 (£25 FESTIVAL PASS)

THE LIQUID ROOM, 19:00–22:00, £10

Edinburgh indie-meets-country quartet riding along on mainman Alex Moran’s vocals, guitar and harmonica-playing.

DIY label and blogger Song, By Toad brightens August with a series of special music outings – under the banner The Pale Imitation Festival – focusing on showcasing quality local acts and providing a refreshing enclave from the hubbub of the Fringe.

FERRIC

Edinburgh-based alternative indie-rock quintet led by Cal Black.

THE PALE IMITATION FESTIVAL (PAWS + ET TU BRUTE + HALFRICAN)

HENRY’S CELLAR BAR, 19:30–22:30, £5 (£25 FESTIVAL PASS)

DIY label and blogger Song, By Toad brightens August with a series of special music outings – under the banner The Pale Imitation Festival – focusing on showcasing quality local acts and providing a refreshing enclave from the hubbub of the Fringe.

THE SKINNY

TORN FACE (THE FALLING RAIN + ISLASORNA + SAPIEN + DCON) OPIUM, 19:00–22:30, £5

All-out metal racket, featuring members of Dog Tired, Firebrand Super Rock and Lucifer’s Corpus.

MARTYN MCKENZIE

WEE RED BAR, 19:00–22:00, £3 ADV. (£5 DOOR)

The Edinburgh-based folk singer/ songwriter launches his self released debut EP, Old Lands.

Sun 31 Aug PAST THE FALL

BANNERMANS, 20:00–23:00, £6

More groove metal chaos fresh from the streets of London.

YOUR NEXT FAVOURITE BAND

HENRY’S CELLAR BAR, 19:00–01:00, FREE

A selection of six alternative upand-comers fight it out to be your ‘next favourite band’, with two of them being invited back for a cash prize final.

Dundee Music Thu 31 Jul

PIGSASPEOPLE (OWLS IN ANTARCTICA + SALEMSTREET)

NON-ZERO’S, 19:30–22:00, £TBC

Belfast-based noise rock trio built on a minimalistic set up of voice, guitar, bass and drums.

Wed 06 Aug DUKE SPECIAL

BEAT GENERATOR LIVE!, 19:30–23:00, £10

Belfast piano-based folk songwriter with a distinctly accented voice and some even more distinctive dreadlocks.

Tue 19 Aug

JEFFREY LEWIS AND THE JRAMS (SETH FAERGOLZIA + BILLY LIAR + ESPERI) KAGE, 19:30–22:00, £5

The folk-tale telling, NYC-hailing anti-punk hero plays a set with his new band, The Jrams.

Thu 21 Aug

WILLIAM CONTROL (ASHESTOANGELS + BAD POLLYANNA + SUNRISE ) NON-ZERO’S, 19:00–23:30, £7.50

Electronic side project of Aiden’s William Francis, touring on the back of his third LP.

Sat 23 Aug

TORSTEN LAUSCHMANN + REBECCA WILCOX = ROB CHURM + TUT VU VU

DCA, 18:00–21:00, FREE (BUT TICKETED)

Closing party for DCA’s Continue Without Losing Consciousness exhibition – offering a last chance to view, plus live sets from Torsten Lauschmann, Rebecca Wilcox, Rob Churm and Tut Vu Vu. And all for gratis!

Thu 28 Aug

SCOTTISH ENSEMBLE: COMMONWEALTH STRINGS

CAIRD HALL, 19:30–22:00, £12

14 musicians from the Scottish Ensemble are joined by 14 of the talented pre-professional young string players from across the Commonwealth, creating a unique double string orchestra as they go.

BLAZIN’ FIDDLES

THE GARDYNE THEATRE, 19:30–22:00

Contemporary fiddle troupe hailing from the Highlands and Islands, mixing it up with sympathetic keyboard and guitar arrangements.

Glasgow Clubs Tue 29 Jul KILLER KITSCH

BUFF CLUB, 23:00–03:00, £5 (£3)

The Killer Kitsch residents take charge – eight years old and still offering up the best in house, techno and electronic. #TAG

THE GARAGE, 22:30–03:00, £6 (£4)

Weekly party with Jimmy 11, complete with a hot tub and giant inflatables, because that’s obvs a normal Tuesday night out.

I AM (OTOLOGIC)

SUB CLUB, 23:00–03:00, £5

Resident i AM young guns Beta & Kappa welcome Melbourne-based dancefloor destroyers Otologic for a guest set, travelling many a mile to be there.

Wed 30 Jul DISCO RIOT

THE GARAGE, 23:00–03:00, £6 (£4)

Disco-styled party night with Alfredo Crolla spinning a selection of favourites, bolstered by karaoke sessions and popcorn stalls, just, y’know, cos.

BEAST WEDNESDAYS

CATHOUSE, 23:00–03:00, £4 (£2)

The midweek residents serve up their usual rammy of pop-punk and hardcore, whilst the bar doles out lethally alcoholic slushies. Slurp.

SUB ROSA (SILICONE SOUL)

SUB CLUB, 23:00–03:00, £5

Subbie’s regular student night with residents Ray Vose and Desoto at the helm, joined by a guest or two – this time in the form of Silicone Soul.

Thu 31 Jul NEVERLAND

THE GARAGE, 23:00–03:00, £6 (£4)

Themed fun night complete with a live Twitter feed and a bouncy castle for added LOLs. R.U.IN THURSDAYS

CATHOUSE, 23:00–03:00, £4 (£2)

Rock, metal and emo playlists, plus guest DJs mixing it up in the Jager Bar. HIP HOP THURSDAYS

BUFF CLUB, 23:00–03:00, £3

Early weekend party starter, with Euan Neilson playing the best in classic r’n’b and hip-hop.

JELLY BABY

O2 ABC, 23:00–03:00, £4

Thursday nighter of chart, disco and party tunes. Can’t say fairer.

OUTBURST

SHED, 23:00–03:00, FREE (£3 (£2) AFTER 11)

Student-friendly night with DJs Redmond McDonald and Callum Clarke playing a mix of dance, pop, rock and r’n’b.

Fri 01 Aug OLD SKOOL

BUFF CLUB, 23:00–03:00, £7 (£6)

New gay indie night on the block, with a playlist that mixes classic Bowie, The Smiths and Blondie et al alongside new kids like Django Djanjo and Grimes.

VICIOUS CREATURES

THE BERKELEY SUITE, 23:00–03:00, £5

Fledgling party night intent on breaking free from the chains of normality (aka expect the unexpected).

FRESH BEATS

THE GARAGE, 23:00–03:00, £7 (£5)

Split up night of chart classics in the main hall and underground hip-hop in the wee room.

ROOTOFSOUND

BLOC+, 23:00–03:00, FREE (£2 AFTER 12)

Friday night party playing alternative pop smashed into cuts of house.

ASIAN DUB FOUNDATION: AFTERSHOW DJ SET

O2 ABC, 22:00–03:00, £10

The genre-traversing big beat collective follow their live gig with a DJ after-show, joined by gig support MC Soom T. WE SHOULD HANG OUT MORE

LA CHEETAH CLUB, 23:00–03:00, £5

Launch of an all-new disco night, kicking off with a residentmanned showcase worshiping disco in all its forms.

OPTIMO: SUMMER RESIDENTS PARTY

SUB CLUB, 23:00–03:00, £TBC

Optimo tagteam JD Twitch and JG Wilkes curate an evening of summer-themed shenanigans, manning the decks themselves from start to close.

Sat 02 Aug NU SKOOL

BUFF CLUB, 23:00–03:00, £7 (£6)

Nick Peacock spins a Saturdayready selection of vintage disco, soul and funk.

BLACK TENT

NICE ‘N’ SLEAZY, 23:30–03:00, £3

Indie, electro and anything inbetween with Pauly (My Latest Novel), and Simin and Steev (Errors).

ABSOLUTION

CLASSIC GRAND, 22:30–03:00, £6

Alternative weekend blowout, taking in metal, industrial, pop-punk, rock, emo and ska soundscapes over two floors.

SUBCULTURE

SUB CLUB, 23:00–03:00, £8

Long-running house night with regulars Harri & Domenic manning the decks all night long.

CATHOUSE SATURDAYS

CATHOUSE, 22:30–03:00, £6 (£4)

Punk, rock and metallic selection of beats spun by DJs Billy and Muppet.

THE ROCK SHOP

MAGGIE MAY’S, 22:00–03:00, FREE (£5/£3 STUDENT AFTER 12)

Connoisseur’s mix of old-school jazz, funk and soul for your Friday dancing pleasure.

Rock, indie and golden indie classics with resident DJ Heather McCartney.

CLASSIC GRAND, 23:00–03:00, £6

O2 ABC, 23:00–03:00, £5

DAMNATION

LOVE MUSIC

Two floors of the best in rock, metal and industrial tunes picked out by DJ Barry and DJ Tailz.

Saturday night disco manned by Gerry Lyons and guests.

O2 ABC, 23:00–03:00, £5

Student superclub cramming in everything from hip-hop to dance, and funk to chart.

PROPAGANDA

Student-orientated night playing the best in new and classic indie music.

CATHOUSE FRIDAYS

CATHOUSE, 22:30–03:00, £6 (£4)

Residents night of rock, metal, punk and emo over three rooms.

JAMMING FRIDAYS

MAGGIE MAY’S, 22:00–03:00, FREE (£5/£3 STUDENT AFTER 12)

Indie rock’n’roll from the 60s to the 00s, with resident tune-picker DJ Jopez.

THE BIG CHEESE

SHED, 22:30–03:00, FREE (£6/£4 STUDENT AFTER 11)

Student-friendly Friday night party playing – as one might expect – cheesy classics of every hue.

HARSH TUG

NICE ‘N’ SLEAZY, 23:30–03:00, £3

Hip-hop and gangsta rap brought to you by the Notorious B.A.G and pals.

August 2014

YES! THE FLYING DUCK, 23:00–03:00, £5 (£3)

I HEART GARAGE SATURDAYS

THE GARAGE, 23:00–03:00, £7 (£5)

SUPERMAX

THE BERKELEY SUITE, 23:00–03:00, £5

A taste of the decadent sound systems of NYC’s disco era with yer main man Billy Woods.

THE SHED SATURDAYS

ANIMAL FARM: OSTGUT TON SHOWCASE (MARCEL DETTMANN + FUNCTION + ANSWER CODE REQUEST + MARTYN + RYAN ELLIOT + ECHOPLEX + QUAIL + LAMB + TURTLE) THE ART SCHOOL, 18:00–03:00, £30

Animal Farm get their party on for what will be the first Ostgut Ton label showcase in Scotland, assembling a crack team from the label to represent the Berlin behemoth in Glasgow.

DEATHKILL 4000 (SLUTS OF TRUST)

BLOC+, 23:00–03:00, FREE (£2 AFTER 12)

Industro-rock noise party with live players and bespoke visuals to boot, this time soundtracked by the glorious return of Glasgow’s own Sluts Of Trust.

LET’S GO BACK... WAY BACK! (BOB JEFFRIES)

LA CHEETAH CLUB, 22:00–03:00, £5 (£7 AFTER 11)

Southport Weekender resident Bob Jeffries joins Let’s Go Back... chappies Bosco and Rob Mason for another acid-house, techno and rave trip into the unknown.

Sun 03 Aug SUNDAY ROASTER

THE GARAGE, 23:00–03:00, £4

Residents Garry and Andrew incite more mayhem than should really be allowed on the Sabbath, taking in chart anthems, mash-ups and requests.

HAIR OF THE CAT

CATHOUSE, 23:00–03:00, £2 (£1)

Sabbath-bothering mix of rock, metal and punk, with rotating DJs and punter requests accepted all night long.

BLEACH

CLASSIC GRAND, 23:00–04:00, £4

Occasional night worshiping at the altar of all things 90s rock.

TELL ALL YOUR FRIENDS

CLASSIC GRAND, 23:00–04:00, £5

Fledgling night dedicated to 00s tunes only, across the spectrum of emo, alternative rock, pop-punk and post-hardcore.

MELTING POT: BANK HOLIDAY SPECIAL (SADAR BAHAR)

SUB CLUB, 23:00–03:00, £8 ADV. (£10 DOOR)

The Melting Pot residents celebrate the bank holiday weekend in style, presenting a debut set from rare records aficionado, Sadar Bahar.

Mon 04 Aug BURN

BUFF CLUB, 23:00–03:00, £5 (£3/FREE WITH WAGE SLIP)

Long-running trade night with Normski, Zeus and Mash spinning the disco beats.

SPACE INVADER

THE GARAGE, 23:00–03:00, £6 (£4)

Andy R plays chart hits and requests past and present, while DJ David Lo Pan holes up in The Attic playing retro classics.

Tue 05 Aug KILLER KITSCH

BUFF CLUB, 23:00–03:00, £5 (£3)

The Killer Kitsch residents take charge – eight years old and still offering up the best in house, techno and electronic. #TAG

THE GARAGE, 22:30–03:00, £6 (£4)

Weekly party with Jimmy 11, complete with a hot tub and giant inflatables, because that’s obvs a normal Tuesday night out.

I AM: JAMAICAN INDEPENDENCE (MUNGO’S HI-FI) SUB CLUB, 23:00–03:00, £TBC

The Shed’s mainman Andy Robertson spins ‘charty poppy party classics’ for all yer Saturday night dancing needs.

Resident young guns Beta & Kappa host a reggae-themed special in celebration of Jamaican independence, joined by guest selectors Mungo’s Hi-Fi.

THE FLYING DUCK, 23:00–03:00, £5 (£3)

Wed 06 Aug

SHED, 22:30–03:00, £7 (£5)

GIMME SHELTER

Varied night moving from the 50s to present day, via selections of rock’n’roll, soul, garage, psych and r’n’b.

CLUB NOIR: 10TH BIRTHDAY

O2 ACADEMY, 21:00–03:00, £15.50

Glasgow’s burlesque star teasers host a Commonwealth Carnivalthemed 10th birthday party, taking in 20 live burlesque and cabaret acts, plus live bands and DJs.

TAKE IT SLEAZY

NICE ‘N’ SLEAZY, 23:30–03:00, FREE

An unabashed mix of 80s pop, electro and nu-disco. They will play Phil Collins.

SUB ROSA

SUB CLUB, 23:00–03:00, £5

Subbie’s regular student night with residents Ray Vose and Desoto at the helm, playing back-to-back all night long.

DISCO RIOT THE GARAGE, 23:00–03:00, £6 (£4)

Disco-styled party night with Alfredo Crolla spinning a selection of favourites, bolstered by karaoke sessions and popcorn stalls, just, y’know, cos.

BEAST WEDNESDAYS

CATHOUSE, 23:00–03:00, £4 (£2)

The midweek residents serve up their usual rammy of pop-punk and hardcore, whilst the bar doles out lethally alcoholic slushies. Slurp.

Thu 07 Aug DANSE MACABRE

CLASSIC GRAND, 23:00–03:00, £4

The Danse Macabre regulars unite those two happiest of bedfellows, goth rock and, er, classic disco, in their regular home of Classic Grand.

NEVERLAND

THE GARAGE, 23:00–03:00, £6 (£4)

Themed fun night complete with a live Twitter feed and a bouncy castle for added LOLs. R.U.IN THURSDAYS

CATHOUSE, 23:00–03:00, £4 (£2)

Rock, metal and emo playlists, plus guest DJs mixing it up in the Jager Bar. HIP HOP THURSDAYS

BUFF CLUB, 23:00–03:00, £3

Early weekend party starter, with Euan Neilson playing the best in classic r’n’b and hip-hop.

JELLY BABY

O2 ABC, 23:00–03:00, £4

Thursday nighter of chart, disco and party tunes. Can’t say fairer.

HIDE (QUELL)

SUB CLUB, 23:00–03:00, £TBC

Following their triumphant launch earlier in the year, the August edition of Hide finds ‘em welcoming genre-defying Berlin chappie, Quell.

Fri 08 Aug OLD SKOOL

BUFF CLUB, 23:00–03:00, £7 (£6)

Connoisseur’s mix of old-school jazz, funk and soul for your Friday dancing pleasure.

DAMNATION

CLASSIC GRAND, 23:00–03:00, £6

Two floors of the best in rock, metal and industrial tunes picked out by DJ Barry and DJ Tailz.

KINO FIST

NICE ‘N’ SLEAZY, 23:30–03:00, £3

Genre-spanning mix of 60s psych, leftfield pop and Krautrock with resident Charlotte (of Muscles of Joy).

PROPAGANDA

O2 ABC, 23:00–03:00, £5

Student-orientated night playing the best in new and classic indie music.

CATHOUSE FRIDAYS

CATHOUSE, 22:30–03:00, £6 (£4)

Residents night of rock, metal, punk and emo over three rooms.

WILD COMBINATION

THE BERKELEY SUITE, 23:00–03:00, £5

Kilmarnock’s hairy disco legend, David Barbarossa, digs out some disco, Afro, drunk funk and late night party jams under a strobelight moon.

COMMON PEOPLE

THE FLYING DUCK, 21:00–03:00, £5 (£3)

Celebration of all things 90s, with hits a-plenty and a pre-club bingo session.

JAMMING FRIDAYS

MAGGIE MAY’S, 22:00–03:00, FREE (£5/£3 STUDENT AFTER 12)

Indie rock’n’roll from the 60s to the 00s, with resident tune-picker DJ Jopez.

THE BIG CHEESE

SHED, 22:30–03:00, FREE (£6/£4 STUDENT AFTER 11)

Student-friendly Friday night party playing – as one might expect – cheesy classics of every hue.

FRESH BEATS

THE GARAGE, 23:00–03:00, £7 (£5)

Split up night of chart classics in the main hall and underground hip-hop in the wee room.

ENJOYABLE MOVEMENT

BLOC+, 23:00–03:00, FREE

The Cosmic Dead chaps trip out with an evening of rollin’ Krautrock DJing for your general aural pleasure.

PLAID (NONIMA + BIOTRON) THE ART SCHOOL, 23:00–03:00, £8 ADV. (£10 DOOR)

Celebrating their 10th album and a quarter century of work together, Ed Handley and Andy Turner (aka Plaid) return to Glasgow with a groundbreaking new live A/V set, featuring reworked material from their latest album, Reachy Prints, and more besides.

RETURN TO MONO (ALAN FITZPATRICK)

SUB CLUB, 23:00–03:00, £TBC

Monthly night from Soma Records, this time playing host to techno specialist Alan Fitzpartrick – who’ll be doling out the thumping bass until the wee hours.

Sat 09 Aug NU SKOOL

BUFF CLUB, 23:00–03:00, £7 (£6)

Nick Peacock spins a Saturdayready selection of vintage disco, soul and funk.

ABSOLUTION

CLASSIC GRAND, 22:30–03:00, £6

Alternative weekend blowout, taking in metal, industrial, pop-punk, rock, emo and ska soundscapes over two floors.

CATHOUSE SATURDAYS

CATHOUSE, 22:30–03:00, £6 (£4)

Punk, rock and metallic selection of beats spun by DJs Billy and Muppet.

THE ROCK SHOP

MAGGIE MAY’S, 22:00–03:00, FREE (£5/£3 STUDENT AFTER 12)

Rock, indie and golden indie classics with resident DJ Heather McCartney.

LOVE MUSIC

O2 ABC, 23:00–03:00, £5

Saturday night disco manned by Gerry Lyons and guests.

I HEART GARAGE SATURDAYS

THE GARAGE, 23:00–03:00, £7 (£5)

Student superclub cramming in everything from hip-hop to dance, and funk to chart.

