The Skinny March 2013

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Issue 90 March 2013

Music Lapalux RNDM Deap Vally METZ Deftones

Comedy Glasgow Comedy Festival – Sean Lock, Sanderson Jones, Luisa Omielan & Angry Beards

Art Social Sculpture at GoMA Collective Auction Edinburgh Film School

Film Scott Graham on Shell Kim Moore on Hell Unltd

Books StAnza

Fashion London Fashion Week A/W 13

Clubs Matthew Herbert Electric Frog

Travel International Festivals

"CAMERON'S

MISSION IS TO MAKE THIS COUNTRY INTO SOME SORT OF WASTELAND" Music | Film | clubs | Theatre | TECH | Art | Books | Comedy | fashion | TRAVEL | Food | Deviance | listings

Let’s rethink renting – a private rented sector fit for families and fair for all

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d A o r g n i l r i St r 2012

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Contents

IN ASSOCIATION WITH WME

MON 12TH AUG

O2 ABC GLASGOW

plus special guest

photo: christian hjorth

PUBLIC ENEMY p.25 matthew herbert

Tuesday 7th May 02 ACADEMY GLASGOW

SUN 23RD JUNE

02 ABC Glasgow

p.29 International Festival guide

MON 22 APR O2 ABC GLASGOW

DRUNKANDONDRUGS.COM FACEBOOK.COM/RICKYJULIANBUBBLES

house of love FRIDAY 5 APRIL GLASGOW THE ARCHES

MON 03 JUNE

EDINBURGH 0131 668 2019 QUEENS HALL

SUN 14TH APRIL

plus special guests

Clements Ribeiro

GLASGOW 0141 353 8000 CONCERT HALL special st patricks weekend concert

fri 15th mar

edinburgh queen’s hall

Thur 18 April Glasgow ORAN MOR PLUS SPECIAL GUESTS

ALBER T HAMMOND

VALENTINE

DAVID LYNCH presents

SONGBOOK

GLASGOW ORAN MOR

WED 22ND MAY

EDINBURGH

Voodoo Rooms

BOB M O U LD

plus special guests

Sam Bradley Joel Baker

WITH JASON NARDUCY AND JON WURSTER PLUS SPECIAL GUEST

NORTH ATLANTIC OSCILLATION

22ND ANNUAL ST. PATRICK’S DAY CONCERT

Glasgow, Rose St Edinburgh & Ripping Records and all usual outlets

March 2013

Get in touch: E: hello@theskinny.co.uk T: 0131 467 4630 P: The Skinny, 3 Coates Place, Edinburgh, EH3 7AA The Skinny is Scotland's largest independent entertainment & listings magazine, and offers a wide range of advertising packages and affordable ways to promote your business.

Get in touch to find out more.

E: sales@theskinny.co.uk All rights reserved. No part of this publication may be reproduced in whole or in part without the explicit permission of the publisher. The views and opinions expressed within this publication do not necessarily represent the views or opinions of the printer or the publisher.

Printed by Mortons Print Limited, Horncastle ABC verified Jan – Dec 2012: 32,090

Glasgow Nice N Sleazy

www.ticketmaster.co.uk www.regularmusic.com 0844 844 0444 or in person from Ticket Scotland: Argyle Street THE SKINNY

Issue 90, March 2013 © Radge Media Ltd.

SATURDAY 20TH APRIL

PLUS SPECIAL GUESTS

4

march 2013

DICK (ELECTRIC SIX)

FRI 19TH APR

SAT 18 MAY GLASGOW ORAN MOR

p.63 metz

p.34 london fashion week

0131 668 2019

TO TO KILL KILL A A KING KING SAT 13 APR Glasgow Friday 3rd May Nice N Sleazy EDINBURGH VOODOO ROOMS THE

photo: beth chalmers

WED 27 NOVEMBER

Nice N Sleazy Glasgow

printed on 100% recycled paper

Editorial Editor-in-chief Music & Deputy Editor Art Editor Clubs Editor Comedy Editor Deviance Editor DVD Editor Events Editor Fashion Editor Film Editor Food Editor Performance Editor Tech Editor Travel Editor Staff Writer

Rosamund West Dave Kerr Jac Mantle Ronan Martin Bernard O’Leary Ana Hine Keir Roper-Caldbeck Anna Docherty Alexandra Fiddes Jamie Dunn Peter Simpson Gareth K. Vile Alex Cole Paul Mitchell Bram E. Gieben

Production Production Manager Designer Sub Editor

Peter Marsden Maeve Redmond Bram E. Gieben

Intern

Katie Armstrong Siena Wotherspoon

Sales/Accounts Sales Director Sales Executive

Accounts Administrator

Lara Moloney George Sully Tom McCarthy Solen Collet

Digital Manager

Andy Thomson

Publisher

Sophie Kyle

contents 6

8

10

Front

Opinion: An introduction to the The Skinny's March issue; a Science Festivalthemed Hero Worship (no it's not Brain Cox); Shot of the Month; Skinny on Tour; Northwest Editor Lauren introduces The Skinny's new edition, launching in April; Stop the Presses keeps you up to date with breaking news; Online-only – things to check the website for this month.

Taking you right up until 1 April (a day popularly known as what?), Heads Up offers a hand-picked array of events, providing you with constant entertainment throughout the month of March.

FEATURES

Steve Mason – The former Beta Band frontman, also known as King Biscuit Time, holds forth on the state of Britain today in our no-holds-barred interview.

12

Lapalux – Young producer Stuart Howard on releasing his debut album on Brainfeeder, and why he sees the world in a synaesthetic way.

14

Glasgow Comedy Festival returns this month, covering the city in a fresh blanket of LOLs. We discuss laughing with TV's Sean Lock, What Would Beyonce Do?! star Luisa Omeilan, Sanderson Jones (he will hunt you down and make comedy out of you) and the Angry Beards trio.

17

The Rocky Horror Picture Show is back touring live to celebrate its 40th birthday.

Writer Richard O'Brien (him off of the Crystal Maze, ken?) grants us an audience to mark the occasion.

18

29

LIFESTYLE

Travel: A guide to the festivals around the world offering unbelievable line-ups, (relatively) low prices and the promise of real life sunshine.

31

Deviance: Boudoir photographer Tracy Gow offers a more female-defined view of eroticism, and serial deviant Matthew Bobbu explains why marriage is really oppressive for a polyamorous gentleman.

32

Showcase: Romany Dear, winner of The Skinny & CCA Prize at 2012's RSA New Contemporaries, introduces her choreography-based art practice ahead of her solo show in Intermedia this month.

34

Fashion: London fashion week A/W 13 trend report plus a sneak peek at the GSA fashion show.

36

Food & Drink: Celebrating the 3000th usage of the word 'horsemeat' in this month's Skinny, Phagomania offers up some equine culinary options from around the globe, alongside a closer look at the gastronomic wing of the Edinburgh International Science Festival.

39

REVIEW

Music: Autechre, How to Destroy Angels and Edwyn Collins in review, plus Sacramento's kings of ambient metal Deftones wade in on the month's releases, and an interview with California femme fatales Deap Vally.

46

Clubs: An exclusive DJ Chart from Cyril Hahn, an extended look at this year's Electric Frog Weekender, and a guide to the best nights out this March.

This month sees the St Andrews submerged under a deluge of verse, as StAnza poetry festival arrives with another packed programme. Director Eleanor Livingstone fills us in on behind-thescenes drama and reluctantly picks some highlights.

48

Film: Film Event Highlights for March, plus reviews of new Danny Boyle project Trance, Robot & Frank, and the rather pointless Red Dawn remake.

49

DVD: Reviews of My Brother The Devil, Alps, Premium Rush and Boxing Day.

19

RNDM – Pearl Jam bassist Jeff Ament returns to his rootw with RNDM.

50

Art: Reviews of Lauren Gault in Tramway and Jutta Koether in DCA.

20

Alex Hetherington introduces Edinburgh Film School, offering an enlightened approach to education.

51

21

As Collective gallery prepare to move up Calton Hill, we look forward to their fundraising auction offering original works from a stellar array of contemporary artists.

Books: Reviews include Me and You by Niccolo Ammaniti and Elect Mr Robinson for a Better World by Donald Antrim.

Tech: A look at some of the highlights in the Edinburgh International Science Festival programme, arriving this month.

52

Theatre: Venue of the Month salutes the French Institute, plus previews of Vox Motus and Slick at the Glasgow Comedy Festival.

53

Comedy: Why not apply for the Pope's job, we ask. Must be better than the Tories' back to work programme eh?

54

Competitions: Win a pair gold dust-alike tickets for Gnomegame (that would be Fence's Homegame, this year with added gnome), or tickets for Bombskare in a Scottish city of your choice.

55

Listings: The details part – an exhaustive daily guide to events across Edinburgh, Glasgow and Dundee this month including music, clubs, theatre, art and comedy.

63

Outback: Metz just might be the most explosive guitar band around in 2013.

Mystic Mark unveils some horrific images to sum up the astrological peril that awaits you in March.

22

Director Scott Graham presents Shell, his new Highlands-bound drama.

25

Matthew Herbert – The influential elder statesman of British house on his new retrospective boxset, and his strict manifesto on how to sample music.

26

27

Zoey Van Goey's Kim Moore introduces her new score for Helen Bigger's influential anti-war film Hell Unltd, being screened at GFT this month to mark International Women's Day. With a new show opening, Glasgow Gallery of Modern Art has invited others to join them in a citywide discussion on sculpture. Curator Martin Craig tells us how there’s nothing splendid about isolation.

March 2013

THE SKINNY

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Editorial

Hero Worship: Professor Stephen Salter

Simon Gage, director of the Edinburgh Science Festival, tells us about the man who inspired him to become a scientist – Dr Stephen Salter, Emeritus Professor of Engineering Design, pioneer of renewable energy technology, and inventor of Salter’s Duck This issue of The Skinny is a bit of a memorable one for us as; all things going to plan, it will mark the last time we’re producing a single, Scottish edition. From April, there will be two separate (but similar) editions of the magazine, one up here covering Glasgow, Edinburgh and Dundee; and one in England’s Northwest, covering Manchester, Liverpool and the surrounding area. Exciting (and, OK, a bit nerve-wracking) times for us and hopefully for readers (the exciting part, not the nerve-wracking part) – we want to increase the range of the publication, while continuing to offer the in-depth local cross-cultural coverage we take pride in producing. You can get a bit more of an idea of the plans on the page opposite, where our Northwest Editor Lauren lays out some of her hopes for the new publication.

Back to the issue in hand (literally. LITERALLY in hand). This month we’re leading with an exclusive interview with Steve Mason, he of Beta Band, King Biscuit Time and much solo acclaim fame. He returns this month with new album Monkey Minds in the Devil’s Time, and a desire to engage with meaningful protest. We got him to look wistful in a Leith wasteland to mark the occasion (see cover).

Elsewhere in Music, genre-defying producer Lapalux introduces debut album Nostalchic, released this month via Flying Lotus’s groundbreaking Brainfeeder label. Our Music editor spoke to Pearl Jam bassist Jeff Ament about the genesis of his new band RNDM and sat down with Deftones to pan for pop single gold; LA blues rock duo Deap Vally explain why they didn’t mean their name to be taken that way; and ‘new Nirvana’ du jour,

Metz reveal there’s more to their music than the convenient grunge label.

This month sees the art world emerge from its traditional winter sleep with a number of intriguing events, one of which was even set up by us.

Romany Dear, last year’s winner of The Skinny award at RSA New Contemporaries, will be presenting a series of performances and workshops in CCA’s Intermedia gallery throughout March – you can find full details in the Showcase on p32. Collective are planning to vacate their Cockburn St premises and move up Calton Hill, and are holding an auction of a stellar array of artists’ original works to raise funds. We spoke to gallery director Kate Gray to find out more. Additionally, we hear from Alex Hetherington about the Edinburgh Film School, and learn about a new programme of sculpture shows initiated by GoMA. In Theatre, we had some chats with Richard O’Brien ahead of the 40th anniversary tour of The Rocky Horror Show. Yes, he talked about the Crystal Maze. New Clubs editor Ronan interviews the legendary Matthew Herbert ahead of the release of his new boxset, and Fashion took one of its biannual trips to London to scrutinise the trends of Fashion Week. Elsewhere, we make numerous references to horsemeat, because that seemed current when we were making the magazine.

Lastly, remember to check our Heads Up calendar – the event in the Last Drop on 1 April looks to be a bit of a coup for the Grassmarket boozer. Best get along super early if you want to grab yourself a seat.

[Rosamund West]

SHOT OF THE MONTH

robin guthrie trio, edinburgh’s electric circus, 7 feb by david p scott

What first got me hooked on Stephen Salter was seeing him on Tomorrow’s World (this was 35 years ago!) I was living at the other end of the country, down in Devon. He was demonstrating one of his first inventions, which was the Salter’s Duck – a wave power machine. He had invented this amazing machine, which he was testing on a loch in Scotland, that absorbed the energy of waves. At that time, no-one really talked about renewable energy. There was a tiny bit of interest in it – solar panels and things like that – but this was something different; something which I was really interested in. I saw him and I thought: “My goodness, this is someone who’s doing something really quite imaginative, in exactly the field which, I feel, I want to be working in.”

Soon after that, I started finding out more and more about renewable energy technology, and as a teenager I was building solar panels and small wind turbines, things like that, before going to university to study physics – because I wanted to work in renewable energy. But at that time, people like Salter were very rare – there was hardly anyone working in renewable energy at all; after graduation I found it very difficult to work in the field, because there were so few opportunities.

Salter was the first person I saw who I thought, “You’re doing exactly what I want to do. You’re the sort of person I want to be.” That sent me down a particular path, studying physics, and then for a short time working on renewable energy technologies. Now, of course, I programme the Edinburgh Science Festival, and a lot of what we do relates to the subject matter of renewable energy technologies.

The amazing thing about Stephen, and people like him, is that irrespective of their career, they keep on having big and outrageous ideas. Heinz Wolff is another one. Heinz is now 85, he’s been on our board and he’s a friend to the Science Festival, and he just keeps going, keeps challenging the

status quo, pushing the idea of what we consider acceptable and normal and asking, “What happens if we do things differently?” I like that in people. Salter has done all kinds of things – he invented a machine for defusing land mines, a machine for collecting water vapour in desert areas.

He’s thought about so many different subjects in radical ways.

There’s nothing that looks like Salter’s Duck any more, which is a shame. But Stephen Salter has nurtured many of the people who are running a large part of the wave power industry in the UK. For instance Richard Yemm, who’s down at Pelamis working on the ‘sea snake’ wave power device, studied under Salter, as did a lot of the people who are now working at Pelamis. He spawned an industry.

Salter’s a very different kind of figure to the likes of Brian Cox, who have a high public profile. I don’t know him personally, but I doubt he’d have wanted to do the job of a television presenter. Someone like Cox is a great presenter of science, but people like Salter are more traditionally ‘thinkers’ – originators of new ideas. Not to say that Brian Cox won’t come up with an original idea – but his role is to inspire us about the work of thousands of scientists. Salter is an originator.

In the future, in theory, wave power is going to be massive. Our office is in Leith, and about 250 metres from the office is the biggest blue shed you can ever imagine. In there the Pelamis wave machines are made. They’re about 40 or 50 metres long, they’re enormous. Being in there is rather like being in the rocketships at Cape Canaveral; standing next to the Saturn 5 rocket. When I go in there, I think: “This is where a new industry and new technology is being born.” It’s where history is being made.

The Edinburgh Science Festival runs from 23 Mar to 7 Apr. For details of events, lectures and workshops, visit their website: www.sciencefestival.co.uk

SKINNY ON TOUR

This month’s cover photography is by Eoin Carey. Here he is in Berlin.

6

THE SKINNY

March 2013

CHA T and play alongside the big name acts of T in the Park. Acts previously selected include Biffy Clyro and (ahem) Snow Patrol, with burgeoning bands like Conquering Animal Sound and United Fruit having made it through to the stage in more recent years.

To be in with a chance of selection to play T’s 20th year, and to have your music considered by a panel of DJs, journalists and promoters from the Scottish music industry, head along to www.facebook. com/TennentsTBreak and follow the instructions for demo submission. Entrants must be 18 or over, live in Scotland and be currently unsigned. Closes midnight, 29 Mar

T BREAK 2013 OPENS FOR SUBMISSIONS Calling all musos – T Break 2013 is now open for entries. Since 1996, unsigned local bands have been offered the opportunity to grace the T Break stage,

Scottish Women’s Aid are running their second Feminist Day School in Edinburgh on 16 March. With speakers from Shakti Women's Aid, Hollaback Edinburgh, LGBT Youth Domestic Abuse Project, and the White Ribbon Scotland amongst others running workshops, students and young people can learn how to be more effective

women’s rights and gender-equality activists.

Deadline for registration 8 March. Book online at www.surveymonkey.com/s/dayschool Glasgow art collective 85A are set to unleash a cinematic barrage with the premiere of CHERNOZEM – an industrial horror film shot on VHS. Kicking off with a dystopian masquerade party at The Flying Duck, then rocketing the audience towards the GFT in a riotous parade. This will be followed by a total rinse-out back at the ’Duck with special guests Golden Teacher.

29 March, 8pm-4am tickets from ww.w85a.org.uk The Flying Duck and The Art school Bar. Jane Topping at Patricia Fleming Projects, Glasgow. Topping’s solo show The Women references paranoid gothic texts, costume and gender definition to interrogate the power play of relationships. 8 March-20 April

Online Only

words: Lauren Strain

illustration: sandra dieckmann

social sculpture

“m b v isn't so much a successor to Loveless; it’s heavier, less immediate, and by the third listen sounds like nothing less than a triumph for Kevin Shields”

A BOLLYWOOD SHOWDOWN! Join Teamy (Wrong Island) and David Barbarossa (Wild Combination) for a night of dancing to weirdo pop, techno and Bollywood disco in the suitably opulent surroundings of the Koh-I-Noor restaurant.

The stakes are high, as one DJ will be crowned Glasgow’s undisputed king of the exotic discotheque. Profits from this event will go towards funding Glasgow School of Art’s Communication Design Department degree show. 31 March, Koh-INoor, Glasgow, £6 (£5 for GSA Students) from the Art School Union.

New year, new Skinny

Every month we run extended interviews, extra features, video, picture galleries, up to the minute reviews of gigs, plays, exhibitions and more on our website, www.theskinny.co.uk. Head online for the latest cultural news from across the country.

news badger

Dear Lynda... at The Cooper Gallery, Dundee. The international touring exhibition considers maverick British curator, writer and art historian Lynda Morris’s contributions to art since the 60s. 9 March-5 April, with a week of events 4-8 March. www.dundee.ac.uk/dear-lynda

Read our full review of My Bloody Valentine’s long-awaited return on www.theskinny.co.uk/music This month our Art section will have an extended version of our feature on Social Sculpture, plus reviews of exhibitions including Interzone at The Whisky Bond and Benedict Drew at Rhubaba.

The Zap is our Top Ten Events e-newsletter, delivered directly to your inbox every Thursday morning around 11am. You can sign up at www.tinyurl.com/ skinnyzap and choose whether you want to receive your weekly recommendations about Scotland, Manchester or both. Or you can read the latest Zap directly on site at www.theskinny.co.uk/zap Our thrice-weekly Bulletin, released on Mondays, Wednesdays and Fridays, keeps you up to date

my bloddy valentine

with cultural news both local and international.

Written by The Skinny News Badger, it offers the latest in video releases, music news, and festival announcements with a bit of arts politics thrown in.

Has been known to feature a live stream of adorable kittens. Does not feel the need to apologise for this. To find out more visit www/theskinny. co.uk/latest/news For the latest coverage of Glasgow Comedy Festival visit www.theskinny.co.uk/comedy from Thursday 14 March.

Over at www.theskinny.co.uk/clubs you can read an extended version of our Matthew Herbert interview online featuring exclusive chat from the man himself.

“Why don’t we have one of these?” I mumbled to myself in September 2011, flicking through a copy of The Skinny while propped, hungover, against a bit of tree in Black Medicine on Nicolson Street.

In Edinburgh on a tenuous work trip – purportedly covering the Fireworks Concert for the classical music magazine I was editing, but essentially bunking off to watch massive sparklers bounce off the castle walls, do some drinking and have a good long look at Dolly the Sheep in the National Museum – I had, as on many previous occasions, picked up a copy of the mag to guide my every move through the city that weekend.

Perusing it with the usual mixture of absorption and frustration that we don’t, at home in Manchester, have anything providing a similar range and depth of arts coverage – sure, we’ve got a thriving blog culture (that sounds a bit, uh, medical, sorry) and a number of specialist zines, but nothing combining a comprehensive guide to what’s on with articles that dare to offer readers something meatier than a couple of paragraphs and a whopping big photo – I wondered if anything would ever come along to fill our Skinny-shaped void.

Well: be careful what you wish for over a mug of hot stimulant, because just over a year later I seem to have found myself, um, editing a brand new edition of The Skinny. Launching in April, the Skinny Northwest will cover Manchester, Liverpool and the Northwest region, with 22,000 copies distributed to more than 400 venues across the two cities and beyond. Erk. The new Skinny will dish up the variety and quality of features, reviews, previews, news and listings that you’ve come to expect from its Scottish parent, but with a distinctly local flavour.

There are so many individuals and collectives doing genuinely innovative things in Manchester, Liverpool and further afield, and I want this to be their magazine. A platform for artists, writers, photographers, musicians and more to showcase their work, the new Skinny will provide a space to share opinions and inspiration, and discuss, argue, obsess over and celebrate the million little elements that go into making a vibrant arts scene and cultural underground.

It seems that The Skinny has always been a collaborative effort, made by and for people who love their region and its culture, and as such we are in the process of putting together our Northwest team: if you’d like to be a part of it, whether as a writer, illustrator, photographer, section editor, ear-bender or otherwise, check the Get Involved page at theskinny.co.uk/about/get_involved to see available positions or email lauren@theskinny.co.uk with your ideas. Once I’ve finished blinking slowly and deliberately, I’ll get back to you.

March 2013

THE SKINNY

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HEADS UP

wed 6 mar

tue 5 mar

foals

COMPILED BY: ANNA DOCHERTY

Photo: John lewis

The month of (nearly) spring brings with it the GSA Fashion students' annual catwalk outing, Tenement Trail's multi-venue musical all-dayer, plus festival action from Glasgow Comedy Festival, Edinburgh International Science Festival, and Reel Iraq, before ending with a rare holographic Tupac tribute on the 1 April...

Oxford rock chaps Foals take their newest LP, Holy Fire, on the road proper – the three-years-in-the-making follow-up to Total Life Forever, which finds them on fine form, with vocalist Yannis Philippakis sounding more confident and iconic now than ever before (to our ears anyway). Odds on a raucous singalong to fiery lead single Inhaler? Pretty much a given. Barrowland, Glasgow, 7pm, £18.15 returns only

The talented bunch of GSA Fashion students showcase their work in a catwalk setting for the GSA Fashion Show 2013, a collaborative effort which finds the second year Fashion students working with Harris Tweed fabric, embellishing and layering it with fabrics they've made, while the third year Fashion and Textile students show a selection of costumes for the stage developed in collaboration with the The Royal Conservatoire of Scotland. The Arches, Glasgow, 5 & 6 Mar, £7 (£5)

vanessa hindshaw

sun 10 mar

mon 11 mar

tue 12 mar

After a duo of sell-out February dates, pop-up parlour Queen of Tarts returns with another weekend of gluttony (9 & 10 Mar), with a multicourse selection of treats being served up in a secret parlour location down't Leith – for which the Sunday edition also happens to fall on Mother's Day (aka take yer Ma). Secret location, Edinburgh, 2pm, £20.

Booking via at Facebook/ QueenofTartsEdinburgh

Perrier Award-winning comic David O'Doherty hits the road armed with everything a man should need – i.e. a tiny keyboard, six C-type batteries (spare), and a book of sex tips he found in a dentist's waiting room – all aiding him in his new piano-meets-comedy fusion of a show. Queen's Hall, Edinburgh, 8pm, £15 (£13). Also playing Glasgow Comedy Festival on 15 & 16 Mar. See listings for details

A lynchpin in the rise of Scottish dancers currently exploring new and modern ways to choreograph, talented chap Jack Webb takes to The Arches to present a triple bill of contemporary dance – including his glam-rock inspired piece, GlitterGrid, which boldly explores themes of physical and mental transportation.

And yeah, there's actual glitter. The Arches, Glasgow, 7.30pm, £8 (£5)

Photo: vito andreoni

HEADS UP

jack webb

sun 17 mar

mon 18 mar

The gore-fest that is All Night Horror Madness returns for a doube dose of March dates, this time screening a batch of their all-time favourites – taking in The Night Evelyn Came Out Of The Grave, Braindead, Hospital Massacre, The Beyond, and They Live. That's a whole lotta cult, slasher, splatter, demented nastiness, FYI. Cameo, Edinburgh (9 Mar) and Grosvenor, Glasgow (16 Mar), 11pm, £18.50 (£16.50)

Phantom Band main man Rick Redbeard (aka Rick Anthony, last seen looking wily while eating chips on our January issue cover) takes to the CCA for a solo set, cherry-picking tracks from his eight-years-in-themaking debut album, No Selfish Heart, a treasure-filled disc of joy rich with finger-picked guitar and poignant folk confessional. CCA, Glasgow, 8pm, £8. Also playing Edinburgh's Electric Circus on the 12 Mar

A sprawling comic cast come together to help raise funds for Glasgow's Prince and Princess of Wales Hospice (as part of Glasgow Comedy Festival), with Mr Misanthrope himself, Dylan Moran, headlining alongside a cast of local talent – including Karen Dunbar, Fred MacAulay, Scott Agnew, and Raymond Mearns. We'll gloss over the Michelle McManus bit. The King's Theatre, Glasgow, 7.30pm, £21

Shimmering young Glasgow upstarts The Yawns take to Mono to do as they do best – expertly blend lo-fi garage-rock and indie-pop into one dreamy whole, playing a selection of tracks from their selftitled debut album (which you can listen to via their Bandcamp, and download for but a few quid). Mono, Glasgow, 8pm, £4

the yawns

wed 27 mar

thu 28 mar

Longstanding American rockers The Black Crowes take in Glasgow as part of their current world tour, celebrating the release of their live album, Wiser For The Time, containing songs from their five-night sold out NYC stint of 2010. To coincide with the release, folk can download a live version of Under a Mountain via their website. O2 Academy, Glasgow, 7pm, £33.50

Always relied upon to throw up a weird 'you want us to eat what?'-style event, this year The Science Festival host an Eating Aliens evening, for which they'll be cooking a selection of invasive species currently upsetting the natural order of our ecosystems. Long and short of it, eat sika deer and help save the world. Royal Botanic Garden, Edinburgh, 7pm, £35 (including three-course meal)

the black crowes

sika deer

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March 2013

fri 22 mar

sat 23 mar

Happening once-in-a-not-very-often, Qabalala! return with their unique psychedelic aesthetic – heralding a meeting of minds between a number of local creatives, with this edition featuring the live return of The Pineapple Chunks (who'll be launching their new EP on the night), alongside The Leg, Stones, and Andy Brown, housed in the suitably weird surrounds of a cricket club. Obviously.

Leith Cricket Club, Edinburgh, 7pm, £4

New York-based artist Jason Hackenwerth rocks up at the museum for his week-long residency as part of Edinburgh International Science Festival, where you can watch him weave hundreds of balloons into an intricate, spiraled double helix structure, before it goes on show in the Grand Gallery space (29 Mar-14 Apr).

National Museum of Scotland, Edinburgh, until 14 Apr, Free

Photo: Michael Gallacher

thu 21 mar

dylan moran

the leg

jason hackenwerth

fri 29 mar After terrifying us with his last outing, Bullet Catch (aka magic, stunts, bullets... argh!), talented Scottish playwright Rob Drummond returns to push the boundaries once more with his new production, Quiz Show, where the contestants in a lie-filled TV show are offered the chance to play for the ultimate prize: to discover what lies behind the Door of Truth.

Traverse, Edinburgh, 29 Mar–20 Apr £15.50 (£11/50/£6 unemployed) rob drummond

Photo: euan robertson

rick redbeard

the night evelyn came out of the grave

Photo: eoin carey

sat 16 mar

HEADS UP

Coinciding with International Women's Day, Kinning Park comes to life for LadyFest, a pro-girl festival featuring a frickload of female-dominated bands – amongst 'em art-folk septet Muscles of Joy, post-punk jammers Sacred Paws, and the new project from Conquering Animal Sound's Anneke Kampman, ANAKANAK. Kinning Park Complex, Glasgow, 8 & 9 Mar, 6pm, £7 weekend

cryptic nights

muscles of joy

wed 13 mar

thu 14 mar

After its launch party with guests Mungo's Hi-Fi, all-new club night, Champion Sound, take to the all-new Bongo Club space (now in't Cowgate, avec walled beer garden) to continue as they mean to go on – hosting a Wednesday-bothering party night playing the best in dub, reggae, and dancehall. The Bongo Club, Edinburgh, weekely Wednesdays, 11pm, Free before midnight

Collective Gallery host a special art auction to help raise funds for their exciting 2013 move to the City Observatory, with over 70 works from a vast collection of artists from the gallery's history – amongst them Turner Prize-winner Martin Boyce, David Shrigley, Jeremy Deller, Simon Periton, and Callum Innes – all up for grabs at the one-off event. Lyon and Turnbull, Edinburgh, 6pm, £10

mungo's hifi

martin boyce

Brand new multi-venue music festival on the block Tenement Trail snakes its way across various Glasgow institutions with an exhaustive line-up that includes Discopolis, Fat Goth, Tango in the Attic, TeenCanteen, Carnivores, Bwani Junction, Hector Bizerk, and, er, 25-odd more that we can't quite frankly fit in this wee space. Various venues, Glasgow, 2pm, £10. See listings for full details

discopolis

fri 15 mar It's that time of year when we play host to the exhibition of our RSA New Contemporaries winner, with 2012 Skinny Award Winner Romany Dear taking to the CCA's Intermedia gallery with a new live work which uses dance as a medium to speak through – adopting the gallery space as a platform for sharing, discussing, and presenting a series of live works exploring movement as language. CCA, Glasgow, until 30 Mar, Free but ticketed

tue 19 mar

wed 20 mar

Traversing the line of spoken word, comedy, and music, The Speakeasy return with another live batch of storytellers, with the only rule being that the yarns they spin must be true. Amongst the readers this time will be beat-comedy-poets Drizzle, crime writer Ron Vestibule, and comic Jay Lafferty. And, lo', Grant Stott's early appearance on their stage is all-but forgotten. Scottish Storytelling Centre, Edinburgh, 8pm, £5 (£4)

The genius that is the Found Footage Festival returns to Scotland (after its first outing in 2012), with hosts Joe Pickett and Nick Prueher presenting VHS gems of the obscure and reliably hilarious variety – painstakingly unearthed from thrift shops and garage sales throughout North America. Cameo, Edinburgh, 9pm, £11.

Also showing as part of Glasgow Comedy Festival the following night

romany dear in rehersal for dance is a language that we speak

found video footage

jay lafferty

sun 24 mar

mon 25 mar

tue 26 mar

Reel Iraq festival returns for its fourth annual outing, taking in an enlightening selection of contemporary Iraqi culture as it goes – of which Found in Translation promises to be a highlight.

For it, a selection of Scottish poets – Jen Hadfield, John Glenday, William Letford, Ryan Van Winkle, and Krystelle Bamford – visited Erbil, working on a poetic exchange with a number of Iraqi poets, the fruits of which they'll present on the night. SWG3, Glasgow, 6pm, £3

Strummer par excellence for Texan post-indie lot Midlake (they of the mournful harmonising, fragile melodies and gentle, lilting tempos), Eric Pulido takes to the 'burgh to play a solo electric guitar set as part of his upcoming UK tour, presumably taking a mini break from Midlakeing, his own vinyl label, and the importing of coffee for his very own coffee company (we didn't even make that one up). Electric Circus, Edinburgh, 7pm, £7.50

The fun-loving 'burgh spoken word crew that is Inky Fingers host their (fairly) regular open mic session, which this month comes bolstered by a special set from Chicago-based slam poet Kristiana Colón – alongside the usual raggle-taggle selection of poetry, short stories, diary entries, texts, rants... and anything else they damn well fancy. The Forest Cafe, Edinburgh, 8pm, Free

eric pullido

Kristiana Colón

sat 30 mar

sun 31 mar

mon 1 apr

The cooler-than-cool warehouse surrounds of SWG3 comes to life for The Electric Frog Easter Weekender, featuring the headlining talents of Simian Mobile Disco, Todd Edwards, Pan-Pot, and a back-toback set from Andrew Weatherall and Ewan Pearson, amongst others (see Facebook for the ever-growing line-up additions). SWG3, Glasgow, 30 & 31 Mar, 6pm-2am, £35 weekend

Glaswegian industrial trio Black Sun Drum Corps stage a new imagining of Shakespeare's Macbeth.

They'll create a visceral invocation of a Chorus of Witches for which punters can attend workshops to become a part of the Witch Chorus. Part of //BUZZCUT// (27-31 March). The Glue Factory, Glasgow, 6pm, £donation

And so we end proceedings (or more precisely, start April) with a move that's sure to bewilder the hip-hop community as much as fans of high octane heist thrillers, as Point Break's Gary Busey hosts an all-ages Tupac Shakur tribute, co-presented by the late Big Pun in fine holographic form. All Eyez on The Last Drop, Edinburgh, 7pm, Free (£5 unemployed)

simian mobile disco

Photo: david anderson

the found in translation gang

black sun drum corps

tupac

March 2013

THE SKINNY

9

Photo: eoin carey

sun 9 mar

fri 8 mar

Photo: euan robertson

The creative folks behind Cryptic Nights present their March offering, The Third Mind, an interactive audio-visual app and performance exploring the idea of 'algorithmic cinema', for which composer Matthew Collings and visual artist Erik Parr will combine cinema, music, and live action, using sound and images to connect artists and audience through data exchange. CCA, Glasgow, 8pm, £5

Photo: gilmar ribero

thu 7 mar

FEATURE

10 THE SKINNY

March 2013

music

FEATURE

Free Mason Monkey Minds in the

With righteous new album Devil’s Time setting the world to rights, we sit down with Steve Mason to discuss his politics of dissent Interview: Chris Buckle photography: eoin carey

A foretaste of Steve Mason’s sharply politicised concept album Monkey Minds in the Devil’s Time came at the tail end of last year, with the online release of vanguard track Fight Them Back. A catalytic call-to-arms with a blunt, mantric message (‘You get up and fight them back; a fist, a boot, and a baseball bat’), it came coupled to an incendiary promo; a collage in which global protest footage met fragmented symbols of the targeted power systems: scheming politicians, manipulative media, unfettered capitalist greed.

A real-life variation on Peter Finch’s beleaguered Network anchorman – mad as hell and not willing to take it anymore – the song’s narrator addresses the listener directly, asking ‘at what point do you think it’s time to act?’ After spending a few hours in Mason’s company, it’s clear this is no idle enquiry. From bank bailouts to David Cameron’s “mission to turn this country into some sort of wasteland,” the Fife-based songwriter holds forth on a number of topics, freewheeling from trade unions to tax dodgers and emphasising throughout the importance of individual responsibility.

“I knew that I wanted do something political,” he explains of the album’s origins, “but a human politics, not necessarily party politics.” He sighs.

“We’ve all just been stamped through this mincing machine to become little capitalist consumers, as if that’s the be all and end all. And personally, I think it’s time for us as a species to change our priorities… What happened to spirituality, and love for fellow human beings? Instead [we have] this idea of living to work, which is a very odd concept.

But it’s been sold to us, and we’ve bought it, and it’s terrifying. Capitalism can only ever end in a bad fucking way.”

For Mason, signs of endgame exploitation are everywhere: in reports of office workers made to wear wristbands that monitor their movements; in the on-going horsemeat scandal (“that didn’t surprise me at all – you’re a fool if you think that putting food production and capitalism together isn’t going to end up that way”); and in the recent allegations that online retailer Amazon hired neoNazi heavies to police the immigrant workforce of a distribution centre in Germany. “These are the kind of things that I think are very important,” he stresses. “I think as a race we’ve been smashed into submission by a very small group of people, and we need to start fighting back and changing the way we live and think about things. There is another way.”

Despite Fight Them Back’s confrontational polemic, Mason is keen to downplay smash-thesystem belligerence as the only valid response.

“We have all the power, we just don’t know we’ve got it,” he emphasises, “but there’s plenty we can

do. I used to be, I guess, a little bit naïve, and think that one massive act would overthrow the whole system, but the more you look at it the more you realise how global and interlinked it all is. So for me, as I say on the album, it’s more about small conversations, open rebellion and generally not falling into the trap of having an argument when you meet someone who doesn’t agree with you.

Have a conversation, because they can learn something from you and you can almost certainly learn something from them.”

He describes a pay-it-forward car mechanic in Portsmouth who’s apparently been cutting the bills of hard-up customers on the proviso they subsequently give the money to a homeless person. “Things like that I find more inspiring than anything else,” he explains. “I think something like that would achieve far more than, you know, 10,000 people protesting on the streets of London.

I’ve got to the point now where I don’t even know if there’s any point in protesting... It feels like when you protest, you’re meeting the system head on – you’re playing it at its own game, and it can manipulate that situation however it wants.

It’s got people within the protest group kicking things off, and then you’ve got your horrible fucking bully boys within the police, people with no fucking numbers on their uniforms just battering people… I just think protest needs to be rethought completely. Someone like that mechanic is going to achieve far more in the space of a year than a year of protests.”

The album’s narrative, then, is one of gradual political awakening – both his personal journey from his mid-teens to now, and an anticipated public rejection of “false goals” such as extreme wealth or fame-at-all-costs. Whether censuring stage schools (“enormous shit pumps filling our culture with meaningless garbage”) or questioning the acute consumption of bling-laden pop idols (“I think that people will look back at those people and think ‘fuck me, you squandered that didn’t you – you had all that and you were just spunking it all over the place’”), Mason’s social diagnoses are as astute as they are fervidly phrased.

Politics have long informed Mason’s music – from the Gulf War undertones of The Beta Band’s Hot Shots II to the Bush and Blair call-outs in King Biscuit Time cut C I AM 15 – but Monkey Minds… is their most overt airing yet. Does this reflect a shift in personal priorities? “I guess I was never particularly what I would call ‘A Political Person’” he replies. “I knew that the right wing was bad and that the left never seemed to achieve a whole lot, but my political opinions have more been formed by realising that there’s just something intrinsically wrong with society.”

He motions to the street outside. “You’ve only got to look out this window. We’re sitting in this nice, independently-run café in Edinburgh, and you look outside and see these horrible fucking bins, scruffy buildings, horrible pavements – everything’s cheap and throwaway. And it doesn’t need to be like that, not with the amount of revenue that comes in from all our various taxes. People think ‘oh, well Leith is a deprived area,’ but it doesn’t need to be, it really doesn’t. I just think that we’ve fallen into this trap of believing what governments and authority tell us.

But what they’re telling you is an enormous lie, in order for the military-industrial complex, the energy companies, and the banks to profit.”

This reference to a pan-institutional plot is neither the first nor last time during our conversation that Mason alludes darkly to clandestine networks of power – the sort of talk that’s prone to attracting

“Protest

needs to be rethought completely” steve mason all sorts of dismissive labels, ‘conspiracy theorist’ chief amongst them. But Mason is nothing if not self-aware. He understands how such grandiose rhetoric could sound to those who don’t share his anti-authoritarian zeal, and is realistic about where his album fits in amongst it all. When I ask whether he has any hopes that Monkey Minds… could help spark an epiphany in even just a single listener, he dismisses the notion. “No, I think that’s an insane idea,” he smiles. “I think that the idea is to start a dialogue – a dialogue like this, a dialogue that somebody might have after they read this interview, whatever. Even if people think that what I’m saying is crazy or naïve or whatever it might be, it’s still some sort of conversation.”

Would it disappoint him if people were enthusiastic about the music without engaging with its politics?

“Absolutely not, because you can…” he stops and laughs. “I was about to say ‘you can lead a horse to water,’ but that would be an incredibly stupid thing to say... But really I wanted [the album] to be full of melody, emotion and beauty, and I like to think that people can listen to it two different ways – in terms of the things that we’re talking about, or just as an album of recorded music. It’s totally up to you and I really don’t mind. I don’t want to be ramming things down people’s throats – people are having things rammed down their throats 24 hours a day already.

And I’m not here to sell any kind of ideology – I’m not coming with any left-wing/right-wing manifesto.

So with that in mind,” he smiles, “they can do what they want.”

Next month, Mason plays a trio of UK gigs – an abridged tour that he hopes to expand on later in the year. “Gigs are difficult because ideally you want to…” he clears his throat. “Er, make some money from what you do.” He laughs, evidently aware of the irony. “So it’s very hard. You’ve just got to be so careful how you spend the money you have. The dream at the moment is just being able to finance it and make it break even.”

Considering his anti-corporate stance, do financial pressures put his personal convictions under strain? “Well that’s why I quit the Beta Band,” he replies. “All through the Beta Band we’d been offered a lot of money – and when I say a lot, I mean over a million in licensing deals – and I had to turn them down. And that’s fine, but what I realised – and it sounds very obvious but it took me a while to realise – is that turning down adverts is a luxury. It’s very easy to do when you’ve got money in your bank account, it’s a fucking doddle. Unless you’re a greedy fuck – unless you’re Ant or Dec or somebody like that – it’s a relatively easy decision to make. But it becomes increasingly difficult… I mean, I’m 40 now, and obviously you start thinking about the future. You think, ‘fuck, I’m living hand-to-mouth and I don’t know if in 5 years’ time I’m going to have a record deal, or if anyone’s going to want to buy my music.’ So you do start to worry; you don’t really think like an 18-year-old anymore...” He breaks off.

“The thing is, you get these companies phoning you up and they’re like, ‘oh, we’re a clothing brand and we’re cool and we’d like to be associated with you,’ and when you do a bit of investigating you find out they’re owned by JD Sports.”

The example isn’t plucked from thin air, but relates to a genuine recent request. “They wanted to licence Fight Them Back,” Mason recounts, his disbelief still clear. “They wanted to have posters of me in the changing rooms: ‘We’re JD Sports, and we support the fight against the power system, and this guy’s with us all the way!’”