Mon 11 Aug BURN

BUFF CLUB, 23:00–03:00, £5 (£3/FREE WITH WAGE SLIP)

Long-running trade night with Normski, Zeus and Mash spinning the disco beats.

SPACE INVADER

THE GARAGE, 23:00–03:00, £6 (£4)

Andy R plays chart hits and requests past and present, while DJ David Lo Pan holes up in The Attic playing retro classics.

Tue 12 Aug KILLER KITSCH

BUFF CLUB, 23:00–03:00, £5 (£3)

The Killer Kitsch residents take charge – eight years old and still offering up the best in house, techno and electronic.

I AM

SUB CLUB, 23:00–03:00, £TBC

Resident young guns Beta & Kappa play the usual fine mix of electronica and bass, with a special guest or two oft in tow. #TAG

THE GARAGE, 22:30–03:00, £6 (£4)

THE GARAGE, 23:00–03:00, £6 (£4)

Disco-styled party night with Alfredo Crolla spinning a selection of favourites, bolstered by karaoke sessions and popcorn stalls, just, y’know, cos.

BEAST WEDNESDAYS

CATHOUSE, 23:00–03:00, £4 (£2)

The midweek residents serve up their usual rammy of pop-punk and hardcore, whilst the bar doles out lethally alcoholic slushies. Slurp.

NO GLOBE

THE ART SCHOOL, 23:00–03:00, FREE

SUB ROSA (DOK DANEEKA)

The Shed’s mainman Andy Robertson spins ‘charty poppy party classics’ for all yer Saturday night dancing needs.

Subbie’s regular student night with residents Ray Vose and Desoto at the helm, this edition joined by Welsh-born, Berlin-based house master, Dok Daneeka.

NICE ‘N’ SLEAZY, 23:30–03:00, £3

Thu 14 Aug

WRONG ISLAND

ODDIO

THE BERKELEY SUITE, 23:00–03:00, £5

Monthly residency manned by Weegie stalwart Jim Hutchison, bolstered by live visuals from Florence To.

FOR THE RECORD (DOMINIC MARTIN VS ILLYUS + BARRIENTOS)

LA CHEETAH CLUB, 23:00–03:00, FREE (£5 AFTER 12)

The For The Record lot present a Glasgow special, featuring Lost My Dog’s Dominic Martin back-to-back with Illyus and Barrientos.

DOPPLEREFFEKT + OBJEKT

SWG3, 22:00–03:00, £10 (£8)

Legendary Detroit outfit Dopplereffekt and Hessle Audio affiliate Objekt play a double headline set, still riding high on their joint release earlier in the year.

THE FLYING DUCK’S 7TH BIRTHDAY PROMCOMING

THE FLYING DUCK, 23:00–03:00, £5

The Flying Duck host their usual fun birthday bash, this time with a ‘promcoming’ theme to proceedings – promising live acts, DJs and lots of dancing.

SUBCULTURE (SLAM + SILICONE SOUL)

SUB CLUB, 23:00–03:00, £10

Long-running house night, with regulars Harri & Domenic joined by Slam and Silicone Soul for a double dose of guest action.

Sun 10 Aug SUNDAY ROASTER

THE GARAGE, 23:00–03:00, £4

Residents Garry and Andrew incite more mayhem than should really be allowed on the Sabbath, taking in chart anthems, mash-ups and requests.

HAIR OF THE CAT

CATHOUSE, 23:00–03:00, £2 (£1)

Sabbath-bothering mix of rock, metal and punk, with rotating DJs and punter requests accepted all night long.

FRESH BEATS

THE GARAGE, 23:00–03:00, £10 (£8)

Split up night of chart classics in the main hall and underground hip-hop in the wee room.

KAPITAL (GUI BORATTO)

SWG3, 23:00–03:00, £15 ADV. (£17.50 THEREAFTER)

The Kapital crew welcome Brazilian DJ and producer Gui Boratto for his Scottish debut, bolstered by residents Barry O’Connell and Brad Charters on support.

MOOD HUT (PENDER STREET STEPPERS + HASHMAN DEEJAY + BAKE) LA CHEETAH CLUB, 23:00–03:00, £10

THE FLYING DUCK, 23:00–03:00, £5 (£3)

DISCO RIOT

SUB CLUB, 23:00–03:00, £TBC

The legendary Teamy and Dirty Larry spin some fresh electronics for your aural pleasure.

Student-friendly Friday night party playing – as one might expect – cheesy classics of every hue.

Wed 13 Aug

THE SHED SATURDAYS

SHED, 22:30–03:00, £7 (£5)

THE BIG CHEESE

SHED, 22:30–03:00, FREE (£6/£4 STUDENT AFTER 11)

La Cheetah play home to a Mood Hut label showcase, featuring Pender Street Steppers, Hashman Deejay and Glasgow native, Bake.

BLOC+, 23:00–03:00, FREE (£2 AFTER 12)

Messy Saturday night uber-disco featuring a rotating schedule of live talent.

Indie rock’n’roll from the 60s to the 00s, with resident tune-picker DJ Jopez.

Weekly party with Jimmy 11, complete with a hot tub and giant inflatables, because that’s obvs a normal Tuesday night out.

The No Globe posse play their frenetic night of party music beyond borders, with live visuals and free entry for all.

FANTASTIC MAN

JAMMING FRIDAYS MAGGIE MAY’S, 22:00–03:00, FREE (£5/£3 STUDENT AFTER 12)

NEVERLAND

THE GARAGE, 23:00–03:00, £6 (£4)

Themed fun night complete with a live Twitter feed and a bouncy castle for added LOLs. R.U.IN THURSDAYS

CATHOUSE, 23:00–03:00, £4 (£2)

Rock, metal and emo playlists, plus guest DJs mixing it up in the Jager Bar. HIP HOP THURSDAYS

BUFF CLUB, 23:00–03:00, £3

INTERGALACTIC

Space and sci-fi themed night with Sci_Fi Steven and Gav Dunbar playing the best in star-crunching party tunes, or summat.

HOT WAX (MAX GRAEF)

THE BERKELEY SUITE, 22:30–03:00, £7 ADV. (£8/£10 DOOR)

The Hot Wax residents continue their new residency with a set from boundary-pushing Berlin DJ/ producer, Max Graef – a young chap already with a string of releases on his own label, as well as on Detroit Swindle’s Heist recordings.

ROUTE 94

SUB CLUB, 23:00–03:00, £10

After their Subbie debut in May, the Route 94 residents return to play s’more feverish dancefloor bangers to a party-ready crowd.

Sat 16 Aug NU SKOOL

BUFF CLUB, 23:00–03:00, £7 (£6)

Nick Peacock spins a Saturdayready selection of vintage disco, soul and funk.

ABSOLUTION

CLASSIC GRAND, 22:30–03:00, £6

Alternative weekend blowout, taking in metal, industrial, pop-punk, rock, emo and ska soundscapes over two floors.

CATHOUSE SATURDAYS

CATHOUSE, 22:30–03:00, £6 (£4)

Punk, rock and metallic selection of beats spun by DJs Billy and Muppet.

THE ROCK SHOP

MAGGIE MAY’S, 22:00–03:00, FREE (£5/£3 STUDENT AFTER 12)

Early weekend party starter, with Euan Neilson playing the best in classic r’n’b and hip-hop.

Rock, indie and golden indie classics with resident DJ Heather McCartney.

O2 ABC, 23:00–03:00, £4

O2 ABC, 23:00–03:00, £5

JELLY BABY

Thursday nighter of chart, disco and party tunes. Can’t say fairer.

SHOW (BEN PEARCE + ILLYUS + THEO KOTIS)

SUB CLUB, 23:00–03:00, £TBC

The Show troupe kick off their brand new Thursday nighter with a triple whammy of guest action – with Purp and Soul’s top man, Ben Pearce, joined by support slots from Illyus and Theo Kotis.

Fri 15 Aug OLD SKOOL

BUFF CLUB, 23:00–03:00, £7 (£6)

Connoisseur’s mix of old-school jazz, funk and soul for your Friday dancing pleasure.

DAMNATION

CLASSIC GRAND, 23:00–03:00, £6

Two floors of the best in rock, metal and industrial tunes picked out by DJ Barry and DJ Tailz.

PROPAGANDA

O2 ABC, 23:00–03:00, £5

Student-orientated night playing the best in new and classic indie music.

CATHOUSE FRIDAYS

CATHOUSE, 22:30–03:00, £6 (£4)

Residents night of rock, metal, punk and emo over three rooms.

OSMIUM

NICE ‘N’ SLEAZY, 23:30–03:00, £3

Italo, disco, synthpop and funk with the e’er capable Osmium residents.

LOVE MUSIC

Saturday night disco manned by Gerry Lyons and guests.

I HEART GARAGE SATURDAYS

THE GARAGE, 23:00–03:00, £7 (£5)

Student superclub cramming in everything from hip-hop to dance, and funk to chart.

STRANGE PARADISE

NICE ‘N’ SLEAZY, 23:30–03:00, £3

Party night from floral-shirted Wild Combination man David Barbarossa, specializing in leftfield disco, post-punk and far-out pop.

THE SHED SATURDAYS

SHED, 22:30–03:00, £7 (£5)

The Shed’s mainman Andy Robertson spins ‘charty poppy party classics’ for all yer Saturday night dancing needs.

SUBCULTURE (ÂME)

SUB CLUB, 23:00–03:00, £14

Long-running house night with regulars Harri & Domenic this time joined by German duo Kristian Beyer and Frank Wiedemann (aka Âme) for a deck takeover.

MADE IN GLASGOW (REBECCA VASMANT + BOSCO + KEV KEIRNAN)

LA CHEETAH CLUB, 23:00–03:00, £5

A new venture from the Let’s Go Back... team, with residents Rebecca Vasmant, Bosco and Kev Keirnan playing selections of synth, techno, acid and electronica.

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THE SKINNY

SELECTED SERVICE #3: WARP THE FLYING DUCK, 23:00–03:00, £5 (£3)

Playing tunes from one record label all night long, Steev Livingstone and Jer Reid cherrypick the finest electronic beats from artists on the Warp Records roster.

TYCI (SWIM TEAM + ALL THE RAGE DJS)

STEREO, 23:00–03:00, FREE (£2 AFTER 12)

The all-female collective, blog and fanzine up sticks to Stereo for the month (while their regular Bloc+ lair has a refit), joined by theatrical pop outfit Swim Team and the All The Rage DJs.

Sun 17 Aug SUNDAY ROASTER

THE GARAGE, 23:00–03:00, £6 (£4)

Residents Garry and Andrew incite more mayhem than should really be allowed on the Sabbath, taking in chart anthems, mash-ups and requests.

HAIR OF THE CAT

CATHOUSE, 23:00–03:00, £2 (£1)

Sabbath-bothering mix of rock, metal and punk, with rotating DJs and punter requests accepted all night long.

Fri 22 Aug OLD SKOOL

BUFF CLUB, 23:00–03:00, £7 (£6)

Connoisseur’s mix of old-school jazz, funk and soul for your Friday dancing pleasure.

DAMNATION

CLASSIC GRAND, 23:00–03:00, £6

Two floors of the best in rock, metal and industrial tunes picked out by DJ Barry and DJ Tailz.

PROPAGANDA

O2 ABC, 23:00–03:00, £5

Student-orientated night playing the best in new and classic indie music.

CATHOUSE FRIDAYS

CATHOUSE, 22:30–03:00, £6 (£4)

Residents night of rock, metal, punk and emo over three rooms.

JAMMING FRIDAYS

MAGGIE MAY’S, 22:00–03:00, FREE (£5/£3 STUDENT AFTER 12)

Indie rock’n’roll from the 60s to the 00s, with resident tune-picker DJ Jopez.

THE BIG CHEESE

SHED, 22:30–03:00, FREE (£6/£4 STUDENT AFTER 11)

BURN

Student-friendly Friday night party playing – as one might expect – cheesy classics of every hue.

BUFF CLUB, 23:00–03:00, £5 (£3/FREE WITH WAGE SLIP)

LA CHEETAH CLUB, 23:00–03:00, £TBC

Mon 18 Aug Long-running trade night with Normski, Zeus and Mash spinning the disco beats.

SPACE INVADER

THE GARAGE, 23:00–03:00, £6 (£4)

Andy R plays chart hits and requests past and present, while DJ David Lo Pan holes up in The Attic playing retro classics.

Tue 19 Aug KILLER KITSCH

BUFF CLUB, 23:00–03:00, £5 (£3)

The Killer Kitsch residents take charge – eight years old and still offering up the best in house, techno and electronic. #TAG

THE GARAGE, 22:30–03:00, £6 (£4)

Weekly party with Jimmy 11, complete with a hot tub and giant inflatables, because that’s obvs a normal Tuesday night out.

I AM (HUSH + KAPPA)

SUB CLUB, 23:00–03:00, £TBC

With Beta away, i AM’s fellow resident, Kappa, invites yer man Hush over to play.

Wed 20 Aug NOT MOVING

NICE ‘N’ SLEAZY, 23:30–03:00, FREE

South African house, grime, jungle, r’n’b and hauntology – a tropical mix, ayes.

DISCO RIOT

THE GARAGE, 23:00–03:00, £6 (£4)

Disco-styled party night with Alfredo Crolla spinning a selection of favourites, bolstered by karaoke sessions and popcorn stalls, just, y’know, cos.

BEAST WEDNESDAYS

CATHOUSE, 23:00–03:00, £4 (£2)

The midweek residents serve up their usual rammy of pop-punk and hardcore, whilst the bar doles out lethally alcoholic slushies. Slurp.

NIGHT OF THE JAGUAR

THE ART SCHOOL, 23:00–03:00, FREE

The NOTJ collective nestle into their residency on the Art School roster, known for their love of all things musically unusual.

SUB ROSA (DIXON AVENUE BASEMENT JAMS)

SUB CLUB, 23:00–03:00, £TBC

Subbie’s regular student night with residents Ray Vose and Desoto at the helm, this edition joined by ultra hip Glasgow imprint, Dixon Avenue Basement Jams.

Thu 21 Aug NEVERLAND

THE GARAGE, 23:00–03:00, £6 (£4)

Themed fun night complete with a live Twitter feed and a bouncy castle for added LOLs. R.U.IN THURSDAYS

CATHOUSE, 23:00–03:00, £4 (£2)

Rock, metal and emo playlists, plus guest DJs mixing it up in the Jager Bar. HIP HOP THURSDAYS

BUFF CLUB, 23:00–03:00, £3

Early weekend party starter, with Euan Neilson playing the best in classic r’n’b and hip-hop.

JELLY BABY

O2 ABC, 23:00–03:00, £4

Thursday nighter of chart, disco and party tunes. Can’t say fairer.

August 2014

OFFBEAT

The Offbeat crew take to their now regular home of La Cheetah, with guests being kept under wraps for now.

FRESH BEATS

THE GARAGE, 23:00–03:00, £7 (£5)

Split up night of chart classics in the main hall and underground hip-hop in the wee room.

FANS ONLY

THE FLYING DUCK, 23:00–03:00, £5

One-off night dedicated to the sounds of Glasgow outfit Belle & Sebastian, alongside a few other indie favourites. All proceeds go to Sarcoma UK.

Sat 23 Aug NU SKOOL

BUFF CLUB, 23:00–03:00, £7 (£6)

Nick Peacock spins a Saturdayready selection of vintage disco, soul and funk.

ABSOLUTION

CLASSIC GRAND, 22:30–03:00, £6

Alternative weekend blowout, taking in metal, industrial, pop-punk, rock, emo and ska soundscapes over two floors.

SUBCULTURE

SUB CLUB, 23:00–03:00, £8

Long-running house night with regulars Harri & Domenic manning the decks all night long.

CATHOUSE SATURDAYS

CATHOUSE, 22:30–03:00, £6 (£4)

Punk, rock and metallic selection of beats spun by DJs Billy and Muppet.

THE ROCK SHOP

MAGGIE MAY’S, 22:00–03:00, FREE (£5/£3 STUDENT AFTER 12)

#NOTSOSILENT (LINKWOOD VS FUDGE FINGAS) LA CHEETAH CLUB, 23:00–03:00, £7 ADV. (£8 DOOR)

After the success of their London rooftop party, #notsosilent bring Linkwood and Fudge Fingas to La Cheetah Club for another special versus party, with residents Belch and Ray Philp on warm-up duties.

I AM (HORSE MEAT DISCO)

SUB CLUB, 23:00–03:00, £TBC

Resident young guns Beta & Kappa play the usual fine mix of electronica and bass, this edition holing up for a special Friday edition joined by legendary London duo Horse Meat Disco.

Sun 24 Aug SUNDAY ROASTER

THE GARAGE, 23:00–03:00, £4

Residents Garry and Andrew incite more mayhem than should really be allowed on the Sabbath, taking in chart anthems, mash-ups and requests.

HAIR OF THE CAT

CATHOUSE, 23:00–03:00, £2 (£1)

Sabbath-bothering mix of rock, metal and punk, with rotating DJs and punter requests accepted all night long.

Mon 25 Aug BURN

BUFF CLUB, 23:00–03:00, £5 (£3/FREE WITH WAGE SLIP)

Long-running trade night with Normski, Zeus and Mash spinning the disco beats.

SPACE INVADER

THE GARAGE, 23:00–03:00, £6 (£4)

Andy R plays chart hits and requests past and present, while DJ David Lo Pan holes up in The Attic playing retro classics.

Tue 26 Aug

SUB CLUB, 23:00–03:00, £TBC

Resident young guns Beta & Kappa play the usual fine mix of electronica and bass, with a special guest or two oft in tow. #TAG

THE GARAGE, 22:30–03:00, £6 (£4)

Weekly party with Jimmy 11, complete with a hot tub and giant inflatables, because that’s obvs a normal Tuesday night out.

Wed 27 Aug SUB ROSA

SUB CLUB, 23:00–03:00, £5

Subbie’s regular student night with residents Ray Vose and Desoto at the helm, playing back-to-back all night long.

SO WEIT SO GUT

NICE ‘N’ SLEAZY, 23:30–03:00, FREE

Disco-styled party night with Alfredo Crolla spinning a selection of favourites, bolstered by karaoke sessions and popcorn stalls, just, y’know, cos.

I HEART GARAGE SATURDAYS

THE GARAGE, 23:00–03:00, £7 (£5)

SINGLES NIGHT

THE FLYING DUCK, 23:00–03:00, £5 (£3)

Andy Divine and Chris Geddes’ gem of a night dedicated to 7-inch singles from every genre imaginable.

THUNDER DISCO CLUB

NICE ‘N’ SLEAZY, 23:30–03:00, £3

The Thunder Disco Club residents churn out the 90s house, techno and disco hits.

THE SHED SATURDAYS

SHED, 22:30–03:00, £7 (£5)

The Shed’s mainman Andy Robertson spins ‘charty poppy party classics’ for all yer Saturday night dancing needs.

HEADSTRONG (RANDOMER + J. TIJN + CLOUDS) THE ART SCHOOL, 23:00–03:00, £6

New world rave dance craze from the Animal Farm and Clouds bods.

THE FLYING DUCK, 23:00–03:00, £5 (£3)

DAMNATION

Two floors of the best in rock, metal and industrial tunes picked out by DJ Barry and DJ Tailz.

PROPAGANDA

O2 ABC, 23:00–03:00, £5

Student-orientated night playing the best in new and classic indie music.

MADCHESTER

THE ADMIRAL, 23:00–03:00, £9.50 ADV. (£10 DOOR)

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like.

CATHOUSE FRIDAYS

CATHOUSE, 22:30–03:00, £6 (£4)

Residents night of rock, metal, punk and emo over three rooms.