So a subsidiary of a company amongst the most looted during the 2011 riots wanted to use related imagery to flog stock? “Exactly!” he exclaims.

“It’s like, don’t you understand? But I suppose the frightening thing is maybe, because they’ve been able to buy everything before, it would never cross their mind that someone would turn them down. It would never cross their mind that somebody meant what they were saying, and that they weren’t just going for the protest dollar, as Bill Hicks might say. That’s a frightening concept – that they’re so used to everything being for sale. But it’s not.”

Monkey Minds in the Devil’s Time is released via Double Six Records on 18 Mar www.stevemasontheartist.com

March 2013

THE SKINNY 11

FEATURE

Synaesthetic Worlds

music

As he prepares to drop his debut album Nostalchic on Brainfeeder, Stuart Howard aka Lapalux talks to us about memory, tape hiss and the emotions buried in his music

Listening to the music of Essex-born Stuart Howard, aka Lapalux, the listener is submerged in a layered, richly textured sonic environment. The producer prefers not to pigeonhole his music – visit his Soundcloud page and you will see tracks labeled with vague tags such as ‘know’ or ‘luxury.’

One, now sadly deleted, was even tagged as ‘boobstep.’ But the majority are simply labelled ‘Lapalux’ – throughout our interview, Howard insists that his music “speaks for itself,” and that he designs it specifically to defy categorisation.

“I always think of albums as a journey,” he says.

“From start to finish with Nostalchic, I wanted to emphasise the abstract... with all the layering and texturing, it’s almost like its own little world. I think of each song as its own planet, almost. So you can go there and float around in this weird universe with all this... stuff in it.”

And what wonderful stuff it is. Pitch-bent synths and heavily treated vocals sit alongside complex, stuttering rhythms. Found sounds and field recordings drift in and out. Howard’s use of analogue tape and esoteric samples to build atmosphere creates his desired otherworldly effect, but tracks like GUUURL, Flower, or the sublime One Thing are anchored with an intensely melodic pop sensibility: “I guess it’s bridging the gap between very abstract sounds and more mainstream stuff,” he says.

The vocals of Kerry Leatham, Jenna Andrews and Astrid Williamson are transformed: “I treat the melody line of the vocal, every phonetic sound, as an instrument,” Howard explains. “I like stripping it and mucking around with it, messing it all up and turning it into an instrument, as well as affecting the actual sound and putting it through various bits of equipment to give it a nice tone, make it into a nice artifact. It’s good to keep that aesthetic.”

Another huge part of the Lapalux aesthetic is the field recordings and found sounds Howard has amassed over the years: “A lot of recordings I just keep to myself, as memories – you can draw a picture in your mind a lot more easily with the sound,” he says. “Sometimes I’ll just mess around in the house recording bits and pieces – Hoovers and stuff like that. Weird kind of spatial sounds as well, like recording the sounds inside the drum of the washing machine.” Combined with the added “organic feel” Howard adds using analogue tape in his production, he achieves what he describes as “a weird, synaesthetic feeling.”

As a result, the sound of Nostalchic is heavily psychedelic, with a complexity in the interplay of sound that is sometimes disorienting, even if he always brings the listener back in with a killer melody. For Howard, synaesthesia – which he describes as “the crossover between senses, between music and landscapes. Seeing and feeling music” – is the same thing as psychedelia.

“Yes,” he admits, “there’s a correlation between my music and certain experiences I’ve had in the past with certain prohibited substances!” But this dislocation and dissociation is also to do with an experience Howard had as a child. He experienced ‘depersonalisation disorder,’ which “makes you feel completely outside yourself. You’re not even within your own body, you are floating above your own head. It’s very secluded. It’s hard to explain,” he says. “I try to get those experiences into my music, and I think about music in a very synaesthetic way. It’s driven by visual stuff, by hearing and seeing different things; letting them cross over inside my brain, and then splashing that all over the music.”

Nostalchic is Howard’s first full-length album, after a series of EPs that he either self-released or put out via independent label Pictures Music. With two EPs under his belt in 2012 for the seminal LA beat-scene label Brainfeeder, run by Flying Lotus,

12 THE SKINNY

March 2013

photo: megan sharp photography

Interview: Bram E. Gieben

his style has developed quickly. Howard says that narrowing down the 20 or so tracks that were candidates for Nostalchic was the hardest part of the process. He describes himself as “prolific,” and he has been writing music nearly every day for several years.

“I’ve always experimented – back before I was doing Lapalux, I was doing weird little beats, and bizarre replicas of what I was listening to, back in the day, doing my best to replicate a range of techniques,” says Howard. “I’ve learned a lot about how to produce and manipulate sound.”

His interest started while he was at university: “I remember in my second year of uni getting a load of sort of weird, shitty tape machines from eBay, running electronic sounds through tape and trying to replicate weird sounds from analogue recordings.” The resultant sounds are neither analogue nor digital, but rather “a weird hybrid of both.”

Howard describes the Brainfeeder crew as “very open and free – open to all sorts of ideas.” He occasionally gets feedback from Flying Lotus and other artists on the label about his work, and he does claim FlyLo and the others as influences. But in general, the working relationship is designed to let Howard do whatever he wants. “It’s great to be able to do your own thing,” he says. “It’s really refreshing.” One future project involves Howard writing a beat or two for the newly-signed Brainfeeder rap crew The Underachievers.

For Howard, speaking to the press about his work can be awkward: “I find it hard to describe my sound,” he says. “I know how I felt at the time, but I find it hard to explain it using words.

It’s kind of the whole point of my sound anyway.

People can make of it what they will. There are themes, and emotions, tied up in every single track that I make. Personally, it’s hard for me to place my finger on a certain idea or sound, because to me it all sounds very different – different moods, different ideas. Maybe someone else would think the complete opposite. I think the music speaks for itself. I’m much more of a studio guy, sitting working away with my headphones on, rather than trying to explain it. I bury all my emotions in the songwriting, and get it out that way.”

“I think of each song as its own planet” Stuart Howard, aka Lapalux Howard’s first encounters with electronic music in a live scenario happened late: “I used to live in a very secluded area, just houses, and one shop, and nothing else really going on,” he remembers.

“It wasn’t til about sort of 16 or 17, when I began going in to London, and encountering some kind of middle-of-the-road electronic stuff. Going to see Crystal Castles and people like that.” The club scene and its attendant here-today-gonetomorrow genres never influenced him: “I’ve always discovered things through word of mouth.

Going on the internet and finding weird little 30-minute previews on Bleep.com. Back in the day I used to have dial-up internet, so it was really difficult to download anything, or get with any kind

of program. I’ve always been detached from the whole scene, and I kind of think that’s where my sound originates.”

This is an important thing for Howard, perhaps echoing the dissociative experiences he went through as a child: “When you seclude yourself from outside influences, you go inside yourself a lot more, and dig a little bit deeper. Stuff comes out that isn’t influenced by anything,” he says, and laughs. For him, “the lack of influence is a massive influence.” Isolation is key to his process. “I’ve always been secluded from scenes, from what’s hip and happening. I don’t go out a lot – I’m used to being alone, and going inside myself.”

Going back to the question of genre, Howard becomes animated: “It’s always been a joke to me,” he says. “I hate going on YouTube sometimes and seeing people asking ‘What genre is this?’ It seems like it really bothers them that it can’t be pigeonholed. I don’t think music should be seen in that way at all. Music should stand on its own two feet, and just be like, ‘Fuck everyone else! This is what it is, take it or leave it.’ The stuff that I’m doing, I don’t like classifying it by genre, or in any way. People can think of it what they like. I really just don’t like pigeonholing things.”

With Nostalchic, Howard manages to stay several steps out in front of the cloud of scenes and movements, making music that nods to nearly every electronic genre in existence, and many that haven’t yet been named.

Nostalchic is released on 25 Mar via Brainfeeder.

Lapalux plays The Annexe, Edinburgh on 22 Mar, and Broadcast, Glasgow on 28 Mar www.lapalux.com

WHEN SPRING IS IN THE AIR, EVEN OUR BARRELS CAN FEEL IT. Jack Daniel always knew that the Hollow was blessed with the perfect climate for making whiskey.

As temperatures change with each passing season, the whiskey that matures inside our barrels is forced in and out of their charred oak walls. This process is what gives Mr. Jack’s whiskey much of its rich f lavor. And it’s why we imagine that our barrels look forward to spring’s arrival almost as much as we do.

J A C K D A N I E L’ S

TENNESSEE WHISKEY

Embrace each season. Please drink responsibly. ©2013 Jack Daniel’s. All rights reserved. JACK DANIEL’S and OLD NO. 7 are registered trademarks.

comedy

FEATURE

“I see myself less of a standup, more of a comedian”

With his new tour about to launch at the Glasgow International Comedy Festival, Sean Lock talks about the good old days of comedy and how hard it is to escape QI interview: Bernard O’Leary

Sean Lock used to do a gag where he’d suddenly announce, “I am in fact... The Riddler!” and rip open his shirt to reveal he had been wearing a Riddler costume for the whole gig.

He is something of a riddle these days. Comedy is currently gripped by an art versus commerce debate, with your Stewart Lees and your Michael McIntyres on the other, each team furiously debating what constitutes good standup. Everyone in comedy seems to have picked a side except Lock, who manages to be weird and original while doing the panel shows and the big arena tours. So how does he do it?

“The only way to do this job well,” he says, “is to do stuff you want to do, and that’s up to you.

I’m nearly 50 and I know who I am. I don’t have to worry about what kind of image I want to put across, I just do what I want to do and it seems to work.

“There are certain types of comedians and you say, ‘he’s the zany guy, he’s the angry guy’ and I don’t really fall into any of those categories. That’s probably why I’m stuck driving this purple van around.”

He’s lying about the van. It’s the title of his new tour, Purple Van Man, which kicks off at the Glasgow International Comedy Festival this month. The show, he promises, is going to be heavy on jokes and low on moaning. “I don’t really talk about my real life in the show much, like, ‘wurgh, I’m turning 50, I make noises when I bend down and stuff like that. It’s very joke-orientated. I see myself less of a standup, more of a comedian.”

14 THE SKINNY

March 2013

What’s the difference?

“Standups have an agenda, stuff they want to talk about, it’s like ‘yeah, let’s hear my opinion on this.’ I’ll always sacrifice a good point if it doesn’t get a laugh.”

Lock has been at the heart of the debate on money in comedy since it began. He appeared on stage with Newman and Baddiel when they played Wembley Arena, and is widely believed to have opened for them, which would make him the first British comedian to have played a stadium.

He still finds this hilarious. “What I like about it is that it pisses David Baddiel off. I didn’t go on first, no. But I did, apparently. History is written and it can’t be changed. I really like Dave, we get on well, but I do find it funny that this big achievement in his life is stained by this lie about me. People say to him, ‘Oh, so you were the second comedian to play Wembley?’”

So he’s the Buzz Aldrin of comedy?

“Yeah, and I’m Neil Armstrong.”

Lock has a lengthy CV of telly appearances that demonstrates his range: from the much-loved, short-lived sitcom 15 Storeys High to his own crack at the panel show format, TV Heaven, Telly Hell. The latter was a great example of what happens when you strip away the horrible gameshow elements and just let the funny people do their own thing, but disappeared after two seasons.

“What happens is things just don’t get recommissioned,” he says. “It’s not like you say ‘I must follow my muse in a different direction.’ People just say, ‘yeah, that’s enough’ and you say ‘alright

illustration: studio monik

then.’”

The rise of the panel show over the last few years has elevated him to the status of household name, although he’s beginning to cut back on those.

He’s stopped appearing on QI, “but it’s repeated so bloody often that nobody’s realised yet.

“There’s a point where you think you’re on telly too much. About two or three years ago I was on Dave all the fucking time. People do get sick of you, there is a danger of saturation. I’m happy with the situation now where I do Eight Out Of Ten Cats and nothing else.”

The idea of playing live seems to excite him a lot more than expanding his TV profile and he laughs when he talks about the last time he played Glasgow, when a game of Audience Battleships ended with him having to improvise a lecture on Vitamin B12 (long story). That’s maybe the key to understanding Sean Lock: he’s got such a focus on making people laugh that the format doesn’t really matter to him, nor do any of the discussions applied to him.

He’s certainly not keen on jumping into the conversation about what comedy should or shouldn’t be. “I don’t get embroiled in any media debates about ‘this comedian said this,’” he says. “I like the old-style way where you’d have Tom O’Connor on, say, Des O’Connor’s show and he’d be like ‘as my mate Freddie Starr said to me...’

“And you know they probably fucking hated each other but they want the public to believe that they’re great mates and they all live together in this zany comedy theme park. You never heard Ronnie

Corbett moaning about other comics. It’s a degree of professionalism I quite like. Although in saying that I am criticising other comics.”

But things are the way they are. How did it get to the point where the telly comics and the arts centre comics ended up hating each other so much?

“There’s a generation of comedians who didn’t realise how popular comedy was,” Lock says.

“There’s this whole different audience and people are going to create the comedy they want to see.

Young people are going to want to see young comedians, people who represent them on stage.

Some people will want to see comedians who talk about things in their lives that they can relate to.

“The audiences in standup became so big, so suddenly, I think it took a lot of people by surprise.

They jumped to these conclusions that people were somehow being... manipulated into laughing, just because they didn’t find it funny.

“I think the huge success of it confused a lot of people. Comedy is an experience people really enjoy. They go to a show, see a comedian, they have a really good laugh and enjoy their night. Why wouldn’t that be popular?”

Actually, when put like that it does sound pretty obvious.

He laughs. “Maybe I should get involved in these debates. Everyone could just go ‘oh god yeah’ and give each other a hug and go to the pub.”

SEAN LOCK: PURPLE VAN MAN, 19 MAR, 7.30PM, KING’S THEATRE, glasgow, £22 www.glasgowcomedyfestival.com/shows/#!/shows/478

FEATURE

Music, Hip Hop, Glamour and Women What Would Fresh, fun and 100% not lip-synced, Beyoncé Do?! is Luisa Omielan’s explosive debut interview: Bernard O’Leary “It’s a show that started out for the girls and the gays,” says Luisa Omielan, star of What Would Beyoncé Do?!, a show that is standup comedy but an awful lot more fun.

“It was for the 20-something woman like myself that wanted something ridiculous and fun. I found it funny, so I made my show for my kind of audience. This is very much a show that’s not for the traditional crowds where girls come because of their boyfriend.”

What Would Beyoncé Do?! is a hilarious, hyperactive one-woman epic, combining intelligent standup with a lot of dancing to Ms Knowles’ greatest hits. The show was a big sleeper hit at last year’s Fringe, despite not having much press or advertising. Since then, Omielan’s picked up a big-time promoter and had a successful run at London’s Soho Theatre. So what is it about the show that grabs people?

“I think a lot of it was in the title. It’s not a traditional standup show, so having Beyoncé in the title, hopefully translated as Music, Hip Hop, Glamour and Women. Also word-of-mouth and people power. I had no industry support at the time and was just counting on delivering the best show I could and hoped that people would love it. Luckily the people that came along were very supportive of that.”

Omielan’s career seems to be skyrocketing at a time when Beyoncé herself has stumbled a bit over her lip-syncing scandal. Has any of that affected her opinion of her idol? “Hell no!” says Omielan.

“That woman could come out with a cassette player and sing along to herself with a hairbrush and I wouldn’t care.”

LUISA OMIELAN WHAT WOULD BEYONCE DO?!, BLACKFRIARS BASEMENT, Glasgow, 15 Mar, 8.30pm, £10 (£8) www.glasgowcomedyfestival.com/shows/#!/shows/413

“It’s a Neapolitan kind of thing”

Three of Glasgow’s most promising newcomers, Angry Beards, will be performing together at the Glasgow International Comedy Festival, although they’re not very angry and only two of them have beards interview: Roxane Hudon “One of my favourite things about Glasgow is the quantity and quality of beards,” says Richard Brown, one third of the aptly named Angry Beards, also composed of fellow beardy men Keiron Nicholson and Australian expat Geoff Gawler, who shows up clean-shaven to the interview.

“Geoff shaved off his beard pretty much when we named the show Angry Beards. I regard it as an act of insubordination,” warns Nicholson.

“I turned 30 in December, so I wanted to look younger, like Danny Glover at the start of Lethal Weapon,” explains Gawler.

There’s a refreshing kind of power to interviewing three relative newcomers – they’re very honest, worried about the questions I’ll ask and, after a two hour discussion, during which Brown relates his extensive knowledge and hatred of Twilight, Nicholson claims that he’d “respect politicians more if they would kill themselves” and Gawler expresses his opinion on Scottish politics (“I just like the idea of Salmond and Sturgeon. I like being governed by fish”), they ask me if anything they said is at all usable. Of course guys, it all is.

They met when performing at the same comedy nights in Glasgow, with Gawler drunkenly giving Brown performance tips after a gig and also, drunkenly, “blessing the union” of Nicholson and his girlfriend at Nice ‘n’ Sleazy one night.

“Geoff lives a kind of Dr Jekyll and Mr Hyde existence where he has to answer for what his drunk self has done,” says Nicholson.

Hopefully, they'll have better luck at this festival than at the Fringe, where Brown and Nicholson put on a show together for the first time to “no or hostile audiences,” according to Nicholson. “By the end of our run, I was dead inside and I didn’t have it in me to say ‘come to our show, it’ll be good,’ so I was standing on the side of the road saying ‘come to this car crash of a show,’” laughs

Brown.

Angry Beards promises to be a hilarious hour of new and refreshing comedy, split into three 20-minute sets from each performer. “It’s a Neapolitan kind of thing. I like to think I’m chocolate,” claims Gawler. “I’m strawberry,” chimes Nicholson. “You’re definitely vanilla, you are one of the whitest people I have ever met,” says Gawler to Brown.

Chocolate promises “pseudo-intellectual ideas with some kind of arc,” Strawberry suggests “hilarious jokes and advice to Disney characters,” while Vanilla offers a set revolving around “popular culture, self-image and melancholy;” or as Nicholson also puts it: “Richard will be bringing the clever humour, I will be doing stupid humour and Geoff is Australian.”

One thing’s for sure, these Beards definitely seem more jovial than angry. “I think we mis-sold the show when it comes to the title. People expecting angry comedy are not going to get it,” assures Brown. “I think I was quite an angry young man, now when I hear younger people going on about what pisses them off, I’m like, ‘well, the truth is somewhere in the middle. Compromise is key, you have nothing to live for,’” says Gawler, prompting Nicholson to suggest “Relatively Chilled Out, Slightly Suicidal Beards” may have been a better title.

“Or ‘Apathetic Dudes,’ but that doesn’t sell tickets, does it?” suggests Gawler. “If you look at the flyer, we look happy. We are fundamentally happy people and we will make you happy, audience” is Nicholson’s final selling point, while Brown responds that that “sounds like a prostitute selling themselves and lying to themselves in the same sentence.”

Angry Beard, THE STATE BAR, Glasgow, 29 MAR, 8.30PM, £5 www.glasgowcomedyfestival.com/shows/#!/shows/440

“We will celebr ate the hell out of life”

One of the most innovative comedians in the world right now, Sanderson Jones wants to sell you a ticket to his show. Yes, you personally Interview: Bernard O’Leary

Illustration: Laura Griffin

Some comedians write a new show every year.

Sanderson Jones invents a new genre with roughly the same frequency. Having recently gained worldwide press attention for founding the first comedy-driven Atheist church, he’s taking a break by reviving comedysale.com for the Glasgow International Comedy Festival.

The show works like this: you can only buy a ticket directly from Jones. He gets to know every audience member personally, researches a bit about their lives and incorporates them into each performance, usually by mining their social media profiles for LOLs. “There have been some good ones,” says Jones, reflecting on the 50 performances to date.

“There was the naked gimp I made sit on the critics lap at the Sydney Opera House, or the girl in Melbourne who had a video online where she said she didn’t know the alphabet. Or filming myself in someone’s house. She’d said: ‘I see you around

town so much I wouldn’t be surprised if I saw you in my house.’ She was surprised.”

It sounds a bit scary until you see the show, which is magnificent. “I think I’m celebrating our idiosyncracies,” Jones says. “Let’s face it, we’ve all got funny stuff about us online. For instance, I found a tweet from an audience member saying, ‘at least you don’t look as punchable as this guy.’

It happened to be linked to a picture of me.”

Jones will also be bringing godlessness to Glasgow, with the first Sunday Assembly outside of London happening just in time for Easter. Susan Calman will be helping out and Jones promises “belting songs, a great speaker and we will celebrate the hell out of life.”

SANDERSON JONES: COMEDY SALE, BLACKFRIARS BASEMENT, 26 & 30 MAr , 8.30PM / 7.30PM, From £8 To meet Sanderson and purchase a ticket, email sanderson@comedysale.com or tweet @sandersonjones www.glasgowcomedyfestival.com/shows/#!/shows/447

March 2013

THE SKINNY 15

Jan – Mar Something new Ends with a Feast BPERFORMANCE Hanna Tuulikki, Rosalind Masson & Daniel Warren Air Falbh Leis Na H-eòin Sat 9 March 7:30pm £5

BVISUAL ART Magnetic North

Nick Evans

Fri 22 March 7:30pm £5

Tramway 2 Exhibition runs until Sun 31 March Admission free

Rough Mix

Solar Eyes

Junction 25

Joris Van Oosterwijk & Shanti Straub

World premiere Thu 14 – Sat 16 March 7:30pm £10 / 8

A performance for ages 5+ Sat 30 March 3 & 7pm £5

FIGMENT

The tree and the boy I

Rachel Adams Space-Craft

Tramway 5 front gallery Exhibition runs until Sun 24 March Admission free

GLASGOW TRAMWAY

FIND OUT MORE

0 8 4 5 3 3 0 3 5 0 1 www.tramway.org TRAMWAY 25 ALBERT DRIVE GLASGOW G41 2PE

@GLASGOWTRAMWAY

theatre

FEATURE

“I am the laziest person on the planet. I’ve never been ambitious. I let life unfold and things turn up. It’s not a race,” says Richard O’Brien. “The greatest gift is to love and be loved in return. And as far as a career is concerned, I’ve never really been bothered. If there are things I want to do, I’ll do them. If I wanted to play Hamlet, I would find a way to do that. Fame and fortune have never been spurs. The things that I do aren’t work. You are just strolling through life, accepting the good things as they fall and moving on from the failure.”

Although Richard O’Brien has plenty to boast about, he is surprisingly relaxed and generous.

Having created The Rocky Horror Show, which somehow manages to be a huge commercial hit and a cult classic in a genre that is better known for its musical and social conservatism, he went on to become one of the few quiz show hosts who isn’t best remembered for his bland patter but as a manic MC in the best cabaret tradition. As he approaches 70, O’Brien’s enthusiasm and originality are evident in his conversation: now entering something close to retirement, he is supporting the fortieth anniversary tour of Rocky and promising to use his time in New Zealand to paint.

The Rocky Horror Show has enjoyed unexpected longevity. According to legend, O’Brien made it because he was frustrated by the number of religious musicals and saw no work for his peers that satisfied their counter-cultural dynamism. “We all thought it was three weeks’ fun at the theatre upstairs at the Royal Court and after that we’d all be looking for another job,” he comments. “We were in London for seven years: the movie has become a cult classic.”

“Rocky maintains that cult credibility, although it is difficult to understand how we can do that because it has been seen by tens of millions of people and translated into all those different languages, so you would have thought it would be considered mainstream. It still seems to be just out of that – and that’s quite nice. It gives us a naughty attraction.” But part of Rocky’s charm is that, behind the popular songs, wild characters and provocative costumes, O’Brien wrote a musical that mapped the transition from the conservatism of the 1950s into the fluid sensuality of the 1960s.

“It’s an eternal fairy tale. It is timeless. It is the oldest story in the world. Brad and Janet are Adam and Eve, and Frank N Furter’s the serpent. That will never date... it’s a rite of passage,” he says, “and it is complex. We are looking at the end of the American Dream. Brad and Janet stepping out of Eisenhower’s America into an uncertain, drugfuelled future and society falling apart.”

The Time Warp might be the show’s hit single, but its implied nostalgia for the good old days of early rock’n’roll hides a more brutal truth. “We now see an empire in decline. That is what underpins it,” O’Brien says. He quickly points out that isn’t necessarily the reason why the song became popular. “If we started pointing all that out on stage, it would become very tedious: as far as the audience is concerned all they’ve done is had a good time. Subconsciously, they’ve also had something which satisfies. If it had just been a bit of light frothiness and campery, it would not have lasted this long.”

Despite having spent forty years talking about the musical, and having played Riff Raff in the film, O’Brien has an affection for Rocky: unsurprisingly, since his inspiration came from “nothing but my love of all things populist!” Rocky may have resonated with a generation, but the enthusiasms behind it are very much the those of the author. “I left school with no qualifications and apparently no potential. Rock ‘n’ roll kept me going. I was a gauche undereducated teenager who loved comics, B-movies and all things populist. I adored

Still Rocking

The Skinny talks to Richard O’Brien, author of The Rocky Horror Show, on the eve of a 40th anniversary tour INTERVIEW: GARETH K VILE

them. I love the joy and the spirit and the unintentional comedy in B-movies. It was an homage to all things populist. Someone once said Rocky was Pop Art on stage, and I really like that!”

Rocky’s script is unafraid to juxtapose themes and influences: a B-Movie aesthetic, rock’n’roll, lingerie, cross-dressing and broad comedy all vie for attention. This eclecticism reflects O’Brien’s own career and does connect to the Pop Art tradition. He might describe himself as lazy, but his biography spans everything from serious theatre through to his stint as host of The Crystal Maze.

Rocky’s continued success is testament to both the ongoing cultural changes in society and the clear narrative at the heart of the spectacle.

O’Brien notes that the basic story is ancient – the battle between good and evil – and while it has its hardcore devotees, including the ‘shadow casts’ who often perform alongside showings of the film, it appeals to a wide audience. Until the last decade, however, the live show would be interrupted by fans who felt that they had permission to join in.

“I used to object when, say, twenty per cent of the audience were attending a party that the rest of the audience hadn’t been invited to,” O’Brien says. “I wanted the show to be for everybody, not an elite group. And some of the lines they shouted out weren’t witty, but a little bit crude. I am glad that it’s still there but I am glad it doesn’t drown out the performance.”

“Rocky

is an eternal fairy tale. It is timeless.

It is the oldest story in the world” RICHARD O'BRIEN It was The Crystal Maze that gave O’Brien his iconic public persona. Far from being the typical host, he added a comic melodrama to the show’s relatively complex format, introducing thematic elements and bringing an anarchic sparkle to his interactions with the competitors. Never happier than when blowing away on his harmonica, or chatting about his “mumsy,” O’Brien shattered the bland stereotype of the presenter and helped the quiz show climb briefly out of the tedious hell of fading comedians propping up their careers by patronising members of the general public.

“When they offered me that job, I took it because it was a change of direction, and I liked that. One of the things I was terrified of was being in the public eye and then becoming public property. Up until that time I was successful without anybody in the street knowing who I was – I had anonymity. I loved the fact I was almost invisible. I didn’t envy the attention my friend Willie Rushton got in public.”

Rather like the eclecticism of his influences for Rocky, there were serious reasons behind his decision to accept the job. “I was at the time trying to get a charity arranged to help people who want to get off drugs and go into rehabilitation. I thought if I could start a charity with a nest egg, we’d patch up the hole in the net. I knew it was going to be easier to raise funds if I had a public image, if the public knew who the guy with the begging bowl was.” But he stayed because he was having fun.

“And once I’d started, I had such a nice time: on any given day on the set there was thirty to forty people: and not one negative arsehole.”

The Crystal Maze manages, like Rocky, to be massively successful while retaining the allure of being an alternative. But for O’Brien, it was all about the fun. “I loved the attention of the

children: it was a good time. I was allowed to perform, and once I knew, there was no stopping me. I invented mumsy. The fortune teller was supposed to be a game in the first series, and I built up this image of my mumsy... she became a regular, which adds another layer. It just added silliness and intrigue!”

Even as a pensioner, O’Brien retains the same counter-cultural vitality that inspired Rocky. His immediate plans include getting married, doing a farewell solo show in London and heading off to New Zealand. Ironically, New Zealand, which once erected a statue to him, was awkward about his plans to settle back in the country. Now that this has been resolved, there is no sense of a man disappearing into slow retirement, and he still has an eye on show business.

The 40th anniversary of Rocky sees a musical in rude health and while it is firmly ensconced as a cultural treasure, it echoes the subversion of past tours without being lost in nostalgia. The latest cast takes up the baton from a highly successful tour – the previous Frank N Furter was adored by the fans, and he would talk of his family relationship with them – but O’Brien is confident that this

version will be equally popular.

“I know it doesn’t make any sense for the author to be trilling about how wonderful his show is – I would think that, wouldn’t I – but the band cooks, the set is lovely, bright and gorgeous, the performers have stepped up. Over the past 40 years, it is wonderful how musical theatre in Britain has improved. The energy is there, the voices are better. All the production values have increased.”

He admits that the reasons for Rocky’s continued success are mysterious, but does suggest an answer. “It’s not pretentious, it is a happy piece and it resolves itself. There is comeuppance for Frank N Furter and that closure is important. But I am glad we can’t quite pin down the reasons for its success. If we do know, we’d be doing it again and again. The storyline is formulaic, the characters are archetypal. There is nothing terribly clever about it. It all comes together in something that makes it uniquely different. It’s fascinating.”

Edinburgh Playhouse 11-16 Mar, various times and prices Manchester Opera House 25- 30 Mar, various times and prices www.rockyhorror.co.uk/tour_dates

March 2013

THE SKINNY 17

books

F EATURE

live verse

StAnza poetry festival director Eleanor Livingstone tells us what attendees can expect this year, what not to miss, and how the recent closure of The Byre Theatre has impacted on the programme interview: ryan rushton

First off, the young ‘uns. British singer-songwriter Jessie Ware has been wowing those paying attention to her accomplished 2012 debut album Devotion. Having appeared on SBTRKT’s critically acclaimed, eponymous debut, the Scottish-born Ware had already achieved some underground kudos before her fully-fledged first album drew comparisons with the mighty Sade. Commercial clout with genuine critical acclaim? Check for yourself at the 02 ABC on 8 March.

Dubbed by MTV as the “best musical talent since Michael Jackson” the plaudits, not to mention the pressure, is on Abel Tesfaye who goes by the handle of The Weeknd (02 ABC, 21 Mar). His collected trilogy of mix-tapes, anonymously uploaded to YouTube in 2011, were the centre of such glowing praise for his singular, eerie, genre-blurring soul.

Now Tesfaye is set to test his chops in a live setting, with the considerable buzz from his underground rise to fame sure to make this an exciting night.

Moving towards the more established acts, Eels (02 Academy, 18 Mar) returned last month with the decidedly raw and scuzzy Wonderful, Glorious. It marked a line in the sand for enigmatic front-man E after 2010’s Tomorrow Morning bookended his Hombre Lobo trilogy. It would be rude then not to give such a release a vigorous live work-out, and it seems Mr E. is in complete agreement, coming to Glasgow for this only Scottish date of the tour. It’s a rare enough opportunity to shake yourself out of that winter gloom for sure.

Fellow alt-indie veterans Yo La Tengo (O2 ABC, 22 Mar) are also heading this way on the back of thirteenth studio album Fade. Like corduroy, the Hoboken trio have never been particularly in or out of fashion but remain an essential part of any well-rounded, indie-loving individual. With a musical style that veers from soft, lilting and harmonic to loud, brashy and cacophonic, they should prove as predictably unpredictable in the live setting as they do on their impressive and lengthy back catalogue.

Eclipsing all the above for longevity and influence though are Culture (02 ABC, 24 Mar). Even the death of founder member and lead singer Joseph Hill in 2006 hasn’t halted the Jamaicanbased reggae troupe, with Hill’s son Kenyatta assuming his father’s mantle, most prominently on 2011’s aptly-named Live On. And living on they certainly are, with this upcoming Glasgow appearance spearheading a run of reggae acts coming to the city in the summer months. No better time then to loosen yourself up and kick back to these good-time vibes. Booshmaclot! [Darren Carle] facebook.com/o2abcglasgow www.o2abcglasgow.co.uk

18 THE SKINNY

March 2013

hannah silva

This March the annual StAnza Poetry Festival will take over St Andrews for five days, offering readings, performances, discussions, film, music and drama, exhibitions and installations from all points on the poetry spectrum. The programme is its usual vibrant self, but this year’s festival has had a shadow cast over it in the form of the closure of the Byre theatre.

“We were all stunned and dismayed that the Byre’s internal issues led to the doors closing just weeks before it would have been the usual festival hub, venue for more than half of the 103 events, exhibitions and installations on the programme, and desperately sorry for their wonderful staff,” says StAnza director Eleanor Livingstone, before clarifying that the festival is definitely still happening, albeit with some minor alterations.

“We’ve been able to fit more events into some of our other regular venues, or to go back to venues we’ve used in the past... the festival will go ahead in terms of the core programme online and in our brochure. A few ambitious trimmings might have to be reined in a bit – we probably can’t do live webcasts of events this year – but there’s only been one absolute casualty, an exhibition in the Byre of Ian Hamilton Finlay silkscreen prints.”

With this good news confirmed we turn our focus to StAnza’s line-up, which features some noteworthy headliners, including the chance to see Liz Lochhead, Mark Doty and Gilian Clarke reading from and discussing their work. StAnza has always been about more than simply the big names, however, with a strong focus on diversity and participation, as Eleanor is keen to point out: “We have 78 poets coming to perform, (last time I counted) plus about 50 other writers, musicians, actors, visual artists and film-makers. And of course we’ve a strong interactive programme, events where anyone can take part, three open

mics, our slam and masterclass, workshops and one-on-one inspire sessions.” Furthermore, the international roster of this year’s festival has reached new proportions. More than a dozen countries are represented, “from Singapore to Australia to Canada to Iceland, with Ireland, Palestine, Finland, Latvia, Germany, Romania, the Netherlands, Norway and Belgium in between, plus seven poets from Wales in our first ever focus on Welsh poetry.”

Pulling out a specific highlight is therefore a difficult proposition. When prompted, she reels off the following: “We’ve got our strongest ever spoken word and performance line-up this year, with major names such as Luke Wright, John Hegley, Hannah Silva and Jacob Sam-La Rose joined by the likes of Ghostboy from Australia and sound/experimental performer Eiríkur Örn Norðdahl from Iceland and by Rachel McCrum and Harry Giles, leadings lights from the Edinburgh spoken word/performance scene... If I had to pick one, I’d say Saturday night, 9 March, at 8pm with John Hegley and Jacob Sam-La Rose, followed by Luke Wright MC-ing the slam at 10.15pm.”

The breadth of these events give this year’s StAnza an inclusive feel and should interest poetry enthusiasts of all levels. We recommend getting yourself to St Andrews with plenty of time, before heading to the Town Hall, which will now be the main festival hub. Here attendees can orientate themselves at the festival desk, with up-to-date information on venue changes, directions and the like. However, StAnza expects to have finalised and accurate information, reflecting any changes that have been made, on its website shortly.

Check www.stanzapoetry.org for this, as well as the full programme, and the usual information on accommodation and travel.

StAnza Poetry Festival, St Andrews, 6-10 Mar www.stanzapoetry.org

photo: nina mcdonagh

eels

music

FEATURE

Do the Evolution

Currently on sabbatical from his day job, Jeff Ament explains why he was compelled to get RNDM with a few old pals interview: Dave Kerr

Under the Influence: Jeff Ament’s Bass Heroes One of my main basses is a big Frankenstein with different parts; I’ve painted the names of some of my all time inspirations on the back of the neck...

1. Duck Dunn I was lucky enough to watch Duck and Jim Keltner play together for about ten shows in the early 90s when they were Neil Young’s rhythm section. It was a workshop of how to play songs the right way every night. I was fascinated by the way they pushed and pulled as players. They could do it all.

Just a beautiful guy also. I really miss him.

2. Dee Dee Ramone I learned how to play bass in my dorm room in college in 1981, playing along with The Ramones’ It’s Alive. Four sides of Ramones classics, and within four months I had my downpicking style down. Dee Dee also wrote many of the Ramones’ classics, which also inspired me early to write my own compositions. Dee Dee, Paul Simonon, Sting and JJ Burnel all had such strong styles that made me want to play along and try to recreate their tones.

RNDM’s genesis. “I’ve known Joe for around 12 years now – whenever he came through town I’d go see him play. The last time, I just casually mentioned ‘hey, we should get together and write some songs.’ It was about having a bit of fun with other musicians, not that we’d intended to form a band and make a record. We had a great first night – Joe brought in a song called What You Can’t Control, which came together pretty quick.

Listening back the next day, it sounded better than we’d thought, so we just volleyed songs back and forth over four and a half days.”

Whirlwind recording sessions are nothing new to Ament; with Pearl Jam’s backing, Neil Young’s Mirror Ball was written on the fly and recorded in just four days back in 1995. It’s a touchstone that RNDM, when recording their debut, Acts, looked back on as exemplary to their cause, although Ament acknowledges the trade-off to working at such a pace. “There’s things about the Mirror Ball record I wish that we could re-do,” he chuckles.

But we spoke about that particular record a lot when we were recording RNDM.”

“All

of our experiences outside the band only make the Pearl Jam thing better” jeff ament RNDM are supported by Pearl Jam’s unique infrastructure as a band-turned-independent business, including their own in-house label (Monkeywrench). “We have 30 employees who are on salary, get health insurance and rely on us to be creative enough to put out records and go on tours,” says Ament of the responsibility. “That part’s probably the thing that I’m most proud of – we go down to our building and have what we consider to be this pretty cool little business going.

It’s a great space and it makes you want to work hard for something beyond yourself and the band.

It’s a cool thing. Sure, we need to be involved in some of the things that record companies take care of, but I think in the long-term it will keep us in the game.”

With a four year interval since Backspacer – his other band’s last recorded appearance, conversation inevitably turns to Pearl Jam’s current status. Whereas Mike McCready has recently floated the idea of an experimental sequel, Ament offers a more guarded update: “There’s talk of us getting together in March – hopefully that’ll quickly turn into going in the studio. We have tonnes of instrumental ideas and partial songs – things that are in that in-between state. It’s just going to take us getting into a room together for a week to ten days and knocking through these arrangements to figure it all out. Hopefully by the end of that period in March we will be ready to do something. I try not to get too hung up on what-ifs – we still need to have 12 really good songs before we can go ahead to the next step.

When we got together and demoed last year it was super creative – I don’t think anybody’s sitting on their laurels.”

Having freed themselves of major label constraints since departing Epic in 2003, Ament attributes the autonomy that Pearl Jam’s constituent parts now have to the band’s longevity. “We’ve always supported each other’s side projects and I think we all know that Pearl Jam takes precedence over all the other things,” he says. “I think that even when Matt started talking about Soundgarden again just as fans and friends of all the other guys in that band we were excited that they were going to get back together. We supported that fully – I mean, they’re playing here next week and we all want to go and see the show! All of our experiences outside the band only make the Pearl Jam thing better. Sometimes, just creatively, you hit a new spot in terms of how you write songs – you bring that back to the band and it’ll help us naturally evolve.”

RNDM, meanwhile, already have the makings of their next LP, which Arthur suggests will take a turn into psych-rock territory. “There’s a whole bunch of songs,” Ament confirms. “We’ve been going through mixing that stuff this week, messing around with sequences to see how it feels, talking to the people who run our little record label here and see what the feasibility of it is. RNDM’s not going away – it’s a good creative space for all of us – it’s a lot of laughs, and around this point of my life it’s definitely where I’m at.”

3. John Paul Jones I don’t know if there’s a player who has so consistently inspired over the years. He did so much with Zep that filled out their sound. A true virtuoso who wasn’t afraid to colour outside the lines. I never saw Led Zeppelin, but have gotten to see him up close in his solo band and with Diamanda Galas and Them Crooked Vultures.

4. Mike Watt Watt represents a whole group of bassists from my generation that wrote and played in hardcore bands as I was learning the instrument. He is one of the most driven and creative humans I have ever met, a high octane motor with a ton of originality.

Chuck Dukowski, Klaus Flouride, Rainy from Discharge, Tony Lombardo from The Descendents, Darryl Jenifer, Brian Baker, and Jamie from SSD all were unique players that made me pay attention.

Oh, and when Iggy reformed The Stooges, who did he ask to play bass? Mike Watt.

5. Andy Fraser I can listen to Free’s I’ll Be Creepin’ all day. The bass line is just so inspired and lyrical. Like Jimmy Page, it’s a shame that Andy hasn’t been in a big band in the past 30 years. One of the great songwriting bassists and a style that is so unique.

Photo: Jeff Ament

It’s “just another mid-winter, foggy and rainy morning in Seattle,” reports Jeff Ament when our phone call connects. Throughout his three decades in the emerald city, the prolific bassist has made the most of its indigenous bad weather.

From his formative days with proto-grunge forerunners Green River and Mother Love Bone, to his long-term stint with Pearl Jam and ever since, Ament has played a vital part in the Pacific Northwest’s staggering musical history. But it’s not quite enough; while Pearl Jam frontman Eddie Vedder was off on a solo tour, drummer Matt Cameron re-engaged with Soundgarden, and guitarists Mike McCready and Stone Gossard were entrenched in a myriad of projects both new and familiar, Ament fell into his own extra-curricular activity.

Formed last spring, RNDM [pronounced R-ND-M] reconnects Ament with an old acquaintance who’d helped drag him out of the doldrums when the sudden, tragic loss of Mother Love Bone frontman Andrew Wood in 1990 cast Ament’s future as a musician into doubt. “When Andy died I spent that summer not really playing music and just trying to figure out what I was going to do,” he recalls. “I was about halfway through college, so I had the idea that I might go back and get my art degree. Then I ran into Richard’s [Stuverud, now RNDM’s drummer] bandmate Tommy at a party and he said they needed a bass player, so I started playing with them – a band called War Babies, they had a record deal and some studio time booked. I went along and had a great time, mostly just playing with Richard. Every day we’d show up an hour early for practice and we’d just work on rhythm section stuff; I’d bring a tape with a couple of songs that we’d just jam and play along with – like Prince and The Clash. We had so much fun that it made me reassess things.”