JAMMING FRIDAYS

MAGGIE MAY’S, 22:00–03:00, FREE (£5/£3 STUDENT AFTER 12)

Indie rock’n’roll from the 60s to the 00s, with resident tune-picker DJ Jopez.

THE BIG CHEESE

SHED, 22:30–03:00, FREE (£6/£4 STUDENT AFTER 11)

DISCO RIOT

THE GARAGE, 23:00–03:00, £6 (£4)

BEAST WEDNESDAYS

CATHOUSE, 23:00–03:00, £4 (£2)

The midweek residents serve up their usual rammy of pop-punk and hardcore, whilst the bar doles out lethally alcoholic slushies. Slurp.

Thu 28 Aug REVERB

SUB CLUB, 23:00–03:00, £TBC

Full-on techno dancefloor destruction with the Reverb crew at the helm.

NEVERLAND

THE GARAGE, 23:00–03:00, £6 (£4)

Themed fun night complete with a live Twitter feed and a bouncy castle for added LOLs. R.U.IN THURSDAYS

CATHOUSE, 23:00–03:00, £4 (£2)

Rock, metal and emo playlists, plus guest DJs mixing it up in the Jager Bar. HIP HOP THURSDAYS

BUFF CLUB, 23:00–03:00, £3

Early weekend party starter, with Euan Neilson playing the best in classic r’n’b and hip-hop.

JELLY BABY

O2 ABC, 23:00–03:00, £4

Thursday nighter of chart, disco and party tunes. Can’t say fairer.

HOUNDIN’ THE STREETS

Resident DJs Jer Reid, Martin Law and guests play music from, and some music inspired by, 1970s and early 80s NYC. THE SHED SATURDAYS

SHED, 22:30–03:00, £7 (£5)

The Shed’s mainman Andy Robertson spins ‘charty poppy party classics’ for all yer Saturday night dancing needs.

MISSING PERSONS CLUB

LA CHEETAH CLUB, 23:00–03:00, FREE

Residents-manned evening of the finest techno and house offerings from the MPC crew.

SUBCULTURE VS WAREHOUSE PROJECT

SUB CLUB, 23:00–03:00, £TBC

As part of Subculture’s 20th year celebrations, residents Harri & Domenic go head-to-head with Manchester’s heavyweight Warehouse Project residents.

Sun 31 Aug SUNDAY ROASTER

THE GARAGE, 23:00–03:00, £4

Student-friendly Friday night party playing – as one might expect – cheesy classics of every hue.

Residents Garry and Andrew incite more mayhem than should really be allowed on the Sabbath, taking in chart anthems, mash-ups and requests.

SUB CLUB, 23:00–03:00, £TBC

CATHOUSE, 23:00–04:00, £2 (£1)

SENSU BOAT PARTY: AFTER-PARTY (EATS EVERYTHING)

Official after-bash for Sensu’s boat party down’t the Clyde, with guest Eats Everything joining them on land for s’more deck action.

GLUE

HAIR OF THE CAT

Sabbath-bothering mix of rock, metal and punk, with rotating DJs and punter requests accepted all night long.

THE FLYING DUCK, 22:00–03:00, £5 (£3)

I AM

O2 ABC, 23:00–03:00, £5

Student superclub cramming in everything from hip-hop to dance, and funk to chart.

CLASSIC GRAND, 23:00–03:00, £6

Split up night of chart classics in the main hall and underground hip-hop in the wee room.

The party sounds of Ean, Smiddy and Kenny White on decks.

Saturday night disco manned by Gerry Lyons and guests.

Connoisseur’s mix of old-school jazz, funk and soul for your Friday dancing pleasure.

BUFF CLUB, 23:00–03:00, £7 (£6)

BUFF CLUB, 23:00–03:00, £5 (£3)

The Killer Kitsch residents take charge – eight years old and still offering up the best in house, techno and electronic.

A LOVE FROM OUTER SPACE THE BERKELEY SUITE, 23:00–03:00, £9

Andrew Weatherall and Sean Johnston’s rather ace London night makes its now regular trip north, with the mighty duo playing backto-back all night long.

OLD SKOOL

The Glue lads plays selections of the best in indie, electro, punk, rock’n’roll and dance.

KILLER KITSCH

Rock, indie and golden indie classics with resident DJ Heather McCartney.

LOVE MUSIC

Fri 29 Aug

FRESH BEATS

THE GARAGE, 23:00–03:00, £7 (£5)

BURN THE ELASTIC (INNERSHADES)

LA CHEETAH CLUB, 23:00–03:00, £5 ADV. (£7 DOOR)

The Burn The Elastic posse welcome one of Belgium’s finest young talents, Innershades – taking his influence from Dance Mania productions, and already sporting multiple releases on Crème Organization.

SO WEIT SO GUT (ANTI-NOTE)

NICE ‘N’ SLEAZY, 23:30–03:00, £4

Ean, Smiddy and Kenny White (aka the So Weit So Gut crew) pop up for a second August outing, joined for a special guest slot by Anti-Note.

SENSU BOAT PARTY: PART II (EATS EVERYTHING)

GLASGOW SCIENCE CENTRE, 19:00–23:00, £28

The Sensu electronic specialists set sail once more, this time joined on the high seas (well, the River Clyde) by Bristol producer Eats Everything. Pick up from Glasgow Science Centre at 7pm, with after-party action at Sub Club (11pm-3am).

Edinburgh Clubs Tue 29 Jul HIVE TUESDAYS

THE HIVE, 22:00–03:00, FREE

Alternative anthems cherrypicked from genres of rock, indie and punk.

SOUL JAM HOT

SNEAKY PETE’S, 23:00–03:00, FREE

Fresh mix of funk, soul and boogie from The Players Association team.

HECTOR’S HOUSE

CABARET VOLTAIRE, 23:00–03:00, £6 (£5)

The HH crew serve up their usual fine mix of electronic basslines allied with home-cooked house beats.

Wed 30 Jul COOKIE

THE HIVE, 22:00–03:00, FREE

Sneaky’s resident bass spectacular of house, garage and bass adventures with Blackwax and Faultlines.

TRIBE

THE LIQUID ROOM, 22:30–03:00, £5

CLASSIC GRAND, 22:30–03:00, £6

CATHOUSE SATURDAYS

CATHOUSE, 22:30–03:00, £6 (£4)

Punk, rock and metallic selection of beats spun by DJs Billy and Muppet.

THE ROCK SHOP

MAGGIE MAY’S, 22:00–03:00, FREE (£5/£3 STUDENT AFTER 12)

Rock, indie and golden indie classics with resident DJ Heather McCartney.

LOVE MUSIC

O2 ABC, 23:00–03:00, £5

Saturday night disco manned by Gerry Lyons and guests.

I HEART GARAGE SATURDAYS

THE GARAGE, 23:00–03:00, £7 (£5)

Student superclub cramming in everything from hip-hop to dance, and funk to chart.

THE GETTUP

Midweek party night with DJs Thom and Pagowsky playing disco and deep house into the small hours.

Thu 31 Jul I AM: EDINBURGH

CABARET VOLTAIRE, 23:00–03:00, £4 (FREE VIA IAMCLUB.CO.UK)

Resident young guns Beta & Kappa make their now regular trip east, playing their usual fine mix of electronica and bass.

HI-SOCIETY

THE HIVE, 22:00–03:00, FREE

Student-friendly chart anthems, bolstered by hip-hop, r’n’b and urban playlists in the back room.

Fri 01 Aug MISFITS

THE HIVE, 21:00–05:00, FREE (£4 AFTER 10)

Chart, electro, indie-pop and alternative anthems over two rooms.

PLANET EARTH

CITRUS CLUB, 22:30–05:00, FREE (£6 AFTER 11)

Distinctly retro selections from 1960 to 1999, moving from Abba to ZZ Top.

RUN THE GROOVE THE MASH HOUSE, 23:30–05:00, £3 (£5 AFTER 12)

The Fabrika de Funk and Anything Disco crews join forces for a double-header night playing party, funk, soul, disco and electro cuts across two rooms.

Sun 03 Aug COALITION

SNEAKY PETE’S, 23:00–05:00, FREE

Fri 08 Aug MISFITS

THE HIVE, 21:00–05:00, FREE (£4 AFTER 10)

Chart, electro, indie-pop and alternative anthems over two rooms.

PLANET EARTH

CITRUS CLUB, 22:30–05:00, FREE (£6 AFTER 11)

Distinctly retro selections from 1960 to 1999, moving from Abba to ZZ Top.

ROAD TRIP

Weekly cross-genre of bass from a cast of Edinburgh’s best underground DJs.

ELECTRIC CIRCUS, 22:30–05:00, FREE (£5 AFTER 11)

THE HIVE, 22:00–05:00, FREE

Student-orientated night playing the best in new and classic indie music.

ELECTRO SWINGIN’ (FROGBEATS)

ELECTRIC CIRCUS, 22:30–03:00, FREE (£5 AFTER 11)

Fun night intended to act as an audiovisual vacation around the globe, with the best mixtapes to match.

4X4: 1ST BIRTHDAY (MARK REEVE + MORPHAMISH) STUDIO 24, 23:00–05:00, £6 ADV. (£8 DOOR)

The 4x4 residents celebrate their first birthday in the fine company of Mark Reeve – making his debut Edinburgh appearance, no less – and local live act, Morphamish.

AWESOME TAPES FROM AFRICA (GOLDEN TEACHER + DAVID BARBAROSSA)

SUMMERHALL, 22:00–02:00, £10 (£8)

Having shared a wealth of music from Africa via his Awesome Tapes blog, Brian Shimkovitz brings his passion for the continent to a club setting – marking what will be a debut series of DJ sets.

IN DEEP (BILL BREWSTER VS HOUSE OF TRAPS)

SNEAKY PETE’S, 23:00–05:00, £5

Sneaky’s new Friday nighter welcomes the esteemed Bill Brewster for a six-hour versus set of rare house and disco grooves with Firecracker Records’ boss House of Traps.

FLY (BATTLE OF THE ZOO)

CABARET VOLTAIRE, 23:00–03:00, £7 (£5)

A powerhouse of local residents take over Cab Vol, with local electronic band Battle Of The Zoo dropping by for a special Edinburgh Festival appearance.

Sat 02 Aug TEASE AGE

CITRUS CLUB, 22:30–05:00, FREE (£5 AFTER 11)

Long-running indie, rock and soul night, traversing the classic and modern spectrums.

BUBBLEGUM

THE HIVE, 21:00–05:00, FREE (£4 AFTER 10)

Handpicked weekend mix of chart and dance, with retro 80s classics as standard.

SPEAKER BITE ME

ELECTRIC CIRCUS, 22:30–05:00, £5 (£6 AFTER 12)

The Evol DJs worship at the alter of all kinds of indie-pop, with their only rule being that it’s gotta have bite.

CABARET VOLTAIRE, 23:00–05:00, £7 (£5)

CABARET VOLTAIRE, 21:00–03:00, FREE

Alternative weekend blowout, taking in metal, industrial, pop-punk, rock, emo and ska soundscapes over two floors.

WEE RED BAR, 23:00–04:00, £5

Funky electronic night from NastyBiscuit, Hooker Barbie and Bill Spice, offering an all-inclusive club environment bolstered by a strong visual element featuring hangings, installations and projections. Oh, and a cake stall!

SNEAKY PETE’S, 23:00–03:00, FREE

WITNESS

BUFF CLUB, 23:00–03:00, £7 (£6)

ABSOLUTION

WARM FUZZY

THUNDER DISCO CLUB: FRINGE HEIST (SENSU + JOSHUA BARR + QUEENY + PRO VINYLIST KARIM)

Weekly selection of dance bangers, played out by residents Khalid Count Clockwork and Craig Wilson.

Nick Peacock spins a Saturdayready selection of vintage disco, soul and funk.

Student-orientated night playing the best in new and classic indie music.

Midweek student rundown of chart, club and electro hits.

Sat 30 Aug NU SKOOL

PROPAGANDA THE LIQUID ROOM, 22:30–05:00, £5 (£3)

The Thunder Disco Club residents host a Fringe special, joined by a selection of Glasgow’s best selectors on guest duties.

KARNIVAL (BEN KLOCK)

THE LIQUID ROOM, 22:30–03:00, £17.50

The Karnival crew welcome the one man techno wrecking machine that is Ben Klock for a four-hour deck takeover.

BORDELLO (MOOSENUCKLE + SHARPSHOOTER)

STUDIO 24, 20:00–05:00, £4

Classic sleazy rock action, all the night long – opening with a live set from Scottish rock/metal tribute acts, Moosenuckle and Sharpshooter, with free entry to the club afterwards.

ASIAN DUB FOUNDATION: AFTERSHOW DJ SET

SUMMERHALL, 23:00–03:00, £10 (£8)

Following their gig at Studio 24, the genre-traversing big beat collective take to Summerhall for a DJ after-bash, joined by Pandit G and Aktavata.

OUTCASTS

SNEAKY PETE’S, 23:00–05:00, £5

We Own residents Kottis and Kirk Douglas cherrypick their favourite house tracks.

THE CLUB

Two rooms of all the chart, cheese and indie-pop you can think of.

CABARET VOLTAIRE, 23:00–05:00, £5 (£3)

Glasgow party collective Frogbeats host a one-off electro-swing and ghetto funk special.

Mon 04 Aug MIXED UP

THE HIVE, 22:00–05:00, FREE

Request-driven night of pop-punk, chart, indie and good ol’ 90s classics.

PROPAGANDA

THE LIQUID ROOM, 22:30–05:00, £5 (£3)

ROAD TRIP

Fun night intended to act as an audiovisual vacation around the globe, with the best mixtapes to match.

EDINBURGH METAL PARTY 2014 (BLEED FROM WITHIN + CONTINENTS + MIND SET A THREAT + FIREBRAND SUPERROCK + EXCELLENT CADAVER + ISLASORNA + KEEP IT STEEL DJS) STUDIO 24, 18:00–05:00, £TBC

DJ Fusion and Beef move from hip-hop to dubstep with a plethora of live MCs.

For this year’s Fringe, Studio 24 go all-out-crazy with an 11-hour metal bash, featuring live bands, DJs, merch stalls, a metal photobooth and free cake!

CABARET VOLTAIRE, 23:00–01:00, £5 (£3)

SNEAKY PETE’S, 23:00–05:00, £5

NU FIRE

SNEAKY PETE’S, 23:00–05:00, FREE

YOUR FESTIVAL STARTS HERE

Cab Vol’s official festivalwelcoming party, with a selection of the venue’s finest DJs playing a pick’n’mix set of favourites.

Tue 05 Aug HIVE TUESDAYS

THE HIVE, 22:00–05:00, FREE

Alternative anthems cherrypicked from genres of rock, indie and punk.

SOUL JAM HOT

SNEAKY PETE’S, 23:00–05:00, FREE

Fresh mix of funk, soul and boogie from The Players Association team.

I LOVE HIP HOP

THE LIQUID ROOM, 22:30–05:00, £TBC

Weekly selection of hip-hop classics and brand-new classics to be.

PBH FREE FRINGE CLUB NIGHT (PHIL JUPITUS)

ELECTRIC CIRCUS, 01:00–05:00, FREE

A selection of comics performing at the Fringe turn DJ for the night, this edition manned by Phil Jupitus.

HECTOR’S HOUSE (SKITZY JIMMYS)

CABARET VOLTAIRE, 23:00–05:00, £5 (£3)

The HH crew serve up their usual fine mix of electronic basslines allied with home-cooked house beats, joined for a one-off slot by guest selectors Skitzy Jimmys.

Wed 06 Aug COOKIE

THE HIVE, 22:00–05:00, FREE

Midweek student rundown of chart, club and electro hits.

WITNESS

IN DEEP (DEEP SHIT)

Sneaky’s new Friday nighter welcomes Foals’ Edwin Congreave and Friendly Fires’ Jack Savidge in their party-ready DJ duo guise, Deep Shit.

FLY (THEO KOTTIS)

CABARET VOLTAIRE, 23:00–05:00, £7 (£5)

A powerhouse of local residents take over Cab Vol, joined by a selection of guest talent – this time in the form of Moda Black’s latest signing, Theo Kottis.

THE DARK ROOM (TRYPNAUTIC + AABA DABBA + RAZDIEN PSYTRANCE + PABLITO + MARK MCARTHUR)

HENRY’S CELLAR BAR, 23:59–05:00, £5

Dark psytrance-styled night, featuring a batch of DJs from various Scottish tribes.

ETC26: THE TEKNO ARCADE (JOHNNY SIDEWAYS)

THE MASH HOUSE, 23:00–05:00, £7 (£5 IN FANCY DRESS)

Edinburgh Tekno Cartel bring the sleazy bass and techno beats once more, this time with a video game theme (aka make like Mario) – bolstered by a live set from Johnny Sideways and the joys of the 5am festival license.

Sat 09 Aug TEASE AGE

CITRUS CLUB, 22:30–05:00, FREE (£5 AFTER 11)

Long-running indie, rock and soul night, traversing the classic and modern spectrums.

SNEAKY PETE’S, 23:00–05:00, FREE

BUBBLEGUM

STAY GOLD

Handpicked weekend mix of chart and dance, with retro 80s classics as standard.

Sneaky’s resident bass spectacular of house, garage and bass adventures with Blackwax and Faultlines.

CABARET VOLTAIRE, 23:00–05:00, £5 (£3)

The Stay Gold residents spin a mix of hip-hop, garage, house and disco for your general dancing pleasure.

TRIBE

THE LIQUID ROOM, 22:30–05:00, £5 (£4)

Weekly selection of dance bangers, played out by residents Khalid Count Clockwork and Craig Wilson.

Thu 07 Aug JUICE

SNEAKY PETE’S, 23:00–05:00, FREE

Pumped Thursday nighter playing a mighty mix of everything from Hud Mo to Fly Mo. HI-SOCIETY

THE HIVE, 22:00–05:00, FREE

Student-friendly chart anthems, bolstered by hip-hop, r’n’b and urban playlists in the back room.

SSW (EDDIE PILLER + RICHARD SEARLING)

99 HANOVER STREET, 21:00–03:00, FREE

Yogi Haughton, the man behind SSW, brings legends Eddie Piller and Richard Searling together for the first time in the capital. Part of 99 Hanover Street’s Thursday specials, running through August.

THE HIVE, 21:00–05:00, FREE (£4 AFTER 10)

DR NO’S

HENRY’S CELLAR BAR, 23:00–04:00, £4 (£5 AFTER 12)

Danceable mix of the best in 60s ska, rocksteady, bluebeat and early reggae.

BEEP BEEP, YEAH!

ELECTRIC CIRCUS, 22:30–03:00, £5 (£6 AFTER 12)

Retro pop stylings from the 50s to the 70s, via a disco tune or ten.

UNSEEN

STUDIO 24, 22:30–05:00, £5

More stripped-down techno with a back-to-basics warehouse style from the Unseen crew and their handpicked guests.

TEESH

SNEAKY PETE’S, 23:00–05:00, £5

DJ Cheers – frequent flyer at many a Sneaky’s night – finally gets his own show on the road, playing a varied selection of tuneage.

THINK TWICE (NEIL PEARCE + MARTIN LODGE)

CABARET VOLTAIRE, 23:00–05:00, £7 (£5)

Resident Craig Smith welcomes London chaps Neil Pearce and Martin Lodge for a guest session at his dance-inducing party night.

I AM: EDINBURGH (GREENMAN)

CABARET VOLTAIRE, 23:00–05:00, £5 (£3)

Resident young guns Beta & Kappa make their now regular trip east, playing their usual fine mix of electronica and bass – this time joined by yer man Greenman.

Listings

91

JACKHAMMER (BEN SIMMS + SLAM+ SKYMAS + RIVER OF SLIME) THE LIQUID ROOM, 22:30–05:00, £10 (£13 DOOR)

The Jackhammer crew up our dose of all things techno with a bumper bill of joy, with three-deck techno wizard Ben Sims playing alongside inimitable producer/DJ duo Slam (aka Stuart McMillan and Orde Meikle), and more.

Sun 10 Aug COALITION

SNEAKY PETE’S, 23:00–05:00, FREE

Weekly cross-genre of bass from a cast of Edinburgh’s best underground DJs. THE CLUB

THE HIVE, 22:00–05:00, FREE

Two rooms of all the chart, cheese and indie-pop you can think of.

STU TODD

CABARET VOLTAIRE, 23:00–05:00, £5 (£3)

Saturday night resident Stu Todd plays a party-ready batch of house, disco and deep house selections.

Mon 11 Aug MIXED UP

THE HIVE, 22:00–05:00, FREE

Request-driven night of pop-punk, chart, indie and good ol’ 90s classics.

NU FIRE

SNEAKY PETE’S, 23:00–05:00, FREE

DJ Fusion and Beef move from hip-hop to dubstep with a plethora of live MCs. DRAMA (LUCKY LUCIANO)

ELECTRIC CIRCUS, 00:00–05:00, £5

Drama resident Lucky Luciano returns for one night only – making merry for a special Edinburgh Festival outing, likely joined by a special guest or two.

SHAKA LOVES YOU VS DJ BIG AL VS MC PROFIT

CABARET VOLTAIRE, 23:00–05:00, £5 (£3)

HI-SOCIETY THE HIVE, 22:00–05:00, FREE

Student-friendly chart anthems, bolstered by hip-hop, r’n’b and urban playlists in the back room.

SOUNDS OF SOUL (PAUL TROUBLE ANDERSON)

99 HANOVER STREET, 21:00–03:00, FREE

The Sounds Of Soul gang bring UK house legend, Paul Trouble Anderson, to the plates. Part of 99 Hanover Street’s Thursday specials, running through August.

I AM: EDINBURGH (GREENMAN)

CABARET VOLTAIRE, 23:00–05:00, £5 (£3)

Resident young guns Beta & Kappa make their now regular trip east, playing their usual fine mix of electronica and bass – this time joined by yer man Greenman.

ROUTE 94

THE LIQUID ROOM, 22:00–05:00, £12.50

After their Subbie debut in May, the Route 94 residents return to play s’more feverish dancefloor bangers to a party-ready crowd.

Fri 15 Aug MISFITS

THE HIVE, 21:00–05:00, FREE (£4 AFTER 10)

Chart, electro, indie-pop and alternative anthems over two rooms.

PLANET EARTH

CITRUS CLUB, 22:30–05:00, FREE (£6 AFTER 11)

Distinctly retro selections from 1960 to 1999, moving from Abba to ZZ Top. PROPAGANDA

THE LIQUID ROOM, 22:30–05:00, £5 (£3)

Student-orientated night playing the best in new and classic indie music.

UNPOP

WEE RED BAR, 23:00–03:00, £4

Fun indie-pop dance party for the twee of heart and loose of limb.

FLY

CABARET VOLTAIRE, 23:00–05:00, £7 (£5)

Glasgow funk and breaks outfit Shaka Loves You present a full audio/visual show, with live percussion, DJs and MCs.

A powerhouse of local residents take over Cab Vol, joined by a selection of guest talent both local and from further afield (aka London).

Tue 12 Aug

SNEAKY PETE’S, 23:00–05:00, £10

HIVE TUESDAYS

THE HIVE, 22:00–05:00, FREE

Alternative anthems cherrypicked from genres of rock, indie and punk.

SOUL JAM HOT

SNEAKY PETE’S, 23:00–05:00, FREE

Fresh mix of funk, soul and boogie from The Players Association team.

I LOVE HIP HOP

THE LIQUID ROOM, 22:30–05:00, £TBC

Weekly selection of hip-hop classics and brand-new classics to be.

HECTOR’S HOUSE

CABARET VOLTAIRE, 23:00–05:00, £5 (£3)

The HH crew serve up their usual fine mix of electronic basslines allied with home-cooked house beats.

PBH FREE FRINGE CLUB NIGHT (JAMES COOK)

ELECTRIC CIRCUS, 01:00–05:00, FREE

A selection of comics performing at the Fringe turn DJ for the night, this edition manned by James Cook.

Wed 13 Aug COOKIE

THE HIVE, 22:00–05:00, FREE

BIXON (PROSUMER)

Sneaky’s resident bass spectacular of house, garage and bass adventures – joined for a guest set by the Darkstar DJs and their repertoire of space house, grimey hip-hop, club swing and 808 clicks.

HECTOR’S HOUSE DOES DISCO (DOMENIC CAPPELLO)

CABARET VOLTAIRE, 23:00–05:00, £5 (£3)

Weegie regular Domenic Cappello (of Subculture and Sub Club fame) heads east for a disco edition of Cab Vol’s popular student house night.

Thu 14 Aug JUICE

SNEAKY PETE’S, 23:00–05:00, FREE

Pumped Thursday nighter playing a mighty mix of everything from Hud Mo to Fly Mo.

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Listings

BALKANARAMA: FRINGE FESTIVAL BOUTIQUE EDITION (TANZ + ALBAROMA DJS)

SUMMERHALL, 22:30–03:00, £10

The all singing, all dancing Balkanstyled club orgy hits the Fringe for a special boutique edition, with an early live jam session followed by live guests, costume stalls, bespoke visuals and free rakija for all.

Sun 17 Aug THE CLUB

THE HIVE, 22:00–05:00, FREE

Two rooms of all the chart, cheese and indie-pop you can think of.

COALITION (JUST KIDDIN’)

SNEAKY PETE’S, 23:00–05:00, £3 (MEMBERS FREE)

Weekly cross-genre of bass from a cast of Edinburgh’s best underground DJs – this edition joined by jackin’ house specialists Just Kiddin’.

CONFUSION IS SEX: FESTIVAL SPECIAL

CABARET VOLTAIRE, 23:00–05:00, £5 (£3)

Glam techno and electro night, mixing tunes, installation and performance – popping up for a series of Edinburgh Festival specials.

Mon 18 Aug MIXED UP

THE HIVE, 22:00–05:00, FREE

Request-driven night of pop-punk, chart, indie and good ol’ 90s classics.

NU FIRE

SNEAKY PETE’S, 23:00–05:00, FREE

HI-SOCIETY

THE HIVE, 22:00–05:00, FREE

Student-friendly chart anthems, bolstered by hip-hop, r’n’b and urban playlists in the back room.

JUICE (NEIL LANDSTRUMM)

SNEAKY PETE’S, 23:00–05:00, £5 (MEMBERS FREE)

Pumped Thursday nighter playing a mighty mix of everything from Hud Mo to Fly Mo – this edition joined by techno/electro specialist Neil Landstrumm.

SYNDICATE (GRAND MASTER FLASH)

99 HANOVER STREET, 21:00–03:00, FREE

The Syndicate boys – known for their regular Sunday slot at 99 – welcome hip-hop royalty Grandmaster Flash for a one-off set. Part of 99 Hanover Street’s Thursday specials, running through August.

I AM: EDINBURGH (HORSE MEAT DISCO)

CABARET VOLTAIRE, 23:00–05:00, £5 (£3)

Resident young guns Beta & Kappa make their now regular trip east, playing their usual fine mix of electronica and bass – this time joined by legendary London duo Horse Meat Disco.

Fri 22 Aug

Distinctly retro selections from 1960 to 1999, moving from Abba to ZZ Top.

PULSE (PERC + TRUSS + FORWARD STRATEGY GROUP)

STUDIO 24, 22:30–03:00, £10

THE HIVE, 22:00–05:00, FREE

ELECTRIC CIRCUS, 01:00–05:00, £5

DIVE DOES THE FOREST

THE FOREST CAFE, 20:00–03:00, FREE

Queer party night, Dive, takes over The Forest for an alternative Fringe showcase – featuring performances from the Dive and Forest regulars, plus dirty beats ‘til late with Hot Mess and Rufus & Bambi.

LUCKYME: FESTIVAL PARTY

LA BELLE ANGELE, 23:00–04:00, £10

The globetrotting music, art and all-round party crew host their annual festival bash, joined by the usual plethora of special guest DJs. TEASE AGE

Long-running indie, rock and soul night, traversing the classic and modern spectrums.

THE EGG

WEE RED BAR, 23:00–03:00, £2 (£5 AFTER 12)

Art School institution with DJs Chris and Jake playing the finest in indie, garage, soul and punk – now taking up a monthly Saturday slot, in what is their 20th year.

BUBBLEGUM

THE HIVE, 21:00–05:00, FREE (£4 AFTER 10)

Handpicked weekend mix of chart and dance, with retro 80s classics as standard.

THE GREEN DOOR

STUDIO 24, 22:30–05:00, £2 (£5/£4 STUDENT AFTER 11)

Surf, blues and rockabilly from the 50s and early 60s, plus free cake.

Job done.

GASOLINE DANCE MACHINE

CABARET VOLTAIRE, 23:00–05:00, £7 (£5)

More classic Italo and straight-up boogie allied with contemporary house and disco, as Edinburgh’s GDM crew do their thing.

HIVE TUESDAYS

Alternative anthems cherrypicked from genres of rock, indie and punk.

SOUL JAM HOT

SNEAKY PETE’S, 23:00–05:00, FREE

Fresh mix of funk, soul and boogie from The Players Association team.

I LOVE HIP HOP

THE LIQUID ROOM, 22:30–05:00, £TBC

Weekly selection of hip-hop classics and brand-new classics to be.

HECTOR’S HOUSE

CABARET VOLTAIRE, 23:00–05:00, £5 (£3)

The HH crew serve up their usual fine mix of electronic basslines allied with home-cooked house beats.

PBH FREE FRINGE CLUB NIGHT (LUKE BENSON) (LUKE BENSON + PAULYB + MIRANDA KANE)

ELECTRIC CIRCUS, 01:00–05:00, FREE

A selection of comics performing at the Fringe turn DJ for the night, this edition manned by Luke Benson.

Wed 20 Aug COOKIE

THE HIVE, 22:00–05:00, FREE

Midweek student rundown of chart, club and electro hits.

WITNESS

SNEAKY PETE’S, 23:00–05:00, FREE

Sneaky’s resident bass spectacular of house, garage and bass adventures with Blackwax and Faultlines.

STAY GOLD

CABARET VOLTAIRE, 23:00–05:00, £5 (£3)

The Stay Gold residents spin a mix of hip-hop, garage, house and disco for your general dancing pleasure.

TRIBE

THE LIQUID ROOM, 22:30–05:00, £5 (£4)

Weekly selection of dance bangers, played out by residents Khalid Count Clockwork and Craig Wilson.

Dance-inducing party with an anything goes attitude and rotating rota of guest DJs. DECADE

STUDIO 24, 22:30–05:00, £2 (£5/£4 STUDENT AFTER 12)

Fresh playlists spanning metal, pop-punk and alternative soundscapes.

DEFINITION (DRUMTALK)

SNEAKY PETE’S, 23:00–05:00, £5 (MEMBERS FREE)

Mark Balneaves and Martin Lightbody host their underground house and techno party, joined for a special guest slot by breakthrough London producer Drumtalk – marking what will be his Edinburgh debut, no less.

MUSIKA VS DIRTYBIRD: EDINBURGH FRINGE CLOSING PARTY (CLAUDE VONSTROKE + JUSTIN MARTIN)

THE LIQUID ROOM, 22:00–05:00, £14

Musika go head-to-head with San Francisco’s finest, Dirtybird Records, with label boss Claude VonStroke and partner in crime Justin Martin bringing the party to the capital.

Sun 24 Aug THE CLUB

THE HIVE, 22:00–05:00, FREE

PLANET EARTH

CITRUS CLUB, 22:30–05:00, FREE (£6 AFTER 11)

Tue 19 Aug

Fun night intended to act as an audiovisual vacation around the globe, with the best mixtapes to match.

POCKET ACES

CABARET VOLTAIRE, 23:00–05:00, £7 (£5)

SNEAKY PETE’S, 23:00–05:00, £5 (MEMBERS FREE)

Chart, electro, indie-pop and alternative anthems over two rooms.

ELECTRIC CIRCUS, 00:00–05:00, FREE (£5 AFTER 11)

DJ MONEYSHOT

Pop and rock gems spun by DJs from Electric Circus’ Saturday club nights, including Magic Nostalgic, Beep Beep, Yeah! and Pop Rocks.

THE HIVE, 21:00–05:00, FREE (£4 AFTER 10)

ROAD TRIP

DJ Fusion and Beef move from hip-hop to dubstep with a plethora of live MCs.

POP TARTS ELECTRIC CIRCUS, 22:30–05:00, £5 (£6 AFTER 12)

Two rooms of all the chart, cheese and indie-pop you can think of.

MISFITS

Student-orientated night playing the best in new and classic indie music.

CITRUS CLUB, 22:30–05:00, FREE (£5 AFTER 11)

WITNESS (DARKSTAR)

Pop and rock gems, taking in motown, 80s classics and plenty danceable fare (well, the Beep Beep, Yeah! crew are on decks after all).

STUDIO 24, 23:00–05:00, £TBC

The Edinburgh art collective present a night of hip-hop and live drawing, as is their merry way.

CABARET VOLTAIRE, 23:00–05:00, £5 (£3)

THE LIQUID ROOM, 22:30–05:00, £5

SNEAKY PETE’S, 23:00–05:00, £5 (MEMBERS FREE)

POP ROCKS!

ELECTRIC CIRCUS, 22:30–05:00, £5 (£6 AFTER 12)

THE TOO MUCH FUN CLUB: FESTIVAL SPECIAL (THE SMALL COPS + DIZRAELI + DJ DOWN LOW)

The acclaimed genre crosser DJ stops by Cab Vol to spin a set of his hip-hop, funk and bomb-ass beats.

The hip young Bixon party collective strike gold – welcoming Berlin’s Panorama Bar resident Prosumer to their lair, known for his eight-hour monster sets.

Prepare thyself.

Sat 16 Aug

TRIBE

Heady bout of cosmic house, punk upside-down disco and, er, Fleetwood Mac with yer man Kris ‘Wasabi’ Walker.

Thu 21 Aug

The Pulse crew make their Studio 24 return, marking the occasion with a special Perc Trax label party – manned by Perc, Truss and Forward Strategy Group.

Midweek student rundown of chart, club and electro hits.

Weekly selection of dance bangers, played out by residents Khalid Count Clockwork and Craig Wilson.

WASABI DISCO SNEAKY PETE’S, 23:00–05:00, £5

PROPAGANDA

THE LIQUID ROOM, 22:30–05:00, £5 (£3)

ROAD TRIP

Fun night intended to act as an audiovisual vacation around the globe, with the best mixtapes to match.

MOON HOP

ELECTRIC CIRCUS, 19:30–01:00, £TBC

Musical club night featuring live performances from hot musical talent, with special guests being kept firmly under wraps for now.

Dirty teases.

ANDY KERSHAW’S GLOBAL DANCE NIGHT

WEE RED BAR, 23:00–03:00, £8 ADV. (£10 DOOR)

Broadcaster, international news journalist and somewhat of a music junkie, Andy Kershaw hosts his very own night of global dance.

AUNTIE FLO AND ESA’S SUN WORSHIP PARTY

SNEAKY PETE’S, 23:00–05:00, £5 (MEMBERS FREE)

The party-ready Highlife team hit up Sneaky’s for a brightly lit, Afrohouse rave-up like no other.

FLY (DENSE & PIKA)

CABARET VOLTAIRE, 23:00–05:00, £7 (£5)

A powerhouse of local residents take over Cab Vol, joined by a selection of guest talent both local and from further afield (aka London) – this time in the form of Dense & Pika (aka Alex Jones and Chris Spero).

Sat 23 Aug TEASE AGE

CITRUS CLUB, 22:30–05:00, FREE (£5 AFTER 11)

Long-running indie, rock and soul night, traversing the classic and modern spectrums.

BUBBLEGUM

THE HIVE, 21:00–05:00, FREE (£4 AFTER 10)

Handpicked weekend mix of chart and dance, with retro 80s classics as standard.

PAPI FALSO

HENRY’S CELLAR BAR, 23:00–04:00, £TBC

Sci-fi pop, outsider folk, soulful r’n’b, machine funk and a whole lot more.

COALITION (BOBBY TANK)

Weekly cross-genre of bass from a cast of Edinburgh’s best underground DJs – this edition joined

by Bobby Tank for a set of upbeat post-dubstep in his trademark maximalist style.

MILK: FRINGE FESTIVAL CLOSING PARTY (PAWS + LADY NORTH)

ELECTRIC CIRCUS, 20:00–05:00, £6

The musical clubber’s delight ventures out of Glasgow for a special Fringe Festival Closing Party – joined by returning guests of the tropical thrash variety, PAWS, alongside Lady North on support.

And milk cocktails, obvs.

CONFUSION IS SEX: FESTIVAL SPECIAL

CABARET VOLTAIRE, 23:00–05:00, £5 (£3)

Glam techno and electro night, mixing tunes, installation and performance – popping up for a series of Edinburgh Festival specials.

DESOLAT SHOWCASE (LOCO DICE + POINT G + IGGIE + HECTOR + YAYA)

THE LIQUID ROOM, 22:00–05:00, £20

Special August bank holiday weekend party – with Loco Dice, Point G, Iggie, Hector and Yaya descending on The Liquid Room for a Desolat showcase shindig.

Mon 25 Aug MIXED UP

THE HIVE, 22:00–05:00, FREE

Request-driven night of pop-punk, chart, indie and good ol’ 90s classics.

NU FIRE

SNEAKY PETE’S, 23:00–05:00, FREE

DJ Fusion and Beef move from hip-hop to dubstep with a plethora of live MCs. SICK NOTE REVIVAL

CABARET VOLTAIRE, 23:00–05:00, £5 (£3)

The flagship indie and electro favourite returns to its Cab Vol lair for one night only, with Nick AKA and This is Music DJs making merry into the wee drunken hours.

Tue 26 Aug HIVE TUESDAYS

THE HIVE, 22:00–05:00, FREE

Alternative anthems cherrypicked from genres of rock, indie and punk.

Wed 27 Aug COOKIE

THE HIVE, 22:00–05:00, FREE

Midweek student rundown of chart, club and electro hits.

WITNESS

SNEAKY PETE’S, 23:00–05:00, FREE

Sneaky’s resident bass spectacular of house, garage and bass adventures with Blackwax and Faultlines.

TRIBE

THE LIQUID ROOM, 22:30–05:00, £5 (£4)

Weekly selection of dance bangers, played out by residents Khalid Count Clockwork and Craig Wilson.

CABARET VOLTAIRE WRISTBAND PARTY

MADCHESTER THE LIQUID ROOM, 22:30–05:00, £TBC

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like.

BETAMAX

STUDIO 24, 23:00–05:00, £2 (£5/£4 STUDENT AFTER 12)

Monthly offering of new wave, disco, post-punk and a bit o’ synthtastic 80s with your hosts Chris and Big Gus. DR NO’S

HENRY’S CELLAR BAR, 23:00–04:00, £5 (£4 BEFORE 12)

Danceable mix of the best in 60s ska, rocksteady, bluebeat and early reggae.