Of course, the rest is history, but Stuverud has remained a perpetual feature in Ament’s numerous side projects throughout the intervening years – from slowcore forerunners Three Fish to heavy blues unit Tres Mits. The new variable in their alliance is the addition of Ohioan songwriter Joseph Arthur – whose earthy vocals and stylistic divergence marries well with this dextrous rhythm section. Yet Ament suggests that the fact they became a band in any conventional sense, let alone recorded an album, is something of a happy accident. “Richard comes out once or twice a year; we demo each other’s songs,” he says of

RNDM’s Acts is out now on One Little Indian rndmband.co

March 2013

THE SKINNY 19

art

FEATURE

THE POETICS OF EDUCATION We spoke to ALEX HETHERINGTON ahead of his epic, prism-like venture, MODERN EDINBURGH FILM SCHOOL, and tried not to get brain-ache in the process INTERVIEW: JAC MANTLE

20 THE SKINNY

MARCH 2013

RATHER LIKE a politician or business mogul whose work consists mainly of talking to people, Alex Hetherington has a full day of meetings ahead of him. Knowing the huge scale and scope of his new project, I’m doubtful we’ll get around to discussing even half it. But I hadn’t bargained on the artist’s comprehensive way of talking, gathering everything together in his Irish-American lilt with a quiet, earnest energy.

Beginning in March, Modern Edinburgh Film School will be a season of projects ‘appearing and disappearing’ at various venues through until August. Based at Edinburgh Sculpture Workshop’s new premises, Hetherington will use the HQ to stimulate dialogues at Embassy, New Media Scotland, ECA and other spaces around the city.

Kicking off with a screening and a group show at Embassy, The Hand that Holds the Desert Down will examine beauty and film poetry in Scottish documentary and moving image. A series of essays and talks by a ‘faculty’ will provide a loose curriculum of sorts. Contributors are numerous, including Anne Colvin, US artists Trisha Donnelly and Tom Marioni, Lyndsay Mann, Debi Banerjee, Stephen Sutcliffe, Anthony Schrag and Hetherington himself.

“And then there’s the question of, am I qualified to teach film?” says Hetherington. “That’s one of the big questions of the project, in a way – what qualification means. Students from ECA and Edinburgh College are involved in the School. And this idea that a Free School can also be connected to an established academic environment is very important, because it gives it some kind of authenticity or authority.”

His call-out for video work invited submissions in response to themes such as ‘This space evaporates, pursues too, yet requests time,’ and, ‘flowers and questions, indoor: blue, black, permanent.’ The titles alone evoke poetics, space and Margaret Tait, strongly reflecting individual tastes and earmarking certain subjects for discussion.

“I wanted to create a curriculum, but didn’t want to be quite that didactic,” says Hetherington. “So

I’m not being very didactic about this, but I am being very selective about what’s included in the school.”

Margaret Tait’s legacy will be acknowledged directly, at a screening introduced by film academic Sarah Neely. “They’re just gorgeous works to look at and so extraordinary. So part of the film school

“Then there’s the question of, am I qualified to teach?”

ALEX HETHERINGTON is in Tait’s honour – she’s such an interesting woman, in fact, that’s what this is all about. So I hope it generates a resurgence of interest in Tait.”

“Another thing is that Edinburgh’s such an academic town. What I love is the idea of education and opportunity that exists within the fabric of the city. You’re never more than about six feet away from someone doing a PhD.” In any time spare after having all these conversations with people, Hetherington has been busy producing exquisitely made flyers and printed essays in monochromatic designs on lacquered paper. Documented extensively with careful captions on his Tumblr, the high-end items are not just in a supporting role, but works in themselves.

Even his Tumblr is curated. It seems that everything these days is curated – even the films available to watch on Glasgow Film Theatre’s online player. But Hetherington really makes an art of it.

Another post on his blog reads, ‘What would Derek Jarman do?’ – perhaps a personal go-to, but it’s hard to imagine Hetherington taking his inspiration from only one figure – he is too eager to do everything. “I have so much energy for this kind of work. I’ll reveal the top secret about the Edinburgh Film School. The person that’s learning the most about the work is me.”

ALEXHETHERINGTON.TUMBLR.COM

FEATURE

GOING ONCE, GOING TWICE...

GOING TO CALTON HILL With their lofty sights set on a future in Edinburgh’s City Observatory, Collective are holding a fabulous fundraising auction. We spoke to director KATE GRAY to find out more INTERVIEW: KATE ANDREWS

EVER WONDERED what goes on in the grand old auction houses of Edinburgh? Well, 14 March presents the perfect opportunity to find out – to fund its move from Cockburn Street to new premises on Calton Hill, Collective gallery is holding an auction at Lyon and Turnbull.

Collective has employed its winsome charms to bag one of the most iconic and enviable sites in the capital for its upcoming relocation. Work is already underway atop Calton Hill to transform the former City Observatory into a world-class venue that aims to present a fresh perspective on what enlightenment means in Scotland today. Come June, the City Dome will house the Collective’s international programme, while grand plans for a sculpture garden, residency ‘pods’ and outdoor performance areas will be unveiled over the next few years.

The auction at Lyon and Turnbull will be a celebration of an epic new chapter for the gallery.

Proceeds will be channelled directly into the development of a further gallery – a dedicated space for emerging practice (a reworking of the New Work Scotland Programme), which will now be a focus of Collective’s programme all year round. Director Kate Gray tells me she is “really rooting for emergent artists and striving to find new ways to deliver more, to sustain support and build long-term relationships.” Her excitement to see how these relationships will develop in this

new historic context is clear.

There is always a difficulty in contextualising a gallery that is more focused on research and development than the production of ‘blockbuster’ shows – this can certainly prove to be a hard sell for an unfamiliar audience. The auction is a way to communicate how instrumental this kind of environment is in supporting the development of artists throughout their careers.

“The artists who have really kindly donated their work to our cause are telling this story for us,” says Gray. It is a story of mutual affection: the generosity of these contributors is clearly testament to the affection they hold for the gallery.

In many cases it was Collective that presented the artists with a first significant opportunity to show their work in a supportive but professional context outwith the art school bubble.

The impressive list of over 60 works on offer at the auction hints at the stonkingly successful bunch who have worked with Collective over the last 30 years. Lots include local names such as Rachel Adams, Claire Barclay, Michael White and Andrew Miller, as well as Turner Prize winners Martin Boyce and Jeremy Deller.

“We were blown away by the support – people have been fantastically generous,” says Gray.

“We build up strong relationships with people, but we couldn’t have anticipated the level of support we got. It was quite humbling.” The team was

JACK MCCONVILLE, XANADU 2013

especially thrilled with the number of one-off and new works produced for the auction. Gray assures me that despite the high profile, the auction will present something for all tastes and wallets.

If all this talk of money and markets seems a world away from the humble workings of the not-for-profit organisation, Gray reassures me that they haven’t turned to the dark side – the relocation won’t mean any change in priorities.

Yes, there will be a coffee kiosk up on the hill, but it will not be franchised from an evil multinational!

The auction and the move represent a chance for the gallery to celebrate its story so far and to look to a dazzling new future that is thoroughly invested in unearthing Scotland’s talent.

THE AUCTION IS ON 14 MAR, 6-8.30PM AT LYON AND TURNBULL. ONLINE BIDDING IS OPEN NOW. FREE TO ATTEND AUCTION.COLLECTIVEGALLERY.NET/

“Irresistible piece of popular theatre, with a great, beating heart, wonderful tune, and terrific jokes.”

The Scotsman  WORLD PREMIÈRE

TAKIN’ OVER THE ASYLUM Based on the scripts for the BBC television serial written

by Donna Franceschild

A co-production with Citizens Theatre, Glasgow

TV Bomb

 The Herald



The Telegraph

 The List

 Whatsonstage.com



Lyceum Theatre: 13 March – 6 April Citizens Theatre: 14 February – 9 March

www.lyceum.org.uk/asylum

Please note a £1 fee will apply to all bookings.

Royal Lyceum Theatre is a Registered Company No. SC062065. Scottish Charity Registered No. SC010509.

Citizens Theatre Ltd is a Registered Company No. SC022513. Scottish Charity Registered No. SC001337.

MARCH 2013

THE SKINNY 21

film

feature

Role Play

We speak to Scott Graham about his debut feature Shell, one of the highlights of Glasgow Film Festival 2013 stills from shell

interview: ALAN BETT

It was 1952 when Vladimir Nabokov wrote to his New Yorker contact Katherine A. White to suggest of his Lolita manuscript, “I shall show it to you under the rose of silence and the myrtle of secrecy.”

Hopefully Shell, Scott Graham’s first feature film, will be treated contrary to this, shouted from the rooftops as an outstanding Scottish debut.

While both works deal potently with forbidden fruit, Graham takes a far more sympathetic approach to his father/daughter entwinement than the provocation of Nabokov’s nymphette (and of course Kubrick’s onscreen treatment). The director still admits to a level of trepidation, however, when we speak in advance of Shell’s Glasgow Film Festival screening. “I wasn’t sure if just because I felt empathy for a character when I was writing, whether audiences would feel it when they saw the film,” says Graham. “So I just had to hope that the same empathy that I have for Shell and Pete would carry into the feature.”

It would seem impossible for it not to. Both characters live in an isolated Highland petrol station alongside nothing but the gaping hole left when Shell’s mother walked out on them. Soon the lines blur between the roles they play for one another.

“That’s the thing about co-dependency, that’s what Shell has with Pete, it would be better for one to let the other go. If it is torment [Shell causes] I think it’s not conscious. She’s meeting the needs of others without addressing her own, consciously or unconsciously making them more dependent on her.”

Pete is a fragile character, seemingly ruined by his wife’s rejection. His pain manifests itself in the infirmity Graham has afflicted him with; seizures so severe he bites deep into Shell’s hand, drawing

22 THE SKINNY

March 2013

blood. Shell (a strong, complex performance from newcomer Chloe Pirrie) is presented initially as a ray of hope, providing moments of joy for those who cross her path. In a well framed scene, warmth and light burst from a kitchen window as Shell sings and dances, unaware of Pete, her voyeuristic audience left out in the cold. But what begins as tonic turns to anguish as, while maturing into her mother, she only serves to remind Pete of his loss.

There is a deeply touching but excruciating scene where lonely customer Michael Smiley wraps his arms around her for an unbearably long time, desperate for the warmth he craves from his estranged family. Here Shell may be seen again as a succubus, or Nabokov’s temptress, revealing her demoniac nature to bewitched travellers. Whether she hurts or heals depends upon the way you look at it. My personal viewpoint changed throughout and was tangled for days afterwards, so I was pleased when Graham admitted, “I think I do respond to films that allow me to have space to feel and imagine, and fill in blanks in terms of not just history but emotions – everything that goes into making a human being. I didn’t consciously set out to make a film where people would feel an ambiguity towards the characters, but I do think I tried to make something honest and I do think people are quite ambiguous.” By providing little in the way of answers Graham offers so much. What might be seen as an empty table is in fact laden with possibility.

While tackling such delicate subject matter a deft touch is essential; also, some research on the psychology of loneliness and loss, perhaps the Electra complex, Freud’s Oedipus reflection. I

didn’t expect that this would be on-the-job experience. “I think writing’s quite a lonely thing to do anyway,” Graham tells me. “I went to Amsterdam for six months to write this. There’s a lab there and they take about 20 writers & directors each autumn and you live there for six months and work on your script. So, I was away from home, I was going through a period of loneliness anyway.

Amsterdam’s quite a vibrant city but I was certainly feeling quite isolated. I think somehow all of that went into the film.” And this sense of loneliness permeates Shell: its icy visuals will have you shivering as you watch.

Just as every word of One Day in the Life of Ivan Denisovich is covered in an inch of snow, each frame of Shell is whipped by bitter winds.

They emanate from the screen. The stunning Highland landscapes hold a redundant beauty for those trapped by their intimidating space. “We felt claustrophobic while we were there, although it was this massive space,” he explains. “We thought a lot about how to photograph that. We had a rough idea that we would shoot the interiors handheld, and almost be really aware of walls and create a claustrophobic sense of Shell stuck inside this comfortable cell or cage. When we were photographing the exteriors we shot a lot of wides but in quite a static way so that they would feel almost like postcards you can’t quite get out of. I don’t think it’s just down to photography. I do think that if you go there there’s a weird sense of both space and entrapment that’s really interesting.”

Combine this with the distinct natural sounds of this world, captured by sound designer Douglas MacDougall, and Shell delivers a foreboding,

melancholy onscreen ecosystem.

The film remains in touching distance with reality, but it's a reality infused with elements of the mystical: enough to elevate the film above and beyond a kitchen sink drama into something more lyrical.

“I think life is poetic,” says Graham, “so I actually think there is a lot of truth in poetry and art.” And in many ways Graham contributes to a specifically Scottish movement, something more than simply a current trend for our domestic filmmakers, which critic Hannah McGill labelled wonderfully as “an oft-maligned tradition of slum-bound Scottish miserablism that stretches from Bill Douglas to Lynne Ramsay and David Mackenzie.” Graham agrees to a point, adding “I love Bill Douglas. He just has so much emotion in his images and in the faces of the people he photographs.”

It seems true of our fun-loving nation that our filmmakers centre so often on pain and misery.

What is it that germinates such feeling? “I think it probably goes to the heart of what it means to be Scottish,” suggests Graham. “All filmmakers and all artists do is try to express something that is true to them in the hope that it’s going to be true to someone else. And if so much of it is melancholy or miserable at times then that must be somehow in us, and I don’t know where it comes from. I don’t think it’s cynical; I’m not doing it because that’s just what we do. Maybe we’re all still healing in some way.” A bigger question for another day.

But of the mood of his outstanding new feature, Graham is as optimistic as he fully deserves to be.

“I think there is hope in Shell. I think there is light.

Maybe you just have to look for it.”

Shell is released 15 Mar by Verve Pictures

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THE SKINNY 23

24 THE SKINNY

March 2013

clubs

FEATURE

Sounding Out

As Matthew Herbert prepares to release a 130-track retrospective compilation of early house tracks, it seems the restlessly innovative producer has far from reached the end of his sonic exploration of the world around him Interview: Ronan Martin

“I’m turning into an old man. I’m nearly 41.”

You could be forgiven for attributing Matthew Herbert’s remark to a jaded musical veteran, long devoid of inspiration and preparing to rest comfortably, and rather deservedly, on his laurels.

With this month’s release of Herbert Complete, an exhaustive collection of critically-acclaimed gems made public over the decade between 1996 and 2006, many will wonder if the celebrated producer and undisputed master of exotic samples has decided to close the curtain on his career in electronic music. Or at least, the suspicion may abound that he’s decided to shelve the houseflavoured element of his output, which he labels simply with his surname.

Thankfully, the timing of this release of original works, rarities and remixes has more to do with the discovery of a cache of old tapes, and the recent acquisition of the rights to his early material. “It seemed like a good idea to gather it all together,” he explains. “It’s nothing more elaborate than that.” In fact, far from eschewing the Herbert material to focus on any number of other commitments, including his role as director of the BBC Radiophonic Worskhop, the Accidental Records boss is actually planning a new release under the moniker that brought him most commercial success with 2006’s Scale.

“Bodily Functions [an album produced in part by sampling the human body] was in many ways a mixture between electronics and jazz. For the next record I’d like to mix electronics with a more classical approach, more textural and orchestral.”

When will this take shape? “I’ve already written it,” he reveals casually. “It’s just a question of how to frame it.” The composition of music has always seemed to be the easy part for Herbert. He seems much more enthralled by the sampling of source material and the possibilities that emerge when conventional instruments and software are kept at arm’s length. In fact, since 2005, he has worked to a strict code (his Personal Contract for the Composition of Music), which dictates amongst other things, that he will not use pre-existing sounds on any of his records, including drum machines, synthesisers and presets. The origins of this ardently held commitment to originality can

likely be traced back to his earliest attempts at producing dance music.

“I made a record that nobody knows about.

I made it very early on to try and make money.

Everyone around me was turning kids’ theme tunes into house records and making loads of money, so I thought I would try and do the same. I funded it myself despite being unemployed at the time.

“You

can make a piece of music out of a watermelon, or David Cameron, or a horsemeat burger” matthew herbert My friend had done one and built a recording studio off the back of it. So I thought, ‘If I do that, I can get on with doing the music that I really care about.’ The problem was, it was a flop. It was a big flop. It cost me loads of money and I had loads of stock left. But it was a really great lesson because I’d compromised and produced something that I wasn’t at all proud of. At the same time, it hadn’t made me any money. So it was a lose/lose scenario and a cheapening experience.”

This formative encounter seems to have shaped the artist in a manner so profound that, under various guises, he has since released wonderfully imaginative music by sampling all manner of real world sources, including household objects (on Herbert’s Around the House), the top selling ten items from a supermarket (on Tesco by Wishmountain) and the life of a pig, from birth to plate, on the controversial yet misunderstood album One Pig, released under his full name. So, having continued to dramatically evolve his approach to music production with each creation, isn’t he naturally inclined to look back over the early work compiled on Herbert Complete with an over-critical ear? “It’s

like baking a cake,” he explains.

“Most of the ingredients are really good and you’ve cooked it yourself. But then, right at the end, you’ve put on a little marzipan figurine of a footballer sat on a bench or something like that.

It has bright turquoise shorts and is full of food colourings and dyes. Basically, it’s something really artificial on top of something that’s home-made.

There’s a couple of moments like that when I listen back, when you can really hear the character of the technology that I was using and I don’t think it’s a particularly good character. Out of 130 tracks, it’s only there in about five or six but it’s just enough for me to feel that it compromises a little bit of the integrity.”

If it’s not already glaringly obvious, it is worth pointing out that we should perhaps take Herbert’s misgivings about his own work, however minor, with a pinch of salt. Arguably, part of his genius comes from an almost obsessive preoccupation with the methods he uses to create his music. Yet, however eccentric the process may seem, the resulting tracks are invariably brimming with charm and vitality. In any case, despite the imminent release of the compilation, he is not likely to pause and reflect on past work for too long. Over the next year or so he will busy himself branching out more into visual work with a production based on Gounoud’s Faust for the Royal Opera House.

He has also found the time to write a play about sound, which opens at the National Theatre in London in July.

For the moment though, Herbert’s reputation remains largely tied to his musical creations. Later this year he will add to his considerable back catalogue with a release to be titled The End of Silence. Further developing his fascination with the creation of music using ‘found sounds,’ the album is produced entirely from one sample – a recording of a bomb exploding in Libya. In describing the processes involved in turning such an event into music, his passion for working with sound is at its most evident.

“A lot of the melodies that we used on the new record came from the sound of somebody just whistling very quickly in the background, just before the bomb arrived. That person doesn’t

whistle at exactly 440 Hz. It’s not perfectly in tune; it moves and it shifts. So working with sound is almost the complete opposite of working with traditional musical instruments. The net result is that you have a hugely rich source of sonic material. There is more that is interesting and engaging sonically, in one ten second recording, than there is in an orchestra. We’ve heard every combination of orchestral instruments. I love working with orchestras and I still do it. It’s not about it being irrelevant; it’s just not surprising anymore. You can make a piece of music out of a watermelon, or David Cameron, or a horsemeat burger, or the war in Libya and things like that. I just think that’s ridiculously interesting and engaging.”

The sampling of real world phenomena, whether it’s the conditions of a farmyard pig or the destruction of war, inevitably imbues the music with an extra dimension. “That’s why I love working with sound,”Herbert explains. “It comes with a moral position that you don’t have with playing a piano.”

“Potentially, people were killed by this bomb.

You don’t know all of the stories because you weren’t there. If I was to just play a melody on a piano, that’s one thing. If I play a melody made out of somebody’s whistle, which may have been the last sound they made before they were killed, that’s something else entirely. The relationship between me as a composer and the material shifts radically. That’s why it’s interesting to look back at this 130-track collection just to see how far, philosophically, things have changed over a period of 20 years. All sorts of assumptions that were made at the beginning don’t really hold now.”

What shines through more than anything else in Matthew Herbert’s work to date is a refusal to take the easy approach or churn out carbon copies of his past successes. While listeners will undoubtedly enjoy this new retrospective compilation of his distinguished deep house creations, we can rest assured that Herbert will remain out in the world at large, garnering sonic inspiration and bizarre source material for future creations. For this, we should be thankful.

Herbert Complete is released through Accidental Records on 4 Mar www.matthewherbert.com

March 2013

THE SKINNY 25

film

FEATURE

forgotten woman Hell

Helen Bigger’s influential anti-war film Unltd is being screened at GFT with a specially commissioned score by Kim Moore this month to mark International Women’s Day. We spoke to Moore about the project

When former Zoey Van Goey singer-turnedsound artist, composer and collaborator extraordinaire Kim Moore was asked by the GFT to score a film to mark International Women’s Day she jumped at the chance to work in yet another new medium. She had never seen the movie in question, an influential but little-seen short by Norman McLaren and Helen Biggar, and she certainly didn’t expect to find herself obsessed with the interwar period and with the story of a woman who has “fallen out of the history books.” Yet that’s exactly the effect that 1936’s Hell Unltd has had.

Sitting in The Arches Café Bar, with a glass of wine and copious notes on the table beside her, Kim is so clearly overwhelmed with her passion for the project that it’s hard to get a word in edgeways. She describes the process of preparation behind the live event at the GFT this month as a true artistic journey of discovery.

“I went away from the meeting and watched it on YouTube and, as a film, it’s just brilliant. It’s funny looking back at it now, knowing what happened in the Second World War. You wonder what would have happened if Britain hadn’t entered the war,” she explains.

“It’s really inspiring to watch a film like that being made by two people who were just so desperate to do something. This was their only avenue to shout about something they felt so strongly about and to try and make a difference.”

Made on a shoestring at Glasgow School of

pril A 4 sday r u h T

Art, Hell Unltd is a seriously experimental mix of animation, found footage and staged action, flashing by in very modern jump cuts. An assault on the senses, it was designed to counter the contemporary government’s claim to have cut spending on weapons and to condemn them for committing to further conflict. Moore hopes that the score she has created with fellow composer Gareth Griffiths, based around sampled sounds, synths, live guitar and viola, will help “make it easier for people to understand.”

“Being involved in this project has made me think a lot more about where I think I am politically.

I’ve become obsessed with war,” says Moore.

“It’s always something I’ve been quite conflicted about. 1936 was a difficult time – a lot of people from Scotland went to join the International Brigade and fight in the Spanish Civil War, so it’s difficult to know where you would stand.

“On the one hand you have people like Helen and Norman, who were pacifists; on the other, people going off to fight against fascism. We’ve never been faced with anything like that in our generation, we don’t know what that’s like to feel the after-effects of this huge war and then see this other war inevitably coming. It’s absolutely terrifying.”

McLaren’s Oscar-winning story after Hell Unltd is well known; however, Moore is aiming to shed light on the less well-known Helen Biggar. “Norman shot to fame but Helen fell out of the history

pm • 0 3 .

•7

hell unltd

books. She designed all the sets; she did a lot of the editing. It really was a collaboration but there’s just nothing about her,” she says.

Though Moore admits to feeling ambivalent about International Women’s Day – “The fact that we have one at all is conflicting. It shouldn’t have to be there” – she is proud to locate herself in Glasgow’s tradition of female artists and to kick-start a discussion around what has historically happened to creative women.

To further help in this goal, before her performance there will be a rare screening of Traces Left,

£20

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S 1 5R org K F . k alkir nitytrust F , t mu ge S tbrid lkirkcom s e W a Hall • www.f n w o 50 irk T 5068 Falk 4 2 3 01 ing: Book 26 THE SKINNY 708-Falkirk Trust-QR.indd 1

March 2013 21/01/2013 11:51

a 1983 documentary about Helen Biggar and her place within the Glasgow art and political scene in the 1930s and 40s. It has already deeply touched Kim. “Helen was incredibly inspiring,” she says.

“I’m totally in love with her. She’s just amazing. It’s quite scary trying to do her justice.”

Hell Unltd plus live score screens at GFT, 6.30pm, 8 Mar The performance will be preceded by a rare screening of Traces Left (1983), a documentary about the Glasgow art and political scene in the 1930s and 40s, which focuses in particular on Helen Biggar glasgowfilm.org/theatre/whats_ on/4946_hell_unltdtraces_left

credit: billie love historical collection

interview: Laura Kelly

FEATURE

art

Social Sculpture

With a new show opening, GoMA have invited others to join them in a citywide discussion on sculpture. Curator Martin Craig told us how there’s nothing splendid about isolation interview: Jac Mantle

Carla Scott Fullerton, Outside In (2012) David Dale Gallery, installation view Courtesy the artist and Chert, Berlin

Though eminently housed in a central Key to the discursive element, GoMA has comlocation, Glasgow’s Gallery of Modern Art has not missioned a map so that visitors to Every Day can traditionally been at the centre of cutting-edge navigate their way to venues they might be less art in the city. The gallery’s Learning & Access familiar with.

Curator, Martin Craig (formerly of Market Gallery), Over at WASPS in the Briggait, Janine Matheson is one of the first to admit this. (of Sierra Metro) has curated a deceptively benign-sounding show of massive geometric soft “Two years ago GoMA did a group show called You, Me, Something Else, and it was one of the first shapes by Edinburgh artist Alexander J Allan. Allan shows that I actually came and saw and said, wow, will salvage ‘inexpensive yet opulent remains’ from it’s really good. It had James McLardy in – people the city and use them to recreate physical tensions that we were working with at Market Gallery – and within the space, forcing viewers to negotiate playI hadn’t really seen GoMA do that before. Now, I ful assemblages and drunken misdemeanours. know a lot more, but back then my perception of This is frankly just an hors d’oeuvre for what them was the same as anybody else – that because you’ll encounter at The Duchy. Having spent years they didn’t really change the shows around that prioritising his art over his music, Ross Sinclair has much, they didn’t seem to be that connected.” finally made his debut solo album at the age of 46 Craig’s stint on the Market committee in and he’s ready to let it all hang out. I Tried to Give Dennistoun means that when it comes to engaging Up Drinking with Guitars Instead of God (on baldiverse audiences, he’s ideally positioned to give ance – quite sensible-sounding?) is his new album GoMA a good kick up the arse. Which is just what and exhibition, where he addresses concerns such he hopes their forthcoming programme will do. as being an old parent, the ever-present spectre of Conceived as a Part Two to You, Me, Something alcoholism, falling out of artistic vogue, and worElse, a sculpture show called Every Day will show rying that you might only be average after all. The work by Mick Peter, Hayley Tompkins, Carla Scott Poetry Club will host a premature greys-inducing Fullerton, Niall MacDonald, Scott Myles and launch party.

Laura Aldridge. Scott Fullerton is currently working If you need a stiff drink after that, head to Danny upstairs in GoMA’s studio, creating new work for Holcroft and Ragnar Jonasson’s Tender Bar, a the show, while Myles is taking the opportunity to makeshift bar that will be propping up the Briggait rework a piece he’s shown previously. every Friday night. There you’ll find space to At Craig’s suggestion, 17 other galleries and unwind and to mull over all that lovely sculpture. practitioners around the city will also put on Even in an art scene as sociable as Glasgow’s, it sculpture shows at around the same time, coming can still feel like there aren’t enough conversations together as ‘Objective – a citywide conversation about the art itself. Craig hopes Objective will on sculpture.’ Craig downplays his role in coordiprompt more of those conversations. nating this. “I asked a few places if they already www.glasgowlife.org.uk/museums/ourmuseums/goma/Pages/home.aspx had their programme set – and if not, whether they’d be willing to put on a sculpture show. Or if Every Day is showing at GoMA 22 Mar- 1 Sep. The preview is 21 Mar 6-8pm. their programme was already set, and it happened to be a sculpture show, we’d list it. I was literally Objective, venues across Glasgow, Mar & Apr BiteJuly2012_Layout 1 25/06/2012 22:02 Page 40 just linking up with people.”

March 2013

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www.fencerecords.com 28 THE SKINNY

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travel

LIFESTYLE

Summer Festivals: away you go

The international festival circuit is busier than ever in 2013 – with so many vying for your attention, it’s a real head-scratcher picking the right one. Here's eight of the best words: Illya Kuryakin festival-pleasers, and Exit 2013 also offers rare appearances from M.I.A. and Portishead, plus a strong dance music lineup with sets from Magnetic Man, Underworld, Girl Unit, Tiga, and Carl Craig.

Tickets: £95 for day ticket, plus £25 for camping pass, or an all-in-one ticket including airport transfers, camping and five-day pass for £115 Travel: £232 return to Belgrade from Edinburgh, found on TripAdvisor. £8 bus service from Belgrade airport to Novi Sad Site: www.exitfest.org SOUNDWAVE (18-22 Jul, Tisno, Croatia) Taking place on the outskirts of the picturesque town of Tisno, a short distance from two major airports, Soundwave festival is very much an option for those festival-goers sick of mud, rain and bloody tents. Offering ‘boutique camping’ and a village of small apartments for accommodation options, the setting is a sun-drenched market town overlooking a small bay in the Adriatic sea.

DON’T MISS The acts lower down the bill are your real stars here, from Eliphino (whose masterpiece of danceable melancholy, More Than Me, still fills end-of-night dancefloors a year and a half since its release) to the fractious bass of Manchester producer Illum Sphere and the jaundiced, dreamy layers of Com Truise. Elsewhere, make sure you catch Ghostpoet's sultry ruminations and of course, the man, the mask, the legend: DOOM. Tickets: £119 + BF. Apartments from £598 – £798 (seven nights). Luxury camping £665 (seven nights). Tents £30 per night Travel: £234 return to Split from Glasgow, via Skyscanner. Airport transfer options on festival site.

Site: www.soundwavecroatia.com SÓNAR (13-15 Jun, Barcelona, Spain) Sonar favours electronic artists, with a focus on boundary-pushing, groundbreaking bands and producers and up-and-coming acts. There is a strong Off Sónar party movement in and around the festival, featuring club showcases, beach soundsystems and smaller gigs. Ray Philp, who attended Sónar for us in 2010, says: “Sónar By Day, traditionally the more experimental face of the festival, has over time become less of a cupboard for curios and more of a treasure trove for all things avant garde.”

DON’T MISS Kraftwerk’s exclusive 3D show, Diplo and Switch performing as Major Lazer, experimental rockers Liars, our very own Hudson Mohawke and partner Lunice as TNGHT, with their speaker-destroying take on hip-hop/trap, alt. R’n’B stars AlunaGeorge, plus undergound electronics from the likes of Karenn and Fatima Al Qadiri.

Tickets: Full festival pass €175 – day passes and night passes also available. Hotels from £65 per night, via Late Rooms Travel: Flights from £62 return from Glasgow to Barcelona, via Ryanair Site: www.sonar.es SNOWBOMBING (1-6 Apr, Mayrhofen, Austria) The questions to ask yourself about Snowbombing are pretty straightforward. You like skiing and/ or snowboarding? And you like a thrilling mixture of head-nodding beats and upfront dancefloor action? If you answered yes to both questions, then you should book your tickets immediately.

ROSKILDE

Our Travel editor Paul Mitchell summed up the 2011 festival: “A week-long maelstrom, involving daredevil days on the piste, and loud and lairy nights on the... oh dear.”

DON’T MISS A set from big beat originator Fatboy Slim never goes amiss, DJ Shadow is unlikely to be kicked off the decks here for being ‘too future,’ there’s a touch of indie rock on offer from The Vaccines, plus sets from DJs ever-popular with the boarding fraternity at large, such as DJ Yoda, Mr Scruff, Plump DJs and Skream, plus Glasgow’s own Numbers star Jackmaster is in attendance. Our top tip though is NYC future-disco stars Metro Area, making a welcome return to the live circuit.

Tickets: Prices, including acccomodation, start from £319, with a range of options, and a deposit of £125 required Travel: The legendary Snowbombing Road Trip is the best way to reach the festival, and almost as much fun as the event itself. Alternatively, return flights to Innsbruck from Glasgow start at £347 return, booked via Skyscanner, with airport transfers available via the festival’s website Site: www.snowbombing.com ROSKILDE (29 Jun-7 Jul, Roskilde, Denmark) The Grand Old Dame of the European festival circuit, often compared to Glastonbury, Roskilde has been on the go since 1971, but shows no signs of fatigue with its massive cross-genre lineup. With an early reputation as a hippy festival, Roskilde has become much more of a mainstream proposition in recent years. Back in 2007, our reviewer Jon Seller deemed it “an ultimate entertainment experience.”

DON’T MISS Ultimate horror-metal crowd-pleasers Slipknot, the orchestral sweep of Iceland’s Sigur Rós, rock

titans Queens Of The Stone Age, Brainfeeder darling Daedelus, Brooklyn art-rockers Animal Collective, chef-turned-hip-hop star Action Bronson, and majestic post-dubstep from Holy Other and Vatican Shadow.

Tickets: Full festival tickets start from 1810 DKK (about £210), with other options available. Full ticket includes camping Travel: Flights from £145 return from Glasgow, via Skyscanner Site: roskilde-festival.dk WAY OUT WEST (8-10 Aug, Göteborg, Sweden) Taking place at outdoor stages in and around Göteborg, and with the Stay Out West fringe festival taking you into the bars and clubs of the town by night, Way Out West is a relative newcomer, started in 2007. In addition to the bands, there are also gallery shows, film screenings and other events – this is one festival that prides itself on embracing other forms of media, as well as pints of sun-warmed pear cider and walls of guitar noise.

DON’T MISS Garage-rockers The Black Keys, reunited punk agitators Refused, the neo-folk stylings of Bon Iver, Broken Social Scene alum Feist, Sonic Youth’s Thurston Moore on a solo tip, the marvelllous St. Vincent, Kurt Vile’s indie-rockers The War On Drugs, plus hip-hop from the likes of A$AP Rocky and Yelawolf.

Tickets: Full tickets are 1895 SEK (about £194). No camping – hostels in Göteborg available via Hostel World from £15 a night Travel: Return flights to Göteborg from Glasgow starting at £138 from Skyscanner Site: www.wayoutwest.se See festival websites for full lineups, ticket options and other info. Travel prices subject to change

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photo: Vegard S. Kristiansen

PRIMAVERA SOUND (22-26 May, Barcelona, Spain) This year’s Primavera Sound (and its sister festival, Optimus Primavera) has one of the best lineups in 2013. Barcelona itself is an architectural psychedelic wonderland basking in the Mediterranean sun, with miles of beautiful beaches to explore.

With over 35,000 visitors daily, the festival is one of Europe’s most popular. You can see a good proportion of the same fantastic bill in Porto, Portugal at Optimus Primavera (30 May-1 Jun), or even do both festivals on a discounted combined ticket. Our reporter Ally Brown’s final verdict on the 2010 festival? “Weeks like this one make life worth living.”

DON’T MISS Epic shoegaze on a stadium scale with My Bloody Valentine, moody Swedish electronica from The Knife, a reformed The Breeders playing all of Last Splash, the return of the mighty Death Grips to Europe, and Italians Do It Better retro-electro duo Glass Candy.

Tickets: €175 + BF (€250 for combined ticket with Optimus Primavera) Flights: £99.98 return to Barcelona (Reus) from Glasgow, via Ryanair Site: www.primaverasound.com

COACHELLA (12-14 & 19-21 Apr, Indio (California), USA) Coachella Valley Music and Arts Festival has certainly set the standard since its first outing in 1999, with diverse bills offering sets from trusted rookies and returning legends under the desert sun. Our Music editor says of the experience: “Coachella always has this really strange and unlikely mishmash of pop culture, no doubt because of its proximity to Los Angeles. It’s the only festival I’ve ever been to that has Danny DeVito introducing bands, Roger Waters setting inflatable pigs loose and Prince making a field of folk cry at 1am. It’s pretty batshit, but that’s half the appeal.

I’d recommend booking into one of the affordable motels in Palm Springs for the duration, it’s a bit of a gamble pitching your tent in the desert!”

DON’T MISS Representing for Mancunian expats, The Stone Roses and New Order, rub shoulders with Warp’s Anglo-Canuck duo TNGHT, Canadian alt-popper Grimes, and Brooklyn space-rap veteran El-P, not to mention the reunion of Jurassic 5 and live debut of Trent Reznor’s How to Destroy Angels.

Nick Cave is set to appear twice, with both the Bad Seeds and an apparent one-off reprisal of Grinderman.

Tickets: Prices start at $349, various options available to fit your travel and accommodation plans.

Camping options from $85 Travel: A variety of bespoke travel packages are available from Valley Music Travel. Flights from £565 return from Glasgow to Los Angeles, on KLM, via Skyscanner Site: www.coachella.com

EXIT (10-14 Jul, Novi Sad, Serbia) Taking place in a stunning 18th century fortress in Novi Sad, overlooking the Danube river, the Exit Festival (or State of Exit) has become a minor jewel in the European festival circuit, now in its 13th year. “The site is an amazing array of bridges and steps, grassy banks, tunnels, archways and marquees,” reported our reviewer Tom Donohue back in 2005.

DON’T MISS Jarvis Cocker’s revitalised Pulp are always

Laugh your way around the city this March Stars of BBC1’s ‘The Magicians’

barry

and stuart show and tell

2 shows see the magic in

Travel to the Glasgow International Comedy Festival by Subway www.spt.co.uk/subway

30 THE SKINNY

March 2013

the show Find out how it’s done in the tell Sat 23 March, 7.30pm £16 (£14 concession) Booking: 01324 506850 / www.falkirkcommunitytrust.org FTH, Westbridge Street, Falkirk FK1 5RS

deviance

LIFESTYLE

A More Female Way of Photogr aphing Sex?

Kinross-based photographer Tracy Gow discusses the photographic genre ‘boudoir’ and its consequences for the photographing of female sexuality interview: Ana Hine

great I’ll show them that one and say, ‘This is how you’re looking,’ before we do any retouching.

Hopefully if I’ve got it right they’ll go, ‘Oooh. You know, I don’t actually look too bad.’ It’s a very empowering thing. They think, ‘Actually, I can trust this person.’”

Tracy cites her influences as being movies with romantic scenes where you “get a pang” and “feel the kiss.” She explains that “I’m always after creating images which are going to make someone feel desirable and look desirable.” Though what is and is not desirable differs from person to person she says that she tends to avoid a ‘pouty’ or coy look in favour of images that make the viewer engage directly with the subject. “Even if they’re not looking directly at the camera I want them to look interested in the moment… it’s communication. I want to communicate something. I find that if someone isn’t making eye contact or is making what I call ‘dead eye contact’ then it leaves me cold. Some people love it, but that’s just me. I want to see something that pulls you in.”

While most of the people who commission boudoir photographs are women, Tracy discusses how men have contacted her asking about it.

However, she says, ‘it came out’ that one of these men wanted full frontal nudity and that’s not really, Tracy admits, what her work is about. She references how she’s heard this dude-oir being called ‘MILF photography’ and isn’t comfortable taking on male clients for shoots of such an erotic nature. As she says, “You want to leave a legacy of things that you’re happy to get out there. Whilst I am more than happy to shoot guys in a way that most women would want to see them, i.e. partially nude, full frontal nudity in men (or women for that matter) crosses over into pure ‘nude’ photography.

That has its place, but it’s not what a boudoir shoot is all about. For me, there needs to be some mystique, some allure in the image for it to work well as a boudoir image.”

It’s a particular and encouraging feature of boudoir photography that the predominantly female photographers are able to set their own limits in this way. In contrast to the more male dominated field of glamour photography boudoir, or at least most boudoir, seems to genuinely be about female-lead erotica. It’s time to see how women discuss sexuality visually.

Why Weddings Are Lovely (except for all the bullshit) Marriage – is it an outmoded and old-fashioned institution? Or can it be saved from irrelevance by removing the bullshit? words: Matthew Bobbu Last year I went to two weddings. They were beautiful, wonderful celebrations of love between splendid people who mean a lot to me. They were special days that were filled with joy, laughter, and, in one reception, Rickrolling via harp. It is such a shame that weddings are also so full of absolute bullshit. Let me make this clear: I love the idea of dedicating yourself to someone and having a great big party to announce your love to the world. But why is there so much nonsense attached on top of this splendid idea?

For example, I had to stifle a giggle when the definition of marriage was announced at the weddings I went to. It was something along the

lines of: “The lifelong union of one man and one woman, at the exclusion of all others.” It was especially difficult to keep a straight face when this was said at my boyfriend’s wedding, while I was sat next to his wife’s girlfriend.

Monogamy is no longer a given in our culture, as the steady rise of media attention on polyamory is bringing to light. The idea that marriage is also always going to be for life is a complete absurdity in modern society since one glance at the divorce numbers from the Office of National Statistics will tell you that the divorce rate is hovering around 50% that of the marriage rate.

So essentially, marriage makes people lie. It

Photo: Tracy Gow

Tracy Gow is mainly a wedding and portrait photographer based in Kinross, Scotland who offers boudoir photography as a complement to her main service. “My own style is probably slightly more romantic, cheeky. Not leather whips. We’re not into Fifty Shades of Grey. If someone phoned me and said they wanted to do it I’d be curious, but I do see a lot of boudoir photography that I think is hideous and extremely unflattering to the women. I think it’s just like some people have said, ‘Oh, we’ll just put a mask on and some red lipstick and we’ll just stand you in front of a wall and put a flash onto you.’ There’s no elegance or finesse to it whatsoever. I really think, whatever you do, in all kinds of photography I always try to flatter my subjects and make people feel comfortable.”

Boudoir photography is all about making the client, the subject, feel comfortable with the style of shoot that’s taking place. Tracy explains that where boudoir photography takes place is often very important in terms of both this comfort aspect and in terms of cost, “Some photographers will just work exclusively in hotels. They’ll go to a nice boutique hotel. So they don’t need a set or a studio, but obviously they may have to recharge that out to the client. The whole thing gets quite expensive. I have space at home, a studio, a spare room with a nice bed. I actually painted the whole room white because then I can dress it however I want.”

Boudoir photographs are normally commissioned by ‘ordinary’ women, amateurs, who wouldn’t usually consider being photographed in their underwear or in… sensual poses. Yet, more and more women are choosing to book boudoir shoots. Their reasons differ; wanting a record of, or testament to, their own beauty, as a present for a partner, or as a form of empowerment to increase their self-esteem and encourage a more positive relationship with their body. In that sense boudoir photography is similar to burlesque in that the tone and purpose of the art form is often one of sisterhood and building women up from their physical body instead of reducing them down to it.