CABARET VOLTAIRE, 23:00–05:00, £5 (£3)

VEGAS!: 18TH BIRTHDAY PARTY

Thu 28 Aug

The themed club night celebrates a mighty 18 years on the scene, with special guests and Vegas showgirls a-go-go, natch.

Cab Vol host a wrap party for all the grafters who have survived this year’s Fringe.

JUICE

SNEAKY PETE’S, 23:00–05:00, FREE

Pumped Thursday nighter playing a mighty mix of everything from Hud Mo to Fly Mo.

THE VOODOO ROOMS, 20:30–01:00, £7

NIGHTFILM: 1ST BIRTHDAY (MIGHTY MOUSE + LE VISITEUR + KIPP$ + LEE MARVIN)

CABARET VOLTAIRE, 23:00–05:00, £7 (£5)

Student-friendly chart anthems, bolstered by hip-hop, r’n’b and urban playlists in the back room.

The musical hub and record label brainchild of Mighty Mouse and Matt Van Schie celebrates its first birthday – manned by a plethora of hot talent, amongst ‘em Mighty Mouse himself and Le Visiteur.

99 HANOVER STREET, 21:00–03:00, FREE

STUDIO 24, 22:00–05:00, £9 (£7)

HI-SOCIETY

THE HIVE, 22:00–05:00, FREE

RENDEZ-VOUZ (DETROIT SWINDLE)

ALBATRONICS

GORILLA IN YOUR CAR

KAGE, 23:00–03:00, £4

Hardcore, emo, punk and scenester selections. Also perhaps the best-named club night in Dundee’s existence.

Sat 16 Aug MASK

FAT SAM’S, 23:00–03:00, £8 (£5)

Classy club takeover snaking its way across four rooms, with a VIP lounge to boot.

ASYLUM

KAGE, 23:00–03:00, £4

THE HIVE, 22:00–05:00, FREE

BUSKERS, 19:00–22:00, £15

Resident young guns Beta & Kappa make their now regular trip east, playing their usual fine mix of electronica and bass – this time joined by pal of the club, DJ Noface.

Fri 29 Aug MISFITS

Two rooms of all the chart, cheese and indie-pop you can think of.

PIEUTE PARTY

CABARET VOLTAIRE, 23:00–05:00, FREE

In celebration of Pieute’s success, Cab Vol throw a party in their honour – with tunes, tipples and t-shirts a promise.

THE HIVE, 21:00–05:00, FREE (£4 AFTER 10)

Chart, electro, indie-pop and alternative anthems over two rooms.

PLANET EARTH

CITRUS CLUB, 22:30–05:00, FREE (£6 AFTER 11)

Distinctly retro selections from 1960 to 1999, moving from Abba to ZZ Top. PROPAGANDA

THE LIQUID ROOM, 22:30–05:00, £5 (£3)

Student-orientated night playing the best in new and classic indie music.

VITAMINS

SNEAKY PETE’S, 23:00–05:00, £5 (MEMBERS FREE)

The Vitamins party starters host their occasional party night of disco adventures, a secret guest or two likely in tow.

SHAKE YER SHOULDERS

STUDIO 24, 23:00–05:00, £3 (£5 AFTER 11.30)

Celebration of all things acid, techno and debaucherous with the Shake Yer Shoulders residents.

FLY

CABARET VOLTAIRE, 23:00–05:00, £7 (£5)

Dundee Clubs Fri 01 Aug CTRL*ALT*DEFEAT

READING ROOMS, 23:00–02:30, £7 (£5)

KAGE, 23:00–03:00, £4

Ska, screamo and pop-punk offerings, moving from Alkaline Trio to Zebrahead.

Sat 02 Aug MASK

FAT SAM’S, 23:00–03:00, £8 (£5)

ASYLUM

KAGE, 23:00–03:00, £4

Fri 08 Aug

The d’n’b and jungle-styled night invite all their guests from the past year, and more, to help celebrate their 1st birthday – taking to Mains Castle for an intimate 12-hour session, with BBQ thrown in for good measure.

Sun 24 Aug LOCARNO

READING ROOMS, 23:00–02:30, £TBC

Rockabilly, doo-wop, soul and all things golden age and danceable with the Locarno regulars.

Fri 29 Aug FAT SAM’S FRIDAYS

FAT SAM’S, 23:00–02:30, £4 (£3)

Sat 30 Aug

FAT SAM’S, 23:00–02:30, £4 (£3)

The Ride girls play hip-hop and dance, all night long – now in their new party-ready Saturday night slot.

JUNGLISM’S 1ST BIRTHDAY

FAT SAM’S FRIDAYS

TEASE AGE

RIDE

ASYLUM

KAGE, 23:00–03:00, £4

Fun Friday nighter soundtracked by big party tunes and punter requests.

FOOLS GOLD

CITRUS CLUB, 22:30–05:00, FREE (£5 AFTER 11)

SNEAKY PETE’S, 23:00–05:00, £5

MASK

FAT SAM’S, 23:00–03:00, £8 (£5)

BUSKERS, 22:00–03:00, £5

Sat 30 Aug

A hodgepodge of quality tracks chosen by JP’s spinning wheel – expect anything from 90s rave to power ballads, amidst a whole lotta one-hit wonders.

Sat 23 Aug

MAINS CASTLE, 13:00–01:00, £10

Indie-styled night playing, er, anything and everything indie.

BUBBLEGUM

Saturday night party playing drum’n’bass selections all night long.

WARPED

ELECTRIC CIRCUS, 22:30–03:00, FREE (£5 AFTER 11)

THE HIVE, 21:00–05:00, FREE (£4 AFTER 10)

SUBMERSION ROUND VIII

BEAT GENERATOR LIVE!, 22:30–03:00, £2 (£4 AFTER 10.30)

Best of selection of rock, metal and alternative tunes to get your Saturday night movin’.

Fun Friday nighter soundtracked by big party tunes and punter requests.

Best of selection of rock, metal and alternative tunes to get your Saturday night movin’.

Long-running indie, rock and soul night, traversing the classic and modern spectrums.

FAT SAM’S FRIDAYS

FAT SAM’S, 23:00–02:30, £4 (£3)

Fun Friday nighter soundtracked by big party tunes and punter requests.

FAT SAM’S, 23:00–02:30, £4 (£3)

FAT SAM’S FRIDAYS

Classy club takeover snaking its way across four rooms, with a VIP lounge to boot.

Fun night intended to act as an audiovisual vacation around the globe, with the best mixtapes to match.

One of the main players in hiphop’s development as a worldwide musical culture only goes and stops

by Dundee. All hail Grandmaster flash!

Classy club takeover snaking its way across four rooms, with a VIP lounge to boot.

A powerhouse of local residents take over Cab Vol, joined by a selection of guest talent both local and from further afield (aka London).

ROAD TRIP

GRANDMASTER FLASH

Electro musings with a danceable beat, with a selection of the regular merrymakers sharing deck duty.

Fun Friday nighter soundtracked by big party tunes and punter requests.

CASSETTE

KAGE, 23:00–02:30, £4

Sat 09 Aug

CABARET VOLTAIRE, 23:00–05:00, £5 (£3)

FAT SAM’S FRIDAYS

FAT SAM’S, 23:00–02:30, £4 (£3)

Fun Friday nighter soundtracked by big party tunes and punter requests.

CABARET VOLTAIRE, 23:00–05:00, £5 (£3)

I LOVE HIP HOP

The HH crew serve up their usual fine mix of electronic basslines allied with home-cooked house beats.

The Klik troops get off to a good start, drafting in the Animal Farm DJs to play their opening night at Reading Rooms.

Fri 22 Aug

THE CLUB

MAGIC NOSTALGIC

HECTOR’S HOUSE

KLIK (ANIMAL FARM)

READING ROOMS, 22:30–02:30, £5 (£7 AFTER 12)

Sun 31 Aug

I AM: EDINBURGH (NOFACE)

ELECTRIC CIRCUS, 22:30–03:00, £7 (£8 AFTER 12)

Weekly selection of hip-hop classics and brand-new classics to be.

Fri 15 Aug

Best of selection of rock, metal and alternative tunes to get your Saturday night movin’.

SNEAKY PETE’S, 23:00–05:00, FREE

THE LIQUID ROOM, 22:30–05:00, £TBC

Fledgling funk, soul, disco and Latin night, taking in vinyl selections from Max Galloway and Calvin Crichton.

Fledgling traditional folk-styled night playing a ‘stramash of Scottish music’, bolstered by resident deck stalwart DJ Dolphin Boy.

Handpicked weekend mix of chart and dance, with retro 80s classics as standard.

Fresh mix of funk, soul and boogie from The Players Association team.

JUTE CITY JAM

READING ROOMS, 22:30–02:30, £3.50

Lars Dale and Marteen Smeets, aka Detroit Swindle, joins the Rendezvouz residents for a one-off guest slot. Part of 99 Hanover Street’s Thursday specials, running through August.

Handpicked-style night inviting a guest DJ to play tracks from artists and albums that would make their definitive mixtape.

SOUL JAM HOT

Wed 13 Aug

MASK

FAT SAM’S, 23:00–03:00, £8 (£5)

Classy club takeover snaking its way across four rooms, with a VIP lounge to boot.

ASYLUM

KAGE, 23:00–03:00, £4

Best of selection of rock, metal and alternative tunes to get your Saturday night movin’.

MASK

FAT SAM’S, 23:00–03:00, £8 (£5)

Classy club takeover snaking its way across four rooms, with a VIP lounge to boot.

ASYLUM

KAGE, 23:00–03:00, £4

Best of selection of rock, metal and alternative tunes to get your Saturday night movin’.

THE SKINNY

Theatre Glasgow CCA

PART WILD HORSES MANE ON BOTH SIDES: CONDUIT OF THE BOTTOMLESS SUBMUNDANE

7 AUG, 8:00PM – 10:00PM, £5 ADV. (£6 DOOR)

Installation-cum-performance work from Manchester ritualistic improvisers/sound artists Kelly Jayne Jones and Pascal Nichols (aka Part Wild Horses Mane On Both Sides).

Citizens Theatre 1984

VARIOUS DATES BETWEEN 4 AUG AND 6 SEP, TIMES VARY, FROM £12.50

The definitive book of the 20th century is re-examined in a radical new staging exploring surveillance, identity and why Orwell’s vision of the future is as relevant now as ever.

ON COMMON GROUND

25–31 JUL, NOT 27, 28, 7:30PM – 10:00PM, FREE (BUT TICKETED)

Off-site community project performed by 150+ locals, exploring what happens when a tribe who have been traveling for 18,000 years meet Glaswegians on common ground. Leaves from Citizens for Gorbals Rose Garden (where the performance takes place).

Platform PROJECT Y 2014

31 JUL, 7:30PM – 9:30PM, £6.50 (£5.50)

Now in its ninth year, the Project Y lot present a new series of dance works created by YDance artistic director Anna Kenrick and guest choreographers Colin Connor and Lina Limosani.

The Arches

LATE ANATOMY FISH FRY

1–2 AUG, 10:30PM – 12:00AM, £7 (£5)

Acts from around the UK serve up new physical live-art in a cabaret format, taking in puppetry, dance, poetry, mime, and more. Part of Surge Festival.

LUCID INTERVAL

1–2 AUG, 6:00PM – 7:30PM, £7 (£5)

Thought-provoking piece using physical theatre, film and photography to investigate the space we inhabit between normality and chaos when shocking loss occurs.

Part of Surge Festival.

KING

The Pavilion Theatre AVENUE Q

VARIOUS DATES BETWEEN 20 JUL AND 20 AUG, TIMES VARY, PRICES VARY

Colourful revival of the singalong tale of a New York street populated by an unholy comedic alliance of humans and puppets.

THE LADYBOYS OF BANGKOK

31 AUG, 7:30PM – 10:00PM, £23 (£21)

Thailand’s lady boys return with new songs and choreography, bedecked in their usual showstopping glittery costumes and make-up.

Theatre Royal SINGIN’ IN THE RAIN

VARIOUS DATES BETWEEN 12 AND 23 AUG, TIMES VARY, FROM £10

The West End production of the singalong favourite goes on tour, drenching audiences in feel good vibes with their fizzy re-telling of the first Hollywood musical making its way to the silver screen.

APRIL IN PARIS

VARIOUS DATES BETWEEN 26 AND 30 AUG, TIMES VARY, FROM £10

A couple whose marriage is on shaky foundations win a holiday to Paris in a magazine competition, where together they bicker their way through the sights, cuisine and sleazy underbelly of Paris... and quite possibly fall a little back in love.

SCOTTISH OPERA: MADAMA BUTTERFLY

VARIOUS DATES BETWEEN 29 JUL AND 3 AUG, TIMES VARY, PRICES VARY

Scottish Opera return with a retelling of Puccini’s Madama Butterfly, telling the tale of a young girl living in Nagasaki who falls for a reckless American naval officer stationed near her home.

RHYTHM OF THE DANCE

8 JUL, 31 AUG, 7:30PM – 10:00PM, FROM £18.90

Celebration of Irish dance, featuring 30 dancers, a traditional full Irish band and the dashing Young Irish Tenors.

Tramway INDEPEN-DANCE

27–29 AUG, 7:30PM – 10:00PM, £9 (£6)

Scotland’s first international inclusive dance festival, showcasing work from solo dance artists and inclusive dance companies from across the UK and Europe.

1 AUG, 3 AUG, TIMES VARY, £7 (£5)

Tron Theatre

THIS IS FARUCHIO PERU

Powerful and reflective piece penned by Liz Lochhead, recounting poet Edwin Morgan’s years in a Glasgow old folks home, watched on by his friend and biographer James.

All-new one-woman show from Claire Willoughby, exploring notions of transformation, obsession and self-obliteration through the demise of a Freddie Mercury impersonator.

2–3 AUG, 7:45PM – 9:15PM, £7 (£5)

Lee Shannon’s solo comedy cabaret about a self-proclaimed showman with delusions of grandeur. Part of Surge Festival.

CURIO CABARET

3 AUG, 9:30PM – 11:00PM, £7 (£5)

Performer and musician Sita Pieraccini curates an off-beat cabaret evening, with a selection of local artists, bands and performance groups presenting short theatrical sets with a musical focus. Part of Surge Festival.

The King’s Theatre DIRTY DANCING

VARIOUS DATES BETWEEN 26 AUG AND 6 SEP, TIMES VARY, FROM £10

The cult 80s film is revamped for the stage – cue Baby and Johnny, sexy dancing and, y’know, hungry eyes.

ROCK OF AGES

VARIOUS DATES BETWEEN 21 JUL AND 9 AUG, TIMES VARY, FROM £10

80s-themed musical out on tour after five years on Broadway, following three years of ovationinducing performances in London’s West End.

August 2014

EDWIN MORGAN’S DREAMS AND OTHER NIGHTMARES

VARIOUS DATES BETWEEN 2 NOV AND 2 AUG, TIMES VARY, £12 (£8)

BEOWULF

24 JUL – 2 AUG, NOT 27 JUL, 28 JUL, TIMES VARY, £12 (£8)

Seamus Heaney-adapted reading of the Anglo-Saxon poem, translated faithfully, and telling the story of a hero of great strength and his toil in defeating the monstrous.

GRIMM TALES

27 JUL – 1 AUG, NOT 28 JUL, 2:30PM – 4:30PM, FROM £8

Family-friendly tales adapted by the formidable wit of Carol Ann Duffy, moving from Ashputtel (the original Cinderella story) to Hansel and Gretel.

Dundee Dundee Rep KISS ME, KATE

20–23 AUG, 7:30PM – 10:00PM, £12 (£5)

Broadway treasure – originally produced in 1948 – telling the story of the production of a musical version of William Shakespeare’s The Taming of the Shrew and the conflict on and off-stage.

Comedy Glasgow Tue 29 Jul RED RAW

THE STAND, 20:30–22:30, £2

Open-mic style beginners showcase, bolstered along by a selection of old hands dropping by to roadtest new material.

Wed 30 Jul NEW MATERIAL NIGHT

VESPBAR, 20:00–22:00, £3

Resident host Julia Sutherland introduces a variety of stand-up comedians from the Scottish circuit delivering – as the name would suggest – all new material.

ANDREW LAWRENCE: PREVIEW

THE STAND, 20:30–22:30, £10

A bit of a stand-up master, Mr. Lawrence brings his energetic comedic spewings to Glasgow’s The Stand to play a special preview show in advance of his Edinburgh Festival run.

Thu 31 Jul VESPBAR VIRGINS

VESPBAR, 21:00–22:30, £3

Graham Barrie introduces a selection of fledgling comedy talent handpicked from the Scottish circuit.

Fri 01 Aug

BRUCE DEVLIN’S PICK OF THE FRINGE

THE STAND, 21:00–23:00, £12 (£10)

E’er keen to muscle in on the Edinburgh Fringe action, Glasgow’s The Stand invite a selection of comic MCs to present their picks of the Fringe. Keep an eye on The Stand’s website for line-ups being revealed nearer the time.

THE 10 O’CLOCK SHOW

VESPBAR, 22:00–23:45, £10

Vespbar’s weekend host Viv Gee introduces a mixed bag of new comedy talent, topped off with a bigger name headline act.

Sat 02 Aug

BRUCE DEVLIN’S PICK OF THE FRINGE

THE STAND, 21:00–23:00, £12 (£10)

E’er keen to muscle in on the Edinburgh Fringe action, Glasgow’s The Stand invite a selection of comic MCs to present their picks of the Fringe.

THE 10 O’CLOCK SHOW

VESPBAR, 22:00–23:45, £10

Vespbar’s weekend host Viv Gee introduces a mixed bag of new comedy talent, topped off with a bigger name headline act.

Sun 03 Aug

MICHAEL REDMOND’S PICK OF THE FRINGE

THE STAND, 21:00–23:00, £7 (£6)

E’er keen to muscle in on the Edinburgh Fringe action, Glasgow’s The Stand invite a selection of comic MCs to present their picks of the Fringe.

Mon 04 Aug

BRIDGET CHRISTIE: AN UNGRATEFUL WOMAN

THE STAND, 20:30–22:30, £10

The self-aware British comic riffs on life in general – including what made her lose control of her emotions at a casting for a yogurt commercial...

Tue 05 Aug RED RAW

THE STAND, 20:30–22:30, £2

Open-mic style beginners showcase, bolstered along by a selection of old hands dropping by to roadtest new material.

Wed 06 Aug

BILLY KIRKWOOD’S PICK OF THE FRINGE

THE STAND, 21:00–23:00, £8 (£6)

E’er keen to muscle in on the Edinburgh Fringe action, Glasgow’s The Stand invite a selection of comic MCs to present their picks of the Fringe.

NEW MATERIAL NIGHT VESPBAR, 20:00–22:00, £3

Resident host Julia Sutherland introduces a variety of stand-up comedians from the Scottish circuit delivering – as the name would suggest – all new material.

Thu 07 Aug VESPBAR VIRGINS

VESPBAR, 21:00–22:30, £3

Graham Barrie introduces a selection of fledgling comedy talent handpicked from the Scottish circuit.

SUSAN KIRKWOOD’S PICK OF THE FRINGE

THE STAND, 21:00–23:00, £10 (£8)

E’er keen to muscle in on the Edinburgh Fringe action, Glasgow’s The Stand invite a selection of comic MCs to present their picks of the Fringe.

Fri 08 Aug

THE 10 O’CLOCK SHOW

VESPBAR, 22:00–23:45, £10

Vespbar’s weekend host Viv Gee introduces a mixed bag of new comedy talent, topped off with a bigger name headline act.

SUSAN KIRKWOOD’S PICK OF THE FRINGE

THE STAND, 21:00–23:00, £12 (£10)

E’er keen to muscle in on the Edinburgh Fringe action, Glasgow’s The Stand invite a selection of comic MCs to present their picks of the Fringe.