As Tracy says, “Everyone starts off nervous. I’d be nervous. I use humour a lot and always try to engage with someone so that they feel that it’s not such a big deal. What I also do with all types of photography, if I get a shot where they’re looking

“We still insist on keeping the, ‘Till death do us part’ and ‘At the exclusion of all others’ bits in our marriage ceremonies. Why?” forces people into making vows that they are, in all probability, going to break. While I personally don’t see that as a damning narrative on human existence, as some people would claim, I don’t even think that non-monogamy (of both the ethical and unethical forms) is really becoming more commonplace. Maybe we are simply being more open about it? Not too long ago people would be ostracised for divorcing their partner. Now when someone gets divorced it is a sad, but understandable, occurrence. Separated parents, for instance, are no longer a surprise.

Yet we still insist on keeping the, ‘Till death do us part’ and ‘At the exclusion of all others’ bits in our

marriage ceremonies. Why? Why do we have such a strict ceremony, for that matter? What if I don’t want to wear a ring to show that I’m married?

What if I want a necklace, or an earring, or a tattoo? There is no space for any real expression in marriage ceremonies. And isn’t that what it’s supposed to be entirely about: the expression of two people’s love for one another?

Or is it? I know a few people who were married primarily for the legal purposes. People who are very much in love, absolutely dedicated to one another, but who would never have considered marriage were it not for the problems that being unmarried can lead to. Being married provided great advantages – some may even say privileges – when it comes to healthcare, property ownership, citizenship, parenting and so on.

So maybe it’s time to stop looking at marriage under the shadow cast by its religious background, or the fairytale stories that Disney and Hallmark would have us believe of it. Perhaps if we look closely and see that it is essentially a ceremony to aid in the legal dealings of people who wish to share each other’s lives, then we can let go of some of the bullshit. Bullshit like not wanting people of the same gender to get married.

Or more than two people at once.

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Showcase

New Contemporaries: The Art Of Hanging Around, Video. Royal Scottish Academy, Edinburgh, 2012

Romany De ar Movement is at the core of Romany Dear’s practice; she has a genuine fascination with the way we as people move, whether collectively or alone, in synchronisation or in improvisation.

Using everyday gestures as inspiration, she creates choreographic situations that heighten our awareness of movement and hopefully encourage us all to move a little bit more. For her show, Dance is a Language That We Speak, at the CCA this March, Romany will use the exhibition space to share, discuss and present her current research into movement as language. Using dance as a medium to speak through, Romany will present a series of live works that look at the communicative power of our bodies, exploring the concept of conversation within choreography.

Romany Dear: Dance is a language that we speak 15 – 30 Mar Intermedia Gallery CCA

When I Move, You Move An evening of live dance Fri 15, Thur 21, Sat 23 and Fri 29 Mar 7.30 pm Call and Response: Conversations In Choreography Movement workshop led by Romany Dear Sat 16 Mar 2pm, all welcome Drop In Romany will be in the gallery sharing her current investigations into movement and language.

Drop in to read, talk, watch and share.

Tue 26 & Wed 27 Mar 12- 4pm, all welcome All performances are free but ticketed.

Tickets available from the CCA box office: www.cca-glasgow.com (0)141 352 4900 Market Galleries Graduate Exchange Project: The Art Of Hanging Around, Group performance.

Market Gallery, Glasgow. 2011

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S H O W CA S E

Studio 58: March Your Legs Up and Down, this has the potential to become a very political exercise.

Group Performance, Mackintosh Gallery, Glasgow. 2012. Photography by: Martin Clark

Glasgow Film Festival: Entre Chien En Loup, 'Black Moon/ White Moon', Grand Central Hotel, Glasgow, February 2013.

Colloboration with Raydale Dower, Jamie Bolland and Zephyr Liddell. Photography by: Neil Davidson

March 2013

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fashion

LIFESTYLE

London Fashion Week Trend Report: Autumn/Winter 2013 Spring hasn’t even sprung but the latest London Fashion Week offering has got us talking about next autumn already. Here are the trends you should invest in now... words: Alexandra Fiddes & Emma Segal

Pink, orange and red The search for colours and colour pairings seems to be synonymous with trend reports. So, what is the new black for A/W13? Well, put simply, it’s a combination of neon and burnt/autumnal colours, specifically pinks, oranges and red. In keeping with the overwhelmingly minimalist and grown up looks displayed on the catwalk, bright clashing colours have been eschewed to make way for subtler pairings with a hint of fun. From the varying tones of orange on display at the likes of Fyodor Golan to the deep red hues at Maria Grachvogel, designers highlighted a myriad of ways to do the trend elegantly. For those who enjoy a more daring catwalk ensemble, looks that juxtaposed bright and burnt hues were seen at Topshop Unique, Paul Smith, Christopher Kane and Mark Fast.

Retro prints Prints underwent a similar ‘calming down’ this season. With a focus on geometrical prints, often incorporating black and white or subdued colour palettes, there was a distinctly 60s/70s-meetsBauhaus feel to proceedings. Nowhere was this more apparent than in the collections of Preen, Clements Ribeiro and Holly Fulton – hexagonal print jumpers were everywhere to be seen! Even Sister by Sibling and House of Holland (whose collections this reporter can always rely upon for ‘alternative’ and ‘out there’ moments) showcased restrained, 70s-led prints in a variety of knitwear based looks. There were still some flashes of more daring prints, at the likes of KTZ and Peter Pilotto, for example. However, on the whole, prints were made with a view to being easy to layer, thereby making them the perfect partner for the new silhouettes and layered looks on display more widely.

Plastic fantastic One trend which has fully flourished is plasticised and treated leather. We first noticed looks incorporating plasticised leather three seasons ago, but in A/W13 it will be unavoidable (and rightly so!) There were a few places where this new take on leather was showcased well, ranging from A-line skirts at Unique to separates at J W Anderson and Meadham Kirchhoff. However, special mentions go to Antipodium for the particularly luxe finishing on a variety of dresses and overcoats, and to rising star and CSM MA graduate Eilish Macintosh, whose moulded gloss leather pieces were so directional she was awarded the L’Oreal Bursary Award by Christopher Kane. She also ingeniously incorporated a new ‘dare to bare’ zone – if you are bored of exposed backs and bellybuttons, her hipbone-exposing looks are the perfect antidote.

Layer it up The overarching minimalism on display this season was in large part due to designers’ penchant for ‘new layering.’ The focus this A/W was clearly on slick, slim lines, thereby creating interesting silhouettes without adding too much bulk. Skirts were mostly A-Line and full length. ‘Mullet lengths’ (short at the front, long at the back – or business and party, if you will – we couldn’t help ourselves!) such as those displayed at J JS Lee, Kinder Aggugini and Jeanne-Pierre Braganza. Having said this, voluminous separates were not totally absent from the catwalk; and trousers played a large part in adding subtle volume to otherwise minimal

34 THE SKINNY

March 2013

looks. The return of the 7/8th and culottes style of trousers is a perfect example of this. There was also an overarching focus on utility, in multi-wear looks which (through the use of zips or detachable layering) could transform mid-catwalk, particularly in many of the outerwear looks.

Out-there accessories Accessories were a mixed bag this season (no pun intended), but came in the form of caps at KTZ (models came down the runway wearing outrageously chic oversized baseball caps), visors at Haizhen Wang and plastic bags at Louise Gray. Yes, you read that correctly. In fact, milliner Stephen Jones declared them his “favourite hats ever” on Twitter, assigning them the hastag “corner shop chic.” Chokers and collars seemed to be equally prevalent, making appearances at Fyodor Golan, Bora Asku and Todd Lynn to name a few.

Finally, gloves (particularly black gloss and elbowlength) made a big comeback, often being used by designers as one layer in a multi-layered outfit.

Bora Aksu

Jean-Pierre Braganza

Clements Ribeiro

Meadham Kirchhoff

Roll-Up, Roll-Up! A roll, a turtle or a good old fashioned polo neck - whatever you call them, it was all about the high neck on the catwalk this season. They are not only okay again, they are a new wardrobe essential.

Inspired by native African tribes, and featuing the polo neck, J JS Lee’s ‘travellers’ collection was full of garments made from highly textured knit and weave techniques. If you thought she might tackle print with such an inspiration, think again, this was an offering devoid of pattern (of course) but focused on a subtle use of textile, structure and colour. She layered thick off-white polo necks under pieces throughout the whole collection; poking out from under sugar sweet boxy oversized jackets, under sleeveless black dresses and on their own, paired with loose fitting wide leg trousers and relaxed skirts. J JS Lee produced not only a extremely covetable but also a beautifully tactile collection. It also made the polo neck look modern and cool again. At the other end of the spectrum, design duo Marcus Wilmont and Maki Aminaka Lofvander of Aminika Wilmont showed a dark, print heavy collection, full of layering and inspired by the idea of a dimensional multiverse. It featured (you guessed it) high neck pieces throughout; sheer optical illusion print fabric tops, that nearly reached to the chin, under textured leather jackets and also cape shaped tunics with chokers over the polo, emphasising the neckline further. Other design houses who showed the high neck within their collections included Margaret Howell, Issa, Unique and Matthew Williamson.

Wang’s innovative shapes and techniques emphasised the waist in a new way, with origami style construction and the use of quilting, used to a dramatic effect. Named ‘Starkonnen’ the JeanPierre Braganza offering was also unashamedly futuristic and sci-fi inspired. Long and lean (and also slightly samurai style) gowns were tied at the waist, while perfectly tailored coats and mid-length dresses had white and pale orange side panels that appeared to nip-in waists even further. Bora Aksu and Scot Jonathan Saunders showed more ‘traditional’ and provocative pin-up style corsets and bustiers within their collections - if you want to go the whole hog!

Get waisted This emerging trend featured heavily on the LFW runway this A/W13. Waists were being accentuated by all kinds of different types of belts, corsets and textiles. It was also seen in the very construction of coats, jackets, dresses and jumpers – all tailored to emphasise the shape of the body by focusing on the smallest part, the waist. David Koma’s ‘vinyl-inspired’ collection was strikingly sexy, highly structured and slightly futuristic.

Head-to-toe looks in red, black, blue and teal were broken up by thick high-shine ribbed leather or metallic ‘girdle’ type belts. Stunning metallic circular prints, half peplums and fit-and-flare dress shapes also instantly drew the eye to the waist. Haizhen

Cut it out There were many different ways designers gave us a flash of flesh this season; slits, slashes and cut-outs were everywhere! Some were modest and subtle, some were not. Emilio de la Morena embraced the theme to the full, showing pencil skirts with thigh-high slits - sometimes with only a small section of fabric covering the front... crotch area... Elsewhere in the collection, panels of fabric were stitched together and woven, so little cut-out squares of skin appeared. Because the structured silhouettes were simple and the colour palette was grown-up, the look was definitely sexy but certainly not trashy. Some designers showed cut-out and slit details in a more subtle manner, such as

Michael van der Ham, who cut away and slashed organic shapes from a top layer of clothing, cleverly exposing the perfectly contrasting fabric underneath. Fyodor Golan cut-out huge swathes of garments and inserted sheer fabric, they also exposed shoulders and backs as did Unique, and Emilia Wickstead amongst others.

Monochrome Black and white is already going to be a hit this spring/summer but it looks as if the trend is set to continue into Autumn/Winter. London Fashion Week favourites Edward Meadham and Benjamin Kirchhoff aka Meadham Kirchhoff, showed a highly accomplished and breathtakingly beautiful collection of largely monochromatic pieces - using a variety of different fabrics (velvet, latex and cotton) and inspirations (think Edwardian lady mixed with a 1930s sailor with a dash of gothic surrealism). KTZ went for monochrome in a big way too, but in the form of eye-catching white occult symbols and illustrations over oversized tees and sweatshirts (straight on my wish list). Jean-Pierre Braganza and Maria Grachvogel went down the print route, with wonderfully complex cosmic-like symblols and gorgeous delicate winter tree-like patterns respectively. Other designers, such as Zoë Jordan used black and white as a base palette for bold pops of colour. www.londonfashionweek.co.uk

LIFESTYLE

Riot of spring

On 5 and 6 March, the GSA Fashion Show returns, exhibiting third-year students’ work in both textile and fashion words: alexandra fiddes photography: vito andreoni

Vanessa Hindshaw

The Glasgow School of Art undergraduate fashion show has been organised and produced by students since the 1940s, and is now one of the city’s most loved annual cultural highlights.

Through the fashion show, the third-year students as a yeargroup will raise funds to finance their trip to the New Designers exhibition in London, July 2014 – a vital showcase opportunity.

This year, with the re-development of the GSA campus in full swing, the show will be housed in The Arches. Garments will be shown in a traditional catwalk format, in front of a crowd of fellow students, friends, family and fashion press alike, all on the lookout for new ‘ones-to-watch.’

The work produced by the textile students is a response to a project in affiliation with The Royal Conservatoire of Scotland, celebrating the Ballet Russes. The aim was to produce a collection of textile designs for a ballet performance as well as the GSA Fashion Show. The students have used The Rite of Spring, a ballet and orchestral work written for the 1913 Ballet Russes company by the Russian composer Igor Stravinsky, as a starting point. Through personal colour research, sketching and exploration of textile techniques (in their chosen specialism of print, weave, knit or embroidery), they have created beautiful and diverse work.

Varied themes and inspirations within The Rite of Spring were taken forward. Inspirations include cellular structures and tree textures, seen in the extremely visually appealing fabric by Vanessa Hindshaw, fruit and seed forms used as a starting point by Ashleigh Lindsay to create fun, bright embroidery pieces, as well as the relationship between nature and architecture, apparent in the

stunning and wonderfully tactile work by Francesca Stride, which incorporates pieces of plastic into the knit itself.

Over on the other side of the studio, the third-year fashion students were working from a different starting point: the theme of androgyny.

Exploring shapes and proportions in relation to the human body, they needed to produce design drawings, fashion illustrations, fabric research and samples, making sure they tested any complex or unusual construction techniques. The fabric used in this project was supplied by sponsor Harris Tweed. Students could, however, supplement this with other fabrics, such as those they had embellished or made.

Fashion student highlights on the night are sure to be the work of Chris Hargan, who looked to the British aristocracy as well as traditional African culture as an inspiration for his garments, and also the urban architecture inspired collection by Matthew Allen, who uses classic tailoring alongside more unexpected aspects like lime green stitching and fur.

The GSA Fashion Show 2013 is sure to be a must-attend event, and will sell out fast, so grab your tickets now! You will also be able to see behind-the-scenes photos on The Skinny magazine website after the show itself.

7pm & 9pm on 5 Mar 7pm & 9pm on 6 Mar Tickets are priced at £7 (£5) available from The Arches, Tickets Scotland, GSA Shop and the Art School bar The fashion show is in association with Dr.Martens, Mandors and Vidal Sasson www.gsa.ac.uk

March 2013

THE SKINNY 35

LIFESTYLE

food

Br ain Food

You’ve all seen the news, you’ve all read the reports. Horses are everywhere, and science is to blame. Can the Edinburgh Science Festival’s food programme restore our faith in boffins? words: Peter Simpson

illustration: nick cocozza

Timing is everything, folks. Here we are, with food being figuratively dragged through the mud because some folk have literally been horsing around with it. It’s all the fault of food scientists, with their white lab coats and mechanically recovered meat-based slurry. Bloody science.

Luckily, the Edinburgh International Science Festival returns this month just in the nick of time, with a whole host of food and science events to take our minds off the horses. In the spirit of the season, let’s don our goggles and hairnets, and investigate.

Given the current kerfuffle, is a talk on a concept that sounds like something from Brass Eye really the best place for the festival’s food strand to begin? That’s what’s happening with Pie in the Sky (23 Mar, 8pm), where Colombia University professor Dickson Despommier will make his pitch for the need for vertical agriculture to feed an ever-growing world. As populations grow and are unable to resist the lure of the city, the theory is that all our food will have to be grown in upright farms, which are already being developed in Asia.

Wait a minute, this was a sketch on Brass Eye! Talk about satire eating itself. What’s next, the sketch about people interfering with cows and... Oh...

Moving on, The Adaptation Diet (30 Mar, 5.30pm) tackles the issues of food supply and security. This talk is all about harnessing the power of science to craft solutions to the world’s hunger problems. From foraging in the wild to save some herbs a thousand-mile plane ride away, to munching on insects because there are loads of them and they’re basically just chicken nuggets with loads of legs, see how changes in our understanding of science and the natural world can affect our eating habits. As the programme asks, “Would you tuck into a burger made from synthetic meat?”

What’s that? You may as well have? Right...

Well, here’s a pair of fun events that should help science restore its rightful reputation as a force for good. Sensory Dining (1 Apr, 7pm) and Molecular Mastery (28 Apr, 8pm) should both bring some unpredictability to proceedings. The Sensory Dining team of scientists, comedians and

‘scent technicians’ will be pulling all manner of tricks to make your dinner exciting and involving, while Molecular Mastery will harness the awesome power of molecular gastronomy, science’s upstart cousin, to produce amazing cocktails with all sorts of stuff flying out of them. Textures, flavours, colours, everything you think you know about food and drink will be challenged in these two events. By the end, you won’t know what you’re eating. Hmmm...

Let’s not forget that cooking itself is a relatively recent scientific discovery. Choosing Food: Past, Present and Future (3 Apr, 6pm) reminds us that until about 10,000 years ago we didn’t even know that fire plus meat equals tastiness. Since then, we’ve fried, grilled and smoked our way through thousands of years of shared history and heritage, and reached a point where we can take our pick of whatever grub we fancy. That’s the power of science, people. We can eat anything we want, from anywhere we choose. We can even eat extra bonus things we don’t want. Umm...

Food science hasn’t had a great run, but the Science Festival will tackle head-on the thorny issue of animals being in the wrong place at the wrong time. Ecosystems and habitats around the world are being damaged and altered by invading species interfering with the food chain. Deer causing hassle for other deer, big crazy crustaceans hassling smaller, more gentle crayfish, squirrels embroiled in some kind of ethnic gang war. But what’s to be done? Well, over a special dinner a group of conservationists and wildlife types will attempt to thrash out a solution. The title of this event? Eating Aliens.

That’s right, it’s called Eating Aliens (28 Mar, 7pm), and it will set out the argument that if an animal is causing you grief, the best solution is to eat it and move on. It makes sense – no sense in letting all those tasty, bullying crayfish go to waste.

Plus, it’s topical, and, as we said at the beginning, timing is everything. Well played, science, you live to fight another day. After all, you shouldn’t look a gift horse in the mouth...

For more details and for tickets visit www.sciencefestival.co.uk

Phagomania: Horses For Courses horse d’oeuvres These

should be part of everyone’s stable diet!

words: Lewis MacDonald

So if you are one of those people who have of late frequently been saying, ‘It’s not the horse meat that’s the issue, but how it got there,’ then it’s time to put your money where your mouth is.

Let’s take a look at our options.

The world’s top three horse meat producers are China (140,000 tonnes), Mexico (126,000 tonnes) and Kazakhstan (114,000 tonnes). But you will find horsemeat on the menu in the majority of European countries. The Italians are particularly big fans, firing out horse dishes quicker than you can say ‘Mama mia! Scusami, è questo cavallo?’, with a vast range of recipes: stews, steaks, ravioli, salami and sausages. The classic dish is pastissada de caval with polenta – a kind of beef bourguignon meets Hungarian goulash. But essentially, if you are looking to get creative with horse in the kitchen, you can take any European beef dish and substitute horse meat in the recipe. It’s why it’s so easy to slip in a bit of horse in there under the radar (or, you know, 100% of it).

Apparently Christianity struggled to catch on in

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March 2013

Iceland because the natives were reluctant to give up on eating horse. Although banned, it was later lifted. Today, sausages such as bjúgu, a smoked horse sausage, prevail.

Although it may sound more like a drunken, ad lib Borat impersonation, they do very ‘like’ the horse meat in Kazakhstan. They farm them like we would cattle. Beshbarmak, the national dish, is boiled horse and mutton with huge flat noodles and onions, served with potatoes and a broth made from boiled sheep’s head. However it is with karta that they really outdo themselves – dried, smoked then boiled inside-out horse... rectum.

Over in Japan, we are never let down in the gastro-challenging department. With a variety of horsey options, basashi is the most popular. This is essentially horse meat sashimi i.e. sliced raw, with the usual yummy sushi accompaniments.

They also tempura loins of it. Mmm. And for afters, Basashi is so popular that we can treat ourselves to basashi ice cream. Neigh way? Yes way.

LIFESTYLE

FOOD NEWS

AROUND THE WORLD IN 20 DRINKS: SWEDEN

This month, we all get old, we learn a little, and we retreat to the pub.

Standard form, really WORDS: PETER SIMPSON

HERE’S A depressing thought to begin this month’s news: young people are really good.

No matter how old you are, there’ll always be someone younger whom you can initially dismiss as a sticker-swapping infant until you find out they’re some kind of über-genius. This month, the French Institute is bringing some such young folk to our shores.

The Institute’s Budding Chefs exchange is bringing 12 cookery students from Brittany to run a pop-up restaurant alongside various famous chefs from around Scotland and off the telly. They’ll knock together a lovely four course meal filled with Scottish ingredients and French flair, and you’ll realise that the march of time has caught up to, passed, and accelerated away from you. The food will be good though, so swings and roundabouts.

The Hub, Royal Mile, Edinburgh, from 15 Mar, £35 for four courses.

From young people being very good to old buildings being very good, with the continuing after-hours tours of the Barney’s Beer brewery at Summerhall. Andrew Barnett will talk you through where he makes the beer, how he makes the beer, what different beers are like, etc etc. You will see and drink beer in a former veterinary school – that’s all you need to know. Summerhall, Edinburgth 28 Mar, 7.30pm, £5.

Now from beer to more beer! In Fife! With science! The good folk at St Andrews University’s museum will teach you about the science of making beer, and potentially confuse you with

This month, we travel to The land of IKEA to experience odd spirits and a cultural time-warp involving soup WORDS: RICHARD TAYLOR

their complex descriptions of fermentation and the differences of various forms of yeast. They will also give you free beer, which will taste all the better with a side of knowledge. MUSA, St Andrews. 24 Mar, 2pm, free (contact neem@st-andrews.ac.uk.)

And seeing as we’re on a boozy tip this month, we’ll close with two drink-based events from the Glasgow Comedy Festival. The Grape and The Grain sees Vladimir McTavish and James Dowdeswell perform their shows about the demon hooch back-to-back at The Stand, while the Merchant City Comedy Pub Crawl sends punters from bar-to-bar to be greeted by comedians. At each stop, said comedians will do a bit of funny, while you kick back with a pint and a bag of crisps.

Young people may be getting good at stuff, but we’ve still got the pub. We can hide from them in the pub. The Stand, Glasgow, 25 Mar, 9.30pm, £8 (£6); Maggie May’s, Glasgow, 28 Mar, 7.30pm, £12.

BY AND large, when it comes to boozing in Sweden, the locals have at least one eye fixed on the past. The Swedes have a healthy history of spirits, in particular, and even today much of what is slammed on a Friday night (vodka excepted) has a traditional element to it. Most of it is monumentally strong, of course, which might explain the eyes struggling to focus. There’s always the terrifying bill to pull you back round, though.

The king of Swedish alcohol is the mighty Akvavit. Found throughout Scandinavia, and drunk at any time, the Swedes go particularly crazy for caraway-laden ‘snaps’ during crayfish parties.

When the nights draw in, people make their own Akvavit eye-opener by adding whatever herbs they can get hold of, to produce bitter schnapps – Bäska. These home-made versions of Akvavit are even more lethal, as they can contain pretty much anything. Fashion has since followed history, and brands such as Bittermens (liquorice and wormwood-infused Bäska) are becoming wildly

Diner by day, Drinks

popular.

Winters in Sweden can be – quite literally – Baltic. Fortunately, countries that suffer subzero seasons often develop warming alcoholic beverages to compensate (usually around the time they invent the wheel, which aids distribution).

Alongside Akvavit and Bäska the Swedes have long had the famous glögg – mulled wine, best drunk near-boiling amidst a snowy landscape.

Worst drunk purchased in non-alcoholic form from your local IKEA. Although it sounds similar (and comes from the same word), Punsch is very different to the fruit-laced concoction ladled into plastic cups at church fêtes. The base ingredient is Arrack – the walloping Indonesian firewater derived from sugar cane and rice. The crafty Swedes top this up with rum, spices and more sugar to create the finished liqueur. Punsch is traditionally knocked back on Thursday nights, with a bowl of pea soup. No, really. When in Sweden…

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THE SKINNY 37

Organ Recital 1988 by David C. Freeman | www.davidcfreeman.co.uk |

38 THE SKINNY

March 2013

music

P R E V I E W : l ive m u s i c

Church of Noise

gig HIGHLIGHTS From the return of shoegaze innovators to the healing sounds of one man and his guitar, March has something up its sleeve for everybody

Enter the Church of Noise, where only the most loud and abrasive get to hold the sermons. From doom-jazz to hardcore...whatever. Earplugs optional, but you probably won't last long without them

words: Illya Kuryakin

The snow has passed, hopefully for good, and as this column is written a low winter sun is shining over Glasgow, promising a mild spring and an early summer (we’re optimists). As March rolls round, we have some incredible gig highlights to share with you, starting with the return of experimental avant-rockers Foals. Still riding the wave of praise and attention lavished on them for third studio album Holy Fire, the five-piece hit the Barrowlands on 5 March.

Worthy of mention, even though tickets are officially gold dust, is the glorious return of original shoegaze pioneers My Bloody Valentine.

Comeback album m b v has seen a renewed wave of interest in Kevin Shields’ sonic assualt force – they play the Barrowlands on 9 March.

If you’re a fan of avant-garde electronica and heart-stopping female vocalists, you won’t want to miss Limbo at Edinburgh’s Voodoo Rooms on 9 March – they’ve got a devatstating triple-bill featuring Conquering Animal Sound, Herb Recordings mainstays Pumajaw and electronica maven Plum.

Our January cover star and frontman of The Phantom Band, Rick Anthony brings his Rick Redbeard alias to Electric Circus in Edinburgh on 12 March, and then Glasgow’s CCA on 17 March. Expect rousing sea shanties, dark folk, and intimate, confessional renderings of the highlights from his debut album No Selfish Heart.

An absolute must see.

The TriAngle label has an absolutely astounding roster, featuring the likes of Holy Other, The Haxan Cloak and Evian Christ. Recent signing WIFE comes to Wee Red Bar in Edinburgh on 16 March, with support from Red Death and Magic Eye. WIFE is the alter-ego of James Kelly, the brains behind experimental black metallers Altar of Plagues – as WIFE, he makes spectral, radical experimental electronica, laced with found sounds, home-made instruments and cold, industrial soundscapes.

Virtuosic electronica producer Ulrich Schnauss has been releasing his ambient techno since 1995, taking in influences ranging from shoegaze to breakbeat. He brings his sublime live show to Glasgow’s Nice ’n’ Sleazy on 16 March, and then Edinburgh’s Electric Circus on 17 March.

Notorious Glasgow-based noise-punks Divorce head up a bill at Sleazy’s on 17 March alongside the live debut of Rungs, featuring Johnny Docherty, Iain Quimby and Johnny Scott of the much-loved Take A Worm For A Walk Week, and Halfrican, who trade in the kind of scuzzy, lo-fi

Norway’s Kvelertak take a rare approach to their riffage in that they’re technically impressive, but – more importantly – they’re just great fun to behold, especially live. Don’t miss them when they take to Stereo to promote their upcoming album, Meir (9 Mar). With support from filth-bringers Truckfighters and El Doom, how is this not going to rule? If atmospheric, roof-lifting instrumental rock is more your bag, there’s the ever-impressive What the Blood Revealed down at the 13th Note on the same night.

Touring extreme/death metal bands seem to come to these shores in big waves these days, but one lineup at the O2 ABC (10 Mar) looks particularly vile: Dez Fafara’s DevilDriver, Ace Ventura favourites Cannibal Corpse, The Black Dahlia Murder and Winds of Plague all in the one place? Two words: dae it.

No strangers to the touring life, Canada’s Cancer Bats are still as feral as ever if recent support slots on the latest Enter Shikari tour are anything to go by. Catch them headlining at King Tut’s (12 Mar).

Support comes from hardcore crew Brutality Will Prevail. Then it’s eyes east, where the oftoverlooked, female-fronted doom quartet Monarch! will bring the pain to Bannermans (13 Mar, also at Glasgow’s 13th Note on 18 Mar). Alternatively, there’s some pissed off discrust from Germany as Finisterre take to the 13th Note on the same night.

Those in the mood for some classic heavy metal will want to get themselves down to the Cathouse for stoner/doom vets Saint Vitus (14 Mar). U.S. hard rockers Mos Generator have their backs.

A lineup sure to catch the discerning eye is the unholy trinity of Ghost, Gojira and The Defiled at the O2 Academy (19 Mar). Retro-worship, techmetal and grooves all rolled into the one bill. Next, recently reformed post-hardcore outfit Finch are celebrating the 10th anniversary of What it is to Burn by playing the whole thing in its entirety at the O2 ABC (20 Mar).

As March draws to a close, it’s back to the 13th Note for some psychedelic, earth-moving jams from well-kent local beardstrokers The Cosmic Dead (29 Mar), followed by hyperactive punk-rock duo Pinact, infectious rockers Saint Death and ‘shoecore’ pioneers Le Thug (30 Mar). Godspeed! [Ross Watson]

umberto

noise-punk that is sure to absolutely destroy the Sleazy’s speaker stacks.

Legendary guitarist with The Smiths, the ubiquitous Johnny Marr brings his solo show to the O2 ABC in Glasgow on 19 March. Quite apart from The Smiths, Marr has a huge back catalogue to draw on, from his work with Bernard Sumner as Electronic, to his collaborations with Modest Mouse, The Cribs and The The, as well as his album with backing band The Healers from 2003.

Expect a mix of all of the above.

When it comes to experimental takes on indie and folk, there are few Scottish bands more capable than FOUND. Formed within the visual

arts scene, the band have achieved a lot since their foundation in 2001, creating sound installations, taking part in the BBC’s Electric Proms, and releasing albums via Fence Records and Chemikal Underground. They play Edinburgh’s The Caves on 21 March.

Umberto recorded his album Night Has A Thousand Screams for the 2012 Glasgow Film Festival, and it was subsequently snapped up by Mogwai’s Rock Action label. Heavily influenced by 70s giallo horror movie soundtracks and classic synth scores

by Vangelis and John Carpenter, Umberto creates creepy, majestic, enthralling sonic worlds. Catch him live at Kinning Park Complex, Glasgow, on 30 March.

Do Not Miss: One of our featured artists this month, young Essex-based producer Lapalux came to worldwide attention via the seminal LA beat-scene label Brainfeeder, masterminded by Flying Lotus. Under their guidance he has released two EPs – Some Other Time and When You’re Gone – developing his sound from the fertile bed of field recordings, abstract noise and esoteric sample-craft which has long been his obsession, into an utterly unique take on modern electronica which nods to house, bass music, hip-hop and R ‘n’ B, folk and soul.

Now experimenting with treated, timestretched vocals, in the manner of Holy Other and Burial, but working with singers such as Jenna Andrews, Kerry Leatham and Astrid Williamson on original compositions, rather than using samples. Touring to support his debut full-length album Nostalchic, he visits Glasgow’s Broadcast on 28 March for a live performance which promises psychedelic food for the brain.

Lapalux

Photo: Megan Sharp Photography

LAPALUX, BROADCAST, 28 MAR

the cosmic dead

March 2013

THE SKINNY 39

Memory Drawings / Chris Tenz / Talvihorros The Banshee Labyrinth, 10 Feb

Deftones Barrowland, 15 Feb

rrrrr Since side-stepping the bad old days of nu-metal with their dignity intact (while former peers turned to Dr Drew and Skrillex for career advice), Deftones have crept into the new millennium as an anomaly: a consistently inventive and forward-thinking alternative rock band that never lost sight of its roots. Last November’s sure-footed resurgence with Koi No Yokan was an unwavering testament that, some 25 years after the Sacramento outfit’s foundation, their visceral energy and incomparable approach to songcraft remains convincingly undiminished.

And tonight they drop the hammer; with an ambient and uncompromisingly brutal hundred-minute setlist, the quintet’s gaze is as fixed to the stars as the circle-pit, referencing each chapter of their career besides 2006’s tumultuous Saturday Night Wrist. From Diamond Eyes’ devastating industrial grind (framed by frontman Chino Moreno’s meloncholic melodies) to the measured chaos of Poltergeist (which triggers the unlikeliest of clap-alongs), the opening salvo is enough on its own to demonstrate both Deftones’ heightened versatility and synchronicity in 2013.

With a sold out Barras hanging off every cymbal crash and syllable, songs from Koi No Yokan that are only just given their live premiere tonight (namely Romantic Dreams and Entombed) instantly connect like firm favourites. There’s room for poignancy and mischief, too; Dai the Flu is dedicated to ailing bassist Chi Cheng, while a stage-diving Sergio Vega surrenders his bass to the baying crowd during Headup.

Finishing the night with back-to-back modern metal classics, Moreno’s wide smile says it all as they flatten the venue one last time with the stutter-rapped Engine No. 9 and 7 Words’ immortal fury. Now pushing 40, he’s spoken candidly in interview about how the band might endure into middle-age; the way it went off in here tonight suggests they needn’t be unduly concerned. [Dave Kerr]

memory drawings

With their vaudevillian flair as abundant as ever, We Are The Physics are on fine, frenetic form this evening. Wise-cracking and Orinoco Flow-ing through tight riffs and non-sequitur mantras, their welcome is, however, surprisingly reserved – though perhaps that’s only because many opt to conserve energy for the main event.

Ten years is a hell of a build-up, so it’s no surprise that Desaparecidos’ debut Scottish gig provokes an intense reaction. Opening with the crunching guitars of Greater Omaha, they sound louder and more impassioned than on record, with the two-prong vocals from Conor Oberst and bassist Landon Hedges scraping together into a single, fervent howl matched by contributions from the crowd.

Read Music/Speak Spanish is played in full, and the response is consistent: lyrics are chanted back from the floor, air is punched, and the grins breaking out amongst the band suggest the electricity is felt onstage as well as off. But while those with a decade-long infatuation get the biggest payoff tonight, the show offers all involved far more than nostalgia.

Politically-charged new tracks update the lyrical themes – Arizona border policy, the Occupy movement – but convey the same energy and fire, and the overall impression isn’t of a late-stage curtain call, but a fresh start for a band with plenty left to say and plenty willing to hear it.

[Chris Buckle]

Celtic Connections: Aimee Mann / Amelia Curran / Ted Leo O2 ABC, 30 Jan

rrrrr

Despite a pre-8pm start time, there’s an impressive crowd present as Sacred Paws open the night; the Glasgow/London duo’s capriciously rough-edged take on Afrobeat has earned them a loyal following here.

Like all the best pairings, they make the self-imposed limitations of their sound work to their advantage: with relatively little variation in texture and tone, space is created for a range of rhythmic adaptations below the spidery guitar hooks and overlapping vocal shouts.

The familiar twin-guitar melodic indie of Brighton’s Fear of Men feels pedestrian by contrast; while they share some C86-style sonic ancestry with Veronica Falls, Fear of Men’s sound lacks the headliners’ mesmerising intensity. It’s saved from mediocrity, however, by plenty of ethereal, Sundays-esque jangly guitars, and some subtly layered vocal melodies.

Veronica Falls’ recently-released second LP Waiting for Something to Happen has cemented their position as one of the most compelling guitar-pop outfits around. Lustrously catchy new songs like Teenage and Buried Alive, while marking a slight shift away from the “horror rock” (as frontwoman Roxanne Clifford has it) of their debut, retain its reverb-soaked power. The propulsive force of Patrick Doyle’s drumming, combined with walls of guitar haze and lead melodies that climb seductively in and out of the mix, is the key to that distinctive weight.

It’s assisted by the clarity of Veronica Falls’ sound tonight, which perfectly showcases the warm, atmospheric vocal combinations of Clifford and James Hoare. The elements may be familiar, but when they’re blended this well, the results are arresting. [Sam Wiseman]

Despite having been on the road with Aimee Mann for three months already, a solo Ted Leo finds himself short-changed tonight, relegated from chief tour support to a blink-and-you’ll-miss-it opening slot. With what little time he has, however, Leo makes his mark: the Glasgowinspired Bottle of Buckie makes an inevitable appearance; Mann is invited onstage to unveil the fruits of a recent collaboration; while a request for Timorous Me (from early Pharmacists record The Tyranny of Distance) is squared at the end. All-too-quickly he’s gone, but not forgotten.

Leo and Mann’s closeness could have left tonight’s inbetweener seeming like a third wheel. But Amelia Curran proves worthy of her marquee-placing, playing a solo set largely drawn from latest LP Spectators. The spirit of sixties folk storytellers inhabits her work, with lyrics balancing abstractions and blunt emotion. While clichés blunder in on occasion, highlights like San Andreas Fault radiate a disarming timelessness.

In an early episode of Carrie Brownstein’s cult comedy Portlandia, Aimee Mann guest-starred as herself, her ‘character’ forced to moonlight as a cleaner due to dwindling income from music. Thirty years in the industry and an ever-loyal fan-base draw a definite partition between sketch and reality, and tonight decisively demonstrates the workmanlike professionalism that continues to win Mann new admirers. 2012’s Charmer features heavily in the setlist, with the likes of Labrador and Gumby making a case for it being her strongest collection in years.

But, as she herself correctly predicts, it’s the older tracks that provoke the strongest crowd response: Magnolia cuts Save Me and Wise Up are paired and poignant; It’s Not Safe closes out the main set splendidly; and 4th of July sneaks into the encore to tug heartstrings.

With pearls like these at her disposal, it seems unlikely Mann will be scrubbing hobs anytime soon. [Chris Buckle]

fearofmen.bandcamp.com / sacredpaws.bandcamp.com

Played as part of Celtic Connections 2013

veronicafalls.com

www.aimeemann.com

CCA, 26 Feb

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photo: jassy earl

aimee mann

photo: vito andreoni

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www.desaparecidosband.com

March 2013

memorydrawings.blogspot.co.uk

The Arches, 9 Feb

Veronica Falls / Fear of Men / Sacred Paws

40 THE SKINNY

Talvihorros, the pen name of Edinburgh musician Ben Chatwin, is described as 'a study of guitar and electronics,' on his website. As such, tonight’s short opening set is certainly meticulous and explorative, but ultimately feels lacking in purpose and direction. However, with a bit more reflection these brooding soundscapes could become something worth learning.

By the time Canadian multi-instrumentalist Chris Tenz takes over, technical gremlins are on the loose; faulty microphones and guitar pedals are compounded by a banjo that’s beyond any kind of respectable onstage tuning. Still Tenz powers on, even when his set-up cuts out entirely during one particularly melancholic number. Yet when everything aligns, his looped, hushed confessionals become powerfully spine-tingling stuff.

It’s fitting that, during a short re-tune, Memory Drawings open the room to questions on the dulcimer that forms the backbone of their sound. Ultimately we learn only that it has sixty-four strings, yet the evocative nature of this archaic instrument ensures that any combination those strings are played is likely to transport those who bear witness to another time and place.

Led by Richard Adams of experimental indie outfit Hood, their stock-intrade of short, wistful pieces backed by acoustic guitar, keys and cello, is beautifully rendered. Athough their fleeting nature may leave the listener wanting, it’s no doubt a key design that captures the nature of their name.

Esoteric perhaps, but certainly etched on the memory. [Darren Carle]

Desaparecidos / We Are The Physics

www.deftones.com

veronica falls

photo: rich ferguson

deftones

photo: vito andreoni

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records

REVIEW: SINGLES

The Dirty Dozen

With a diverse selection of twelve tracks from this month’s single, EP and album releases playing on their backstage stereo, Deftones’ Chino Moreno and Frank Delgado go fishing for the one that makes them groove out interview: Dave Kerr

PHOTOGRAPHY: VITO ANDREONI

Chino’s disclaimer: “Right, this is a weird predicament to be in. I don’t really want to give anything below a five because ultimately somebody’s making music and some people out there are always gonna like it. I hate to denounce somebody’s art.

So please just know that this is my initial opinion on hearing these songs. No disrespect to anybody out there!”

Drenge – Bloodsports [single – released 4 Mar via Infectious] [A roadie wanders in]: What are you guys doing – deciding somebody’s fate?

Chino: Yeah…

Frank: I guess you could call it that…

Chino: Crank it! I like this…

Frank: Not bad.

Chino: [Nods to the blood-splattered sink in the artwork] You can’t judge this from the cover; I’d have expected it to be a lot more violent! It’s a little snappy. You can snap your fingers to this.

The Skinny: Would you go to the gig?

Chino: Depends how many pounds it was…

The Skinny: Let’s say ten pounds...

Chino: Yes, I would go.

Frank: I’m getting a little Morrissey vibe from this guy…

Chino: Little bit. Nice bass too, it’s very garage rock!

The Skinny: What’s the verdict?

Chino: Out of ten? I’d give it a seven.

Man Like Me – Sleaze [single – released 18 Mar via Cartoon Records] Chino: Here’s a tune! I like this already.

Frank [Throwing his hands up] Oh yeeeah!

[Chorus kicks in like a camp 80s disco] Frank: Well, it had me at first, then it kinda lost me.

Chino: It’s very 80s. It is what it is, you know what I mean? I like it.

Frank: [Unable to resist clapping to the beat] I think it’s a vocal thing, but I’m enjoying the music.

Chino: [Chuckling] I like it – what a chorus.

The Skinny: Enough to stick it on your pre-gig playlist tonight?

Chino: [Firmly] No. Frank: It’s kinda gothy.

Chino: It’s a little hokey, but I don’t mind it. Would I put it on my playlist tonight? Probably not. But I can see it fitting on somebody’s playlist. It’s upbeat, it’s written well. I’ll give it a six.

Dinosaur Pile-Up – Arizona Waiting [single – released 4 Mar via So Recordings / Big Brain] Frank: I’m hearing Foo Fighters…

Chino: Sounds like Greg [Puciato] from Dillinger [Escape Plan], I mean when he sings. The singer’s got a good sense of melody, but the music’s a little straightforward. Like Frank said, very Foo Fighters-ish. I’d be interested to hear other songs from the record, see if it switches gears at all. I like the tones of the song. I’ll give this an eight.