Sat 09 Aug THE 10 O’CLOCK SHOW

VESPBAR, 22:00–23:45, £10

Vespbar’s weekend host Viv Gee introduces a mixed bag of new comedy talent, topped off with a bigger name headline act.

THE BEST OF THE FEST IN THE WEST (HANNAH GADSBY + PETE FIRMAN + JASON COOK + UMBILICAL BROTHERS + MC STEPHEN K AMOS)

Thu 14 Aug

BRUCE MORTON’S PICK OF THE FRINGE

THE STAND, 21:00–23:00, £10 (£8)

E’er keen to muscle in on the Edinburgh Fringe action, Glasgow’s The Stand invite a selection of comic MCs to present their picks of the Fringe.

VESPBAR VIRGINS

VESPBAR, 21:00–22:30, £3

Graham Barrie introduces a selection of fledgling comedy talent handpicked from the Scottish circuit.

Fri 15 Aug

BRUCE MORTON’S PICK OF THE FRINGE

THE STAND, 21:00–23:00, £12 (£10)

E’er keen to muscle in on the Edinburgh Fringe action, Glasgow’s The Stand invite a selection of comic MCs to present their picks of the Fringe.

THE 10 O’CLOCK SHOW

THE BEST OF THE FEST IN THE WEST (FRISKY & MANNISH + GAMARJOBAT + JARRED CHRISTMAS + ABANDOMAN + MC STEPHEN K AMOS) KELVINGROVE PARK, 12:00–14:00, £10

Bringing some of the cream of Edinburgh Fringe comedy to the west side, Kelvingrove Bandstand welcomes a four-strong line-up of talent to Weegieland for some ‘burgh respite. Compered by Stephen K Amos.

Sun 17 Aug

MICHAEL REDMOND’S PICK OF THE FRINGE

THE STAND, 21:00–23:00, £7 (£6)

E’er keen to muscle in on the Edinburgh Fringe action, Glasgow’s The Stand invite a selection of comic MCs to present their picks of the Fringe. Keep an eye on The Stand’s website for line-ups being revealed nearer the time.

Mon 18 Aug

TONY LAW: ENTER THE TONEZONE

Thu 21 Aug

Tue 26 Aug

VESPBAR, 21:00–22:30, £3

THE STAND, 20:30–22:30, £2

VESPBAR VIRGINS

Graham Barrie introduces a selection of fledgling comedy talent handpicked from the Scottish circuit.

JOJO SUTHERLAND’S PICK OF THE FRINGE

THE STAND, 21:00–23:00, £10 (£8)

E’er keen to muscle in on the Edinburgh Fringe action, Glasgow’s The Stand invite a selection of comic MCs to present their picks of the Fringe.

Fri 22 Aug

THE 10 O’CLOCK SHOW

VESPBAR, 22:00–23:45, £10

Vespbar’s weekend host Viv Gee introduces a mixed bag of new comedy talent, topped off with a bigger name headline act.

JOJO SUTHERLAND’S PICK OF THE FRINGE

THE STAND, 21:00–23:00, £12 (£10)

Vespbar’s weekend host Viv Gee introduces a mixed bag of new comedy talent, topped off with a bigger name headline act.

The multi award-winning Canadian nonsense-maker tours his new show of life-affirming laughs.

E’er keen to muscle in on the Edinburgh Fringe action, Glasgow’s The Stand invite a selection of comic MCs to present their picks of the Fringe.

Sat 16 Aug

Tue 19 Aug

Sat 23 Aug

THE STAND, 20:30–22:30, £2

VESPBAR, 22:00–23:45, £10

VESPBAR, 22:00–23:45, £10

BRUCE MORTON’S PICK OF THE FRINGE

THE STAND, 21:00–23:00, £15

E’er keen to muscle in on the Edinburgh Fringe action, Glasgow’s The Stand invite a selection of comic MCs to present their picks of the Fringe.

THE 10 O’CLOCK SHOW

VESPBAR, 22:00–23:45, £10

Vespbar’s weekend host Viv Gee introduces a mixed bag of new comedy talent, topped off with a bigger name headline act.

THE STAND, 20:30–22:30, £10

RED RAW

Open-mic style beginners showcase, bolstered along by a selection of old hands dropping by to roadtest new material.

Wed 20 Aug

BILLY KIRKWOOD’S PICK OF THE FRINGE

THE STAND, 21:00–23:00, £8 (£6)

E’er keen to muscle in on the Edinburgh Fringe action, Glasgow’s The Stand invite a selection of comic MCs to present their picks of the Fringe.

NEW MATERIAL NIGHT

VESPBAR, 20:00–22:00, £3

Resident host Julia Sutherland introduces a variety of stand-up comedians from the Scottish circuit delivering – as the name would suggest – all new material.

THE 10 O’CLOCK SHOW

Vespbar’s weekend host Viv Gee introduces a mixed bag of new comedy talent, topped off with a bigger name headline act.

JOJO SUTHERLAND’S PICK OF THE FRINGE

RED RAW

Open-mic style beginners showcase, bolstered along by a selection of old hands dropping by to roadtest new material.

Wed 27 Aug NEW MATERIAL NIGHT

VESPBAR, 20:00–22:00, £3

Resident host Julia Sutherland introduces a variety of stand-up comedians from the Scottish circuit delivering – as the name would suggest – all new material.

Thu 28 Aug VESPBAR VIRGINS

VESPBAR, 21:00–22:30, £3

Graham Barrie introduces a selection of fledgling comedy talent handpicked from the Scottish circuit.

Fri 29 Aug

THE 10 O’CLOCK SHOW

VESPBAR, 22:00–23:45, £10

Vespbar’s weekend host Viv Gee introduces a mixed bag of new comedy talent, topped off with a bigger name headline act.

Sat 30 Aug THE 10 O’CLOCK SHOW

VESPBAR, 22:00–23:45, £10

Vespbar’s weekend host Viv Gee introduces a mixed bag of new comedy talent, topped off with a bigger name headline act.

THE STAND, 21:00–23:00, £15

E’er keen to muscle in on the Edinburgh Fringe action, Glasgow’s The Stand invite a selection of comic MCs to present their picks of the Fringe.

Sun 24 Aug

MICHAEL REDMOND’S PICK OF THE FRINGE

THE STAND, 21:00–23:00, £7 (£6)

E’er keen to muscle in on the Edinburgh Fringe action, Glasgow’s The Stand invite a selection of comic MCs to present their picks of the Fringe.

KELVINGROVE PARK, 12:00–14:00, £10

Bringing some of the cream of Edinburgh Fringe comedy to the west side, Kelvingrove Bandstand welcomes a four-strong line-up of talent to Weegieland for some ‘burgh respite. Compered by Stephen K Amos.

Sun 10 Aug

MICHAEL REDMOND’S PICK OF THE FRINGE

THE STAND, 21:00–23:00, £7 (£6)

E’er keen to muscle in on the Edinburgh Fringe action, Glasgow’s The Stand invite a selection of comic MCs to present their picks of the Fringe. Keep an eye on The Stand’s website for line-ups being revealed nearer the time.

Mon 11 Aug

ROBERT NEWMAN’S NEW THEORY OF EVOLUTION

THE STAND, 20:30–22:30, £12 (£10)

Glasgow’s The Stand entice Robert Newman along the M8 for an airing of his first show in seven years – in between his 22-date Edinburgh Festival run, that is – telling of how a series of disasters/flukes led him to stumble upon a new theory of evolution.

Tue 12 Aug RED RAW

THE STAND, 20:30–22:30, £2

Open-mic style beginners showcase, bolstered along by a selection of old hands dropping by to roadtest new material.

Wed 13 Aug

BILLY KIRKWOOD’S PICK OF THE FRINGE

THE STAND, 21:00–23:00, £8 (£6)

E’er keen to muscle in on the Edinburgh Fringe action, Glasgow’s The Stand invite a selection of comic MCs to present their picks of the Fringe. Keep an eye on The Stand’s website for line-ups being revealed nearer the time.

NEW MATERIAL NIGHT

VESPBAR, 20:00–22:00, £3

Resident host Julia Sutherland introduces a variety of stand-up comedians from the Scottish circuit delivering – as the name would suggest – all new material.

Listings

93

Art Glasgow Art Pistol 15°

VARIOUS DATES BETWEEN 12 JUL AND 24 AUG, TIMES VARY, FREE

Showcase of work from 15 Scottish art school graduates from Glasgow, Edinburgh and Dundee, including new work from some Art Pistol regulars and newcomers, plus a selection of work that was destined for the GSA Fine Art degree show.

CCA

JOEY VILLEMONT: STUDIES FOR A COLLECTION

25 JUL – 8 AUG, TIMES VARY, FREE

The Common Guild HAYLEY TOMPKINS

VARIOUS DATES BETWEEN 21 JUN AND 2 AUG, TIMES VARY, FREE

Glasgow Sculpture Studios

MOOD IS MADE/TEMPERATURE IS TAKEN

VARIOUS DATES BETWEEN 4 JUL AND 6 SEP, 11:00AM – 5:00PM, FREE

Collective exhibition considering the dual strategies of craft and appropriation among a current generation of artists working at Glasgow Sculpture Studios.

Hunterian Art Gallery MACKINTOSH ARCHITECTURE

VARIOUS DATES BETWEEN 18 JUL AND 4 JAN, TIMES VARY, FREE

New body of work following Joey Villemont’s ongoing study of fashion shows and contemporary art displays of the early 20th century, playing with the ideas and look of a fashion showroom.

First major exhibition devoted to Charles Rennie Mackintosh’s architectural work, featuring over 80 architectural drawings from The Hunterian and collections across the UK, many never before exhibited.

26 JUL – 7 SEP, TIMES VARY, FREE

VARIOUS DATES BETWEEN 18 JUL AND 15 FEB, TIMES VARY, FREE

TONY CRUZ, REMY JUNGERMAN + ADELE TODD: SPIRIT LEVELS

Triple-header show with all three artists sharing a fascination with line and form, this time raising questions around the importance of race, colonialism and the transmission of ideas.

ANIARA OMANN: BRAD PITT

22 AUG – 5 SEP, TIMES VARY, FREE

Solo exhibition by Glasgow School of Art MFA graduate Aniara Omann, consisting of a series of found objects with fabricated prosthetics applied to them, mimicking the aesthetics and techniques of movie-prop fabrication.

Gallery of Modern Art

NATHAN COLEY: THE LAMP OF SACRIFICE

15 MAY – 1 MAR, TIMES VARY, FREE

Interested in how people relate to architecture and what they choose to believe, Nathan Coley presents an installation featuring models of 286 ‘places of worship’ that he found in the 2004 edition of the Edinburgh Yellow Pages. Part of GENERATION. MOYNA FLANNIGAN: STARE

29 MAY – 2 NOV, TIMES VARY, FREE

The Edinburgh-based artist presents a new body of work drawing on the story of Adam and Eve, in particular the figure of Eve as an original model of Woman, to reflect an underlying conflict between individualism and conformity. Part of GENERATION.

DOUGLAS GORDON: PRETTY MUCH EVERY FILM AND VIDEO WORK FROM ABOUT 1992 UNTIL NOW

27 JUN – 28 SEP, TIMES VARY, FREE

Dividing his time between Glasgow and Berlin, Douglas Gordon presents an encyclopaedia-style installation of his output to date – shown on over 100 old televisions.

Part of GENERATION. SARA BARKER: FOR MYSELF & STRANGERS

27 JUN – 5 OCT, TIMES VARY, FREE

Interested in what she terms ‘biological space’, Glasgow-based artist Sara Barker showcases a new series of sculptures that include brazed, welded and cast metals, sometimes divided by glass structures that frame and contain the work. Part of GENERATION.

Glasgow Print Studio

MICHAEL FULLERTON: MEANING, INC.

VARIOUS DATES BETWEEN 28 JUN AND 15 AUG, TIMES VARY, FREE

Working in painting, printmaking, sculpture and film, Michael Fullerton takes to Glasgow Print Studio to display a new series of portraits of figures related to issues of technology, communication and justice. Part of GENERATION. BELOW ANOTHER SKY

18 JUL – 15 AUG, NOT 21 JUL, 28 JUL, 4 AUG, 11 AUG, TIMES VARY, FREE

Changing presentation of 16 new limited edition prints in the ground floor gallery space, beginning on 18 Jul and changing each Tuesday over the following four weeks.

94

Listings

MACKINTOSH TRAVEL SKETCHES

Showcase exhibition of Charles Rennie Mackintosh’s watercolours, sketchbook pages and sketchbooks, demonstrating the range of his travels and his interest in Scottish tower houses, medieval English churches and vernacular architecture.

WILLIAM DAVIDSON: ART COLLECTOR

VARIOUS DATES BETWEEN 18 JUL AND 4 JAN, TIMES VARY, FREE

Collected works from the late William Davidson’s collection, one of Charles Rennie Mackintosh’s most important patrons, taking in a selection of gifts, bequests and loans from the Davidson family archives illustrating the scope of his collection.

LUCY SKAER

VARIOUS DATES BETWEEN 18 JUL AND 25 JAN, TIMES VARY, FREE

Solo showcase from the contemporary Scottish artist, including the installation of four key pieces – a drawing, a 16mm film, and two wooden sculptures – inspired by surrealist artist Leonora Carrington, whom Skaer visited in 2006. Part of GENERATION.

Mary Mary INSIDE ARRANGEMENT

VARIOUS DATES BETWEEN 7 JUN AND 2 AUG, 12:00PM – 6:00PM, FREE

Group exhibition taking in a selection of work by John Finneran, Jonathan Gardner, John McAllister, Gerda Scheepers and Sam Windett.

Platform

MARY REDMOND: CROSS BLOCK SPLIT

27 JUN – 31 AUG, TIMES VARY, FREE

Artist Mary Redmond exhibits her new large-scale, site-specific sculptural installation. Informed by the urban spaces of the local area, it features hundreds of crafted ‘tumbleweed’ sculptures punctuated by suspended barriers made from corrugated PVC.

Street Level Photoworks

WENDY MCMURDO: DIGITAL PLAY

VARIOUS DATES BETWEEN 28 JUN AND 17 AUG, TIMES VARY, FREE

Major solo exhibition of collected works from 1995-2012 by photographer and filmmaker Wendy McMurdo, known for focusing on the relationship between technology and identity expressed through the images and ideas of childhood.

ARPITA SHAH: PORTRAIT OF HOME

VARIOUS DATES BETWEEN 18 JUL AND 24 AUG, TIMES VARY, FREE

Arpita Shah exhibits a collection of photographs of families based in Scotland who also have cultural roots in other Commonwealth countries, visually representing how migration between these countries has shaped the identity of contemporary Scotland.

First of a trio of solo exhibition as part of the GENERATION project, presenting three consecutive solo exhibitions by Hayley Tompkins, Corin Sworn and Duncan Campbell, the artists presented by The Common Guild for the exhibition Scotland + Venice 2013.

CORIN SWORN

VARIOUS DATES BETWEEN 9 AUG AND 13 SEP, TIMES VARY, FREE

Second in a trio of solo shows as part of GENERATION, presenting work by the artists in The Common Guild’s Scotland + Venice 2013 exhibition - with Sworn’s show stemming from a re-discovered collection of slides taken in Peru by her father.

The Good Spirits Co. JENNIFER KILGOUR

2 JUL – 9 AUG, TIMES VARY, FREE

First solo exhibition by painter and illustrator Jennifer Kilgour, presenting a selection of her figurative, portraiture and illustrative work encompassing observational pieces as well as imagery from her imagination.

The Lighthouse GREEN2014

11 APR – 24 OCT, TIMES VARY, FREE

Special exhibition charting the environmental legacy of the Glasgow Commonwealth Games, bringing punters up close with the people involved via portraits (photos and audio) of real people using the myriad sporting venues.

ROSIE CUNNINGHAM: THE GLASGOW ALPHABET MAP

Tramway CATHY WILKES

28 JUN – 5 OCT, TIMES VARY, FREE

Glasgow-based artist known for her imaginary environments that variously resemble interiors, uninhabited worlds and spaces of loss, engaging with the fabric and industrial history of Tramway to further explore these themes. Part of GENERATION. MICK PETER: ALMOST CUT MY HAIR

15 MAY – 5 OCT, TIMES VARY, FREE

Known for transforming drawn imagery derived from fiction, illustration and graphic design into 3D installations, Glasgow-based sculptor Mick Peter displays a pair of ‘folded’ sculptures created especially for Tramway’s Hidden Gardens. Part of GENERATION. CHARLIE HAMMOND, IAIN HETHERINGTON + ALEX POLLARD: INTERNET CURTAINS

9 AUG – 14 SEP, TIMES VARY, FREE

Triple-header exhibition drawing together the work of three Glasgow-based artists who explore the role of painting within ‘post internet’ society and the political dynamics of contemporary culture. Part of GENERATION.

iota, Unlimited Studios 80 DAYS!

1 JUL – 16 SEP, NOT SUNDAYS, TIMES VARY, FREE

Iota host a timely 80-day long exhibition in the run up to the indy referendum, inviting punters to submit their opinions in words or pictures (in person or online) to be shown as an evolving display in the iota windows.

Edinburgh

18 JUL – 24 AUG, TIMES VARY, FREE

New fruits of illustrator Rosemary Cunningham’s alphabet project – that began life in 2012 – which revisits the alphabet to create a hand-drawn map of the city incorporating all 26 letters.

SIGHTLINES

7 AUG – 14 SEP, TIMES VARY, FREE

Looped screening of a new film inspired by historical aerial photography of Commonwealth countries, combining 3D aerial images and personal cinefilm from the 50s, with live action footage of the present day.

A+DS AND RIAS SCOTTISH STUDENT AWARDS FOR ARCHITECTURE

18 JUL – 28 SEP, TIMES VARY, FREE

12th annual exhibition and student awards showcasing the best work of emerging young architects from all of Scotland’s Schools of Architecture.

The Modern Institute SCOTT MYLES: MUMMIES

28 JUN – 30 AUG, NOT SUNDAYS, TIMES VARY, FREE

New work encompassing a range of formats – sculpture, juxtapositions of cast and readymade objects, printmaking, painting, text, photography and performance – considering how personal and social meanings are embedded in objects, images and structures.

The Modern Institute @ Airds Lane RICHARD WRIGHT

VARIOUS DATES BETWEEN 26 JUN AND 6 SEP, 12:00PM – 5:00PM, FREE

New body of works by the Glasgow-based artist and 2009 Turner Prize winner, known for his modern frescoes that transform interior spaces by literally opening up new perspectives.

The Old Hairdressers VAU MEMBERS’ SHOW

24–25 AUG, TIMES VARY, FREE

Mini one-day exhibition of works by the member artists of Visual Artist Unit, an artist led Community Interest Company aimed at supporting emerging artists.

Opening evening, 24 Aug (6pm).

Atticsalt

THE HEALING POWER OF ART

VARIOUS DATES BETWEEN 2 AUG AND 31 AUG, TIMES VARY, FREE

Art in Healthcare – a Scottish charity which lends its collection of original artworks to healthcare settings – host a showcase exhibition featuring work by Adrian Wiszniewski, Barbara Rae, Gwen Hardie, Katie Downie, Alan Shipway, John McLean and more.

Bourne Fine Art JOHN BYRNE: DEAD END

4 JUL – 30 AUG, NOT SUNDAYS, TIMES VARY, FREE

WHERE DO I END AND YOU BEGIN 1 AUG – 19 OCT, TIMES VARY, FREE

Showcase in collaboration with the Glasgow 2014 Cultural Programme, uniting curators from five Commonwealth countries (New Zealand, South Africa, India, Canada, and the UK) to explore common-wealth via 20 artists’ work. Part of Edinburgh Art Festival.