Frank: I’ll go with a six.

Chino: Split the difference, that’s a seven.

Giant Fang – Kingdom [single – released 11 Mar, Self-released] The Skinny: Giant Fang is Glaswegian producer and songwriter Douglas Wilson.

Frank: Let’s hear it.

[Two minutes in...]

Frank: A little boring, for me.

Chino: Nothing really jumps out so far.

The Skinny: Any comments?

Chino: [Yawning] I’ll just give it a five.

Alt-J – Dissolve Me [single – released 25 Mar via Infectious] The Skinny: Alt-J just won the Mercury Music Prize for their debut album.

Frank: Ah, these guys are playing the same day as us at Reading this year… never heard them though.

Chino: What does Alt-J do on the computer?

Frank: Dunno… is it a real keystroke?

The Skinny: Ehm… ∆ Chino: Ah! Frank: [A few bars in] I like the music…

Chino: I’m waiting for something to excite me… I don’t like the vocals – where are they from?

The Skinny: They’re London-based.

Chino: It’s not bad, it’s musical… sounds very modern, like what would be playing on college radio or whatever.

Frank: Like that folk shit that keeps popping up right now.

Chino: Yeah, it’s not really my bag.

The Skinny: What’s your position on Mumfords?

Chino: I don’t really listen to it. But this has that same feel. Very safe; that’s a five.

Muse – Supremacy [single – released 4 Mar via Warner] The Skinny: Here’s a wee band from Devon who’ve been known to throw an occasional Deftones cover into their set…

Chino: What are these guys called?

Stephen Carpenter [guitarist, momentarily sticking his ahead around the door]: Muse – y’know, they play Bored all the time!

Chino: This from their new record? It’s definitely got strings! I could just say, right off the bat, that I’d like it a lot more without the strings.

Frank: Then it wouldn’t sound like Kashmir!

Chino: Exactly, then it wouldn’t sound like what it was probably inspired by.

Frank: I do like Muse, though.

Chino: I like ‘em too. I love the fact that those three guys can make such a massive sound. That’s the only thing that bums me out; they’re not going to play those strings live – which takes it away from it just being these three guys making a big sound. This sounds like three guys who’ve hired a string section to make them sound like four guys called Led Zeppelin – ha! I dunno.

Frank: That said, I’ve always appreciated the chances they take and turns they make. They can go from something like this to something really funky, dancey and, eh… Prince-y to…

The Skinny: …covering Headup?

Frank: I’ve heard that – very cool.

Chino: I’d give this a six.

Trwbadour – Safe [single – released 25 Mar via Owlet] Chino: [Scans press release] Wait… how do you pronounce this?

The Skinny: Like Troubadour, with a ‘w’ in the middle? Maybe.

Chino: [Motions to said press release] I don’t think it’s a good idea to send your music out with a list explaining what your music is. For me, I’d rather just hear it – maybe look at the artwork if anything.

This right here, when you read something describing it to you, it points you at what you’re supposed to think. I don’t like that. I think we should put one of these out but lie in it – say the exact opposite of what we want people to think. They’ll be like ‘what!?’

Frank: I like this track right here, though… the vocalist’s reminding me of Kate Bush.

Chino: They’re a duo, boy/girl duo.

Frank: Of course…

Chino: This is a little boring to me…

Frank: Kind of cool at first…

Chino: It’s just nothing exciting. Question: Is she cute? That would help – her score would definitely improve if this is the case. As it stands, that’s a four.

Dinosaur Jr – Don’t Pretend You Didn’t Know [single – released 25 Mar via PIAS] The Skinny: Here’s a band you’ll have heard in your youth.

Chino: Dinosaur Jr – sweet! This also sounds like Foo Fighters. [Pregnant pause] Just kidding!

The Skinny: Have you seen them play live since they buried the hatchet?

Chino: I haven’t, although we just played a festival with them. I heard they’re rippin’ lately – still awesome. This sounds good – just like Dinosaur Jr, ha!

I haven’t gone out and bought the record so I must not be that interested, but it’s definitely good. I’ll give it a seven.

Frank: Me too.

Chapel Club – Good Together [single – released 4 Mar via Ignition] The Skinny: Here’s a London five-piece who have gone off on some synth-pop makeover since we last heard from them, apparently. This is the first single from their second album…

[Two minutes in] Frank: Five.

Chino: It’s just straight up the middle, nothing exciting.

Frank: Yeah, five.

Steve Mason – More Money, More Fire [from the album Monkey Minds in the Devil’s Time, released 11 Mar via Double Six] The Skinny: As Americans, you might not be familiar with Mr Mason outwith The Beta Band...

Chino: The Beta Band weren’t rap at all though, right? I get that he’s the songwriter here, but that’s not him rapping is it?

Frank: …is that Roots Manuva?

The Skinny: He’s joined on this track by a London MC named Mystro.

Frank: Mystro huh? Old school.

The Skinny: Do you keep up with British hip-hop?

Frank: I like some. I’m a big Roots Manuva fan, but I need more boom-bap, bigger drums – that’s when the shit hits you!

Chino: This sounds sort of jammy, like a live loop, it’s very mellow. This is alright; I’d go with a six.

Ghost Capsules – Inside [from the Inside EP, released 29 Mar via O Solo] The Skinny: Here we have the new project from Tim Simenon of Bomb the Bass.

Frank: Oh yes. He used to make great breakbeat records; I still have a few of those.

Chino: Didn’t we talk about doing something with him?

Frank: Who is this singing?

Chino: [Reluctantly consulting the press release] It says right here, Laura Gomez.

Frank: I like this…but I’d flip it over for the instrumental.

Chino: I think I’d like this better if there were no vocals on it, the voice doesn’t really do anything for me. It sounds very middle of the road.

Frank: I’d give it a seven.

TRACK OF THE MONTH Dope Body – Leather Head [from the Saturday 7”, released 18 Mar via Drag City] Chino: Let’s hope this doesn’t start suckin’, ’cause so far this is my favourite track!

Frank: [shouting at the speaker] Don’t suck, don’t suck!

Chino: Definitely my favourite; it’s the most original, the sounds they’re using are so left of centre – it’s great. I like the singer’s cadence too.

Frank: It grooves.

Chino: Oh yeah, this is awesome. Where are they from?

The Skinny: Baltimore – North America.

Chino: Maybe that’s why I like ’em, I’m just biased!

Frank: This is my favourite so far.

Chino: I’ll actually look for this.

Frank: This is the kind of thing you could play that everyone would enjoy in our band. We’d all get along really well and groove out to this backstage.

Chino: I’ll give it a nine.

Frank: And they’re American.

Chino: Figures, right?

Frank: I’d buy it and play it, honestly. Oh yeah! www.deftones.com

March 2013

THE SKINNY 41

RE V IE W : AL B U M S

ALBUM OF THE MONTH Autechre Exai

Warp, 4 Mar

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Having scaled new heights of expressiveness with 2010's emotionally-charged Oversteps LP, Exai finds Booth and Brown bringing their A-game once more - this time in the form of a nearflawless two-hour set that aims as much for the body as it does the heart or the head. In terms of pure sonics, Exai is monstrous - definitively Autechre's most balanced and dynamic sounding album so far; a hugely satisfying blend of earth-shaking bass, lush synthesis and bullish hardware-driven beats that flaunts the duo's love for oldschool hip-hop more openly that at any time in the last decade. This is no party record though: irlite (get 0) is as revelatory as anything they've produced, whilst bladelores and cloudline explore more ambient terrain; the latter's glitching drones coaxing the listener into a state of hypnagogic vulnerability before a team of insistent, stuttering kicks work diligently to tug what remains of one's consciousness out-of-body. Considered in totality, Exai can be conceptualised as the sound of a group reconnecting with the energy and the influences that drove them to start making music in the first place - a thrilling renewal that leaves them perfectly poised for whatever leap they may choose to make next. [Mark Shukla] www.autechre.ws/exai

Lapalux

Edwyn Collins

How to Destroy Angels

Brainfeeder, 25 Mar

AED, 25 Mar

Columbia, 4 Mar

Nostalchic

rrrrr Nostalchic is the definitive stage in the development of Lapalux from experimental beatsmith to full-fledged musical visionary. Borrowing from chillwave, ethereal R&B and electronic shoegaze, but always adding his own mysterious, sometimes indecipherable production flourishes, he delivers a strong, incredibly varied album that is utterly unique.

Intricately layered found-sounds and field recordings are everpresent – from the static hiss behind the blissed-out synths of the gorgeous GUUURL, with its narcotic half-step house beat; to the, freaky, side-chained rap chatter and warped voices behind the shizophrenic lounge jazz of Kelly Brook; to the record static and whispers of the unnervingly pretty The Dead Sea. His work with vocalists Jenna Andrews, Kerry Leatham and Astrid Williamson is ground-breaking – applying the chopped, screwed and stretched techniques of Burial or Holy Other to original vocal performances. With nods to experimental jazz, hip-hop, house and bass music, it’s another astounding release from the unimpeachable Brainfeeder stable. [Bram E. Gieben]

Understated

rrrrr In a near 40 year career, Edwyn Collins has steadfastly tread his own path, seemingly oblivious to the wax and wane of popular culture. When fame has come a’knocking, it’s been on Collins’ terms, the junctures at which his guitar-driven pop has become vogue being pure happenstance.

Unsurprisingly then, eighth solo album Understated continues in this vein; a driven and focused collection of the somewhat timeless, shimmering yet scuzzy glam-indie that the Scottish songsmith has been honing since his tenure with Orange Juice. Imbued with a sense of ‘stopping to smell the flowers,’ it’s difficult not to draw parallels with the veteran performer’s well-documented health issues, yet it’s nothing quite so cloying.

In fact, Understated comes with a few prickly thorns to offset the fauna, notably the foot-stomping Too Bad (That’s Sad), which may well be the most upbeat ostensible break-up song of the year. Suck it up, breathe it in. [Darren Carle] Playing Lemon Tree, Aberdeen on 15 Apr, Strathpeffer Pavilion on 17 Apr and O2ABC, Glasgow on 18 Apr www.edwyncollins.com

Welcome oblivion

rrrrr Having delivered two competent-but-unremarkable EPs thus far, How to Destroy Angels were surely looking to make a strong statement with their debut long-player. Even taking into account the band’s preference for hypnotic electronic jams over and above traditional songcraft, Welcome Oblivion falls flat on almost every front.

Sonically, it’s robust enough (you wouldn’t expect anything less from Trent Reznor and sometime co-conspirator Atticus Ross) but the band’s palette of tastefully bit-crushed loops, tough electro beats and processed synths is too practised and too predictable to engage the listener on anything more than a superficial level.

Tracks like Ice Age, with its sparse acoustic instrumentation, or the popslick How Long? could perhaps have served to sweeten this enervating formula if only they themselves weren’t so stultifyingly dull. Clocking in at an absurdly-bloated 65-minutes in length, Welcome Oblivion offers the listener little more than a hyper-stylised landscape of emotional petrification – sorely lacking in conviction, energy or inspiration. [Mark Shukla] howtodestroyangels.com

Conny Ochs

Conquering Animal Sound

Mogwai

Exile on Mainstream, 4 Mar

Chemikal Underground, 18 Mar

Rock Action, 25 Mar

Black Happy

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On Floating Bodies

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Best known for his collaboration with doom merchant Wino, German singer-songwriter Conny Ochs returns to a simple solo set-up with second album Black Happy.

Though a seasoned performer with many years of music-making under his belt, Ochs’ preferred lyrical topics – pain, sadness, disenchantment – have a tendency to evoke overdone adolescent angst rather than the more profound weltschmerz they presumably shoot for; less like a soul laid bare and more like a teenager glowering that no one understands them.

But that’s not to write Black Happy off entirely, with a scattering of successes present amongst the glum humdrum – an unexpectedly wellturned phrase here, an impassioned delivery there. No Sleep Tonight is an example of the latter quality, with its considerable clichés transcended by a convincing vigour, while the fingerpicked calm of Stable Chaos demonstrates a rarely-used grace – a simplicity that possesses far more appeal than the overwrought emotions plied elsewhere. [Chris Buckle]

Entropy and hydrostatics aren’t your average lyrical fodder, but Conquering Animal Sound (aka Anneke Kampman and James Scott) aren’t your average musicians. Their breadth of inspiration – not only scientific and intellectual, but in terms of musical tone and texture – is truly impressive, their sound a glittering, brittle synthesis of agitated machine music and celestial lullabies.

The duo’s second album recalls many of the same touchstones as debut Kammerspeil (Warn Me’s thematic echoes of Hyperballad, for instance, reinstate the Bjork comparisons), but the results feel more assertively individual than before, cultivating a distinctive atmosphere at once warm and disquieting. From the ominous aura of Ultimate Heat Death of the Universe (as boldly impressive as its end-of-existence title would indicate) to the dark magic of Treehouse, the restrained pulse of A Noise Remains to the future-R&B of tracks like No Dream, On Floating Bodies proves an intoxicatingly unorthodox pop record bursting with ambition. [Chris Buckle]

www.connyochs.com

Play The Berkeley Suite, Glasgow, 22 Mar and The Tunnels, Aberdeen, 4 Apr

Les Revenants

rrrrr Mogwai’s soundtrack for French zombie TV show Les Revenants is an exercise in wilful self-control and restraint, with their customary feedback-driven walls of guitar noise de-emphasised in favour of delicate instrumentation built from piano and organ, strings, washed-out synth tones, glockenspiel and softly-brushed drums. The result is almost painfully beautiful, with descending minor-chord melodies dominating, lending the whole suite a tragic, elegiac tone that no doubt suits the source material.

No doubt influenced by the glacial majesty of Clint Mansell’s soundtrack work, and the abstract percussive experiments of Jonny Greenwood’s scores for Paul Thomas Anderson, it’s a classy affair that will appeal far beyond Mogwai’s traditional post-rock fanbase, and in many ways is their most well-rounded release in years.

Perhaps a few more brutal crescendoes would have made this more familiar territory for the band, but the delicate nature of the composition makes Les Revenants an experience of poised, fragile beauty.

[Bram E. Gieben]

Dizraeli & The Small Gods

Ensemble Pearl

Function

ECC, 18 Mar

Drag City, 19 Mar

OstGut Ton, 4 Mar

Moving In The Dark

rrrrr Coming from a spoken word background which saw him winning the Radio 4 Slam and bringing his acclaimed ‘hip-hop play’ The Rebel Cell (written with Baba Brinkman) to the Edinburgh Festival, Dizraeli formed The Small Gods in 2009 to tour his hip-hop-based work. After gigs and festival performances up and down the country, the band have garnered a loyal following for their pitch-perfect blend of rap, folk and funk.

Now they deliver their debut album, Moving In The Dark, a rich and rewarding collection of songs, if a little over-long at 16 tracks. From the confessional (We Had A Song, Million Miles) to the confrontational (Strong Bright, Never Mind), Dizraeli’s lyrics display a consistent wit and humour, and the way the Small Gods blend folk instruments and rhythms to the rap song structures is inventive and infectious. Folk or hip-hop, then? For Dizraeli & the Small Gods, they’re seamlessly joined.

The same thing. [Bram E. Gieben] Dizraeli & The Small Gods play the O2 ABC, Glasgow on 28 Feb www.dizraeli.com

42 THE SKINNY

Ensemble Pearl

rrrrr Instead of mirroring the primitive drone of early Earth, Sunn O)))’s Stephen O’Malley takes a more majestic approach to experimental music with this collaborative effort featuring Boris’s Atsuo and ex-members of Ghost and White Heaven.

The first three pieces are relatively short; Ghost Parade combines simplistic guitar strums with harsh, high-pitched screeching, whereas Painting on a Corpse introduces tribal drums into the fold, paving the way to a clearer picture of the project’s vision. Wray is the weak link in the chain; its scraping and scratching is far too sparse and uninteresting.

Thankfully, the album’s lengthier second arc makes up for this in a big way, showing that Ensemble Pearl works best in larger doses: the dark exoticism of Island Epiphany makes it the set’s most compelling composition, and the sleazy, sinister dirge of closer Sexy Angle plays out like a drawn out nightmare within a David Lynch film. Alongside KTL V, this is easily one of O’Malley’s strongest pursuits. [Ross Watson]

Incubation

rrrrr The debut full-length album from New York’s David Sumner under his Function alias has been a long time coming – his production and remix credits using the moniker stretch back to 1996, and as an integral part of the Sandwell District label, which he set up in 2002 with Regis, and under which name the pair DJ’d throughout the early ‘00s, he gained international recognition for his visionary take on techno music.

Opening with the sedate, cinematic Voiceprint, it is clear that Incubation will offer more than just four-to-the-floor thrills, although those are present in the dark and brooding Against The Wall, the Detroit-flavoured Modifier, and the percussive Inter. But on Counterpoint, we get layered synths over beat-less, swooping rhythmic pads; while pulsing electro-techno rhythms dominate the acid-edged Psychic Warfare and the bubbling 808s of Gradient 1. Sumner’s production nicely treads the line between minimalism and complexity, with a convincing depth of field – Incubation was definitely worth the wait. [Bram E. Gieben] www.soundcloud.com/ostgutton-official/

March 2013

RE V IE W : ALBU M S

Heterotic

Daughter

Suuns

Planet Mu, 25 Mar

4AD, 18 Mar

Secretly Canadian, 4 Mar

Love & Devotion (ft. Gravenhurst)

If You Leave

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Images du Futur

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A collaboration between Mu boss Mike Paradinas and his wife Lara Rix-Martin, Heterotic’s instrumental tracks on their debut mini-album range from sublime, bass-textured future disco (Bliss) to edgy, paranoid neo-synth and dark ambient reminiscent of Raime, to angular proto-dubstep gilt with faded synths (the fantastic closer Fanfare).

It’s their achingly beautiful collaborations with alt.folk songwriter, Warp Records signee Gravenhurst, which elevate it to the realms of the essential. Blue Lights is melancholic but propulsive, with its four-four electro beat and New Order-esque lyrics, while Wartime is claustrophobic and sparse, almost funereal. Slumber meanwhile is a hypnotic slice of post-dubstep with a sinister, sensual lyric from Gravenhurst ('Swimming with bad consciences, a history of hips and fingertips...').

An utterly compelling record, made even more appealing by its brevity. [Bram E. Gieben]

If You Leave is not an album for the impatient. With an average track length of around 8 minutes, and triumphant closer Shallows weighing in at 11, Daughter’s awaited debut wants us to stop and consider. Elena’s smoky vocals helm a thoughtful voyage across a wintry soundscape, carved by Igor’s shimmering guitar-work and Remi’s retracted beats. Fortunately, the experience is bracing, like plunging into icy Scandinavian waters: lyrically candid and acoustically fresh.

Traces of The xx’s ambient post-punk give nods to the LP’s production heritage, and while such dreamy, contemplative solemnity is no stranger to 4AD’s portfolio, Daughter’s trump card is surely their lyricism. From disarming maturity to musings on our own fragility , the vulnerable poetry offsets the confident music beneath. With meditations on innocence and responsibility, If You Leave is necessary tonic in more cavalier and restless times. [George Sully]

www.planet.mu/artists/heterotic

www.ohdaughter.com

Playing T in the Park, Balado 13 Jul

rrrrr If at first you don’t succeed, try again? That seems to be the motto of Montreal’s Suuns. 2011’s excellent Zeroes QC was criminally overlooked by the wider record-buying populace, but the band clearly liked how it sounded so have pretty much reassembled the template. They get away with it too, thanks to the borderline schizophrenic formula at their disposal; one minute they’re hammering away like latter-period Fugazi (Powers of Ten), the next they’re noodling with pulsing electronica (2020). And it works, in some cases rather marvellously.

Of the highlights, Minor Work’s chiming guitars blend perfectly with Ben Shemie’s breathy vocals and twitching beats, recalling Scotland’s very own FOUND. Elsewhere, the slashing chords on Mirror Mirror will please the hardcore kids, but the synthy sounds on the same song should tease the IDM crowd. It’s a thrill to hear a rock band skewing genre archetypes in this way, and while Images du Futur does contain familiar elements, it’s never short of compelling. [Stu Lewis]

Kid Canaveral

Suede

Steve Mason

Fence, 4 Mar

Suede Ltd, 18 Mar

Double Six, 18 Mar

Now That You Are a Dancer

Bloodsports

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Monkey Minds in the Devil’s Time

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With Now That You Are a Dancer, Kid Canaveral make the whole ‘difficult second album’ to-do look terribly passé, offering a textbook example of how to build on past successes without diluting them. The finer qualities of assured debut Shouting at Wildlife are nimbly carried over, with the band’s abundant charm and indie-pop antics as appealing as ever.

There’s nary a slither of sophomore slump to clutter proceedings, as tracks like buoyant opener The Wrench and the propellant pace of Breaking Up is the New Getting Married re-establish a personable palette of dynamic guitar lines and crisp wit. But, importantly, inspirations haven’t stood still for the quartet, and there are newfound tweaks to testify to their musical development. From the synth clinch of Skeletons to A Compromise’s cacophonous finale, Kid Canaveral have matured their sound whilst retaining their trademark spryness, confidently extending themselves and thereby hinting at further, yet-untapped promise. [Chris Buckle]

When Barriers – the first new music from Suede in 10 years – hit as a free download this month it may not have achieved Bowie-level coverage, but Brett Anderson’s vocals are equally distinctive. And Barriers is really rather good; the dark sweep of Suede’s brutal glamour is firmly in place and that spectacular vocal swoop is dulled not at all by time. Snowblind, the electro-tinged Sabotage and the louche For All Strangers have a faded glamour that you’d hope for a band for whom youth was such an important part of their starting proposition.

There are some fantastic moments for those of us who enjoy collecting outlandish Suede-isms: “the rumours burn like Roman candles” at one stage. Yet lead single It Starts and Ends With You forgets that what we loved about Suede was never jolliness and it’s the worst moment on a record that is otherwise solid (and therefore better than the last two offerings) but not spectacular (like everything they did before 1997). [Laura Kelly]

In both breadth and depth, Steve Mason’s new opus is a lot to assay. A far-reaching concept album with an ardent heart, it’s driven thematically by fiery dissent and musically by restless exploration. Its 20-track girth helps facilitate this diversity, as Mason interlinks a core set of songs with an array of wing-spreading vignettes: from slivers of moody dub to pointed speech samples; collages of palette-cleansing noise to a piquant guest spot from London MC Mystro, dissecting the London riots to a sturdy backbeat.

The longer offerings display as much inspiration, with A Lot of Love’s blissful introspection, Lonely’s gracious gospel and Fight Them Back’s impassioned rallying cry but three of the many highlights. Sequenced with a raconteur’s exactitude, the narrative that forms has both definition and emotional heft (with closer Come to Me possibly the album’s most affecting five minutes), conveying an uncommon integrity and re-affirming Mason’s invigorating talents. [Chris Buckle]

www.kidcanaveral.co.uk

www.suede.co.uk

www.stevemasontheartist.com

Aera

Parenthetical Girls

Phosphorescent

Aleph, 4 Mar

Splendour, 4 Mar

Dead Oceans, 18 Mar

Offseason Traveller

rrrrr The debut LP from this Berlin-based producer, mainly known for his quietly seductive house output, confronts the structural difficulties which LPs sometimes present for electronica artists. Offseason Traveller gradually shifts through the gears over its opening three tracks, which draw upon gossamer-thin dubstep rhythms and 70s ambient synthscapes, before a strong sense of Aera’s project becomes clear. The album draws throughout on influences gleaned from travels in Peru and Bolivia, but maintains a glossy, hard-edged sheen.

Cambio is a silky, delicately layered take on Flying Lotus’ psych-hop: slow-mo samba rhythms are married with the textures of minimal house, while sparse piano chords add weight. Another highlight is Die Pferden, which blends flute and wood percussion loops beneath a laid-back, squelchy 4/4 beat, before dissolving into a haze of metallic, pitch-bent chords. That thoughtful structuring, both within tracks and across the LP as a whole, gives Offseason Traveller a compelling sense of narrative. [Sam Wiseman]

rrrrr Although touted as the fourth LP from this Portlandbased avant-indie quartet, Privilege is technically a compilation, comprising remixed and remastered highlights from a series of five EPs released from 2010-12. Despite that fragmentary basis, there’s an impressive cohesion in evidence here. That’s partly due to the rejection of the orchestral elements underpinning the group’s last outing, 2008’s Entanglements, Privilege, by contrast, is relatively austere, drawing its palette primarily from hard-edged, trebly guitars and psych-inspired synths.

This stripping-away of the band’s chamber-pop elements reveals the angsty power at their core, centring around Zac Pennington’s infectiously overwrought vocals. Parenthetical Girls understand the weirdly unsettling power that can reside in seemingly innocuous, pop-inspired melodies; tracks like Evelyn Mchale and A Note to Self, while jauntily accessible on the surface, have a secret intensity which stubbornly lodges itself in the brain. Privilege, then, represents another twist in a career marked by playful subversion. [Sam Wiseman]

Marnie Stern

Tartufi

Kill Rock Stars, 18 Mar

Southern Records, 25 Mar

These Factory Days

The Chronicle of Marnia

rrrrr

rrrrr With Marnie Stern’s signature sound long honed to a tee, Chronicles of Marnia sees the voyage of this born shredder take a turn for the less frenetic. Though still rooted in jaw-dropping fretwork, the intensity has shifted down a gear, and the relative lightness is flattering.

A personnel change plays a part in this refreshment, with Zach Hill vacating the kit to focus squarely on Death Grips after three albums

by Stern’s side. His replacement is no technical slouch himself (to put it mildly), but Kid Millions’ comparatively reserved contributions suit the album’s clarity, with toned-down polyrhythms affording Stern’s songwriting more space to breathe. Indeed, tracks like Nothing Is Easy are Stern’s poppiest yet - though that doesn’t mean she’s lost her hard edge, as pacey opener Year of the Glad testifies. The cleaner aesthetic may shed a fan or two, but Stern’s set to replace them with a whole heap more. [Chris Buckle]

Muchacho

Privilege

San Francisco trio Tartufi’s penchant for lush sonic textures and gentle guitar picking shines through in every track of their sixth full-length. As such, it’s tempting to lump them in with the “prettier” post-rock bands like Explosions in the Sky or Tortoise, but there’s more afoot here than well-worn jumps between the peaceful and the chaotic; they’re also skilled at the more subtle art of balancing sugary pop melodies with genuine unease.

Seldom, which pairs up a claustrophobic bassline with sweet, multilayered vocals, is the sound of a band keen to capture the hearts of fans both indie rock fans and those who prefer their music a little more challenging and abrasive. Similarly, Furnace of Fortune is both frantic and blissful, as much of a hard rock song as it is an ambient one. It might prove too schizophrenic an experience for some, but These Factory Days ultimately wins out for its crossover appeal. [Ross Watson]

rrrrr Celebrated for his introspective, country-tinged Americana off the back of albums like 2010’s Here’s To Taking It Easy, fans of Matthew Houck, aka Phosphorescent, may be surprised by the subtle shades of electronica permeating his fifth release. Opening and closing themes Sun Arise! (An Invocation, An Introduction) and Sun Arising (A Koan, A Exit) set the tone, with Houck’s multi-tracked voice resting on a bed of warm synth tones.

Song For Zula is the most successful splicing of the two styles, with looped strings and gentle drums underpinning a plaintive but uplifting country croon from Houck. Terror In The Canyons (Wounded Master) is more familiar territory, with pedal steel and traditional instrumentation, but it’s a trifle bland – a feeling that plagues several more of the less memorable cuts. Experimental and ambitious, the album’s highlights are sublime, even if the rest feels somewhat lost in the desert. [Ilya Kuryakin] phosphorescentmusic.com

The Top five 1 Autechre

exai

2

steve mason

3

nostalchic

4

on floating bodies

monkey minds in the devil's time

5

lapalux

conquering animal sound kid canaveral

now that you are a dancer

www.tartufirock.net

Playing Broadcast, Glasgow, 2 Jun vajamming.blogspot.co.uk

March 2013

THE SKINNY 43

FEATURING CHINA FORBES

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44 THE SKINNY

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21/02/2013 12:29

music

NEW BLOOD

Misfit Love

Deap Vally’s guttural blues rock might have earned them friends in high places, but the LA duo’s fashion sense is yet to win over the traditionalists. Drummer Julie Edwards explains the practical value of wearing hot pants onstage interview: Laura Kelly Like an all-girl White Stripes, but with better legs, Deap Vally have blazed a wild blues rock trail since they met in the unlikely environs of an LA crochet lesson back in 2011. Lindsey Troy’s Robert Plant-like howls and dirty riffs married with Julie Edwards’ sweat-flecked, pounding rhythms offer a visceral window to a havoc-wreaking life of hard drinking, hard rocking and awesome hair. Debut single Gonna Make My Own Money is a fierce two-and-half-minute slice of Riot Grrrl attitude shot through with classic rock posturing. Upcoming release Lies is sexy, snarling and immediately crawls under the skin.

Yet when The Skinny catches up with Julie at home in LA, cat meowing round her feet, at the decidedly un-rock’n’roll hour of 10am, the Jack Daniels is nowhere in sight. In fact she’s deciding whether to go to her friend’s pilates class or head out for a hike. “I’m getting as much nature as I can while I’m home,” she explains, pointing out that they’re going to be heading to India soon to kick off a globe-hopping tour that will hit Glasgow in March and lead up to their first album, due in May. “I’ll be in the studio later,” she adds. “I’m so excited. I’ve never released a record before so it’s a big first.”

The idea that these two backcombed hellraisers could’ve met through needlework (Lindsey randomly walked into the crochet class that Julie was teaching) has already been catnip to hook-hungry journalists. As an origin story, it certainly kicks the ass off ‘we met at school.’ Julie, however, remains nonplussed. “We thought it was the worst origin story. We wanted to make one up that was better.”

Like their hometown, Julie and Lindsey straddle two worlds – raised by health-conscious parents, they have that West Coast, granola-munching sheen of health but it’s married with a dive bar, Guns N’ Roses, dirt-under-the-fingernails

authenticity. Their yards of bare thigh announce girls who like to have fun.

“We were never going to be wearing knee-length dresses. Or a blouse. That was never on the table,” says Julie of their skimpy stage attire. “For us, rock’n’roll is sex. It’s experiencing something in the deep, immersive, profound way that you would experience having sex. We all live our lives, we go through the day and if we’re lucky we go home and have sex. That’s what playing rock is like.”

It’s scarcely a controversial outlook. The link between the Devil’s music and the pleasures of the flesh has a long and storied history. Though, as Deap Vally has been finding out, certain factions of the rock’n’roll world still find it hard to see two headstrong, talented women grabbing life by the balls. Led Zeppelin can be sex gods, but a pair of goddesses?

“They take one look at us and they’re just blinded by hate and judgement,” exclaims Julie, bewildered. “We didn’t think what we wear was going to be controversial or novel. It just seemed natural. I’ve been playing drums for seven years and I’ve always worn tiny shorts. When you’re drumming, you heat up, so it’s nice to not be wearing too much.”

Still, the haters have been vocal. Apparently, the ‘brain and a body’ thing is a bit too much for the knuckle-draggers. “It’s fascinating that in 2013, dressing sexy as a woman in a rock band is still a controversy. Pop music stars are always dressed really scantily and pelvic thrusting – nobody seems to have a problem with it. There’s something about the genre that we’re in, that it really rubs some people the wrong way.”

Julie’s quite clearly not one to run from a fight, or cover up just because her legs are blowing some eejit’s tiny mind, but for those that thought their name was a further statement of intent, you’d be

wrong. The double entendre was entirely inadvertent, she insists. “For me, it was originally just a reference to a region – the Deep Valley, which is in the San Fernando Valley where I grew up. Being

“It’s

fascinating that in 2013, dressing sexy as a woman in a rock band is still a controversy” julie edwards from the Valley isn’t very cool, so being from the Deep Valley is, like, even worse. It’s as far as you can get from Hollywood.

“Of course,” she allows, “people see it as being a play on another region. That was an accident.

It wasn’t until we already had the name that I realised. It’s like Hole!” If they’ve ruffled some feathers, Deap Vally have matched it by piquing interest from important places. They found a fellow crafty ally in Matt Bellamy of Muse, who picked them to support the band on tour. “I don’t know if I’m supposed to out him,” says Julie, “but he knows how to knit. I had a nice bonding conversation with him about knitting.” Josh Homme is also reportedly a fan, which scarcely comes as a surprise. But odder is their link with Christian folk behemoths Mumford and Sons.

Following Mumfords’ recent Grammy win, the Brits are riding high in the US and accordionist Ben Lovett has been using the leverage to push his own record label, Communion, which sits under the Island banner. Deap Vally is among his recruits

and Mumfords are about to bring the girls out on tour across Europe. You can’t help but worry that Julie and Lindsey will eat the waistcoat-wearers alive.

“They’re not scared of us,” insists Julie. “It’s a really strange pairing, though, right? Obviously in the heavy rock circles, Mumfords isn’t a very cool band but the fact they’re supportive of artists of all kinds is very cool.“I’ve seen them live a couple of times and I feel like they have a intensity and an energy – a rootsiness – that’s kind of akin to us.

There’s something very sincere about what they’re doing. Musically, though, it’s way different. It’s definitely going to be a weird opening experience for the fans of Mumfords.”

Always aiming to immerse herself as fully as possible in the rock’n’roll world, Julie will bring a bunch of music biographies on tour for her reading material. “They don’t even have to be about bands I like. I just started the story of Phil Spector. It’s another way to immerse yourself in the world.

Even while I’m living it, I have to live vicariously.”

Plugged into the heritage and stories it’s almost as though she’s treating each gig as a pop quiz.

Furiously revising, she’ll be ready for whatever rock throws at her.

Whether you love or loathe Mumfords, with the world’s top-selling band of the minute right there for advice, the girls could do worse than to pick their brain for some planet-beating tips. “We would love one day to have full-on domination,” she muses.

And what would the world look like if it were run

by Deap Vally? “There would be lots of great hair.

And more great heavy guitar riffs sounding out over the world.” So a bit like that other rocking Californian duo, Bill and Ted, then? “Totally!”

Deap Vally debut album Sistrionix is due for release in May www.deapvally.com

March 2013

THE SKINNY 45

PREVIEW

Clubbing Highlights

clubs

This month offers Detroit techno from Derrick May and Rolando, bass music with Loefah, Objekt and Scuba, house from Anja Schneider and Detroit Grand Pubahs, and a whole lot more! words: Ronan Martin

Spring has sprung! Well, not quite. In fact, February’s plummeting temperatures will have left many wondering if winter will ever end. Rest assured however, if the weather doesn’t get its act together sharpish, Scotland’s clubbing schedule for the coming month will certainly offer ample opportunities to get your sweat on. March’s calendar is, quite frankly, ridiculously over-laden with high calibre events. Before this issue even hits the streets, Glasgow alone will have been treated to sets from garage-house pioneer Marc Kinchen, Hessle Audio’s Ben UFO, the ever lively Oneman and a Melting Pot appearance from the legendary Francois K. Thankfully, there is no let-up in the coming weeks.

With weekend slots filling up here, there and everywhere, the number of quality acts being booked for midweek sets is on the rise. If school night frolics are your thing, Cyril Hahn hits The Buff Club for Killer Kitsch on 5 Mar (see this month’s DJ Chart) while Edinburgh heads will be first in the UK to witness DJ Rashad on his UK Hyperdub Tour. The master of Chicago Juke lands in Sneaky Pete’s to play at the city’s Juice night and you can see him in action for exactly zero pounds. None too shabby!

Heading into the second weekend of the month in Glasgow, Stroboscopic Artefacts founder Lucy takes to the decks at SWG3 on Mar 8, alongside Rrose (Sandwell District), offering cerebral stimulation for aficionados of the darker side of techno (£10). If playful house is more your thing, Return to Mono has lined up an appearance by Berlin-based Anja Schneider, owner of the city’s influential Mobilee imprint (Sub Club, £12 adv., £10 on the door). Edinburgh fans of Schneider need not despair as she appears earlier in the evening at Jackhammer alongside Slam, before rave supremo Mark Archer (Altern 8) and special guest Silicone Soul take things late into the night (The Caves, £10 adv.). Elsewhere in Auld Reekie, the outlandishly brilliant Detroit Grand Pubahs take charge for Club 10-86, alongside Gareth

46 THE SKINNY

March 2013

illustration: elena boils

Whitehead (The Annexe, Liquid Rooms, £7).

Long time purveyor of proper dubstep, Loefah drops in to Glasgow’s new pop-up club Make Do on Mar 9. Never to be pigeonholed, the Rinse FM DJ splices sounds from his bass music roots with healthy servings of house, techno and electro.

He appears alongside Shadow Child. The same night sees Innervisions boss Dixon take to the Sub Club alongside Harri and Domenic at the city’s hallowed house night, Subculture (Sub Club, £10). The Berlin-based producer and DJ is lauded as much for his productions as he is for his skills on the turntables and consistently ranks highly in those silly polls released every year.

Heading back east, Jackhammer pops up again, this time with a pair of Detroit legends in tow. One of the four founding fathers of techno, Derrick May is as hardworking a DJ as any you will find. He’s joined on 15 Mar by Edinburghbased DJ Rolando, formerly of Detroit’s legendary Underground Resistance collective and the man behind techno classic, Knights of The Jaguar.

Rounding off an impressive lineup is internationally acclaimed local producer and DJ, Stephen Brown (The Liquid Room, £12 adv.).

While Edinburgh goes all Motor City, Glasgow punters are spoiled for choice as La Cheetah and the increasingly impressive Saint Judes offer up flavours from Chicago and Berlin, respectively. The former continue their House Sound of Chicago series with an appearance by the one and only Roy Davis Jr. At one time a member of renowned acid house pioneers Phuture, Davis has carved out a career espousing a soul-kissed brand of deep house, epitomised by his timeless hit, Gabrielle (£10). Across the city, Animal Farm host German trio ItaloJohnson, offering a more jacking brand of house and techno. Aptly, they are supported by Glasgow’s Dixon Avenue Basement Jams, the DJ duo behind the hotly tipped label of the same name (Saint Judes, £10).

Substance continue to stand out as a beacon

in the capital’s clubbing scene and this month they have lined up a set by highly praised Hessle Audio artist, TJ Hertz AKA Objekt. The Berlin-based producer is among the most skilled of those who favour the marriage between UK-flavoured bass music and stripped down, murky techno aesthetics. He is joined on 22 Mar in Edinburgh

by Scottish veteran and one half of the legendary Optimo DJ duo, JD Twitch (Bongo Club, £10.)

Glasgow’s Rubix have also secured a set from Hertz, alongside local wonderkid Bake (All Caps), on Thu 14 Mar (Sub Club, £5-7).

La Cheetah continues to cement its status as one of the best clubs in Glasgow, this time teaming up with Void to welcome the eternally versatile Tadd Mullinix AKA James T Cotton to their city centre basement. Best known for acid-tinted house tracks, the Michigan-based artist has found a home for his productions on such superior labels as Ghostly International and Creme Organization.

Joining JTC is occasional collaborator and another in a long line of highly skilled Chicago-bred selectors, Traxx (22 Mar, £10).

A late highlight of this particularly tasty month is the visit of minimal techno godfather Robert Hood on 29 Mar. The Arches welcomes the producer whose consistency in releasing engagingly pounding techno, while delivering positively charged DJ sets, make him one of Detroit’s finest exports (£10 adv.). Finally, if you are able to function after the month’s excesses, you could do worse than heading along to Make Do on 30 Mar for their Hotflush showcase, featuring label boss Scuba playing back to back with Boddika, with support from Paul Woolford (£7 adv.).

That just about covers March. If there isn’t at least two nights worth of clubbing in there for you, you might as well go into retirement. Alas, we’ve not even mentioned the Electric Frog Easter Weekender. Good job there’s a detailed roundup to your right.

Electric Frog: Easter Weekender It’s been four years since The Electric Frog first lit up SWG3, a shadowy industrial complex hidden in the outer reaches of Glasgow’s west end. What started as an audacious all-day party held in the dying embers of summer 2009 soon became an established festival spanning the full weekend. Since its inception The Electric Frog has attracted some of the leading names in electro, house and techno whilst ensuring that local talent is adequately represented. The line-up for the forthcoming Easter weekender is bound to ensure the final throes of winter are spent cooped up in an abandoned warehouse, surrounded by all manner of debauchery.

The opening night will see Jas Shaw and James Ford (aka Simian Mobile Disco) return north of the border. The pair’s penchant for all things analogue has aided them in becoming one of the most respected outfits in modern house – a claim validated by an array of celebrated releases and high profile collaborations. With last year’s Unpatterns exhibiting a darker vibe than much of their earlier work, it would appear the duo have turned their attention away from chart-friendly releases in order to focus on the dancefloor.

Saturday also finds industry guru Andrew Weatherall performing back to back with Soma favourite Ewan Pearson. Weatherall, whose immeasurable influence has covered a host of genres over the last two decades, gained major notoriety for his involvement in Primal Scream’s seminal Screamadelica, and more recently celebrated club night A Love From Outer Space, whilst Pearson, performing under a variety of aliases, has enjoyed a successful relationship with the Glasgow label since 2001. The tag-team can be expected to play a set featuring progressive techno and house with an obligatory helping of explosive numbers along the way.

If that wasn’t enough for one day, New Jersey’s Todd Edwards will take to the decks with an engaging brand of garage-house rhythms providing the nucleus for an array of cut and paste vocal samples and driving basslines. Dutch producer Martyn will exhibit his own brooding style of ‘Martyn Music,’ gleaning influence from dubstep and techno, while Glasgow’s own Ben Martin, Hara (HaHaHa & Raksha) and Sam Vitamins will also be on hand to showcase the city’s High Sheen record label.

Day two of the weekender has purveyors of minimal techno Pan-Pot leading the charge along with Chicago house veteran Derrick Carter. The last visit of Pan-Pot saw the Berlin-based pairing perform to a packed out Sub Club in what was hailed by many as one of the clubbing highlights of last year. The duo drop off-kilter melodies above murky and foreboding basslines. To the contrary, Carter – who has found particular success in Europe – mixes his signature brand of house and disco, offering brief respite from the industrial and hard-edged atmosphere of the SWG3 venue.