Collective Gallery

ROSS SINCLAIR: 20 YEARS OF REAL LIFE

VARIOUS DATES BETWEEN 28 JUN AND 31 AUG, TIMES VARY, FREE

Specifically developed to facilitate artists at a pivotal point in their career, Collective’s Satellite programme continues with a showcase of work from Marie-Michelle Deschamps. Part of GENERATION/Edinburgh Art Festival.

Creative Exchange

THE SKINNY SHOWCASE

31 JUL – 30 AUG, NOT SUNDAYS, TIMES VARY, FREE

As part of our long-running Showcase of fledgling visual art, we bring together a special exhibition of four emerging artists fresh from degree show: Melanie Letore, Fiona Beveridge, Caitlin Hynes and Edward Humphrey.

Part of Edinburgh Art Festival.

Dovecot

CURRENT EXCHANGES: DOVECOT AND THE AUSTRALIAN TAPESTRY WORKSHOP

5 JUL – 27 SEP, NOT SUNDAYS, 10:30AM – 5:30PM, FREE

Celebrating the continuing connections between the Australian Tapestry Workshop (in Melbourne) and Dovecot Studios (in Edinburgh), Dovecot bring together a selection of recent work from both institutions. Part of Edinburgh Art Festival.

CRAIGIE AITCHISON

Retrospective showcase of paintings and etchings from the estate of Craigie Aitchsion (1926-2009), shown alongside a series of tapestries created by Dovecot Studios in collaboration with the artist.

1 AUG – 13 SEP, NOT 7 SEP, TIMES VARY, FREE

Dundee-based artists Dalziel + Scullion present a new body of work forming one half of an exhibition with An Lanntair in Stornoway responding directly to the architectural and geographic contexts of both venues. Part of GENERATION/Edinburgh Art Festival.

City Art Centre

Edinburgh College of Art

26 APR – 16 NOV, TIMES VARY, FREE

16–24 AUG, TIMES VARY, FREE

Informative exhibition cutting across time periods, themes and media to explore the breadth and diversity of Scottish art, representing the key movements that have shaped Scotland’s artistic identity.

URBAN/SUBURBAN

1 AUG – 19 OCT, TIMES VARY, FREE

Collective exhibition looking at the theme of architecture and the built environment in recent Scottish art, based on work acquired through the National Collecting Scheme for Scotland. Part of GENERATION/ Edinburgh Art Festival.

ADAM KNIGHT: TANK

VARIOUS DATES BETWEEN 1 AUG AND 30 AUG, TIMES VARY, FREE

RES-EX

MARIE-MICHELLE DESCHAMPS

DALZIEL + SCULLION: TUMADH: IMMERSION

A-Z: AN ALPHABETICAL TOUR OF SCOTTISH ART

New installation work for which Janie Nicoll will use text as the foundation for a cross-platform exploration carried out in collaboration with other contemporary artists – who will contribute digital images and text works. Part of Edinburgh Art Festival.

Retrospective showcase of the late Paul Carter – a key figure in the Scottish art scene and teacher at Edinburgh College of Art – drawing from two exhibitions: Icaro Menippus (2002) and Edge of Darkness (2003).

Part of GENERATION/Edinburgh Art Festival.

26 JUL – 7 SEP, NOT 28 JUL, 1 SEP, TIMES VARY, FREE

Charlotte Square Gardens New outdoor installation by Thomas A Clark which will play a recording of the shy corncrake bird – now found only in remote locations – each evening between 8.30pm and 10.30pm. Supported

by RSPB. Part of Edinburgh Art Festival.

VARIOUS DATES BETWEEN 2 AUG AND 30 AUG, 11:00AM – 5:00PM, FREE

PAUL CARTER: ICARO MENIPPUS [X2]

For the TANK project space, Adam Knight presents a series of performances and installations based around his script ‘The Canetti Reading Group’ – for which Elias Canetti’s seminal essay, Crowds and Power, becomes the focus for a fictional reading group.

5 JUL – 27 SEP, NOT SUNDAYS, 10:30AM – 5:30PM, FREE

9–25 AUG, 8:30PM – 10:30PM, FREE

Interview Room 11

Marking the 20th anniversary of his Real Life projects, Ross Sinclair aims to establish new bands whose members have been born in the last 20 years - with Collective/Sinclair giving away instruments to teens. Part of GENERATION/Edinburgh Art Festival.

Complementing his current showcase at the Scottish National Portrait Gallery, Bourne host a collection of works from Paisleyborn artist John Byrne - including a ‘Cabinet of Curiosities’ of objet trouvé style objects. Part of Edinburgh Art Festival.

A CORNCRAKE IN CHARLOTTE SQUARE

Edinburgh Sculpture Workshop

ECA: MASTERS DEGREE SHOW

ECA’s MA and MSc students from the Art, Design, Architecture and Landscape Architecture schools exhibit their artwork, taking in sculpture, painting, illustration, product design and architecture.

Part of Edinburgh Art Festival.

Edinburgh Printmakers

CALUM COLVIN: THE MAGIC BOX

VARIOUS DATES BETWEEN 1 AUG AND 6 SEP, 10:00AM – 6:00PM, FREE

Solo exhibition by renowned Scottish artist Calum Colvin, forming an archaeology of his creative practice from the last 28 years – focusing on his archive of image transparencies dating back to the early 80s. Part of Edinburgh Art Festival.

Embassy Gallery VARIOUS DATES BETWEEN 8 AUG AND 24 AUG, 12:00PM – 6:00PM, FREE

Exhibition culmination of Scottish artist Lewis Den Hertog residency exchange between Embassy Gallery and the online gallery #0000FF, exploring his interest in the darker side of humanity and its many manifestations across the internet.

Gallery TEN JAPANNED!

2 AUG – 2 SEP, NOT SUNDAYS, TIMES VARY, FREE

Japanese printmaker Kouki Tsuritani exhibits a collection of mezzotint prints, alongside a number of International and British artists who either use Japanese techniques or draw inspiration from Japanese art and imagery.

Garage GARAGE

VARIOUS DATES BETWEEN 2 AUG AND 31 AUG, 12:00PM – 4:00PM, FREE

The unique artist-run space that is GARAGE – aka three garages and a garden – present a selection of new works and collaborations by artists created during a series of micro-residencies. Part of Edinburgh Art Festival.

Gayfield Creative Spaces INDIA STREET

VARIOUS DATES BETWEEN 2 AUG AND 11 SEP, 11:00AM – 6:00PM, FREE

A group of contemporary Scottish and Indian designers explore the legacy of Scotland’s Turkey red dye industry, featuring artists Gabriella di Tano, Emlyn Firth, Sanjay Garg, Lokesh Ghai, Charlotte Linton, Orijit Sena, Gurpreet Sidhu and Laura Spring.

CAROL SINCLAIR: MAKING WELL – FRAGMENTS

VARIOUS DATES BETWEEN 2 AUG AND 11 SEP, 11:00AM – 6:00PM, FREE

Solo showcase of newly-commissioned work by ceramic artist Carol Sinclair, responding to issues around memory.

GARDEN PARTY

VARIOUS DATES BETWEEN 2 AUG AND 11 SEP, 11:00AM – 6:00PM, FREE

Gayfield Creative Spaces bring the summer indoors for their designed version of a ‘garden party’, with Deckchairs by Timorous Beasties joining key works by Piet Hein Eek, Laura Spring and Geoffrey Mann.

Ingleby Gallery KATIE PATERSON: IDEAS

VARIOUS DATES BETWEEN 27 JUN AND 27 SEP, TIMES VARY, FREE

The Glasgow artist continues her emphasis on cosmology, with the exhibition including the culmination of Second Moon – a year-long project for which a fragment of the moon has been circling the earth via airfreight courier. Part of Edinburgh Art Festival.

JANIE NICOLL: ROUGH EDIT

VARIOUS DATES BETWEEN 23 JUL AND 9 AUG, TIMES VARY, FREE

ALESSANDRO DI MASSIMO: I’LL BE YOUR MIRROR

VARIOUS DATES BETWEEN 20 AUG AND 6 SEP, TIMES VARY, FREE

Installation of five works by Edinburgh-based Italian artist Alessandro Di Massimo, centred on the theme of borders, boundaries, citizenship and European identity.

Part of Edinburgh Art Festival.

Inverleith House ISA GENZKEN: BOTANICAL GARDEN

VARIOUS DATES BETWEEN 19 JUL AND 28 SEP, 10:00AM – 5:30PM, FREE

PRIMORDIAL: SUPERNATURALBAYIMINYJIRRAL 1 AUG – 23 NOV, 10:00AM – 5:00PM, FREE

Inspired by objects from National Museums Scotland’s World Cultures Collection, contemporary Australian artist Danie Mellor presents sculpture and work on paper that explores his own indigenous and European heritage.

Part of Edinburgh Art Festival.

New Media Scotland ALT-W

VARIOUS DATES BETWEEN 31 JUL AND 30 AUG, 10:00AM – 4:00PM, FREE

Showcase of new work by ~ in the fields – aka Chris Helson & Sarah Jackets, Hadi Mehrpouya & Robert Powell, Donna Leishman and Calum Stirling – all commissioned by New Media Scotland’s Alt-w Fund. Part of Edinburgh Art Festival.

Open Eye Gallery

LEON MORROCCO: RECOLLECTION

First UK exhibition outside of London by German-born artist Isa Genzken, featuring recent work which of late has focused on the urban – combining aspects of photography, collage and cheap readymade objects. Part of Edinburgh Art Festival.

11 AUG – 6 SEP, NOT SUNDAYS, TIMES VARY, FREE

Jupiter Artland

KEITH MCCARTER: ART IN ARCHITECTURE

KATIE PATERSON: EARTH-MOONEARTH (MOONLIGHT SONATA REFLECTED FROM THE SURFACE OF THE MOON)

VARIOUS DATES BETWEEN 17 JUL AND 28 SEP, 10:00AM – 5:00PM, FREE

New exhibition capturing a transmission of Beethoven’s Moonlight Sonata reflected from the moon, converted into Morse code and played on a self-playing grand piano, with live performances scheduled throughout. Part of GENERATION/Edinburgh Art Festival.

MICK PETER: POPCORN PLAZA

VARIOUS DATES BETWEEN 31 JUL AND 28 SEP, 10:00AM – 5:00PM, £8.50 (£4.50)

Glasgow-based artist Mick Peter creates a cement wall relief especially for Jupiter Artland’s Steading Gallery, featuring freestanding modular cement forms strewn with enlarged ‘popcorn’ kernels.

Part of GENERATION/Edinburgh Art Festival.

TESSA LYNCH: RAISING

VARIOUS DATES BETWEEN 17 JUL AND 28 SEP, 10:00AM – 5:00PM, £8.50 (£4.50)

Tessa Lynch and a team of volunteers present new work concerned with the current restrictions on home planning, construction and development, with the piece deconstructed and rebuilt throughout the exhibition duration.

Part of Edinburgh Art Festival.

JESSICA HARRISON: BROKEN

VARIOUS DATES BETWEEN 31 JUL AND 28 SEP, 10:00AM – 5:00PM, £8.50 (£4.50)

Showcase of Jessica Harrison’s recent Broken sculptures, where ready-made and found ceramics figurines are reworked – unraveling the complex relationship between the body and objects, by questioning our knowledge of both.

Part of Edinburgh Art Festival.

Lauriston Castle CAPTAIN LIGHTFOOT PRESENTS...

9–15 AUG, TIMES VARY, FREE

The international collective – set up by Emma Pratt, Anneli Holmstrom and Kadie Salmon – display new work in Lauriston Castle’s Victorian Glasshouse, with each piece encountered revealing another chapter of the Glasshouse.

Part of Edinburgh Art Festival.

National Museum of Scotland

MING: THE GOLDEN EMPIRE

27 JUN – 19 OCT, 10:00AM – 5:00PM, £10 (£8/£6.50 CHILDREN)

Collection of original artefacts from the Nanjing Museum, taking in key aspects of the Ming dynasty focusing on the remarkable cultural, technological and economic achievements of the period. Part of Edinburgh Art Festival.

Recollective exhibition of works by renowned travelling artist Leon Morrocco, spanning five decades and going some way to document his life as an artist defined by travel. Part of Edinburgh Art Festival.

11 AUG – 6 SEP, NOT SUNDAYS, TIMES VARY, FREE

Showcase exhibition of Scottishborn artist Keith McCarter’s limited edition casts – including a cast of the working model for The Observer, the full-scale version of which is installed at 1020 19th Street, Washington DC. Part of Edinburgh Art Festival.

SCOTTISH MASTERS: PAINTING AND PRINTMAKING

11 AUG – 6 SEP, NOT SUNDAYS, TIMES VARY, FREE

Showcase of Scottish Masters, featuring paintings by some of Scotland’s greatest post-war artists including John Bellany, Elizabeth Blackadder, Adrian Wiszniewski and Alan Davie. Part of Edinburgh Art Festival.

Randolph House RODERICK BUCHANAN: CHARLOTTE SQUARED

31 JUL – 30 AUG, NOT SUNDAYS, 11:00AM – 5:00PM, FREE

Following his ECA residency, Roderick Buchanan showcases his performative artwork, Number Crunching - aimed at increasing awareness of Thomas Muir, an under-appreciated figure active within the Scottish Enlightenment.

Part of Edinburgh Art Festival.

Rhubaba

AUGUSTO CORRIERI + VINCENT GAMBINI

VARIOUS DATES BETWEEN 1 AUG AND 31 AUG, 12:00PM – 5:00PM, FREE

Double-header of work from a duo of London-based artists, taking in a selection of Augusto Corrieri’s video works alongside Vincent Gambini’s residency developing a performance to be shown at Pilrig Church Hall on 30 Aug. Part of Edinburgh Art Festival.

Royal Scottish Academy (RSA) OPEN DIALOGUES

28 JUN – 31 AUG, TIMES VARY, FREE

Showcase inviting one artist from each of the RSA New Contemporaries (2009-2014) to display new work, selected on merit of their impact on contemporary practice and track record since RSA New Contemporaries. Part of GENERATION/Edinburgh Art Festival.

Scottish National Gallery TITIAN AND THE GOLDEN AGE OF VENETIAN PAINTING

22 MAR – 14 SEP, TIMES VARY, FREE

Special exhibition celebrating the recent acquisition – jointly with the National Gallery in London – of two mythological paintings by Titian, shown alongside work from almost all of the major names in Venetian art of the period.

THE SKINNY

GENERATION @ SCOTTISH NATIONAL GALLERY

Summerhall

28 JUN – 2 NOV, TIMES VARY, FREE

1 AUG – 26 SEP, TIMES VARY, FREE

Celebrating art made in Scotland in the last 25 years, the Scottish National Gallery’s GENERATION exhibit includes installations from Steven Campbell and Martin Boyce, plus new work from Karla Black and David Shrigley. Part of Edinburgh Art Festival.

THE ART OF GOLF: THE STORY OF SCOTLAND’S NATIONAL SPORT

12 JUL – 26 OCT, TIMES VARY, £8 (£6)

Story of the birth and evolution of golf, bringing together works of art, rare memorabilia and significant museum pieces from the game’s history – beginning in the early 17th century with paintings of the playing of ‘kolf’. Part of Edinburgh Art Festival.

Scottish National Gallery of Modern Art GENERATION @ SCOTTISH NATIONAL GALLERY OF MODERN ART

28 JUN – 25 JAN, 10:00AM – 5:00PM, FREE

Celebrating some of the best art to come out of Scotland in the last 25 years, the Scottish National Gallery of Modern Art’s GENERATION exhibition includes installations

by Ross Sinclair, Graham Fagen and Simon Starling. Part of Edinburgh Art Festival.

AMERICAN IMPRESSIONISM: A NEW VISION

19 JUL – 19 OCT, 10:00AM – 5:00PM, £8 (£6)

Showcase tracing the discovery of Impressionism by American artists in the late 19th-century, divided into four groups and including John Singer Sargent, William Merritt Chase and the American group known as ‘The Ten’. Part of Edinburgh Art Festival.

Scottish National Portrait Gallery MAKING HISTORY

12 OCT – 28 SEP, TIMES VARY, FREE

Solo exhibition of recent work by Sandy Stoddart (Sculptor In Ordinary to The Queen of Scotland), of which the main focus will be the creation of a new figurative statue of William Birnie Rhind commissioned by the Scottish National Portrait Gallery.

JOHN BYRNE: SITTING DUCKS

14 JUN – 19 OCT, TIMES VARY, FREE

Showcase of works from the Paisley-born artist, celebrating his innovative and richly varied portraiture across an exhibition of 60 drawings, paintings and multi-media works from throughout his career.

Part of Edinburgh Art Festival.

GENERATION @ SCOTTISH NATIONAL PORTRAIT GALLERY

28 JUN – 2 NOV, TIMES VARY, FREE

Celebrating art made in Scotland in the last 25 years, the Portrait Gallery’s GENERATION exhibition forms a three-headed showcase alongside the Scottish National Gallery of Modern Art and the Scottish National Gallery. Part of Edinburgh Art Festival.

JOHN RUSKIN: ARTIST AND OBSERVER

4 JUL – 28 SEP, TIMES VARY, £8 (£6)

Retrospective exhibition illustrating the range and quality of John Ruskin’s drawn and painted work - from Gothic palaces in Venice to minutely defined coloured birds and plants. Part of Edinburgh Art Festival.

St Margaret’s House Art’s Complex

ST. MARGARET’S HOUSE RESIDENTS’ SHOW

9 AUG – 7 SEP, 9:00AM – 6:00PM, FREE

Annual exhibition showcasing the diverse talents and skills of the inhouse makers and artists that work at St Margaret’s House, taking over all three of the gallery spaces on the building’s third floor.

Stills

THE KING’S PEACE: REALISM AND WAR

1 AUG – 26 OCT, 11:00AM – 6:00PM, FREE

Group exhibition expanding on the themes of Owen Logan’s photoessay, Masquerade: Michael Jackson Alive in Nigeria (2001-2005), following the exploits of a costumed performer as he travels across the country. Part of GENERATION/Edinburgh Art Festival.

August 2014

SUSAN HILLER: RESOUNDING

New work from the Americanborn, London-based artist combining sound frequencies and visual patterns translated from radio waves emitted by the Big Bang with a series of eye-witness accounts of extraterrestrial phenomena. Part of Edinburgh Art Festival.

CLAUDE CLOSKY: 10, 20, 30 AND 40%

1 AUG – 26 SEP, TIMES VARY, FREE

Interactive work from French conceptual artist Claude Closky, inviting the public to make a mouse click, which then initiates the rotation of an already wonky projected landscape. Part of Edinburgh Art Festival.

FAILE & BÅST

1 AUG – 26 SEP, TIMES VARY, FREE

Installation from Brooklynbased FAILE (aka Patrick McNeil and Patrick Miller) featuring newly-designed interactive video games and pinball machines for Art Basel Miami Beach 2013, which visitors are invited to play.

Part of Edinburgh Art Festival.

KENNARDPHILLIPPS: DEMO TALK

1 AUG – 26 SEP, TIMES VARY, FREE

Collaborative duo Peter Kennard and Cat Phillipps perform Demo Talk – an artists’ talk that transforms into a physical demonstration of the methods they use in making their visual cries of protest against corrupt power.

Part of Edinburgh Art Festival.