Sunday will also see Norwegian producer Todd Terje take the reins on the back of his most notable year to date. Terje, whose 2012 release Inspector Norse became an anthem for DJs worldwide, will perform on the closing day alongside disco-tech/nu-wave pioneer Marc Houle, local veterans Slam and Silicone Soul’s Graeme Reedie.

[Jamie Cameron] Electric Frog Easter Weekender, 30-31 Mar, SWG3, 6pm-2am, £17.50 day , £33.50 weekend theelectricfrog.co.uk

FEATURE

DJ CHART: CYRIL HAHN

An eclectic ten track selection from CYRIL HAHN ahead of his appearance in Glasgow INTERVIEW: RONAN MARTIN

THIS MONTH’S chart comes courtesy of Cyril Hahn, ahead of his set at Killer Kitsch, The Buff Club’s weekly incitement to write off your Wednesday morning. Recently signed to PMR, Hahn has gained acclaim as a talented remixer, putting his spin on tracks by Jessie Ware, Gabrielle Aplin and Haim, as well as producing a delicately sombre re-working of the 90s Destiny’s Child classic, Say My Name. In recent months he has graced both Rob Da Bank and Annie Mac’s Radio 1 shows with guest mixes. As a teaser for his set in Glasgow, Cyril talks us through ten tracks he has been hammering of late.

Romare – The Blues (It Began in Africa) [Black Acre] I really love this song. Apparently he spent about a year just collecting samples.

Justin Timberlake – Suit & Tie (Julio Bashmore Remix) [Free Download, Soundcloud] It’s great how Bashmore combines this new track with lots of old school drum machine percussion.

KNYT – Roses for Nancy [Free Download, Soundcloud] I’m a sucker for organic sounding hip hop instrumentals.

Machinedrum – A New Meaning [Free Download, Soundcloud] The melody is so beautiful and the footwork beat

is spasmodic. I love how he makes these two elements work together.

Rappin’ 4-Tay – Playaz Club [Rag Top Records] This is a silly 90s hip hop jam which I can’t stop listening to these days.

Fort Romeau – Love (Dub) [Ghostly International] Fort Romeau is one of my all time favourite artists.

This is his latest track.

John Talabot – Last Land (Kenton Slash Demon Remix) [Permanent Vacation] I really dig John Talabot’s original stuff but this remix is great. It has a really dark vibe to it that I love.

Giraffage – Close 2 Me [Alpha Pup] This is simply a great song from a great album.

How to Dress Well – & It Was U (Elite Gymnastics Remix) [Acéphale/Weird World] I love How to Dress Well and Elite Gymnastics. You can tell that neither of them overthink their music which is something I really admire.

Homework – I’m Into This [Exploited] Finally, this one is a great house track with a hilarious Moodymann sample. Say no more!

CYRIL HAHN PLAYS KILLER KITSCH ON 5 MAR, THE BUFF CLUB, GLASGOW, 11PM, £7

MARCH 2013

THE SKINNY 47

REVIEW

March EVENTS film

This month’s film highlights include an all-night horror marathon, a screening of philosophical films, the Bootleg Film Festival, and Christopher Nolan’s Batman trilogy back-to-back words: Becky Bartlett

beyond the hills

Beyond the Hills

The Paperboy

Director: Cristian Mungiu Starring: Cosmina Stratan, Cristina Flutur, Valeriu Andriuta Released: 15 Mar Certificate: 15

Director: Lee Daniels Starring: Matthew McConaughey, Zac Efron, Nicole Kidman, John Cusack, David Oyelowo, Scott Glenn, Macy Gray Released: 15 Mar Certificate: 15

rrrrr Cristian Mungiu established himself with the Palme D’Or-winning 4 Months, 3 Weeks & 2 Days, a gritty tale of illegal abortion in Communist Romania. Beyond the Hills follows in the same stylistic and thematic vein with long, winding takes observing the denigration of two women, both of whom have grown up in care and now find themselves residing in a strict Orthodox convent.

Alina has returned from a waiting job in Germany to persuade her childhood companion and former lover, Voichita, to leave Romania. A stunning opening set piece sees the couple reunited as devout Voichita struggles against a tide of people to meet skeptic Alina. After moving into monastic abode, the disbeliever begins to suffer from violent seizures, believed to be possession by evil spirits.

An uncanny hybrid-appearing to reference The Exorcist at one point – Mungiu’s work is a complex mix of realism and symbolism that tugs on both intellect and emotion. A stunning addition to the recent wave of Romanian cinema.

[Helen Wright]

rrrrr It’s Florida in 1969 and, in the midst of a summer so hot that “God himself must’ve been sweating,” a small-town sheriff is murdered. Hillary Van Wetter (Cusack) will go to the chair for the crime, unless local investigative reporter Ward Jansen (McConaughey) – aided by brother Jack (Efron) and oversexed convict groupie Charlotte (Kidman) – can prove otherwise. Heat sears through the screen as the muggy murder-mystery converges with a young man’s sexual coming-of-age, a first love forged in the salty fires of piss on a jellyfish sting.

Director Lee Daniels tenaciously fosters the same provocative, naturalistic atmosphere that won Precious so many plaudits, and his cast is faultless. Cusack in particular impresses as sleazy, swamp-dwelling Hillary. However, strong turns and sharp-edged characterisation fail to mollify the lingering feeling that this is a fairly by-the-numbers noir procedural dressed up with some charged sexual and racial politics. The Paperboy hints at something great, but squint past the trickles of perspiration and you’re left wanting. [John Nugent]

Red Dawn

Trance

Director: Dan Bradley Starring: Chris Hemsworth, Isabel Lucas, Josh Hutcherson, Josh Peck Released: 15 Mar Certificate: 12A

Director: Danny Boyle Starring: James McAvoy, Rosario Dawson, Vincent Cassel, Danny Sapani, Tuppence Middleton Released: 27 Mar Certificate: 15

rrrrr

rrrrr

In 1984, the year Orwell prophesied doom, writer-director John Milius took the Cold War to its barely logical conclusion for Red Dawn, imagining a Third World War where parachuting Soviets invaded the US mainland and might have triumphed, were it not for a plucky band of American freedom fighters. In this silly and largely pointless remake, the enemy may have changed, but the same fatuous paranoia, flag-fluttering patriotism, and flimsy grip on international politics remain.

Just as Soviet Russia was a handy baddie in the 80s – mysterious, aloof, faceless – so North Korea apparently is today. A right-wing fantasy writ large, the premise would be intriguing if it wasn’t so patently absurd. There’s competent action from first-time director Dan Bradley and the cast, led by Chris Hemsworth is fine. But it remains an entirely ludicrous 90 minutes, jingoistically guileless in depicting an American insurgency fighting back against an invading foreign army – in reality, of course, it tends to be the other way around.

[John Nugent]

Danny Boyle’s best films possess an exhilarating sense of forward momentum, and Trance is a perfect fit for the director’s talents as it moves swiftly through a twist-laden story that might just collapse if we take the time to scrutinise. Boyle doesn’t give us that opportunity; the screenplay (by Joe Ahearne and John Hodge) keeps us gripped by consistently taking unexpected left-turns.

Trance begins as a straightforward thriller with a smart gimmick: an auctioneer (McAvoy) misplaces a valuable painting that a violent thief (Cassel) has stolen, and is forced into hypnotherapy sessions with a shrink (Dawson) to unlock his broken memory. Within half an hour, however, the film has begun to develop into something completely different.

The power dynamic between the trio shifts dramatically and we’re forced to reconsider where our sympathies lie. Boyle and cinematographer shoot the film with their customary energy and vibrancy, and the three leads are on excellent form. It’s hard to say how well Trance will live in the memory, but it’s a great ride while it lasts. [Philip Concannon]

Robot & Frank

In the House

Director: Jake Schreier Starring: Frank Langella, Peter Sarsgaard, Susan Sarandon, James Marsden, Liv Tyler Released: 8 Mar Certificate: 12 A

Director: François Ozon Starring: Fabrice Luchini, Ernst Umhauer, Kristin Scott Thomas, Emmanuelle Seigner, Denis Ménochet Released: 29 Mar Certificate: 15

rrrrr Frank Langella gives a touching performance in Robot & Frank, a more melancholy little caper than one might at first assume. In the near future, Ol’ Skeletor is Frank, a retired jewel thief living out his dotage in a picturesque small town.

When grown-up son Hunter (Marsden) grows concerned about Frank’s ability to care for himself, he provides a domestic Robot (voiced by Peter Sarsgaard).

With this companion, the cantankerous crook discovers a new joie de vivre and returns to his former trade.

This relationship between man and machine is comical and moving as the two become unlikely chums. Allied to unsentimental comment on the nature of aging and how we view our elders, there’s also a fascination with the preserving of history and import of memory. Susan Sarandon’s librarian Jennifer attempts to protect classic literature – with books now defunct, retro-chic for the kids – from digital modernisation, as Frank’s capacity to recollect dwindles.

A fairly cheap trick towards the denouement aside, this is cutely observed, thoughtful work. [Chris Fyvie]

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March 2013

Proving modern movies are not all mindless blockbusters, the Filmhouse in Edinburgh is hosting Filmosophy (5-26 Mar), showcasing some of the most thought-provoking and philosophical films of recent years. Starting with Dogtooth, about a father who keeps his children hidden away from the outside world (5 Mar), and ending with the excellent, controversial documentary Catfish, which has since spawned a television show (26 Mar), the season also includes Bruce McDonald’s inspired take on zombies, Pontypool (12 Mar) and Sound of My Voice (19 Mar). Each screening is introduced by James Mooney (University of Edinburgh).

The Bootleg Film Festival, which started in Glasgow in 2008 and has since travelled the globe, is returning to Scotland this month. The festival, featuring short and feature-length films, aims to inspire new talent while providing an opportunity to network and join a small, local community of budding independent filmmakers. Taking place at the Banshee Labyrinth (Edinburgh’s most haunted venue) between 22-24 March, the festival has teamed up with Write Shoot Cut, who host a monthly short film night in the same venue. Visit www.bootlegfilmfestival.com for more details.

they live

On 9 March, All Night Horror Madness returns to the Cameo in Edinburgh for the sixth time, screening another five classic horror movies from 11pm until the early hours of the morning. This time, lesser known movies The Night Evelyn Came Out of the Grave and Hospital Massacre join three cult favourites, Braindead, They Live, and Lucio Fulci’s masterpiece The Beyond. The event is also at the Grosvenor in Glasgow on 16 March. Included in both line-ups are a host of vintage horror trailers, and a special raffle. A must for horror fans.

The Belmont in Aberdeen is showing Chris Nolan’s Batman trilogy back-to-back on 31 Mar. The three films, starring Christian Bale as the Caped Crusader, revitalised the superhero genre and added a much appreciated intelligence and darkness to the contemporary action blockbuster. There will be prizes and special giveaways throughout the day, as well as a Batman cosplay competition – a perfect excuse to don tights and/ or some face paint.

rrrrr After his limp 70s comedy Potiche, the latest offering from François Ozon finds the director back on top form. With its exploration of voyeurism and manipulation, In the House covers similar territory to Ozon’s earlier Swimming Pool, but is distinguished by its crafty sense of humour.

Fabrice Luchini plays Mr Germain, a school teacher and failed novelist whose curiosity is piqued when student Claude (impressive newcomer Ernst Umhauer) writes a short story detailing his exploration of a friend’s home. Soon Germain and his wife (Kristin Scott Thomas) become co-authors of the narrative and push the teenager further into the lives of his companion’s family in their eagerness to know more. It’s a tale that could be played for laughs or squeezed for maximum tension and Ozon does both, neatly working multiple layers of intrigue and perfectly timed surprises into his screenplay. Are we being told the whole story here? Or is Claude playing us all for fools? A second viewing may be required to answer these questions, and would certainly be a pleasure in this instance. [Philip Concannon]

the innocents

In Dundee, the DCA is screening The Innocents as part of their Focus on Film: Adaptation season. Starring Deborah Kerr as a governess who becomes convinced her new home is haunted, with a screenplay co-written by Truman Capote, this adaptation of The Turn of the Screw is one of Brittish cinema’s finest ghost stories. Each film in the season is preceded by an introduction, with a discussion afterwards.

REVIEW: DVD

ALPS

PREMIUM RUSH

MY BROTHER THE DEVIL

DIRECTOR: YORGOS LANTHIMOS STARRING: AGGELIKI PAPOULIA, STAVROS PSYLLAKIS, ARIS SERVETALIS RELEASED: 11 MAR CERTIFICATE: 15

DIRECTOR: DAVID KOEPP STARRING: JOSEPH GORDON-LEVITT, DANIA RAMIREZ, MICHAEL SHANNON OUT NOW CERTIFICATE: 12

DIRECTOR: SALLY EL HOSAINI STARRING: SAID TAGHMAOUI, FADY ELSAYED, JAMES FLOYD RELEASED: 11 MAR CERTIFICATE: 15

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“I’LL DO anything you want.” It is a mark of the topsy-turvy world that Yorgos Lanthimos has created in his new film, Alps, that, when a female character offers herself with masochistic relish to a male colleague, we are unsurprised to learn that what he really wants from her is a haircut.

In this story of a mysterious group who meet in a gym hall for an unexplained purpose, the Greek director explores many of the same themes of control and role-playing that filled his darkly surreal Dogtooth. Like the earlier film, Alps also refuses to give up its meaning without a fight; teasingly, Lanthimos has the dictatorial leader announce he has chosen to call the group “Alps” precisely because “the name in no way reveals what we do.”

But where the central dynamic of Dogtooth could be quickly apprehended, and offered itself up for political readings, Alps is an even more inscrutable, disturbing and, ultimately, despairing portrait of human relations. [Keir Roper-Caldbeck]

PREMIUM RUSH is the story of Wilee, a lawyer turned bike messenger, who is on a mission to deliver an envelope on which a life depends, hotly pursued by a dirty cop (Michael Shannon). Frantically paced and with a plot turning on human trafficking from China, it’s MI:4 meets Eastern Promises.

Joseph Gordon-Levitt is the lead in this curious star vehicle. Pedalling furiously throughout, Wilee extols the virtues of the fixed-gear life as we quickly realise that this is going to be a laboured, overwrought affair. The story chugs along and, like our star pedaler’s performance at busy intersections, makes risky and circuitous moves where the simple, steady route would suffice.

With earnest, at times over-keen peformances, no number of extraneous bike races can convince an audience that the plot is exciting. Ticking inexorably towards a generic and morally questionable end, high stakes are not enough to keep this hipster-themed tale of retribution from the verge of self-parody. [Nicola Balkind]

SALLY EL Hosaini’s debut feature is a remarkably slick and confident coming-of-age tale about two immigrant brothers embroiled in Hackney’s violent gang culture. When the elder brother (James Floyd) decides to get out of the drug trade following an ugly murder, his naïve younger brother (Fady Elsayed) tries to step into his shoes.

Both leads are impressive, particularly Floyd in the more challenging role. Much of the plot is driven by his discovery that he may be gay and his first steps with a male lover. But, ironically, while its impact is felt, we barely see the relationship itself. With actors this good, it’s hard not feel cheated out of more scenes, and there’s a sense that much of what could have been has been sacrificed for mainstream appeal.

That aside, there’s still much to recommend. The quickfire streetslang crackles, there’s plenty of tension, and the stunning visuals remind us that beauty and love can thrive in the most unlikely places.

[Scotty McKellar]

ELENA

THE BAY

BOXING DAY

DIRECTOR: ANDREY ZVYAGINTSEV STARRING: NADEZHDA MARKINA, ANDREY SMIRNOV, ELENA LYADOVA OUT NOW CERTIFICATE: 12

DIRECTOR: BARRY LEVINSON STARRING: KRISTEN CONNOLLY, WILL ROGERS, CHRISTOPHER DENHAM RELEASED: 18 MAR CERTIFICATE: 15

DIRECTOR: BERNARD ROSE STARRING: DANNY HUSTON, MATTHEW JACOBS RELEASED: 25 MAR CERTIFICATE: 15

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THE THIRD feature from Andrey Zvyagintsev is an icy anti-thriller thick with tension and brimming with allegorical undertones. Nadezhda Markina is superb in the title role: a retired nurse from a modest background now married to a rich former patient. Despite occasional tenderness the couple live separate lives, with Elena acting more as housekeeper than matrimonial partner but seemingly accepting of her lot – in all but one regard.

Both have children from former marriages: on his side, a disdainful daughter; on Elena’s, a feckless son. When a health scare introduces the issue of inheritance, resentments seep through; the sanctity of family is dramatically tested by money’s corrupting influence.

Throughout, events are staged with masterly precision, with scenes turning on a knife edge and nerves stoked by Philip Glass’s foreboding score. If The Return was Zvyagintsev’s calling card and The Banishment clarified his ambition, Elena is the film where the Russian director affirms himself as one of contemporary cinema’s most assured voices.

[Chris Buckle]

BARRY LEVINSON’S original plan was to make a documentary detailing the terrible environmental degradation of his beloved Chesapeake Bay on America’s east coast, but he decided that his message would find a wider audience in the form of a horror exploitation flick. The resulting film, The Bay, is certainly more entertaining than having to sit through yet another eco-doc, but less interesting than it might have been.

In telling his story of a coastal tourist town overtaken by a mysterious, toxic plague, the veteran director (Diner, Rain Man) takes on the found footage horror genre with gusto, cutting together a bewildering range of imagined sources, from CCTV and video diaries, to Skype and instant messaging. The result is both convincing and headacheinducing. And if the special effects are gruesome enough, where the film falls down as horror is in the literalism of Levinson’s message.

Instead of the existential menace of Jaws, we get warnings about the levels of chicken shit in the water.

[Keir Roper-Caldbeck]

TIME AND technology have moved on since Bernard Rose made Ivansxtc, the first of his loose, contemporary adaptations of Tolstoy stories starring Danny Huston. In 2000, that film’s barebones production values and digital images seemed like a daring lo-fi experiment; now, in Boxing Day, his third installment in the series, these characteristics are scarcely worthy of comment.

Nonetheless, the film is a delight. Huston plays Basil, a property developer whose smooth confidence conceals a hollow, morallycompromised core. On a desperate business trip to the wintry Mid-west he hires the morose Nick (Matthew Jacobs) as his driver and, over a long day in the car, the two form a study in contrasts. Jacobs, better known as a screenwriter, more than holds his own against the excellent Huston.

Free of the trappings of a period production, Rose introduces contemporary themes while also homing in on the big, existential questions raised by Tolstoy. Remember to turn the heating up, though.

This film will make you feel cold.

[Keir Roper-Caldbeck]

Looking for an inspiring, creative and memorable night out? Then look no further than the Science Festival in 2013. We’re celebrating our 25th birthday with a special future-themed programme for the sociable and sci-curious.

Get a group of friends together, grab a drink and put on your dancing shoes – with music, comedy and art, this is science as you’ve never seen it before.

SCIENCE FESTIVAL LATES: OPENING PARTY Thursday 21 March, 8pm

THE FAME ALGORITHM WITH SIMON PAMPENA Thursday 4 April, 9pm

LATELAB Programme runs 23–24, 27–31 March and 3–7 April, 7.30pm

ROCKET LOLLY Saturday 6 April, 9pm

UGLY ANIMAL PRESERVATION SOCIETY Wednesday 3 April, 9pm

EDINBURGH MINI MAKER FAIRE AND AFTERPARTY Sunday 7 April, 10am–5pm and 8pm

FOR THE FULL PROGRAMME AND ONLINE BOOKING VISIT

SCIENCEFESTIVAL.CO.UK

#EdSciFest

MARCH 2013

THE SKINNY 49

art

REVIEW

LAUREN GAULT TRAMWAY, UNTIL 24 FEB

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The title’s reference to ensilage may conjure images of coarse, rugged agriculture, but Lauren Gault’s show in Tramway 5 is exquisitely sleek, pristine and composed. Brought from a farm and placed in this new context, four enormous ensilage bales become peaceful monoliths forming the backbone of an installation composed of multiple, complex parts.

Surrounding the bales are green ceramic locks of hair, sail-like swathes of Turin Shroud-esque fabric, triangular opalescent glazed ceramics and resin cast floor pieces. There’s a lot going on here, and within this one installation Gault develops her research in everything from The Lewis Chessmen (12th century chess set discovered on the isle) to Victorian mourning jewellery, and the application of pressure as a treatment for autism. Seemingly tying it all together is a careful examination of methods that considers in depth the processes of wrapping, enclosing and containing.

A by-product of this is a particularly fascinating exploration of the material consequences present in the work. Every object here exhibits what is referred to as ‘structural colour’ – a colour that is present because of material factors, and not the creation of the artist’s hand. The layers of clear wrapping that encase the bales build up a barely discernible calm green colour. The white resin pieces are sanded back to reveal an unexpected pink, with the pattern of marble.

In a happy coincidence – or perhaps a clever pairing – the sweetness of the resultant pastel colours mirrors the ‘sweetness’ of the fermenting bales. Considering the variety of processes and theories that underpins this work, the outcome seems entirely comprehensible, if not straightforward. The pieces all gel together to form a strong show that really holds its own, making a solid visual statement while allowing the viewer the opportunity to explore for themselves the more intricate details beneath.

[Emma Ewan] WWW.TRAMWAY.ORG/EVENTS/PAGES/LAUREN-GAULT.ASPX

JUTTA KOETHER DCA, UNTIL 21 APR

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Contemporary German artist Jutta Koether and French classicist Nicolas Poussin may seem an unlikely combination – Poussin’s classical style and eye for detail stand in stark contrast to Koether’s colourful, graffiti-like paintings. But in Koether’s largest UK exhibition to date, she has taken direct inspiration from the 17th century artist. Seasons and Sacraments is a response to two series of paintings

by Poussin: The Four Seasons and The Seven Sacraments.

In Gallery 1 we encounter Seasons, four large painted canvases mounted on freestanding glass, first exhibited at the Whitney Biennial in 2012.

Placed at angles facing one another, Koether’s brightly coloured, busy and engaging canvases surround the viewer, creating an intense viewing experience. What’s more, Koether goes beyond the conventional notion of the times of year and transforms them into contemporary seasons relevant

for our time, borrowing themes from the worlds of fashion and economics.

Gallery 2 holds part two of the exhibition, Sacraments. Poussin’s series depicts the seven sacraments of the Catholic Church, respectively titled Baptism, Eucharist, Confirmation, Marriage, Penance, Ordination and Extreme Unction. Koether takes each in turn and creates her own responses through a variety of installations. Confirmation is presented as a triptych of liquid acrylics attached to a huge sheet of glass, each spouting or encasing a number of intriguing objects such as copper piping, feathers and a gold bar. Likewise, Baptism is not a religious scene, but one of Formula One World Champion Sebastian Vettel – clearly referencing a more secular form of worship in our times.

Although her distinctive style is far removed from Poussin’s, Koether’s starting point is with traditional subject matter. The artist has made this accessible and relevant in an exhibition that is both intriguing and thought provoking.

[Katie Rice] WWW.DCA.ORG.UK/WHATS-ON/EXHIBITIONS/JUTTA-KOETHER.HTML

ADVERTISING FEATURE

OWN ART AT GI EDITION WORDS: JAC MANTLE

EVERY TWO years the behemoth returns, propping up Glasgow’s reputation as an unexplained, miracle-growing melting pot. For three heady weeks it renders local art-goers’ diaries truly unmanageable. In some measure a marker of who’s worth their salt in the Glasgow art scene, and an occasion where ‘guerrilla’ events have had just as much exposure as the official ones, Glasgow International Festival of Visual Art is always worth taking note of.

The 2014 edition – unbelievably, only its sixth – will be directed by Sarah McCrory, who has spent the last two years as curator of Frieze Art Fair and commissioned the previous three years’ Frieze Projects. Quizzed on her move to Glasgow, she described the shift as “nothing thermals won’t fix.”

But where does GI go during the other 49 weeks of the year? One answer is – to New York (the jammy buggers). From 7-10 March 2013, GI will attend Independent New York, an event existing somewhere between a collective exhibition and a re-examination of the art fair model. This year it features over 40 independent galleries and nonprofit institutions hailing from over 14 countries – proof that GI plays in the playground with the big kids, if ever it was needed.

While you and I are making sandwiches or nipping to Fopp to bulk-buy cut-price box sets and benefit – regrettably – from its misfortunes, GI are setting up shop in NY. They’ll present two

new artists’ editions as well as unique works by artists previously shown at GI Festival, including two artists selected for the Scotland + Venice representation at the Venice Biennale – Karla Black in 2011, and Corin Sworn, who will exhibit later this year in a triple presentation with Duncan Campbell and Hayley Tompkins. Also showing at Independent are editions by Alice Channer, Rob Churm, Jim Lambie, Sue Tompkins, David Noonan, Stephen Sutcliffe, Alan Michael, Ciara Phillips and Jordan Wolfson.

We shouldn’t really give a toss that we’re not at Independent with all that fabulous art, though, because all of the editions GI are presenting can be bought right here at affordable prices through the Own Art scheme. The scheme allows you to spread the cost of your purchase over ten months, making it easy to buy world-class artworks like these.

Glasgow-based Ciara Phillips’ work has graced the walls of many a Glasgow gallery. Her contribution to Pavilion, a recent show at David Dale Gallery, was a neat précis of her practice.

Having created a suggestion of a domestic setting in the gallery, James Clarkson invited other artists to complete it and ‘make it habitable.’ Functioning here to frame the structure’s outer limits, Phillips’ textile wall hangings exist between art, design and craft, potentially acting as a decoration or covering for something else. Bearing distinctive patterns

Galleries across Scotland are members of the Own Art scheme. By offering interest-free loans of £100-£2,000 through Own Art, buying an original piece of quality contemporary art or craft couldn’t be easier. For more information about Own Art and a list of participating galleries see the Own Art website: www.ownart.org.uk Look for the pink logo. (representative 0% APR)

50 THE SKINNY

MARCH 2013

ALAN MICHAEL, MOOD STUDY 9 2013

and motifs, they suggest high-end design, but a ‘handmade’ aesthetic or deliberately poor finish draw attention back to the pieces’ own production. A major solo show at Inverleith House in May will explore her printmaking in relation to nature.

Arguably less easily recognisable aesthetically is the work of Stephen Sutcliffe – as an inveterate consumer of TV, Sutcliffe cuts up other people’s videos and reassembles them as his own. Surgically precise editing, the quality of home videos,

audio and visuals fragmented into displaced nothings – all of these could be described as defining the look of his work. His name, though, will likely be more familiar – winner of the 2012 Margaret Tait Award for moving image, Sutcliffe’s terribly clever new film Outwork has just premiered at the Glasgow Film Festival 2013.

GI INTERIM EDITIONS ARE AVAILABLE TO PURCHASE THROUGH THE OWN ART SCHEME WWW.OWNART.ORG.UK

Offer subject to age and status. Terms and conditions apply. You will need a UK bank account that can handle direct debits, proof of identity and address, and you will also need to be over 18. Own Art is operated by ArtCo Trading Ltd, a wholly owned subsidiary of Arts Council. Registered address: Arts Council England, North East, Central Square, Forth Street, Newcastle upon Tyne, NE1 3PJ

249 West George Street Glasgow G2 4QE

books

REVIEW

Gone Again

Me and You

By Doug Johnstone

By Niccolò Ammaniti

Published 7 Mar by Little, Brown

Donald Antrim’s 1993 debut novel, Elect Mr. Robinson for a Better World, is being published in the UK for the first time. Featuring a pagan-like shrouded figure, the attractively Day-Glo cover hints at the sinister mysteries awaiting the reader within. Oncerespected local teacher Pete Robinson recalls the series of events that have led to his self-imposed exile and to the current state of his community, where violence, cruelty and manipulation have become the norm.

In an eerily detached manner, the undercurrents of aggression and sexuality lurking beneath the apparently banal surface of suburbia are thrust into the foreground. This ranges from Pete’s ambiguous role in the drawing and quartering of the town’s last mayor, to the homemade battlements surrounding the residents’ homes, and the landmines littering the local park results of an on going war between two families. With good reason Jeffrey Eugenides and Jonathan Franzen have recently written on how difficult it is to categorise Antrim’s work and how singular a voice he seems to have. Indeed, Elect Mr. Robinson for a Better World manages to be hilarious, macabre and tragic all at the same time – it is well worth seeking out. [Ryan Rushton]

Edinburgh-based Doug Johnstone has pared down the breadth of his subject matter – his last novel, Hit and Run, used the setup indicated by its title in thrilling, unexpected ways, but was absolutely and completely driven by its characters, portrayed

by Johnstone with riveting emotional realism.

Gone Again raises the bar even higher, focusing on a small, closed loop of a plot, concerned first and foremost with the devastating effects of grief, suspicion and suppressed emotion on its finelydrawn characters.

When photojournalist Mark Douglas’s wife disappears for the second time, he is upset and concerned, but a huge part of him is not surprised.

As he investigates her disappearance, while simultaneously trying to take care of his young son, and repairing relations with his mother-in-law, Johnstone skilfully unwinds the couple’s haunted, troubled history, dropping clues to Lauren Douglas’s fate with a marked precision.

The minutiae of the novel are what captivate, though: Mark’s son’s Star Wars obsession, and how he uses it to deal with his insecurity and unhappiness; Mark’s own barely-controlled grip on his anger, and the remorse he feels; even the supporting cast, from grimy street toughs to arrogant, wealthy gangsters, are depicted with a realism that feels lived-in, natural. Without an ounce of fat on the lean plot, which drives towards a nail-biting climax, Gone Again is Johnstone’s most controlled novel yet, riveting from start to finish. [Bram E. Gieben]

In the third Ammaniti novel to be translated from Italian into English, he moves away from the thriller format he experimented with in I’m Not Scared and Steal You Away to deliver an intimate, often hilarious, and deeply affecting novel about childhood, lost innocence, and the quality of memory.

His narrator, Lorenzo, opens the novel by reading the start of a letter from his half-sister, written twelve years ago. We are immediately transported back to Lorenzo’s childhood, when the letter was written. Lorenzo, a socially-awkward outcast, emerges as a likable protagonist, with him attempts to comprehend the social hierarchy of high school as endearing as they will be powerfully familiar to anyone isolated by the experience of being a teenager. Lorenzo ends up staying in the basement of his parents’ house, unbeknown to them, for a week. Left alone with junk food and video games, he is happy at last – until his estranged half-sister arrives, shivering and rail-thin, looking for a place to kick heroin.

What follows is a tender tale of mutual dislike and utterly despicable behaviour, slowly but surely developing into empathy and reconnecting Lorenzo with the world at large through his growing love for his sister. Ammaniti’s matter-of-fact, unadorned prose captures Lorenzo’s angst-ridden, uncomprehending world-view with a confident clarity and, as resolution back in the present day beckons, he plots the course of his filial relationship with a deft, understated skill. [Bram E. Gieben]

Cover price £12.99

Out now, published by Granta

Published 7 Mar by Faber & Faber

Out now, Published by Canongate

Cover price£8.99

Cover price £12.99

Cover price £7.99

establishing a human colony on Mars by 2023.

Lansdorp is clear that his interplanetary pilgrims will leave Earth knowing they will never return.

In his presentation he will discuss the logistical, technological and psychological challenges that will face the pioneers in establishing the first human settlement on another world.

Activities and workshops will be plentiful. Let your kids loose in a forensics lab at CSI (23, 25-30 Mar, various times) in the City Arts Centre. Sample futuristic food alternatives at The Adaptation Diet (30 Mar, 5.30pm) on Teviot Row, where Professor Mark Post will be challenging guests with synthetic meat and insect protein. Mark Thompson from BBC’s Stargazing LIVE will host a skywatching event, Stargaze with Mark (27 Mar, 7pm) at the Royal Botanic Garden. At the One Day Digital (30 Mar) workshop, you can be talked through designing your own smartphone app, computer game or gadget. And in Intelligent Robots (2-5 Apr, 2pm) you can experience cutting edge artificial intelligence and pit your wits against thinking machines.

will offer an easy introduction into the perennially misunderstood world of quantum physics. And we will see the return on scientific stand-up comedy to Teviot Row with Festival of the Spoken Nerd (5 Apr, 8pm).

For those who fancy something a little more combative, there will be plenty of controversy and intellectual belligerence. In My Dangerous Idea (26 Mar, 8pm) at the Teviot Row Debating Hall, scientists whose work is considered morally or socially dangerous will make their case. In Like a Virgin (19 Mar, 6pm) biologist Aarathi Prasad considers a reproductive future for humanity which does not involve sex. Human Hybrids (7 Apr, 6pm) explores how tissue-replacement technology may blur the biological line between human and animal. And in the provocatively titled 2038: The End of Religion?

(30 Mar, 6pm) the University of Glasgow’s Professor Paul Braterman will join a panel discussing the future of religion in an increasingly technological world.

The sheer size of the festival makes it impossible to do justice to the diversity of events on offer. Films, art installations (inspired by science or using cutting-edge materials and audiovisual techniques), street science; the list goes on.

Oozing (in some places, literally) with fun, rammed with opportunities for unique experiences, and designed to challenge and expand your understanding of the Universe around you – this is an event which demands the attention of anyone who is interested in anything.

Exploring science is empowering, it’s important, it’s consequential; but above all it’s huge amounts of fun. The spirit of the festival can be summarised with the timeless old wisecrack, often attributed to Nobel prize-winning physicist Richard Feynman: “Science. It’s a bit like sex. Yeah, sure, it has some practical applications, but that’s not why we do it.”

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The Fields

Elect Mr. Robinson for a Better World

By Kevin Maher

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By Donald Antrim

tech

The Fields by Kevin Maher is a coming of age novel set in Ireland during the 1980s. Although the Troubles are present, the focus remains firmly on the adolescence of central character Jim Finnegan.

The first section of the novel brilliantly captures both the humour and awkwardness of teenage years as thirteen-year-old Jim recounts hilarious anecdotes of his chaotic home life with five older sisters and the complex nature of male friendships in an all boys school. Things abruptly turn sour at the hands of menacing priest Father O’Culigeen and, coupled with an underage relationship and family illness, Jim’s carefree childhood is not so much cut short as it is forcefully removed. As his life spirals out of control both Jim and the reader are left longing for the innocent fun of his formative years.

The character of Jim is the novel’s biggest strength and his dry humour and vivid social commentary draw amusement in even the bleakest moments. His down to earth attitude is undermined slightly in the final section by a belief in new age healing but ultimately it is his naïve determination and resilience to what life throws at him that shines through the novel. [Rowena McIntosh]

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science. it’s a bit like sex

As Edinburgh International Science Festival rings in 25 years this month, we examine the event’s heightened significance words: Les Ogilvie

You live in the future. Sat-nav and shopping on your phone. Instant, multimedia, communication with the world. Mind-controlled prosthetic limbs.

Gene-targeted, personalised, medicine. A nuclear powered robot on Mars with a Twitter account.

The electric ukulele. It’s a technological age and, whether we like it or not, we’re all irrecoverably immersed in matters of science.

Unfortunately, science has bad PR. The image of science as dull and difficult, a labour perpetrated upon the world by unbeauteous old men who speak in riddles, persists. The 21st century, with poetic irony, brought with it a significant reduction in the number of pupils choosing science subjects in Scottish schools. Technology firms have expressed concerns that Scotland’s rich history of engineering and innovation is fading from memory as we are simply no longer producing enough scientifically literate citizens. It’s not solely industry that need worry – scientific literacy empowers us all to make informed choices in an increasingly technological world. What do we really know about genetically modified foods? About nuclear power? About global warming? About stem cell therapy? About the medicines and procedures prescribed to us?

The good news is that these issues needn’t be inaccessible. The best-kept secret is that science,

despite this prosaic public image, is fun, dramatic, exciting, awesome and wonderful. In the literal sense of these words. Some of the most incredible sights and experiences we can imagine are right under our noses, and scientists want to share them with us.

It is with this spirit of inclusivity that the 2013 Edinburgh International Science Festival roars, sparkles, crackles and explodes into life on 23 March. For two weeks, the city will open itself to a smorgasbord of talks, activities, and experiences; inviting the public to step up to the front-line of global innovation and get their hands dirty with the most pressing and exciting issues of the day.

Over this fortnight of scientific celebration, there will be hundreds of events taking place across nearly forty venues. Experiences are designed for all ages – from slime-making classes for five year olds, to adults only late-night events such as the festival opening party at the City Art Centre where guests will be able to indulge in Culture #1 – the Science Festival’s own beer – while having firstshot at some of the hands-on activities.

The festival’s biggest draws will certainly include One Way Ticket to Mars (5 Apr, 8pm) at the National Museum of Scotland. A must-see evening with Bas Lansdorp, co-founder of Mars One, who has set his organisation the ambitious target of

“Exploring

science is empowering, it’s important, it’s consequential; but above all it’s huge amounts of fun” Lightheartedness abounds, with comedian Robin Ince hosting a Show and Tell (24 Mar, 8pm) event at the National Museum of Scotland and Richard Wiseman hosting the Great Big Science Quiz (23 Mar, 8pm), a comedy panel show featuring scientists and comedians placing as much stock in wit as in wisdom, at Teviot Row. Marcus Chown, tireless populariser of science and one-time student of the extraordinary Richard Feynman,

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Edinburgh International Science Festival takes place at various venues throughout the city between 27 Mar and 7 Apr. The full programme is available for download at www.sciencefestival.co.uk.

Les Ogilvie is a regular contributor to Scottish Science webzine www.thetwentyfirstfloor.com www.sciencefestival.co.uk

March 2013

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theatre

PREVIEW

Venue of the Month: The French Institute

The Gatsby Club: An Evening of Slapstick Glasgow University Union, 9 Mar

The Gatsby Club returns, promising sidesplitting laughter with the theme An Evening of Slapstick. The 1920s themed night is taking on slapstick-themed acts to perform in the appropriate setting of the Glasgow University Union. While the full lineup has not yet been announced, the plan of the evening slips from a cabaret show into the swinging groove of the Black Diamonds Havana Band, followed by the melodies of DJ Lord Holyrude.

Meanwhile, a silent movie theatre will be set up in the Odium room.

However, it has been confirmed that the cabaret show for the evening includes acts such as Cat Aclysmic (flamenco/tango contact juggling), a slapstick burlesque number with Miss Hell’s Belle and Daiquiri Dusk, and, with the Creative Martyrs compering, it is difficult to resist a night like this. The Martyrs’ delightful capacity for storytelling

The Institut Francais d’Ecosse is more than just a Fringe venue and a cultural outpost for Scottish Francophiles. This March they’re playing host to two very special plays words: Eric Karoulla and Jack Booth

and interacting with their audience renders them one of the ‘must-see’ acts of the Glaswegian cabaret scene.

Previous Gatsby Club events have set the bar quite high. The last one in 2012, Age of Illusion, was themed after the mystifying and magical. It included acts like the Great Aziz, who conducted various magic tricks and illusions, while Cherry Loco showcased some daredevil burlesque, which involved stepping on crushed glass and hammering a nail into his nose. Boasting that it is the largest 1920s themed club in Scotland, The Gatsby Club is not short on ambition: the environs of the Glasgow University Union suggest that it has the glamour to match. [Eric Karoulla] Glasgow University Union, 7:30pm, (show begins at 8:30pm), £14 (£12)

Vox Motus: Slick Glasgow Comedy Festival

Novecento: Pianist

Nestled away in Randolph Crescent, to the north of Princes Street, Institut Francais d’ Ecosse has built a reputation as a venue for intriguing theatre during the Fringe, alongside its more familiar activities promoting French language and culture throughout the year. March sees two productions come to the Institut: a version of Cocteau’s challenging monologue, La Voix Humaine and a show which Institut director Vincent Guerin calls “what Francophonie is all about: an Italian play translated in French and performed by a Belgian company in Scotland!”

Programming plays outside of the Fringe complements the ongoing exhibitions, film nights and classes that have made the Institut an important fixture. “Our experience in the Fringe shows that there is quite a large space for French theatre in Edinburgh and that the Institut Francais is well identified as the place to see it,” says Guerin. “So why be shy? In August we will have again a strong and very varied programme of French theatre for the Fringe. And we are really excited about it.”

“As there are not many occasions to see some live performances in French outside the summer season, we thought it would be worth giving the traditional ‘Semaine de la Francophonie’ in March a theatre twist,” he continues. France has a rich theatrical tradition, going back to Moliere’s satirical comedies and through the growth of buffonery, mime and clowning in the twentieth century. “A lot of new companies are emerging and staging new productions every year. It is only normal that we

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Although the premise suggests a romp through Scotland’s problematic relationship with oil - it becomes a way out from economic anguish, but questions of ownership soon cause arguments - Vox Motus take time to portray a dystopian reality, where old women are obsessed with sexual matters and the young hero is adrift in a world where adults are foul-mouthed, lack moral values and want to manipulate his innocence.

Rarely for Scottish theatre, Slick is unashamedly populist, rocking the toilet humour happily and celebrating the deft movement of the puppet to entertain and enliven the action. [Jack Booth] Paisley Arts Centre, 5 Mar Dundee Rep Theatre 7- 8 Mar Eden Court Theatre 12- 13 Mar Eastgate Theatre, Peebles, 20 Mar Eastwood Park Theatre, Giffnock 24 Mar Tron Theatre, Glasgow 26 - 30 Mar Clywd Theatr Cymru , Flintshire, as part of the Celtic Festival 21- 25 May) Various times and prices

Photo: Liliane Anjo

Vox Motus have become one of Scotland’s most recent success stories. With a collaboration with the National Theatre of Scotland in the pipeline, they have revived their original success, Slick. It’s a mark of the company’s versatility that it began its tour as part of manipulate and concludes in the Glasgow Comedy Festival.

Combining puppetry, slapstick comedy and a story of dark dealings on a council estate, Slick grabbed attention for its bold mixture of styles and cheeky, rude humour. Using mannequins with live actors providing the heads, Slick follows the adventures of a young lad in his neighborhood of perverts and opera singers, after he has discovered an oil well in his house.

Vox Motus’ trick in Slick is to write a script that is heavy on the gags and fast-paced in the plotting.

The puppets give the characters a freedom from gravity while the words conjure a surreal estate, equal parts gritty realism and wild surrealistic fantasy.

showcase this vitality. It is essential for us to make sure the Edinburgh audience gets many occasions to discover French theatre as possible.”

Guerin is enthusiastic about the two selections, both aesthetically and for their practical use. “ La Voix Humaine is a beautiful and intense monologue about the end of a love story yet it is ideal for French learners as the script is simple and the language easily accessible,” he explains. “As for Novecento: Pianiste: the young artists of the collective Emmanuel De Candido and Pierre Solot are offering a very creative take on this versatile story that is not really a play, not really a novel, not really a musical show… I am quite fond of their narrator/pianist duo and I think it works really well on our small but very welcoming stage.”

The Institut’s dual purpose in staging these plays – to present the cream of Francophone theatre and to encourage learning of the language demonstrate how performance can be more than just entertainment. Guerin’s Fringe programme suggested that French theatre is lively, experimental and accessible: since the venue also contains one of the finest bistro in Edinburgh, these bookings are a reminder that France’s pride in its culture is more than justified.

La Voix Humaine, performed by Theatre du Matin on 19 Mar, 6.30pm Novecento : Pianiste, performed by Collectif Blauw (Belgium) on 20 Mar, 6.30pm www.ifecosse.org.uk

Slick

comedy

REVIEW

Pope wanted: no experience neccessary It’s getting hard to get a job even in your local Costa, which is why Elaine Malcolmson is looking for an even higher position illustration: Marco Bevilacqua

DANCE IS A LANGUAGE THAT WE SPEAK The notion of a job market suggests a quaint, bustling place teeming with a variety of desirable items. In reality the job market could only be considered a market if that particular market consisted of one stall selling a couple of droopy courgettes.

So I wasn’t surprised to hear that 1701 people applied for eight jobs in a new Costa coffee shop in Nottingham. What was surprising was the optimism/naivety of the Costa spokeswoman who said, “We’ve been really encouraged to see so many people wanting to work at their local Costa store.”

Yes, Costa, that’s all they’ve ever wanted, to work in your muggy caffeine shelter. You have shattered the lifelong barista dreams of 1693 people. These poor souls are now destined to spend their days peering through coffee shop windows longing to bring happiness to the human race by dirtying steamed milk. Or, wait at home for another job to come up.

Truth is, there aren’t many jobs around. We all know this, whether you are a job hunter or smugly employed. Job hunting has become as difficult as harpooning a microscopic whale in the dark. Yes, you’re right, whaling is illegal, which only adds to the difficulty I was trying to portray and also explains why you would be attempting it in the dark.

Besides, there are no such things as microscopic whales, again adding to the representation of difficulty.

It’s probably easier to get the job of being the Pope than getting a job in Costa coffee. So, rejected kettle successors, why not apply? I mean, if you’re not in, you can’t win. What’s the worst that can happen? You get the job and you have to kiss Bono?

Simply going through the application process

will be good practice, that’s what they say isn’t it? If you are lucky enough to get an interview, that would be great experience, especially if you haven’t been in front of a panel before. It’s a pretty big panel, 120 odd cardinals. Well, not odd cardinals, although the odds are that some of them are odd, depending on your definition of odd, obviously.

Look, you can always turn it down if they offer you the position and you change your mind. I mean, you might change your mind when you realise that a large percentage of the world’s population see you as responsible for thousands of appalling crimes throughout the near and distant past. Or, you might not like the uniform.

So you’d better start work on some kind of covering letter. I know you might not have too much experience, but emphasise your enthusiasm and your transferable skills. Customer service is a good one, and mention upselling.

Do you speak Italian? No? Well, you probably know a few key words: cappuccino, macchiato, panini? You’ll need to read up on the company, it has a long history, but there’s a book you can get.

It will be worth the effort in the end, there’ll be a company car, and the loyalty scheme is reported as eternally rewarding. I suppose the only negative is that, in terms of promotion, there may not be a real position above.

15th – 29th March 2013 Intermedia Gallery CCA Using dance as a medium to speak through, Romany will use the exhibition space to share, discuss and present a series of live works that look at movement as language, exploring the concept of conversation within choreography.

All performances are free but ticketed.

Tickets avaliable from the CCA box office: www.cca-glasgow.com (0)141 352 4900

Dates and Events When I Move You Move An evening of live dance Friday 15th, Thursday 21st, Saturday 23rd and Friday 29th 7.30pm free but ticketed, limited places Call and Response: Conversations in Choreography Movement workshop led by Romany Dear Saturday 16th 2pm free but ticketed, all welcome Drop in Romany will be in the gallery sharing her current investigations into movement and language. Drop in to read, talk, watch and share.

Tuesday 26th & Wednesday 27th 12–5pm all welcome

Commissioned, 20 Mar, The Old Hairdressers, Glasgow, 8pm, £5 A night of new comedy commissioned by YOU. You suggest a subject and we provide the comedy To suggest a subject, tweet @CommissionedCom. The winning suggestion will be chosen two weeks before the show and have an entire night of comedy created around it

royal scottish academy

www.glasgowcomedyfestival.com/shows/#!/shows/554

March 2013

THE SKINNY 53

comps

COMPETITIONS

WIN TICKETS FOR GNOMEGAME!

Following the success of 2012's Eye O' The Dug in St Andrews, and Away Game on the Hebridean isle of Eigg, Fence Records are returning to the seaside town of Anstruther, in the East Neuk O' Fife, for a smaller Home Game event – the Gnomegame!

Organised by label manager The Pictish Trail, the event is a showcase of Fence Records' acts and special guests, taking place over 5/6/7 Apr 2013.

Tickets sold out immediately via the Fence website (www.fencerecords.com) – HOWEVER, The Skinny have got a pair of VIP tickets to give away, offering you access to all three days of music!

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To win a pair of tickets, just let us know which of these is NOT the title of a Fence Records release: A) God Damn You Mountain B) Of All The Things I Can Eat I'm Always Pleased With A Piece Of Cheese C) Who The Fence Is Bob Agnews?

D) They Flock Like Vulcans To See Old Jupiter Eyes On His Home Craters Email answers to competitions@theskinny.co.uk with GNOMEGAME in the subject line. Competition closes Thu 28 Mar. Winners will be notified on the day of closing and required to respond within 48 hours or the prize will be offered to another entrant. Full details & T&Cs can be found at www. theskinny.co.uk/about/terms

WIN BOMBSKARE TICKETS!

Bombskare are offering Skinny readers the chance to win VIP tickets to a show of your choice plus a copy of the band’s forthcoming album The Day The Earth Stood Stupid, released on 1 Apr 2013. Choose from: 30 Mar, Edinburgh Studio 24 5 Apr, Glasgow King Tut’s 12 Apr, Dundee Old Doghouse To enter, simply email your full name plus name of city preferred for gig (example: Joe Bloggs | Glasgow King Tut’s) to competitions@theskinny. co.uk with Bombskare Skinny Competition in the subject line, answering this question:

What was the name of Bombskare's debut album?

A) A Fistful of Dynamite B) A Fistful of Dinosaur C) A Fistful of Doner Kebab Competition closes Mon 25 Mar. Winners will be selected at random. They will be notified on the day of closing and required to respond within 48 hours or the prize will be offered to another entrant. Full details & T&Cs can be found at www. theskinny.co.uk/about/terms

LISTINGS

Glasgow music Tue 05 Mar Wife Vs Secretary Nice ‘n’ Sleazy, 19:30–23:00, £tbc

Glasgow-based rock’n’roll outfit headered by Charlie Milne, who slaps a piano bang in the middle of the stage and lets a messy musical swirl unfold.

Twisted Wheel (The Banter Thiefs) King Tut’s, 20:30–23:00, £10

Indie-styled Manc trio led by Jonny Brown on vocals and guitar.

Foals Barrowland, 19:00–23:00, £sold out

The Oxford rock ensemble tour their new LP, Holy Fire, the rather fine three-years-in-the-making follow-up to Total Life Forever.

Ricky Egan Mono, 20:30–22:00, Free

The man of many recording guises (including Remember Remember, Neighbourhood Gout and Tangles) plays a gratis solo show.

Wed 06 Mar Latecomers Avant Garde, 20:15–22:30, Free

Acoustic pop loveliness from the Glasgow-based outfit.

Me (So Many Animal Calls, Last Exit) King Tut’s, 20:00–23:00, £6

The Aussie rock quartet showcase tracks from their debut album, Even The Odd Ones Out. Droids (Skeleton Verse, Two Towns Apart) Bloc+, 21:00–01:00, Free

Derry-based rock outfit all about the robotic riffs and melodies.

Thu 07 Mar Codes in the Clouds The Glad Cafe, 20:00–22:30, £5

More instrumental soundscapes from Erased Tapes artists Codes in the Clouds, joined by the return of Call to Mind after their three-year absence.

Struggle (We’ll Die Smiling, Cavalcades, Bayone) Bloc+, 21:00–01:00, Free

Monthly punk and post hardcore selection from DIY collective Struggletown.

The Murderburgers (Sink Alaska, The Walking Targets) 13th Note, 20:00–23:00, £tbc

Glasgow’s own pop-meets-punk princes take to the fore with another reliably unique brand of upbeat bangers.

The Travelling Band (Ellen and the Escapades, Johnny Graham and Co) King Tut’s, 20:30–23:00, £7.50

Manchester alternative folkies, all shimmering and harmonic in their understated psychedelia kind of way.

Concrete Knives (Systems, Ripley) Broadcast, 20:00–23:00, £7 adv.

French sunny pop quintet with their distinctive vocal style coming from having both male and female leads.

Campfires in Winter (Vasa, Garden of Elks) Nice ‘n’ Sleazy, 20:00–23:00, £5

The alternative Croy indie-rockers launch their debut single, White Lights, amidst a melodic wall of post-rock and experimental noise.

Fallen Angels Club (Wreckless Eric and Amy Rigby) Stereo, 20:00–23:00, £12 adv.

Fallen Angels Club favourites Wreckless Eric and Amy Rigby do their two-piece rock’n’roll thing, rich with vocal harmonies.

Fri 08 Mar St Deluxe 13th Note, 20:30–23:00, £5

Weegie foursome currently reviving the spirit of US slacker alternative pop, then immediately drowning the bugger in syrupy scum-gaze textures.

The Selecter Oran Mor, 19:00–22:00, £15

2-tone ska revival band formed in Coventry back in 1979, back on the live circuit.

The Brotherhood of the Blue Ship CCA, 20:00–22:30, £5

Jolty, poly-colliding musical ensemble with myriad influences – born of the ashes of Punch and the Apostles and comprised of much the same unit – launching their new EP, with video projections and a live recording being made on the night.

Jessie Ware (Mikky Ekko, Laura Mvula) O2 ABC, 19:00–22:00, £14

North London singer/songwriter who’s also sung vocals for SBTRKT. LadyFest Glasgow (ANAKANAK, Muscles of Joy, Grimalkin 555, Hector Bizerk, Fem Bitch Nation) Kinning Park Complex, 18:00–01:00, £4 (£7 weekend)

Pro-girl music festival featuring a frickload of stellar, female-dominated bands over the weekend, amongst ‘em art-folk septet Muscles of Joy, post-punk jammers Sacred Paws and the new project from Conquering Animal Sound’s Anneke Kampman, ANAKANAK. The Usuals O2 ABC, 19:00–22:00, £8

Alternative rock quartet from the southwest of Glasgow, led by Ross Bradley on vocals and backing guitar.

The Dead Certs, The Rockalls, Until We’re Heroes, Tasty Jailbait Maggie May’s, 19:30–22:00, £6

Mixed showcase night, featuring Glasgow rock’n’rollers The Dead Certs, amongst others.

The Frank and Walters (David Lang) King Tut’s, 20:30–23:00, £10

Irish alternative rock quartet, who’ve named themselves after two eccentric Cork characters.

The Burger Revolution (Secret Motorbikes, The Yawns, Insect Heroes) The Old Hairdressers, 20:00–01:00, £4

El Rancho Records round-up some of Glasgow’s best new guitar bands to play a celebratory indiehippie-punk-party in honour of California-based DIY label Burger Records’ 26-show global revolution. More info at burgerrecords. org. We love a good revolution.

Desolation Yes! (Trauma Inc) Nice ‘n’ Sleazy, 19:30–23:00, £5 (£4)

Scottish-Slovakian band currently noising up Glasgow with their electronic-styled mix of synth, samplers and drum machines.

SOS Broadcast, 20:00–23:00, £tbc

The Glasgow ensemble play their first date of the year, in between popping into the studio to record some new tunes.

Sat 09 Mar Wilko Johnson O2 ABC, 18:30–22:00, £sold out

The inimitable guitarist and founding member of Dr. Feelgood plays as part of his farewell tour, following his diagnosis with terminal cancer.

Kvelertak Stereo, 19:00–22:30, £10 adv.

Norwegian rock ensemble led by Erlend Hjelvik.

What The Blood Revealed 13th Note, 20:00–23:00, £tbc

Instrumental rock foursome hailing from Irvine on the West Coast of Scotland.

The Kleptocrats (Method One, Jawhale, The Rain Experiment) O2 ABC, 18:30–22:00, £7

Ayr-born indie rockers chock with driving rhythms, currently touring and recording their arses off.

This Feeling (Killer Cure, The Responsible, The Cranes, Franny McKeown) Maggie May’s, 19:30–22:00, £6

The favourited London rock’n’roll night takes a trip to Scotland, with a selection of live bands taking to the stage.

The Magic Band The Arches, 19:00–22:00, £15 adv.

Original members Denny Walley, Mark Boston and John French celebrate the music of the late Don Van Vliet (aka Captain Beefheart), sharing the stage with guitarist Eric Klerks and drummer Craig Bunch to re-visit the classic tunes with renewed fervour.

LadyFest Glasgow (Genesee, Erin Friel, Fiona Soe Paing, Sacred Paws, Ladies of Midnight Blue) Kinning Park Complex, 18:00–01:00, £5 (£7 weekend)

Pro-girl music festival featuring a frickload of stellar, female-dominated bands over the weekend, amongst ‘em art-folk septet Muscles of Joy, post-punk jammers Sacred Paws and the new project from Conquering Animal Sound’s Anneke Kampman, ANAKANAK. Status Quo O2 Academy, 19:00–22:00, £sold out

The original line-up – as in Francis Rossi, Rick Parfitt, Alan Lancaster and John Coghlan – reform for a one-off series of UK dates.

Girls Aloud SECC, 19:30–22:00, £42.50

Cheryl of Cole et al tour their new ‘hits’ album, playing a duo of consecutive dates in the not-sointimate SECC. Triggerfinger King Tut’s, 20:30–23:00, £10

Fiery Belgian rockers led by guitarist and vocalist Ruben Block, who mostly spent 2012 playing festivals and selling out London’s Camden Barfly.

My Bloody Valentine Barrowland, 19:00–23:00, £sold out

The longstanding Dublin alternative rockers take to the road armed with their long-awaited new LP, simply titled mbv, the digital release of which crashed their website and prompted fans to petition Barack Obama to get it fixed. Obviously.

Tenement Trail (Luca, Fat Goth, Baby Strange, TeenCanteen, Fridge Magnets, Kassidy, Nevada Base, Discopolis) The Art School Union, 15:00–23:30, £10 all access ticket

Multi-venue mini-fest snaking its way across various Glasgow institutions, with an exhaustive line-up that includes Discopolis, Fat Goth, Tango in the Attic, TeenCanteen, Carnivores, Bwani Junction, Hector Bizerk, and, er, a good 25-odd more.

Tenement Trail (Tijuana Bilbles, Crash Club, Madison, Cherri Fosphate, The Stagger Rats, Carnivores, Fluorescent Hearts) The Garage, 15:15–22:45, £10 all access ticket

Multi-venue mini-fest snaking its way across various Glasgow institutions, with an exhaustive line-up that includes Discopolis, Fat Goth, Tango in the Attic, TeenCanteen, Carnivores, Bwani Junction, Hector Bizerk, and, er, a good 25-odd more.

Tenement Trail (No Island, Little Illusions, Saint Max and The Fanatics, Chasing Owls, Davey Horne, Tango in the Attic, Bwani Junction, Blindfolds) Nice ‘n’ Sleazy, 15:30–00:00, £10 all access ticket

Multi-venue mini-fest snaking its way across various Glasgow institutions, with an exhaustive line-up that includes Discopolis, Fat Goth, Tango in the Attic, TeenCanteen, Carnivores, Bwani Junction, Hector Bizerk, and, er, a good 25-odd more.

TENEMENT TRAIL (KASSIDY, SIENNA, BOSTON TEA PARTY, SELECTIVE SERVICE, DIRTY DIAMOND AND THE GUNSLINGER, THE OK SOCIAL CLUB, THE HOLY GHOSTS, HECTOR BIZERK, SUNSHINE SOCIAL) BROADCAST, 427 SAUCHIEHALL STREET, CITY CENTRE, GLASGOW, G2 3LG 15:00 – 00:00, £10 ALL ACCESS TICKET

Multi-venue mini-fest snaking its way across various Glasgow institutions, with an exhaustive line-up that includes Discopolis, Fat Goth, Tango in the Attic, TeenCanteen, Carnivores, Bwani Junction, Hector Bizerk, and, er, a good 25-odd more.

The Alarm Oran Mor, 19:00–22:00, £15

Mike Peters takes time out from touring with the Big Country to reform his original band.

Sun 10 Mar Duke Special The Arches, 19:00–22:00, £12 adv.

Belfast piano-based folkie songwriter with a distinctly accented voice, playing a special seated gig.

How very civilised.

Poltergeist Oran Mor, 19:00–22:00, £12

Willy Mason Oran Mor, 19:00–22:00, £12.50

The distinctive-voiced New Yorkborn singer/songwriter plays a set of deep-rooted country tunes twinkling with pianos, a little swing and a little blues.

DevilDriver, Cannibal Corpse O2 ABC, 18:00–22:00, £18.50

Santa Barbara heavy metalers DevilDriver co-headline with New York death metal lot Cannibal Corpse. You may as well just start moshing now.

The Dan Reed Band O2 ABC, 19:00–22:00, £14

Funk rock guitarist par excellence, Dan Reed, takes to the road with full band in tow – showcasing new album Signal Fire.

Status Quo O2 Academy, 19:00–22:00, £sold out

The original line-up – as in Francis Rossi, Rick Parfitt, Alan Lancaster and John Coghlan – reform for a one-off series of UK dates.

Girls Aloud SECC, 19:30–22:00, £42.50

Cheryl of Cole et al tour their new ‘hits’ album, playing a duo of consecutive dates in the not-sointimate SECC. Lewis Watson (Kimberly Anne, Saint Raymond) King Tut’s, 20:00–23:00, £7

Fledgling young Oxford singer/ songwriter, best known for his stripped-down YouTube take on Tracy Chapman’s Fast Car. The Darien Venture Broadcast, 20:00–23:00, £tbc

Glasgow, Ayr and Selkirkstraddling math-pop quartet combining the rich harmonies of four vocalists with wide ranging musical influences.

Mon 11 Mar The Internet (Kilo Kish) The Arches, 19:00–22:00, £12.50

Trip-hop duo, made up of DJ, singer and producer Syd tha Kyd and producer Matt Martians (of OFWGKTA).

Planes (Mickey 9s)

Thu 14 Mar

13th Note, 20:00–23:00, £tbc

Simon McBride (Robert Vincent) O2 ABC, 19:00–22:00, £13.50

Virtuoso Irish guitar player of the blues-rock variety, rich with hooks and melodies.

Dave Colwell Nice ‘n’ Sleazy, 19:30–22:00, £10 adv.

The ex-Bad Company guitarist performs a best of set of tunes from both Bad Company and Free, alongside several tracks taken from his solo album.

Johnny Appleseed, Led House, Megan Airlie 13th Note, 19:00–23:00, £6

Mixed showcase night, with classic blues and rock covers from Johnny Appleseed, alternative rock from Led House and young Glasgow singer/songwriter Megan Airlie.

Scott Walker at 70 (Casual Sex, Tut Vu Vu, John McFarlane, Clare Simpson) Mono, 19:30–22:00, £4

SECC, 18:30–22:00, £29.50

The Irish alternative rockers take to Glasgow, 4,204,836 Facebook ‘likes’ and counting.

Cancer Bats King Tut’s, 20:00–23:00, £10

Ragin’ Toronto quartet mixing hardcore, southern metal and punk rock into their very own lethal rock’n’roll explosion (i.e. this may get noisy).

The Dirty Blonde Bloc+, 20:30–23:00, Free

The Glasgow-based noise quartet play a free show while they gear up for the release of their new EP, promising to throw in a new song or two.

Wed 13 Mar Gabrielle Aplin King Tut’s, 20:00–23:00, £10

Young Bath singer who became a bit of a YouTube sensation with her various cover versions.

Bullet For My Valentine O2 Academy, 19:00–22:00, £sold out

The Welsh metal titans return to the live stage to tour their fourth LP, Temper Temper, produced by Don Gilmore.

Ne-Yo SECC, 18:30–22:00, From £36

LA-based r’n’b artist, producer, actor and dancer who began his musical career as a songwriter.

Finisterre 13th Note, 20:00–23:00, £tbc

Dark hardcore outfit from Germany, mixing dual male/ female vocals, melodic-meetsatmospheric soundscapes and fast d-beats.

Nice ‘n’ Sleazy, 19:30–23:00, £8.50

Electronic composer and producer based in Germany, known for his atmospheric synth meanderings.

Stevie Nimmo Stereo, 19:00–22:00, £14 adv.

One-half of the Nimmo Brothers, Stevie Nimmo goes it alone for the evening – himself a longstanding figure in the blues and roots world.

Paradigm Shift (Always Read The Label, Empty Avenue) Broadcast, 20:00–23:00, £tbc

Broadcast, 20:00–23:00, £tbc

Stiff Little Fingers

Fri 15 Mar

Original punk-pop four-piece par excellence, on the go now for over 35 years.

Divorce (RUNGS, Halfrican)

Glasgow-based pop-punk outfit on vocals, guitar, drums and bass.

Inspiral Carpets King Tut’s, 20:30–23:00, £20

The psychedelic Manc rockers re-group with original singer Stephen Holt, back touring their first selection of new material in 15 years (plus some classics, naturally).

Olly Murs SECC, 18:30–22:00, £32.50

Tue 12 Mar German singer who fronted synthpop groups Propaganda and Act, providing one of the most distinctive female voices of the mid-80s.

The Script

The Old Hairdressers, 20:00–23:00, £3

Dose yersel’ up on a selection of noise rock and freeform song from a trio of Glasgow bands.

Ulrich Schnauss

Rock fusion combining delicate melodies, layered vocals, consummate musicianship and earthshaking riffs in one impressive whole.

Hardcore Glasgow thrash-punk kings, returning to their second home of the Note.

Junebug (Apex Collective, White Van Fugitives, Mojo Dodge)

O2 ABC, 19:00–22:00, £18.50

Live fundraiser for Women’s Support, featuring Highlands countrytinged rock trio Cuddly Shark and ‘burgh garage-punk lot Seafield Foxes, plus a DJ set from the Lock Up Your Daughters’ residents.

Fur Hood, Smack Wizards, Strohhhm

Special evening of Scott Walker interpretation and appreciation, featuring renditions by special guests including Casual Sex, Tut Vu Vu and Sluts of Trust’s John McFarlance.

Wolves At Heart

King Tut’s, 20:00–23:00, £7

Claudia Brucken

SECC, 18:30–22:00, £32.50

The fresh-faced X-Factor almostwas (as in, he lost), plays the notso-intimate surrounds of SECC. Eclectic Ladyland 2

The fresh-faced X-Factor almostwas (as in, he lost), plays the notso-intimate surrounds of SECC. Clocked Out

Steve Forrest, drummer of Placebo, pulls together various London pals for his solo collective outing, touring a selection of tunes from their new LP.

Olly Murs

Echo and The Bunnymen members Will Sargeant and Les Pattinson team up for their all-new postrock outing.

13th Note, 20:00–23:00, £tbc

Stereo, 19:00–22:00, £8 (£6)

Acoustic rock Glasgow quartet, gigging acros Scotchland since mid-2011.

Jozef Van Wissem (The One Ensemble) Nice ‘n’ Sleazy, 19:30–23:00, £6 (£5)

Brooklyn-based Dutch minimalist composer and lutenist, also known as one-half of Brethren of the Free Spirit.

The Dirty Beggars Broadcast, 20:00–23:00, £tbc

The Americana-styled Peebles/ Glasgow/Dunblane-hailing ensemble take to the fore.

Brantley Gilbert Oran Mor, 19:00–22:00, £12.50

American singer/songwriter of the country-rock persuasion...

Ain’t they all.

Sat 16 Mar Riverside (Jolly, Dianoya) Classic Grand, 18:30–22:00, £16.50

Progressive rock foursome hailing from Warsaw, back in a live setting for their 2013 tour.

Inspiral Carpets King Tut’s, 20:30–23:00, £20

The psychedelic Manc rockers re-group with original singer Stephen Holt, back touring their first selection of new material in 15 years (plus some classics, naturally).

Heather Peace Old Fruitmarket, 20:00–22:00, £18.50

The Lip Service actress does that other thing wot she does: setting soaring vocals to jazz-soaked piano and pop guitar riffs, touring on the back of her debut album, Fairytales.

Tom Baxter The Arches, 19:00–22:00, £12.50

The Suffolk-born, London-based singer/songwriter building his sound on his masterful guitarplaying and raw, confessional lyrics.

Sun 17 Mar Barrowland, 19:00–23:00, £18

Nice ‘n’ Sleazy, 19:30–23:00, £5

Local screamers Divorce take to their second home of Nice ‘n’ Sleazy, hosting their usual all-out rammy of a thing, as per.

Rick Redbeard CCA, 19:30–22:00, £8 adv.

The Phantom Band’s Rick Redbeard (aka Rick Anthony, last seen eating chips on our January issue’s cover) plays a solo set, cherry-picking tracks from his debut album No Selfish Heart.

FM King Tut’s, 20:00–23:00, £16.50

Rock’n’roll noisemakers formed back in the hazy summer of 1984 by ex-Samson pair Merv Goldsworthy and Pete Jupp, exWildlife brothers Steve and Chris Overland and Didge Digital (aka Philip Manchester).

Forgetting Jane (Ryan O’Meara, Craig White, Dusty Keys) 13th Note, 19:30–23:00, £5

Young Dumfries singer/songwriter combining catchy pop-rock tunes with heartfelt acoustic delivery.

The Lost Souls Club

Tue 19 Mar

Mike Nisbet (Erin Todd)

Hey Enemy (Vasquez)

Oban-born singer/songwriter who’s spent a year or so living between Glasgow and London, hence the dominant song theme of being on’t road.

Broadcast, 20:00–23:00, £tbc

Bloc+, 21:00–23:30, £tbc

The Stirling-raised troublemakers launch their new LP, trading in angular and impressive posthardcore punk sounds, as per.

Johnny Marr (F.U.R.S.) O2 ABC, 19:00–22:00, £19.50

The celebrated Smiths guitarist embarks on his first ever solo tour, celebrating the release of his debut solo album, The Messenger.

Jagermeiser Music Tour 2013 (Ghost, Gojira, The Defiled) O2 Academy, 18:30–22:00, £5

The third Jagermeister Music Tour offers a headline set from mysterious Swedish cult types Ghost, with support from French metal lot Gojira and British metalers The Defiled.

Amplifier King Tut’s, 20:30–23:00, £11

Manc progressive rock outfit rich with a sound that draws as much from post-rock’s modernity as it does from classic space-rock grooves of yesteryear.

Wed 20 Mar Billy Lockett (Jemma Tweedie) King Tut’s, 20:30–23:00, £6

Northampton singer/songwriter skilled on the ol’ piano, which he taught himself to play in a basement, aged 8. As you do.

Copper Lungs Broadcast, 20:00–23:00, £tbc

Dundee/Perth-based melodic alternative rock lot, recent winners of the Tay FM Under The Radar unsigned bands competition.

Republica (Tenek, Analog Angel) Classic Grand, 19:00–23:00, £14

90s-formed alternative rock trio who returned to the live scene in 2009 after a long hiatus.

Finch (Mallory Know) O2 ABC, 19:00–22:00, £20

The Californian post-hardcore lot tour their original line-up, performing What it is to Burn in its entirety, in celebration of the album’s 10th year.

Evil Blood, Burt Ward, Red Command 13th Note, 20:00–23:00, £3

Reassuringly noisy night taking in Evil Blood’s longstanding brand of speed metal, Burt Ward’s scummy lo-fi punk and the industrialtinged groove metal of Red Command.

Frontier Ruckus Bloc+, 21:00–23:30, £tbc

King Tut’s, 20:30–23:00, £8

Unique brand of electronic indiepop from London-way, formed by twin brothers Miles and Marcus Haughton.

Skunk Anansie O2 ABC, 19:00–22:00, £24

The Skin-fronted quartet tour their latest album, Black Traffic, an amalgam of heavy metal and black feminist rage (so say they).

Eels O2 Academy, 19:00–22:00, £23.50

Virginia’s own tragic hero, aka Mark ‘E’ Everett, and co sing the lo-fi blues, marking the release of their new album with a full UK tour.

Monarch!

13th Note, 20:00–23:00, £tbc

French-American drone doom lot founded back in 2002, delivering their thing via insane volume and low end frequencies.

The Rodeo Idiot Engine (Selentines) Broadcast, 20:00–23:00, £tbc

Blackened mathcore outfit from the Basque Country – technical, chaotic and intense in their approach.

King Tut’s, 20:30–23:00, £6

Live hip-hop showcase taking in a range of bright, young talent.

Sat 23 Mar Donald Macdonald and The Islands Broadcast, 20:00–23:00, £tbc

The West Coast-born, Glasgowbased, folkie-indie-acoustic lot, led by Donald MacDonald on vocals, guitar and mouth organ.

Tragic City Thieves (The Amazing Snakeheads, Homesick Aldo) Nice ‘n’ Sleazy, 19:30–23:00, £5

Glasgow-based glam rockers, renowned for their sweaty live shows where they dress up in their finery and rock out hard.

The Velveteen Saints (Wild Smiles) King Tut’s, 20:30–23:00, £6

Bright new Glaswegian rock’n’roll trio, fitting the genre to a T. The Virginia Dons 13th Note, 20:00–23:00, £tbc

Glasgow soft-rock quartet, infusing their sound with a bit o’ indie, country, folk and blues.

Inuit (Machines In Heaven, Bianca) Audio, 19:30–23:00, £4 adv.

The Glasgow post-rockers launch their new EP, out on this very day, interlocking dense strands of ambience with life-groping washes of sound.

Sun 24 Mar Jai McDowall Oran Mor, 19:00–22:00, £15 (£13)

The New Jersey quartet take their fourth album to a live setting – a reliably anthemic mix of pop-rock melodies retooled for a punkinformed audience.

Culture

O2 Academy, 19:00–22:00, £21.50

Stereo, 18:30–22:30, £12 adv.

Mon 18 Mar

O2 ABC, 19:00–22:00, £15

The Hoboken trio tour their newest album, Fade, which finds them on fine form, moving nicely from pure doo-wop to fuzzed-up alternative pop gems.

Bright Sparks, Futurology, Erin Friel

Thu 21 Mar

No-nonsense new-wave packed to the gills with big hooks and boundless charm, riding along on Chris Devotion’s lean songwriting.

Alarm Bells (Bwani Junction, Honeyblood)

Theme Park

Fledgling psychedelic duo formed in Florence at the beginning of 2012, influenced by West Coast sounds and 60s garage.

Yo La Tengo

Ayrshire singer/songwriter who won the fifth series of Britian’s Got Talent, if yer bothered.

The Gaslight Anthem

Broadcast, 20:00–23:00, £tbc

New Jersey punk-rock lot who’ve entered that landmark 20-yearsin-the-biz zone, all done under their own admirable DIY style.

13th Note, 20:00–23:00, £tbc

Michigan-based modern indie-folk quartet built on banjos, melodicas, acoustic guitar and a genuine deep American drawl.

Chris Devotion and The Expectations (Mistake Pageant, Young Philadelphia)

More fuzzed-out rock’n’roll soundscapes from the Southhampton quartet, energized with a psychedelic twist.

The Bouncing Souls (Cheap Girls, Luther)

Fri 22 Mar Go!Zilla (Curiosity Shop, Rag and Bone Man)

Bloc+, 20:30–23:00, Free

Stereo, 19:30–01:00, £6

New ex-Dananankroyd peeps play a headline set, with stellar support from Edinburgh Afroexperimentalists Bwani Junction and Glaswegian garage-rockers Honeyblood.

The Yawns Mono, 20:00–22:00, £4

Glasgow-based outfit who expertly blend lo-fi garage rock and indie pop in one sunny whole.

Loscil The Glad Cafe, 20:00–22:30, £tbc

Vancouver-based electronic chap weaving his magic on a series of cinematic-sounding pieces rich with his trademark beautiful textures.

The Weeknd O2 ABC, 18:30–22:00, £sold out

Ethiopian-Canadian recording artist and record producer, known to his mammy as Abel Tesfaye, who started off releasing songs via YouTube in late 2010.

Dirty Dike (Jam Baxter, Contact Play) O2 ABC, 18:00–22:00, £8

The freestylin’ hip-hop MC plays a predictably rowdy set – pretty much the filthiest rapper in this game, FYI. Alex Goot

O2 ABC, 19:00–22:00, £15.50

The veteran Jamaican roots reggae trio tour with their current line-up, made up of Kenyatta Hill, Albert Walker and Telford Nelson.

Les Mistons King Tut’s, 20:30–23:00, £6

World-tinged east London trio who’ve played pretty much every sweatbox in Shoreditch and Camden.

Loaded 45, Uniforms (Sink Alaska) 13th Note, 20:00–23:00, £tbc

Denver punk rock’n’roll outfit Loaded 45 tour with fast and bleak melodic punk-rocker Uniforms.

Russian Bride (Stutter Bunny, The Screichs, Mistake Pageant) Broadcast, 20:00–23:00, £tbc

Hard-hitting alternative rock lot founded by guitartist and vocalist Mike Lieder.

Mon 25 Mar The Gaslight Anthem O2 Academy, 19:00–22:00, £21.50

The New Jersey quartet take their fourth album to a live setting – a reliably anthemic mix of pop-rock melodies retooled for a punkinformed audience.

The Heavy Oran Mor, 19:00–22:00, £10

Bath-based alternative funk lot dosing out a mix of guitar-heavy rock using crunchy guitar, horns and Curtis Mayfield-like vocals.

King Tut’s, 20:00–23:00, £8.0

Young NYC singer/songwriter known for his pop covers, who also plays piano, guitar and drums.

March 2013

THE SKINNY 55

LISTINGS

Tue 26 Mar

The Cosmic Dead

Everclear

The Glaswegian space rockers par excellence take to their spiritual home of the 13th Note.

Poizon, Gallus Cooper, Talk Of The Devil, Forever Young

13th Note, 20:00–23:00, £tbc

O2 ABC, 19:00–22:00, £16.50

The Portland, Oregon rockers mark the 20th year since their formation, playing a set of balls-oot anthems.

Voodoo Six (Toby Michaels Rolling Damned, Alvano) King Tut’s, 20:30–23:00, £8

London-based hard rockers currently in the midst of their UK headline tour, ahead of some teased-at worldwide tour announcements.

Scotland Yard (Gerry Cinnamon, Robert Kilpatrick, Dean Hardie, Christine Gee, Andrew Linning)

Aye, that bird offa X Factor with the wailing voice. Look busy.

Sat 30 Mar

Glasgow ensemble whose noise is composed of a congregation of chanting and unifying energy with a street edge.

Jake and the Jellyfish (The Walking Targets, Cami, The Buddhist Punks) Nice ‘n’ Sleazy, 19:30–23:00, £5

Four Yorkshire lads of the reggaetinged, folk-punk persuasion.

Fiction Broadcast, 20:00–23:00, £7.50 adv.

Angular post-punk quintet taking their debut album, The Big Other, to the road proper.

Kobi (Cherri Fosphate, The Upbeats Beatdown) Nice ‘n’ Sleazy, 19:30–23:00, £5

Earnest and engaging alternative rock from up’t north.

RM Hubbert CCA, 20:00–23:00, £7

The Chemikal Underground instrumental guitar virtuoso plays a rare seated headline show of tracks from his latest LP, which features all sorts of inspired collaborations to complement his intricate Flamenco guitar playing.

Umberto (Hausfrau) Kinning Park Complex, 20:00–22:30, £6

Wed 27 Mar Glasvegas King Tut’s, 20:30–23:00, £20

Boom-voiced James Allan and co do their thing, cue glacial guitars, heavyweight lyrics and mass audience singalongs.

Alfie Boe SECC, 18:30–22:00, £tbc

The Blackpool-born tenor, and one-time car mechanic, does his refreshing take on the classical genre.

FUTUREPROOF O2 ABC, 19:00–22:00, £10

Three London chaps riding along on their own inimitable bass-infused, electronic pop sounds, played out via their usual energetic live perfomance.

The Black Crowes O2 Academy, 19:00–22:00, £sold out

The American rockers take to the UK as part of their current world tour, to coincide with which you can download a live version of Under a Mountain via their website.

Crywank 13th Note, 20:00–23:00, £tbc

Manc chap James Clayton’s antifolk alter ego, going by the touching moniker of, er, Crywank.

Bronagh and the Boys Nice ‘n’ Sleazy, 19:30–23:00, £5

Glasgow-based pop-meets-folk outfit led by young Belfast songstress Bronagh Monahan.

Anna Sweeney

Red Jumpsuit Apparatus King Tut’s, 20:00–23:00, £8.50

Florida-formed punk-rock ensemble who started life as two brothers (Ronnie and Randy) and two acoustic guitars, now a fullyfledged quintet.

Nai Harvest (The Sinking Feeling, Carson Wells, Julliard) 13th Note, 20:00–23:00, £5

Sheffield-based emo lot, perhaps best known for being nominated as Brit 2012’s most handsome band.

FYI, they lost.

I Am I Stereo, 19:00–22:30, £10 adv.

Heavy metal noisemakers featuring a certain ZP Theart, formerly of Dragonforce.

Lapalux Broadcast, 20:00–23:00, £6 adv.

Fri 29 Mar Rio Callahan Broadcast, 20:00–23:00, £tbc

Expert dose of layered harmonies and instruments from the Glasgow indie-pop six-piece.

Dead Sea Souls (The Antics) Singalong West Lothian quartet touting their funky ska wares across the Central Belt since 2006.

2-tone ska revival band formed in Coventry back in 1979, back on the live circuit.

Cymbollox (Kwak)

Picture House, 19:00–22:00, £sold out

The Bishopbriggs lass plays a sold out date in support of her new album, Life In A Beautiful Light.

Kevin Montgomery (Little Kingdom)

King Tut’s, 20:30–23:00, £7

Edinburgh-based hip-hop producer currently signed to the LuckyMe label.

Scottish Fiction Presents: Aye Tunes Vs Peenko (Le Thug, Saint Death, Pinact) 13th Note, 20:00–23:00, £6

Local bloggers Scottish Fiction, Aye Tunes and Peenko return for their monthly music showcase night, this time headlined by abrasively ambient Glasgow lot Le Thug, full of glitchy clicks and squeaks.

The Plimptons’ Farewell Show (Esperanza, The Girobabies, Colonel Mustard and the Dijon 5, Eddy and the T-Bolts, The Bucky Rage, Scunner, Orphans)

London and Norwich-straddling country-rock lot, who’ve already stamped their maverick countryrock brand on the young Camden Town scene.

Sun 31 Mar Kodaline King Tut’s, 20:00–23:00, £10

Dublin-based indie-rock quartet who use their music as a form of therapy (i.e. they write about break-ups).

Chas & Dave O2 ABC, 19:00–22:00, £20

Cockney duo formed back in’t 1972, playing what they term ‘rockney’.

Crippled Fox (FxAxSxTx, xSAXONx) The Hungarian thrash metalers take to the UK to promote their new LP, with a duo of hardcore support.

Lloyd James Fay (The Minor Operations) Nice ‘n’ Sleazy, 19:30–23:00, £3

Acoustic set from Thula Borah’s Lloyd James Fay, presenting solo material from The Black River Chronicles – reflecting on his formative years, childhood stories and forlorn first loves in suburban Lanarkshire.

Teen (Honeyblood) Broadcast, 20:00–23:00, £8 adv.

Brooklyn-based project of Kristina ‘Teeny’ Lieberson, intent on exploring the minutiae of drone via primitive drums, varying melodies and shrill keyboards.

March 2013

The Liquid Room, 19:00–22:00, £15

Wee Red Bar, 19:00–22:00, Free

Country, folk and rock-styled acoustic US singer/songwriter.

Rock’n’roll and heavy metal covers from the rather wonderfullynamed Cymbollox... We’re easily amused.

Limbo (Conquering Animal Sound, Pumajaw, Plum)

Wed 06 Mar

The Voodoo Rooms, 20:00–22:30, £7 adv.

Henry’s Cellar, 20:00–23:30, £6 adv. (£10 door)

The Travelling Band (Ellen and the Escapades, The Holy Ghosts) Electric Circus, 19:00–22:00, £7.50 adv.

Manchester alternative folkies, all shimmering and harmonic in their understated psychedelia kind of way.

Adam Holmes and The Embers

The Voodoo Rooms, 19:30–23:00, Free

Rootsy-pop singer/songwriter Adam Holmes plays accompanied by his five-strong band of players, The Embers.

Thu 07 Mar

The Queen’s Hall, 19:30–22:00, From £10

13th Note, 20:00–23:00, £tbc

More deconstructed pop soundscapes from the electronic music-maker (aka Stuart Howard), rich with the trademark Lapalux finish of infectious, lopsided swing and achingly deep texture.

Amy MacDonald

The Glad Cafe, 20:00–22:30, £5

Glasgow-based electronic pop producer Jonnie Common (aka he of the sonic boom of majestic devilry) plays a double-headline set with electro-disco chap GRNR, mostly comprised of beard, laptops and flashy lights.

S-Type

Broadcast, 20:00–23:00, £12.50

Thu 28 Mar

The Selecter

Safehouse (The Sunshine Delay, Six Storeys High)

Stereo, 15:00–22:30, £7

Broadcast, 20:00–23:00, £tbc

Tue 05 Mar

Otherworldly electronic muso Umberto (aka Matt Hill) plays a special set, weaving his usual hypnotic musical web. Support comes from members of Organs of Love and Aggi Doom in their new Hausfrau guise.