GARY BASEMAN: MYTHICAL HOMELAND

1 AUG – 26 SEP, TIMES VARY, FREE

For his first solo exhibition in the UK, LA-based artist Gary Baseman interprets the Holocaust and its lasting effects on culture and identity through drawings, paintings, photographs and a short film documentary. Part of Edinburgh Art Festival.

ANTONIO O’CONNELL: VIRUS

1 AUG – 26 SEP, TIMES VARY, FREE

Mexican installation artist and architect Antonio O’Connell creates a major new work at the front of Summerhall’s building, incorporating some of the former Vet School’s fixtures and fittings.

Part of Edinburgh Art Festival.

TAMSYN CHALLENGER: MONOCULTURE

1 AUG – 26 SEP, TIMES VARY, FREE

Political artist Tamsyn Challenger showcases her Monoculture installation – premiered in 2013 – linking earlier forms of human suppression by pseudo-sexual torture with cultural homogenisation on a global scale. Part of Edinburgh Art Festival.

AUGUSTIN REBETEZ: HEART (METEORITE)

1 AUG – 26 SEP, TIMES VARY, FREE

New work from Swiss artist Augustin Rebetez, bringing together strange beasts, stop-motion videos and rapidlyassembled humanoid sculptures, intended to depict the tragedy and comedy of the universe as she sees it. Part of Edinburgh Art Festival.

CAROLINE MCNAIRN: DREAMING OF HEROIC DAYS

1 AUG – 26 SEP, TIMES VARY, FREE

Retrospective exhibition celebrates the late Caroline McNairn’s year spent painting in Russia and Ukraine – the culmination of a historic cultural exchange between Scotland and the former USSR. Part of Edinburgh Art Festival.

PETER HOWSON: BOSNIAN WAR PAINTINGS

1 AUG – 26 SEP, TIMES VARY, FREE

Showcase of painting by Scottish painter Peter Howson, the official war artist commissioned by the Imperial War Museum to document the Bosnian/Hercegovina conflict under Serbian and Croatian aggression in 1993. Part of Edinburgh Art Festival.

DEMARCO EUROPEAN ART FOUNDATION 1 AUG – 26 SEP, TIMES VARY, FREE

Delve into the archive of Professor Richard Demarco CBE – a unique academic resource, part of which is under the aegis of The Scottish National Gallery of Modern Art, while the major part is housed at Summerhall. Part of Edinburgh Art Festival.

IGNAZ CASSAR: 444 ARCHIVES

1 AUG – 26 SEP, TIMES VARY, FREE

Ignaz Cassar’s installation based on photographic artwork, comprising a collection of 444 photographs of 444 publicly registered repositories in the Greater London area.

Part of Edinburgh Art Festival.

LINDSAY TODD: LIVING MOUNTAIN

1 AUG – 26 SEP, TIMES VARY, FREE

The Queen’s Gallery

POETRY FOR THE PALACE: POETS LAUREATE FROM DRYDEN TO DUFFY

7 AUG – 2 NOV, TIMES VARY, £6.50 (£5.90)

Exhibition exploring the role of the Poet Laureate, and the relationship between poet and monarch over the last 350 years – taking in presentation volumes, manuscripts, annotated collections of poetry and images of poets. Part of Edinburgh Art Festival.

Dundee

Specially designed ‘record shop’, where graphic designer, vinyl record collector and label owner Lindsay Todd will be spinning discs and allowing visitors to browse LPs, audio cassettes and CDs of his own works and others. Part of Edinburgh Art Festival.

Baxter Park

1 AUG – 26 SEP, TIMES VARY, FREE

DCA

BIRGIR ANDRÉSSON: THE NORTHERNMOST NORTH

Large scale work from late artist Birgir Andrésson, marking the boundaries of Summerhall with four large painted works – Northernmost North, the Easternmost East, the Southernmost South and the Westernmost West. Part of Edinburgh Art Festival.

GENESIS & LADY JAYE BREYER P-ORRIDGE: LIFE AS A CHEAP SUITCASE (PANDROGENY & A SEARCH FOR A UNIFIED IDENTITY)

1 AUG – 26 SEP, TIMES VARY, FREE

First British exhibition by influential avant-garde artists Genesis and Lady Jaye Breyer P-Orridge since 2003, featuring the European premiere of major works from their Pandrogyne project. Part of Edinburgh Art Festival.

THE MACMILLAN CANCER SUPPORT ART SHOW 2014

14–17 AUG, 11:00AM – 6:00PM, FREE

Annual fundraiser exhibition now in its 12th year – showcasing new work by recognised and emerging artists and jewellers, on show and available to buy.

Talbot Rice COUNTERPOINT

VARIOUS DATES BETWEEN 1 AUG AND 18 OCT, TIMES VARY, FREE

Non-thematic group show featuring eight contemporary artists whose practice expands the boundaries of visual art, aiming to expand critical and conceptual thinking about visual art in relation to other subjects. Part of GENERATION/Edinburgh Art Festival.

The Fruitmarket Gallery JIM LAMBIE

27 JUN – 19 OCT, TIMES VARY, FREE

Solo showcase of the renowned Scottish artist, bringing together early sculptures and recent work – including a new version of ‘Shaved Ice’ that will fill the ground floor with floor-to-ceiling mirrored ladders. Part of GENERATION/ Edinburgh Art Festival.

The Manna House

AN ATTEMPT AT EXHAUSTING A PLACE (IN EDINBURGH)

4–31 AUG, TIMES VARY, FREE

Alice Finbow presents new work based on Georges Perec’s 1974 book An Attempt at Exhausting a Place in Paris, for which she’ll spend a week recording the goings on at Manna House, before turning them into a wall display. Part of Edinburgh Art Festival.

The Old Ambulance Depot

KEVIN HARMAN: OPEN STUDIO

VARIOUS DATES BETWEEN 1 AUG AND 31 AUG, 12:00PM – 4:00PM, FREE

Currently working on a variety of projects – some small, others monumental – to be launched later this year, Kevin Harman opens his studio to reveal the methods behind his largely situational and participatory work. Part of Edinburgh Art Festival.

MAY MEET IN MUTUAL

30–31 AUG, 10:00AM – 4:00PM, FREE

Site responsive exhibition and events series featuring new work by artists including Emma Reid and Craig Thomson made in response to the glass-walled Park Ranger Centre in Baxter Park, Dundee.

CONTINUE WITHOUT LOSING CONSCIOUSNESS

VARIOUS DATES BETWEEN 28 JUN AND 24 AUG, TIMES VARY, FREE

Trio of solo exhibitions – taking in work by Rob Churm, Raydale Dower and Tony Swain – built around a core installation, featuring events, concerts and interventions reflecting their symbiotic approach to art and music.

DAWSON MURRAY: EYE CAN DRAW

VARIOUS DATES BETWEEN 28 JUN AND 15 AUG, TIMES VARY, FREE

Showcase of recent etchings made

by Dawson Murray as part of the Eye Can Draw research project at DCA Print Studio, enabling artists with special needs to re-engage with direct drawing methodologies in relation to printmaking practice.

Duncan of Jordanstone College of Art and Design DJCAD MASTERS’ SHOW

16–23 AUG, TIMES VARY, FREE

The Masters graduates showcase the fruits of their labour, taking in art, animation and visualisation across the schools of MFA Art & Humanities, MSc Medical Art, MSc Forensics Art, MSc Animation & Visualisation and MFA Art, Society & Publics.

Nomas* Projects SKISSER FRÅN PLATSER JAG INTE BESÖKT, ÄN

12 JUN – 14 AUG, 9:00AM – 9:00PM, FREE

Stockholm-based artist Samuel Sander explores themes of wandering, escapism, the natural environment, and their interplay in art and imagination - taking in small-scale paintings of the imagined Scottish landscape, shown alongside explorer’s equipment.

The McManus A SILVERED LIGHT

6 DEC – 30 NOV, TIMES VARY, FREE

Exhibition of Scottish art photography selected from Dundee City’s permanent collection, showcasing images from over 50 photographers collected in the 28 years following the purchase of two important early photographs

by Thomas Joshua Cooper in 1985.

NICK EVANS: THE WHITE WHALE

20 JUN – 31 AUG, TIMES VARY, FREE

Immersive new sculptural installation by Nick Evans – known for his organically-shaped white plaster sculptures – inspired by the Gothic architecture of The McManus and the museum collections held within.

MCINTOSH PATRICK AWARDS SCHOOLS EXHIBITION

27–31 AUG, TIMES VARY, FREE

Sixteenth annual McIntosh Patrick Award exhibition – set up in memory of Dundee-born artist, James McIntosh Patrick – showcasing the work of S6 Art and Design pupils from Dundee’s secondary schools.

Top Festival Picks Music 1. Meursault

Having survived multiple incarnations across the span of eight years, three albums and two EPs, Meursault mainstay Neil Pennycook hangs up his main songwriting guise with one last splash. It’ll all end in tears, but the man himself offers a solemn promise: 'Death to Meursault... I will kill again...' 13 Aug, The Queen's Hall, 8pm, £12

2. LuckyMe: Annual Festival Party

There’s a fair degree of secrecy around who will take to the decks for this Scottish clubbing institution’s annual festival ho-down, but with past participants including such leading lights from the dance and hip-hop worlds as Rustie, SType, Hudson Mohawke, Machinedrum and TNGHT, you’re going to want to stay glued to their Twitter feed for the next fortnight. 15 Aug, La Belle Angele, 11pm, £10

3. Gruff Rhys: Super Furry Odyssey

With American Interior, Rhys retreads the steps of 18th century ancestor John Evans – an explorer who sought to find a fabled lost tribe of Welsh speaking Native Americans – in Bob Marley’s old tour bus no less, creating a book, a documentary, an album, an app, and a live music experience along the way. The most multi-media performer of the Fringe? 22 Aug, ScottishPower Foundaton Studio, 8.30pm, £10 (£8)

4. Glen Matlock: I Was a Teenage Sex Pistol From his formative years with the original Agents of Anarchy to teaching Sid Vicious how to play before he walked away at the height of their powers, founding Pistols bassist Matlock documents The Filth and The Fury in his own words, a complement to his 1990 autobiography. 31 Jul-6 Aug, Assembly George Square Gardens, 7.30pm, from £9

5. The New Mendicants

Based in Canada and born in a pub, it’s not often that this side project from Joe Pernice (Pernice Brothers, Scud Mountain Brothers), Mike Belitksy (The Sadies) and Glasgow’s own Norman Blake (Teenage Fanclub) find the opportunity to go globe-trotting. Acoustic lullabies just don’t come any more precious; don’t miss their second ever Edinburgh gig. 7 Aug, The Famous Spiegeltent, 8.30pm, £15 (£10) [Dave Kerr]

Theatre 1. Biding Time (Remix)

With a killer soundtrack, and an ominous white rabbit, this multidisciplinary show confronts the music industry and the way it treats female musicians. A response to Pippa Bailey’s Biding Time, it follows aspiring singer/ songwriter Thyme (played by Louise Quinn), fusing live music, immersive theatre, and film as it goes. Various dates 5-23 Aug, Summerhall, 10.20pm, from £5

2. KLIP

Livingstones Kabinet make their Fringe debut with a show they describe as a ‘theatre collage experiment’. They descend with extreme precision into the absurd, using fragments of a collage to make a new one, playing upon the human brain’s need to make sense of things, even when they seem nonsensical. Various dates 1-24 Aug, Summerhall, 5.20pm, from £6 (£5)

3. Red Bastard

Last year’s five-star comedy monster returns to force selfreflection through the medium of physical and interactive theatre. If you are willing to engage with this bizarre masterclass on life, on both a philosophical and practical level, it will soon become obvious that holding back from what you want in life is not an option. Various dates 30 Jul-24 Aug, Pleasance Courtyard, 7pm, from £7

4. The Christeene Machine

Paul Soileau's Fringe debut bursts onto the stage alongside C Baby and T Gravel, and top brass DJ JJ Booya. And as for preconceptions of gender, fashion, and how people are supposed to look or behave… best leave them at the door. Various dates 31 Jul-23 Aug, Underbelly, 10.10pm, from £6

5. Fragile

BAFTA-winning writer Geoff Thompson's new solo show follows the tale of a man who is abused at the age of eleven by his teacher; as a grown-up, he tries to find peace by confessing it to a tape recorder.

Dark and raw, the play grapples with the effects of child abuse on the psyche. 1-25 Aug, Zoo, 9pm, from £8.50 [Eric Karoulla]

Comedy 1. Kim Noble: You Are Not Alone

For the first time in five years, shock comic genius Kim Noble returns to the Fringe. Following the success of 2009’s award-winning Kim Noble Will Die, proprietor of a 6-star review, his new show uses performance, comedy and film to get closer to the people we otherwise dismiss as social ephemera.

Limited run, so book early. 19-24 Aug, Traverse Theatre, 23.15pm, from £13 (£7)

2. Eleanor Morton: Lollipop One of the Scottish comedy scene’s most coruscant rising stars, Eleanor Morton’s debut promises a jack-inthe-box journey through anxiety, bravery, anthropomorphic alcoholic animals and more. Described by Josie Long as 'clever, inventive and super funny' – an endorsement any young comic would wish for. 31 Jul-24 Aug, The Stand Comedy Club III & IV, from £7 (£6)

3. John Robertson: A Nifty History of Evil

Last year’s The Dark Room earned a clean sweep of 5-star reviews, and is back for a second run, but in addition John Robertson brings a second show – A Nifty History of Evil. Promising a romp through 2000 years of humanity, it’s set to be another wickedly funny hour from the award-winning loudmouth. Various dates 31 Jul-24 Aug, The Stand Comedy Club III & IV, from £7 (£6)

4. Knightmare Live: Level 2

Greetings, watchers of illusion!

Level 2 is upon us following a sellout run of 2013’s favourite 80s nostalgia trip. A visit to Treguard’s dungeon promises more props, puzzles, adventures and monsters than you can shake a knapsack at.

And if last year’s ticket sales are anything to go by, this is one you don’t want to pass up. 30 Jul-24 Aug, Pleasance Courtyard, from £8

5. Toby: Fuzzbuzz

Daykin sisters Lizzie and Sarah are back with their third installment of sharp, dark comedy. Gleefully eschewing the traditional doubleact dynamic, their cult status has bloomed from the inky depths of their oddball humour. Previous shows have earned the coveted 5-stars, and this one promises more twisted tales of sisterly rivalry. Various dates 30 Jul-24 Aug, Pleasance Courtyard, from £6 [Vonny Moyes]

Art 1. The Skinny Showcase

Of course our exhibition is the best – with four graduates, one plucked from each of the four main Scottish art schools of DJCAD, ECA, Gray's and GSA, it's obviously going to be fantastic. Head down to Leith to catch some video from Edward Humphrey, the printmaking/ tapestry of Caitlin Hynes, Melanie Letore's pristine photography, and the fluorescent sculptures of Fiona Beveridge. 31 Jul-31 Aug, Creative Exchange, free

2. Jupiter Artland, various

Jupiter Artland offers an enticing reason to escape the baying hordes of the festivals and tramp around the countryside this August. Katie Paterson presents Earth-MoonEarth (Moonlight Sonata Reflected from the Surface of the Moon); Tessa Lynch enacts an ancient land right with Raising. Mick Peter shows cement wall relief Popcorn Plaza, while Jessica Harrison (interviewed on p36) presents Broken, the largest home turf display of her figurine sculptures.

Until 28 Sep, Jupiter Artland, £8.50 (£4.50)

3. Kevin Harman: Open Studio Local art trickster The Honourable K.W. Harman flings open the doors of his studio to present what is chillingly dubbed 'a glimpse inside the brain of the artist.' Details remain a closely guarded secret, but there are whispers of an all night absinthe bar, and the promise of 'unavoidable engagement.' With supporters including a scaffolder and a firm of criminal defence lawyers, this exhibition is guaranteed to be an eye-opener. 1-31 Aug, The Old Ambulance Depot, free

4. Where Do I End and You Begin

Part of the Glasgow 2014 Cultural Programme but taking place in Edinburgh, this grand show brings together new and recent work from 20 artists chosen by five curators from New Zealand, South Africa, India, Canada, and England. Celebrating the diversity of artistic practices within the Commonwealth, the various works also interrogate what the meaning of a Commonwealth, and common wealth, really is in a the contemporary world. 1 Aug-19 Oct, City Art Centre, free

5. FAILE & Båst

For their first Scottish show, Brooklyn-based duo FAILE, aka Patrick McNeil and Patrick Miller, join forces with street artist Båst to present a neon interactive wonderland featuring specially designed video games harking back to the golden age of the video arcade. Who can resist the promise of 'psychedelic foosball'? 1 Aug-26 Sep, Summerhall, free [Rosamund West]

Books 1. Murakami – Japan's Greatest Living Author

If you don’t have tickets by now then praying or mugging might be the only viable options, as even the biggest names attending Edinburgh International Book Festival will trail in this man’s wake. Replace ‘Japan’s’ for ‘World’s’ in the title of this event and few would grumble.

24 Aug, Baillie Gifford Main Theatre, 6.30pm, £returns only

2. The Moth – True Stories Told Live True life, sliced thin, raw and sometimes bleeding. The revelation that is a person on a stage performing a ten minute tale of their life. Storytellers range from top level authors to supposed low level everymen and women, but there is often the extraordinary hiding within the ordinary. 23 Aug, Baillie Gifford Main Theatre, 8pm, £10 (£8)

3. William McIlvanney: Scotland’s George Orwell

It takes time to focus on objects so close, which is why it has been a slow realisation in Scotland of just how great this man is.

Inventor of tartan noir, but more importantly creator of prose which flows like poetry, and which shows an unforeseen beauty in the light reflecting off harsh working class life. 11 Aug, Baillie Gifford Main Theatre, 8pm, £10 (£8)

4. Karl Ove Knausgaard: In the Footsteps of Proust

It takes a certain confidence to publish a six volume autobiography, even more to borrow the dubious series title of My Struggle (Min Kamp – Mein Kampf), yet Knausgaard must lack any nerves as they are translated into English, picking up an international fan base along the way. In the words of Zadie Smith: 'I need the next volume like crack.' 10 Aug, Baillie Gifford Corner Theatre, 8.30pm, £returns only

5. Douglas Dunn, Jenni Fagan, Michael Pedersen & Kevin Williamson: Launching Neu! Reekie!

Publishing #1

Because the Neu! Reekie! spirit is being captured in print; because it’s a more than welcome return to publishing for ex-Rebel Inc’s Kevin Williamson; because Jenni Fagan’s prose is a punch to the solar plexus.

Not to be missed. 21 Aug, Royal Bank of Scotland Garden Theatre, 8.30pm, £10 (£8) [Alan Bett]

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Meet Mike.

He comes from a long line of New England Antique Dealers (with a sketchy connection to the Salem Witch Trials we probably shouldn’t be telling you about). As a kid, his prospects were bright: he often helped out at his grandmother’s antique shop, and also considered a career as a garbage man – the one that gets to hang off the back of the truck. At 14, however, Mike’s path was derailed when he got into photography: a known gateway interest into the wider world of art. Photography has consumed Mike’s life, he started a website and is often seen spending a lot of time at a studio. Typical of such cases, there wasn’t enough to feed Mike’s habit in New England, and he ended up in New York where he has been spotted with his fellow art addict Claire; making art, costumes, props, and set designs (evidence of this has been recorded at mikeandclaire.com). Lost to art, Mike plans on continuing his life in this way, and even hopes to one day start an art center for kids, or a queer safe art space for youth. He’s only 20 though, so there is hope for him yet. He is pictured here wearing the Slater Short and the Thick Knit Baseball Jersey.

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