Jonnie Common and GRNR

Playful DIY pop offerings from the Glasgow-based mainstays, on the go since 1999, now calling it a day with one last blow-out – for which they’ll be joined by a selection of pals.

The Rockingbirds

Young Glasgow singer/songwriter straddling the line somewhere between folk, pop and country.

56 THE SKINNY

Four-strong line-up of rock tribute acts, taking in Poison, Alice Cooper, Ozzy Osbourne and AC/ DC tunes.

Janet Devlin O2 ABC, 19:00–22:00, £tbc

13th Note, 20:00–23:00, £tbc

King Tut’s, 20:30–23:00, £6

Classic Grand, 18:30–23:00, £10

E D I N B U R G H music

The Voodoo Rooms, 19:00–23:00, £8

Classic blues rock drawing influences from the 60s, rock, blues, psych and beyond.

Scottish Chamber Orchestra: Goerne sings Schubert Booming baritone Matthias Goerne takes in Shubert’s Symphony No 5, amongst others.

Róisín Tuohy (Donna Maciocia, Hannah O’Reilly) Wee Red Bar, 19:00–22:00, £5

The young Edinburgh (and Montreal-living of late) singer/ songwriter returns home, playing a special hometown gig in celebration of the release of her new EP. The Victorian Trout Conspiracy, Jamie and Shoony, Alba Roma The Liquid Room, 19:00–22:00, £5 adv. (£6 door)

A night of ska, Balkan beats and sweat-drenched dancefloors, as it should be.

Fri 08 Mar Electric Circus Live Lounge (The Last September, Michael MacFarlane)

Beloved gig-in-a-club night, this time boasting a headline set from lo-fi Glasgow noisemakers Conquering Animal Sound – all loops, samples, and intricatelybuilt melodies – marking the launch of their second album, On Floating Bodies.

Sun 10 Mar North with the Lights by the Sea Old Chain Pier, 19:00–21:30, £4

Live and unplugged music showcase of the indie-folk variety, this time featuring jazz and folk-inflected songstress Caro Bridges and the River, alongside the imaginative songcraft of Kite and the Crane.

The Magic Band Picture House, 19:00–22:00, £18

Original members Denny Walley, Mark Boston and John French celebrate the music of the late Don Van Vliet (aka Captain Beefheart), sharing the stage with guitarist Eric Klerks and drummer Craig Bunch to re-visit the classic tunes with renewed fervour.

Tue 12 Mar RICK REDBEARD ELECTRIC CIRCUS, 19:00 – 22:00, £7 ADV.

The Phantom Band’s Rick Redbeard (aka Rick Anthony, last seen eating chips on our January issue’s cover) plays a solo set, cherry-picking tracks from his debut album No Selfish Heart.

The Lagan (The Wakes, Babylon Dub Punks) Henry’s Cellar, 19:00–22:00, £5

More beer-soaked Celtic punk offerings from the London-based ensemble, combining folk instruments with more contemporary rock soundscapes.

Wed 13 Mar

Electric Circus, 19:00–22:00, £2

Yellowjackets (Trio Red)

The Queen’s Hall, 20:00–22:30, £17 (£15)

The Grammy Award-winning electro-acoustic jazz ensemble return to Scotland many years since their last visit.

Fortune’s Acoustic Sessions

Acoustic-styled musical variety show hosted by HP ‘the sauce’ Neilson.

Gretchen Peters (Ben Glover) The honey-toned American singer/ songwriter does her countrified folk thing.

This Feeling The Voodoo Rooms, 19:30–23:00, Free

The favourited London rock’n’roll night takes a trip to Scotland, with a selection of live bands taking to the stage.

The Sound Projects (The Creeping Ivies, Saint Max and the Fanatics) Wee Red Bar, 19:00–22:00, £6 (£5)

Bi-monthly music night, this time featuring Dundee-based rock’n’roll duo The Creeping Ivies, amongst others.

Bad Fun (Jonnie Common, River Of Slime, Shift-Static) Henry’s Cellar, 19:00–22:00, £5

Music blogger Song, By Toad’s hosts his monthly music night, this time featuring sonic boom of majestic devilry from Glasgow producer Jonnie Common, joined by FOUND’s beatmaker-general, River of Slime, and Newcastle newcomers Shift-Static.

Sat 09 Mar Thank You So Nice (Arran Arctic, The Occasional Flickers ) Henry’s Cellar, 19:00–22:00, £3

The experimental Edinburgh indiepoppers do their happy-happyjoy-joy sound of a thing.

Rolled Up 20’s (Dusty Keys, The Litigators) The Cabaret Voltaire, 19:00–22:00, £5

Slick riffs a-plenty from the Edinburgh rock quartet, heavily influenced by British rock’n’roll.

The Queen’s Hall, 20:00–22:30, £17.50

Pivo, 20:00–23:00, Free

All-acoustic showcase night, this time featuring the talents of soulful lass Rebecca Sheering and The Green Tambourine Band’s own brand of psychedelic riffs.

Thu 14 Mar Inspiral Carpets The Liquid Room, 19:00–22:00, £20

The psychedelic Manc rockers re-group with original singer Stephen Holt, back touring their first selection of new material in 15 years (plus some classics, naturally).

Nick Garrie, The Starlets, Ally Kerr Henry’s Cellar, 19:30–23:30, £5

Special night of song featuring cult singer/songwriter Nick Garrie, a full band set by The Starlets and the richly melodic Mr Ally Kerr.

Fri 15 Mar Ded Rabbit (The Mickey 9’s, Brave Young Red, Simple As Funk) Henry’s Cellar, 19:00–22:30, £tbc

Band of brothers playing an eclectic mix of indie and sax funk at their monthly curated night, joined by a selection of handpicked bands.

Quiet As A Mouse Wee Red Bar, 19:00–22:00, £3

Edinburgh-based indie, alternative and country-styled quartet playing a cheapie £3 show.

Clannad (Brian Kennedy)

The Queen’s Hall, 19:00–22:00, £23.50

Longstanding Irish ensemble mixing the traditional and the modern, consisting of family members who began by drawing inspiration from their home in the remote northwest coast of Ireland.

Rally & Broad (Miriam Gamble, Lach, Colin McGuire, Benofficial, Miko Koko) Counting House, 20:00–01:00, £5

The celebration of spoken word, music, and other such lyrical loveliness returns for 2013, taking in spoken word from Miriam Gamble, Colin McGuire, Benofficial and Miko Koko, plus live music from anti-folk chap Lach.

RSNO: Jarvi Conducts Tchaikovsky Usher Hall, 19:30–22:00, From £11.50

Legendary RSNO conductor Neeme Jarvi takes in Tchaikovsky’s Manfred Symphony, amongst other pieces.

The Hot 8 Brass Band The Voodoo Rooms, 20:00–23:00, £14

New Orleans-based brass band play authentic New Orleans jazz mixed with various world styles.

The Lost Souls Club (Pirate Sons) The Cabaret Voltaire, 19:00–22:00, £5

More fuzzed-out rock’n’roll soundscapes from the Southhampton quartet, energized with a psychedelic twist.

Landings Sneaky Pete’s, 19:00–22:00, £4

Alternative acoustic tunes from Landings (aka James Campbell) on guitar, drums and song, launching his new album proper, accompanied by live action stills of demolition in Muirhouse.

Sat 16 Mar Nina Nesbitt The Liquid Room, 19:00–22:00, £9

Half-Swedish, half-Scottish singer/songwriter in possession of a fine technical agility and emotive style, fresh from touring with Ed Sheeran.

Scottish Chamber Orchestra: Das Lied von der Erde The Queen’s Hall, 19:30–22:00, From £10

Acclaimed new chamber orchestra version of Mahler’s large-scale work, Das Lied von der Erde, premiered at the BBC Proms.

Nicola Benedetti Usher Hall, 19:30–22:00, From £15

The acclaimed violinist returns to Scotland with a new recital programme featuring music from her new album, The Silver Violin.

Wife (Red Death, Magic Eye) Wee Red Bar, 19:00–22:00, £6

The singer of heavy metal lot Altar of Plagues, James Kelly, presents his solo off-shoot – a much subtler soundscape of dusky twilights sounds.

Maryjean Lewis and the Starlights The Voodoo Rooms, 19:30–23:00, £12

Rootsy-rockin’ band of Scots, led

by Mary Jean Lewis’ live energy.

Torino, ONZLO, Justified Sinners Henry’s Cellar, 19:00–22:00, £5

Showcase night of classic rock, as is only right.

Made of Glass (Gymnast) Electric Circus, 19:00–22:00, £5 adv.

The ‘burgh acoustic electronic Edinburgh duo fuse together their usual mix of catchy synthetic melodies, intricate lyrics and haunting vocals.

Sun 17 Mar Dunedin Consort: Matthew Passion The Queen’s Hall, 19:00–22:00, From £12

The Dunedin Consort perform St Matthew Passion by JS Bach for the thirteenth year in succession.

Ulrich Schnauss (Marconi Union, Dextro) Electric Circus, 19:00–22:00, £10 adv.

Electronic composer and producer based in Germany, known for his atmospheric synth meanderings.

Mon 18 Mar Brodsky Quartet The Queen’s Hall, 19:45–22:00, From £12

The renowned quartet celebrate their 40th anniversary with a unique programme selected from the quartet’s favourite 40 works.

Tue 19 Mar

Resonate: Jazz The Queen’s Hall, 19:30–22:00, £7 (£3)

Special jazz programme for which Edinburgh Schools Jazz Orchestra and vocalists are joined by young jazz performers from schools in the Queensferry area.

Wed 20 Mar Resonate: Traditional Music The Queen’s Hall, 19:30–22:00, £7 (£3)

Youth event showcasing the wealth of traditional musicmaking in local schools, for which they’ve armed ‘em with 40 double basses. The joy.

Fracas, Diddums, Facehandle, Et tu Brutus Henry’s Cellar, 20:00–00:00, £5

Hardcore punk selections handpicked by the House Of Crust.

Thu 21 Mar Found The Caves, 22:00–00:30, £6

The Edinburgh skewed-pop trio take to the cavernous surrounds of The Caves to preview tracks form their third album, for which they worked with Chem19’s Paul Savage.

The Asps The Voodoo Rooms, 20:30–23:00, £4

Edinburgh-based electro-rockers led by PJ Dourley.

The Click Clack Club Henry’s Cellar, 20:00–23:30, £tbc

Occasional experimental music club bringing the good times with their Beefheart-inspired experimental funk.

Resonate: Symphonic Finale The Queen’s Hall, 19:30–22:00, £7 (£3)

Grand Symphonic Finale for the Resonate schools programme, featuring both the Edinburgh Schools Wind Ensemble and the Edinburgh Secondary Schools Orchestra.

Les Mistons

Sun 24 Mar Roddy Woomble (Snowgoose) Electric Circus, 19:00–22:00, £14 adv.

The Idlewild frontman plays solo acoustic, drawing on songs from his solo albums, as well as handpicking tracks from the Idlewild back catalogue.

Beth Nielson Chapman The Queen’s Hall, 19:00–22:00, £22

The Nashville songstress tours her new song-borne children’s guide to astronomy, The Mighty Sky. Mike Keneally (Godsticks) The Voodoo Rooms, 19:30–23:00, £15

The former Zappa guitarist and current raving genius takes to the road solo.

Easter (The Graveyard Band) Henry’s Cellar, 19:30–23:30, £5

90s-inspired lo-fi alternative rockers from Manchester.

Mon 25 Mar Alfie Boe Edinburgh Playhouse, 19:30–22:00, £sold out

The Blackpool-born tenor, and one-time car mechanic, does his refreshing take on the classical genre.

Go!Zilla Bannermans, 20:00–23:00, £5

Fledgling psychedelic duo formed in Florence at the beginning of 2012, influenced by West Coast sounds and 60s garage.

Eric Pulido Electric Circus, 19:00–22:00, £7.50 adv.

Midlake’s strummer par excellence plays a solo set, his electric guitar packing its usual affective punch.

Tue 26 Mar The Kiks (The Modests, Kirsty Marquis) Electric Circus, 19:00–22:00, £6 adv.

Young Edinburgh indie-rockers touring on the back of their debut EP.

Wed 27 Mar

Electric Circus, 19:00–22:00, £6 adv.

David Ford

Fri 22 Mar

East Sussex singer/songwriter adept at melodic pop that pulls at the old heart strings, touring on the back of his fourth solo album.

Stereophonics

World-tinged east London trio who’ve played pretty much every sweatbox in Shoreditch and Camden.

The Hazey Janes (Eugene Twist, Michael Marra, Riley Briggs) The Queen’s Hall, 19:30–22:00, £12 (£10)

Shiny Dundee four-piece trading in relentlessly upbeat rhythms and sweet boy/girl harmonies, fresh from supporting Wilco at the end of 2012.

RSNO: Oundjian Conducts Má Vlast Usher Hall, 19:30–22:00, From £11.50

Conductor Peter Oundjian leads a recital of Bedrich Smetana’s Má vlast.

Palma Violets The Liquid Room, 19:00–22:00, £9

South London garage-rock quartet, based on the musical partnership of frontmen Sam Fryer and Chilli Jesson.

Sat 23 Mar Transmission The Voodoo Rooms, 19:30–23:00, £8

Joy Division tribute act.

The Deep Red Sky (The Raptors) The Cabaret Voltaire, 19:00–22:00, £5

The energetic Scottish alternative rockers launch their debut album, Plans, chock with guitars, glock, keys and three-part harmonies.

Gabriel Prokofiev and Peter Gregson The Queen’s Hall, 20:00–22:30, £15 (£12)

Composer Gabriel Prokofiev and cellist Peter Gregson present the Scottish premiere of their collaborative album, Cello Multitracks.

Erskine Stewart’s Melville Schools: Verdi’s Requiem Usher Hall, 19:30–22:00, £13 (£9)

Erskine Stewart’s Melville Schools present Verdi’s The Messa da Requiem – originally composed in memory of Italian poet and novelist Alessandro Manzoni – featuring a combined choir of more than 300 young voices.

Cherry Suede Electric Circus, 19:00–22:00, £10 adv.

Canadian pop-meets-rock outfit combining the sincerity of rock with the glamour of pop.

Electric Circus, 19:00–22:00, £12 adv.

Usher Hall, 19:00–22:00, £sold out

After their pre-Christmas mini tour, the Welsh rockers take to the road armed with their recentlydropped new album, Graffiti On The Train.

Edinburgh Quartet The Queen’s Hall, 19:30–22:00, £15 (£12)

The Scottish string quartet return for the second of three concerts celebrating the centenary of Benjamin Britten’s birth in 2013.

Lach’s Antihoot Radio Night Henry’s Cellar, 19:30–23:00, £5

Spoken word maestro Lach curates his own show, featuring music and comedy presented in the style of old time radio shows – recorded live on the night for a future podcast.

Thu 28 Mar Tommy Emmanuel and Martin Taylor The Queen’s Hall, 19:30–22:00, £20

Fingerstyle guitarist Tommy Emmanuel joins forces with virtuoso acoustic guitarist Martin Taylor.

Hotstuff and the Eyecandy, La Fin Absolute du Monde Henry’s Cellar, 19:30–23:30, £5

A double bill from Foolscircle Records, featuring dirty hot electro power pop Glaswegians Hotstuff and the Eyecandy, alongside neo-noir US duo La Fin Absolute du Monde.

Fri 29 Mar The Doors Alive Picture House, 18:00–22:00, £13

The Doors tribute act.

Gerry Jablonski and The Electric Band

The Voodoo Rooms, 19:30–23:00, £8

Electric blues-styled ensemble hailing from Aberdeen.

Die! Die! Die! (Black International) Wee Red Bar, 19:00–22:00, £7 (£6)

New Zealand pop-punk hellraisers known for their vitriolic live cacophony of noise.

Neu! Reekie! (TeenCanteen, Douglas Dunn, David Kinloch) Summerhall, 19:00–22:15, £7

Second March outing for the stellar night of avant-garde poetry, music and film, with sets from sunny all-girl popsters TeenCanteen and Scottish poets Douglas Dunn and David Kinloch, plus a mystery guest (to be revealed in The Skinny’s e-newsletter).

In Mirrors The Caves, 19:00–22:00, £5

The Edinburgh-based alternative progressive outfit perform and record their first ever live album, live at The Caves.

Edinburgh College Student Night (The Two Bear Mambo, Teenage China, The Unpeople) Electric Circus, 19:00–22:00, £3 adv.

Student band night run by students, for students – featuring a selection of fledgling band talent.

Steve Heron: Video Screening Party (Universal Three) Sneaky Pete’s, 19:00–22:00, £5

The Edinburgh singer/songwriter and his band play a set of their trademark melodramatic pop, coinciding with a screening of the video for new single, Picturesque.

Sat 30 Mar Bombskare (Super Adventure Club, Pikey Beatz) Studio 24, 19:00–23:00, £8 adv. (£10 door)

Edinburgh’s original nine-piece ska juggernaut – known for reaching zero to 60 in the space of three chords, or something impressive like that – take to a live setting following the release of their new single.

Dead Echoes The Cabaret Voltaire, 19:00–22:00, £5

Multi-influenced hard rock, progressive and grunge quintet hailing from the ‘burgh.

Dirty Red Turncoats, The Fnords, The Bucky Rage Wee Red Bar, 19:00–22:00, £5

Raggle-taggle night of dirty garage, punk, surf and Buckfastfuelled wrestling chaos from a trio of east and west coast bands.

Madhat Macgore, Hector Bizerk, Mog, SilverTongue, Werd, Nity Gritz, Subkonsious, Toni Smoke Henry’s Cellar, 19:00–01:00, £8 (£5)

Showcase night of all-Scottish hip-hop, with eight talented acts under one roof.

The Sensational David Bowie Tribute Band Electric Circus, 19:00–22:00, £8 adv.

Er, a David Bowie tribute act. We hear they’re sensational.

Sun 31 Mar Fatalists (Birdhead, Ultimate Slaymaster, Billy Ray Osiris ) Henry’s Cellar, 19:30–23:30, £tbc

Edinburgh-based alternative noisemakers celebrating all things loud and quiet, and flickin’ two fingers to anything inbetween.

dundee music

Beat Generator Live!, 20:00–22:30, £10 adv.

Absolute Bowie

Glasgow

CLUBs

Tue 05 Mar

Kino Fist

Osmium

Wed 20 Mar

Killer Kitsch

Nice ‘n’ Sleazy, 23:30–03:00, £3

Friendzy

Electronic music of all ages, for all ages.

Voodoo Voodoo

Genre-spanning mix of 60s psych, leftfield pop and Krautrock with resident Charlotte (of Muscles of Joy).

Propaganda

Blackfriars Basement, 23:00–03:00, £3 (£4 after 12)

Thu 28 Mar

Asylum

David Bowie tribute act.

Picnic Baskett Nosedive (Panic

By Flare, Darren Campbell)

Tue 05 Mar

Sat 16 Mar

The Stranglers

Beat Generator Live!, 19:30–22:30, £5 adv.

Best of selection of rock, metal and alternative.

Fat Sam’s, 19:00–22:00, £23

The Begbies (Pilgrims Carnival, Soldier On)

Thu 07 Mar

Indie-inspired alternative punk quintet hailing from the fiery musical furnace of Livingston.

Kid Canaveral (Man Without Machines, Randolph’s Leap, Luna Webster)

The long-standing punk-rockers take to the road for the month of March, playing 23 dates across the UK – kicking off with a quartet of gigs in bonnie Scotland.

Truman’s Revenge, Regiment 7, What The Blood Revealed, Proud Honey Non-Zero’s, 19:30–22:00, £tbc

Raggle-taggle showcase night taking in bands from Dundee, Scotland and further afield.

Fri 08 Mar The Murderburgers (The Walking Targets, Maxwell’s Dead, Trails, Robot Doctors) Kage, 19:30–22:00, £5

Glasgow’s own pop-meets-punk princes take to the fore with another reliably unique brand of upbeat bangers.

Def Con One (Excellent Cadaver, Primal Visions) Beat Generator Live!, 19:00–22:30, £6

Newcastle metal quartet incorporating old school rock, modern metal and proper punk sounds into their mix.

Sat 09 Mar Everybody Looks Famous (Next Stop Atlanta, Sunrise Shanghai, Two For Flinching, Wee Seek Brightness) Beat Generator Live!, 19:00–22:30, £5

Female-fronted pop-meets-rock quartet armed with singalong anthems ripe for a live setting.

Thu 14 Mar The Arteries (Uniforms, Cleavers, The Shithawks) Kage, 19:30–22:00, £5

The Arteries return to Dundee for the first time since headlining Book Yer Ane Fest V back in 2011, their hard-edged melodic punk rock’n’roll soundscapes all well and in place.

Non-Zero’s, 19:30–22:00, £5

Beat Generator Live!, 19:30–22:30, £6 adv.

The affable indie-pop chaps and chapesses bring the singalong joy to Dundee, following their double dose of album launches at Glasgow’s Glad Cafe earlier in the month.

Balloch and Dumbarton-straddling pop-punk noisemakers who describe their sound as ‘shitey mosher music’.

Fri 29 Mar Stop The Clocks Beat Generator Live!, 20:00–22:30, £7 adv.

Oasis tribute act.

Sat 30 Mar Anti-Pasti (The Eddies) Beat Generator Live!, 20:00–22:30, £9 adv.

Sun 17 Mar

British punk ensemble founded by vocalist Martin Roper and guitarist Dugi Bell back in’t day (aka 1978).

The Ruts DC (The Spitfires)

Sun 31 Mar

Reading Rooms, 22:30–02:30, £12 adv.

Offshoot of reggae-influenced punk-rockers The Ruts, formed in 1981 after the original bands demise.

Thu 21 Mar Go!Zilla (Shoogar, The Rag N Bone Man)

Umberto (Stefan Blomeier, Raz Ullah) Redd, 20:00–22:30, £7 (£5)

Otherworldly electronic muso Umberto (aka Matt Hill) plays a special set, weaving his usual hypnotic musical web.

Kage, 23:00–02:30, £4

Fat Sam’s, 22:30–03:00, £3.50

Messy student midweeker of party tunes and jelly shots.

Fri 22 Mar Headway (KiNK) Reading Rooms, 22:30–02:30, £8 adv.

Innovative Bulgarian producer KiNK mans the Headway decks, well kent for incorporating some of the best examples of underground house into his production.

Fat Sam’s Fridays Fat Sam’s, 20:00–03:00, £8

Party-styled Friday nighter soundtracked by beat-heavy house and electro playlists.

Sat 23 Mar Locarno Reading Rooms, 22:30–02:30, £5 (£7 after 12)

Rockabilly, doo-wop, soul and all things golden age and danceable with the Locarno regulars.

Fat Sam’s Saturdays Fat Sam’s, 21:00–03:00, £6

Fledgling psychedelic duo formed in Florence at the beginning of 2012, influenced by West Coast sounds and 60s garage.

D U NDEE CLUBS

Sat 23 Mar

Wed 06 Mar

Best of selection of rock, metal and alternative.

Friendzy

Wed 27 Mar

Non-Zero’s, 19:30–22:00, £tbc

Cherry Bombz Non-Zero’s, 19:00–22:00, £5

The female-fronted covers band headline a charity night in aid of Maggie’s Cancer Caring Centres, with support from Blue Remedy Steve Murphy and Euan Ross.

Vladimir (The New Fabian Society, Edinburgh School For The Deaf, The Shithawks) Beat Generator Live!, 19:30–22:30, £5

Noisy indie-rock ensemble from Dundee, launching their new EP on the night.

Fat Sam’s, 22:30–03:00, £3.50

Messy student midweeker of party tunes and jelly shots.

Massive Saturday night party spreading its wares over three floors and no less than six rooms.

Asylum Kage, 23:00–02:30, £4

Friendzy Fat Sam’s, 22:30–03:00, £3.50

Fri 08 Mar

Messy student midweeker of party tunes and jelly shots.

Fat Sam’s Fridays

Fri 29 Mar

Fat Sam’s, 20:00–03:00, £8

Party-styled Friday nighter soundtracked by beat-heavy house and electro playlists.

Kaos Kage, 23:00–02:30, £4

Brand new night exploring new music and the bands that inspired them, and the bands that in turn inspired them... And so on for eternity.

Sat 09 Mar Spektrum: 2nd Birthday Reading Rooms, 22:30–02:30, £8 adv.

The showcase night for electronic DJs and producers from across the globe celebrates its second birthday, bolstered by a live set from raggle-taggle live disco bunch Crazy P. Fat Sam’s Saturdays Fat Sam’s, 21:00–03:00, £6

Massive Saturday night party spreading its wares over three floors and no less than six rooms.

Asylum Kage, 23:00–02:30, £4

Best of selection of rock, metal and alternative.

Wed 13 Mar Friendzy Fat Sam’s, 22:30–03:00, £3.50

Messy student midweeker of party tunes and jelly shots.

Fri 15 Mar Bleep Reading Rooms, 22:30–02:30, £5 (£7 after 11.30)

Ear-bleeding electronic beats ‘n’ bleeps from the residents, joined by a selection of local talents.

Fat Sam’s Fridays Fat Sam’s, 20:00–03:00, £8

Party-styled Friday nighter soundtracked by beat-heavy house and electro playlists.

Gorilla In Your Car

CTRL ALT DFT Reading Rooms, 22:30–02:30, £tbc

Electro musings with a danceable beat, with Clouds and Ado sharing deck duty.

Fat Sam’s Fridays Fat Sam’s, 20:00–03:00, £8

Party-styled Friday nighter soundtracked by beat-heavy house and electro playlists.

Entropy: 9th Birthday Kage, 23:00–03:00, £4

The finest in underground punk, emo and ska, as the veteran punk club celebrates its 9th birthday.

Sat 30 Mar Slam Reading Rooms, 22:30–01:30, £10 adv.

Producer/DJ duo Slam (aka Stuart McMillan and Orde Meikle) make a welcome return to Dundee, sharing deck duty over a four-hour set of underground techno.

Fat Sam’s Saturdays Fat Sam’s, 21:00–02:00, £6

Massive Saturday night party spreading its wares over three floors and no less than six rooms.

Asylum Kage, 23:00–01:30, £4

Best of selection of rock, metal and alternative.

Sun 31 Mar Xtra (Koen Groeneveld) Reading Rooms, 22:30–03:30, £10 adv. (£14 thereafter)

Xtra celebrate Easter weekend with an all-out party night manned by tech-orientated EDM maestro, Koen Groeneveld, blending elements of tech house, techno, house and minimal.

Buff Club, 23:00–03:00, £5 (£3)

Nice ‘n’ Sleazy, 23:30–03:00, Free

Student-orientated night playing the best in new and classic indie music.

Cathouse Fridays

The Garage, 23:00–03:00, £5 (£3)

Rock, metal, punk and emo over two levels, with the residents manning the decks.

Badseed

New Tuesday nighter with DJ Garry playing a selection of dancefloorfriendly anthems.

I AM (Greenman) Sub Club, 23:00–03:00, £tbc

Resident young guns Beta & Kappa play the usual mix of electronica and bass, joined by versatile turntablist chap Greenman – who’ll be flitting between soul, funk, reggae, hip-hop, garage, dubstep, jungle, and anything else he damn well fancies.

Wed 06 Mar 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, £tbc

Weekly student night, with residents Ray Vose and Desoto hosting a residents-only party night.

Funk’d Buff Club, 23:00–03:00, £4 (£3)

All-new Wednesday nighter with Sean Chan playing bangin’ house only.

International Oreo Cookie Day Party The Garage, 23:00–03:00, £5 (£3)

Special Wednesday nighter celebrating International Oreo Cookie Day (yep, it’s a thing) – at which you can win your height in cookies.

Thu 07 Mar Misbehavin’ Cathouse, 23:00–03:00, £4 (£2)

Monthly mish-mash of electro, dance and dirty pop with DJ Drucifer.

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 new home of Classic Grand.

Cryotec Classic Grand, 23:00–03:00, £3

Monthly dose of industrial, EBM and electronic. We hear it’s very danceable.

Jellybaby O2 ABC, 23:00–03:00, £3 adv. (£5 door)

Chart, disco and party tunes. Can’t say fairer.

Boom Thursdays The Garage, 23:00–03:00, £5 (£3)

Chart and indie anthems, plus a live Twitter feed where you can log tune requests (#Garagelive).

The Afterparty Buff Club, 23:00–03:00, £4

Euan Neilson handpicks a selection of classic R’n’B and hip-hop.

Shore Nice ‘n’ Sleazy, 23:30–03:00, Free

Eclectic new party night playing everything from the electronic aquatic funk of Drexciya to the outer-space jazz of Sun Ra. R.U.IN Thursdays Cathouse, 23:00–03:00, £4 (£2)

A floor of rock and metal, plus guest DJs mixing it up in the Jager Bar. Vicious Creatures (Daniel Bortz) Sub Club, 23:00–03:00, £tbc

Hardcore, emo, punk and scenester selections. Also perhaps the best-named club night in Dundee’s existence.

All-new party night intent on breaking free from the chains of normality, featuring a rare outing from the Suol and Pastamusik star Daniel Bortz.

Sat 16 Mar

Fri 08 Mar

Esa Williams

Old Skool

Kage, 23:00–02:30, £4

Reading Rooms, 22:30–02:30, £tbc

The Africa-born, Glasgow-residing talent that is Esa Willaims plays a set of his trademark Afrobeat, tech-stomping, rhythm-smashing soundwave.

Fat Sam’s Saturdays Fat Sam’s, 21:00–03:00, £6

Massive Saturday night party spreading its wares over three floors and no less than six rooms.

O2 ABC, 23:00–03:00, £4

Duncan Harvey plays a mix of vintage rock ‘n’ roll, sleazy R’n’B, swing, soul, surf and pop from a bygone age.

TV Tuesday

Buff Club, 23:00–03:00, £7 (£6)

Connoisseur’s mix of old-school jazz, funk and soul.

Damnation Classic Grand, 23:00–03:00, £6

Two floors of the best in punk, metal and alternative tunes.

Cathouse, 22:30–03:00, £6 (£5)

Slouch, 23:00–03:00, Free

Badass mix of indie, rock and electro with DJ Heather McCartney.

Common People The Flying Duck, 23:00–03:00, Free (£5 after 11)

Celebration of all things 90s, with hits a-plenty and a pre-club bingo session.

Booty Call The Garage, 23:00–03:00, £5 (£3)

Mixed bag of indie, rock, underground hip-hop and chart classics across four 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.

Justin Robertson The Berkeley Suite, 23:00–03:00, £5 adv.

The Manc DJ, remixer and electronic music producer mixes it up across areas of dancehall, house and art-pop.

The Shed Fridays Shed, 22:30–03:00, £6 (£4)

Pop and chart hits with Andy Robertson in the main room, plus DJ Del playing the ol’ hippity-hop in the Red Room.

Last Bus Home The Flying Duck, 20:00–23:00, Free

Early evening club night playing dancing tunes without the worry of losing out on your beauty sleep.

And, yes, you’ll make the last bus home.

CryptiQ (Lucy, rose) SWG3, 21:00–02:00, £10 adv. (£10 door)

The CryptiQ lot take to the ubercool Finnieston warehouse space with a double dose of guests in the form of Stroboscopic Artefacts founder Lucy and Sandwell District’s phantom figure, Rose, whose identity is a closely guarded secret.

Return To Mono (Anja Schneider) Sub Club, 23:00–03:00, £2 adv.

Monthly night from Soma Records, with producer/DJ duo Slam (aka Stuart McMillan and Orde Meikle) joined by Berlin minimal maven and Mobilee matriarch Anja Schneider.

Catch 22 (Twonko, JamesTheCat) La Cheetah Club, 23:00–03:00, £3 (£5 after 12)

Chicago, Detroit and acid-heavy night manned by Zachary and JT, joined on the night by live guests Twonko and JamesTheCat.

Sat 09 Mar Nu Skool Buff Club, 23:00–03:00, £7 (£6)

Nick Peacock spins a selection of vintage disco, soul and funk.

Absolution Classic Grand, 22:30–03:00, £6

Metal, industrial and pop-punk over two floors.

Cathouse Saturdays Cathouse, 22:30–03:00, £6 (£5)

Punk, rock and metallic beats with 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.

Voodoo Cathouse, 16:00–21:00, £4 (£2 members)

Under 18s rock night playing, er, anything and everything rock.

Love Music O2 ABC, 23:00–03:00, Free (£5 after 11.30)

Saturday night disco with Gerry Lyons and guests.

Rip This Joint Slouch, 23:00–03:00, Free

DJ Jopez plays a choice selection of indie, rock, blues and funk.

LISTINGS

Renegade: Cannibal Corpse After-party Cathouse, 23:00–03:00, £2 (£1)

Resident Blair Benzini play Italo, disco, synthpop, funk and a whole bunch of other stuff aimed at making you throw yourself about with abandon.

Back Tae Mine

Rock, metal and punk playlists all night long, selected by yer man DJ Mythic. Free entry with Canibal Corpse ticket stub.

The Flying Duck, 23:00–03:00, £5

Burn

Stereo, 19:00–22:30, £10 adv.

Long-running trade night with Normski, Zeus and Mash spinning disco beats.

Space Invader

House-party styled night with residents Gav Dunbar and Sci-Fi Steve. Plus free toast for all.

Kvelertak Norwegian rock ensemble led by Erlend Hjelvik.

The Shed Saturdays Shed, 22:30–03:00, £7 (£5)

Frothy weekend mix of commercial pop and cheese classics, plus DJ Del playing the ol’ hippity-hop in the Red Room.

Wrong Island

Mon 11 Mar Buff Club, 23:00–03:00, £5 (£3/Free with wage slip)

The Garage, 23:00–03:00, £5 (£3)

Andy R plays chart hits and requests past and present, with DJ Muppet holing up in The Attic.

ShamPain SWG3, 22:00–02:00, £tbc

Nice ‘n’ Sleazy, 23:30–03:00, £3

The party night returns with a regular Monday slot in’t the warehoose, with the residents and their guests keeping it suitably wild and eclectic.

Stereo, 23:00–03:00, £3

Killer Kitsch

The legendary Teamy and Dirty Larry spin some fresh electronics for your aural pleasure.

Blank Inside Weekend party night playing a mix of house, disco, acid, garage, techno, groove, R’n’B and hip-hop.

That do you?

Shadow Child Make Do, 23:00–03:00, £tbc

Simon Neale plays under his bassled alias, Shadow Child, taking in Chambre 69’s pop-up venue, Make Do, as part of his 2013 tour.

Colours (Nicky Romero, Jack Beats, Nilson) The Arches, 22:00–03:00, £sold out

Colours bring together a mighty trio of acts for their early March blow-out, with Nicky Romero, Jack Beats and Nilson making for a fullon night of house and electro.

Subculture (Dixon) Sub Club, 23:00–03:00, £tbc

The long-running house night host a rather special set from Innervisions man – and house maestro in his own right – Dixon.

Is It Balearic?

The Berkeley Suite, 23:00–03:00, £5 (£7 after 12)

The Is This Balearic? label present a showcase of talent from signees The Hardway Borthers, Last Waltz and Coyote, all of a Balearic bent.

On/Off La Cheetah Club, 23:00–03:00, £5

The Animal Farm masterminds and Glasgow techno taste-makers, Turtle and Quail, launch their all-new night, playing top quality house and techno.

Pretty Ugly: Girl Bands The Admiral, 23:00–03:00, £5 (£6 after 12)

Favourited indie night headed up by a trio of female DJs, celebrating the month of International Women’s Day with a girl band special playing everything from Bananarama to Le Tigre. And Girls Aloud. Obviously Girls Aloud.

Barbies, Kens and Action Men! The Garage, 22:30–03:00, £7 (£5)

Special Saturday nighter with a Barbie, Ken and Action Man theme, where one lucky punter will win a tank driving experience.

Tenement Trail: Official After-Party Flat 0/1, 23:00–03:00, Free with wristband

The multi-venue mini-fest rounds off with an after-bash at Flat 0/1, featuring a midnight set from country-tinged Scots Kassidy, plus Duncan Harvey on the decks until late.

Sun 10 Mar

Tue 12 Mar Buff Club, 23:00–03:00, £5 (£3)

Electronic music of all ages, for all ages. i Am Sub Club, 23:00–03:00, £tbc

Resident young guns Beta & Kappa play the usual mix of electronica and bass.

Voodoo Voodoo Nice ‘n’ Sleazy, 23:30–03:00, Free

Duncan Harvey plays a mix of vintage rock ‘n’ roll, sleazy R’n’B, swing, soul, surf and pop from a bygone age.

TV Tuesday The Garage, 23:00–03:00, £5 (£3)

New Tuesday nighter with DJ Garry playing a selection of dancefloorfriendly anthems.

Wed 13 Mar Garage Wednesdays The Garage, 23:00–03:00, £5 (£3)

Craig McGee’s staple eclectic mash-up midweeker.

Weirdo Wednesday

Nice ‘n’ Sleazy, 23:30–03:00, Free

Rock’n’roll party with live bands playing on the floor.

Funk’d Buff Club, 23:00–03:00, £4 (£3)

All-new Wednesday nighter with Sean Chan playing bangin’ house only.

Sub Rosa (Ejeca) Sub Club, 23:00–03:00, £tbc

Weekly student night, with residents Ray Vose and Desoto welcoming Belfast chap Ejeca for a trademark set of genre-hopping beats – inspired by the 90s garage house he grew up listening to.

Thu 14 Mar Jellybaby O2 ABC, 23:00–03:00, £3 adv. (£5 door)

Chart, disco and party tunes. Can’t say fairer.

Boom Thursdays The Garage, 23:00–03:00, £5 (£3)

Chart and indie anthems, plus a live Twitter feed where you can log tune requests (#Garagelive).

The Afterparty Buff Club, 23:00–03:00, £4

Euan Neilson handpicks a selection of classic R’n’B and hip-hop.

R.U.IN Thursdays Cathouse, 23:00–03:00, £4 (£2)

A floor of rock and metal, plus guest DJs mixing it up in the Jager Bar. HNDPCKD Vs Shore (Elaquent) Nice ‘n’ Sleazy, 22:30–03:00, £4 (£3)

Sunday Roaster The Garage, 23:00–03:00, £5 (£3)

Garry and Andrew Kilgour incite more mayhem than should really be allowed on the Sabbath.

Thunder Disco Club Sub Club, 23:00–03:00, £tbc

The Thunder Disco Club residents churn out the 90s house, techno and disco hits.

Imported Shed, 22:30–02:00, Free (£3 after 12)

The Shed open their doors on the day of the Lord once more, with an all-new Sunday global house night manned by DJs David Owens and Dave Space.

The Handpicked Cassette dudes celebrate the release of their second tape by teaming up with Sleazy’s regular party crew, Shore, for a live set from Canadian beatmaker Elaquent – playing a full live set on his trusty SP-404.

Rubix: 1st Birthday (Objekt, Bake) Sub Club, 23:00–03:00, £5 adv.

The bass music special returns for another installment, this time celebrating turning the grand old age of, er, one, joined by a duo of live guests.

Fri 15 Mar Old Skool Buff Club, 23:00–03:00, £7 (£6)

Connoisseur’s mix of old-school jazz, funk and soul.

March 2013

THE SKINNY 57

LISTINGS

G lasgow

CLUBs

Damnation

Voodoo

Classic Grand, 23:00–03:00, £6

Cathouse, 16:00–21:00, £4 (£2 members)

Renegade: St Paddy’s Day Weekend

Two floors of the best in punk, metal and alternative tunes.

Propaganda

Under 18s rock night playing, er, anything and everything rock.

Love Music

O2 ABC, 23:00–03:00, £4

Student-orientated night playing the best in new and classic indie music.

Cathouse Fridays

O2 ABC, 23:00–03:00, Free (£5 after 11.30)

Saturday night disco with Gerry Lyons and guests.

Rip This Joint

Cathouse, 22:30–03:00, £6 (£5)

Rock, metal, punk and emo over two levels, with the residents manning the decks.

Wild Combination

Slouch, 23:00–03:00, Free

DJ Jopez plays a choice selection of indie, rock, blues and funk.

Super Trouper

The Berkeley Suite, 23:00–03:00, £3

The Flying Duck, 23:00–03:00, £5

Kilmarnock’s hairy disco legend, David Barbarossa, digs out some vinyl gems.

Badseed

Clubber’s delight dedicated to allSwedish indie, pop and rock. They will play ABBA. Balkanarama

Slouch, 23:00–03:00, Free

Make Do, 22:30–03:00, £8

Badass mix of indie, rock and electro with DJ Heather McCartney.

Bottle Rocket Nice ‘n’ Sleazy, 23:30–03:00, £3

Indie dancing club, playing anything and everything danceable.

JAK (Teslasonic, Heinrich Dressel)

All singing, all dancing Balkanstyled clubber’s orgy, with live guests including the TransSiberian Marching Band (all 13 of ‘em), plus belly dancing, bespoke visuals and free plum brandy for all. As in, we’re sold.

I Heart Garage Saturdays The Garage, 22:30–03:00, £7 (£5)

Stereo, 23:00–03:00, £5 (£7 after 12)

Student superclub playing everything from hip-hop to dance and funk to chart.

Symbiosis

The Jak residents welcome the MinimalRome label lot for a showcase night with Teslasonic and Heinrich Dressel, bolstered by support from Mark Maxwell.

Booty Call

Audio, 22:00–03:00, Free

Innovative D’n’B beats in a relaxed, bass-rich environment complete with guest DJs and live visuals from Altronix.

The Shed Saturdays

The Garage, 23:00–03:00, £5 (£3)

Mixed bag of indie, rock, underground hip-hop and chart classics across four rooms.

Jamming Fridays

Shed, 22:30–03:00, £7 (£5)

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.

Deadly Rhythm Sub Club, 23:00–03:00, £tbc

Frothy weekend mix of commercial pop and cheese classics, plus DJ Del playing the ol’ hippity-hop in the Red Room.

Oddio (Jim Hutchison) The Berkeley Suite, 23:45–03:00, £5 adv.

New monthly residency manned by Weegie stalwart Jim Hutchison.

Krystal Klear (Ben Martin)

Ear-exercising house and techno from the Deadly Rhythm troublemakers.

The Shed Fridays

Saint Judes, 23:00–03:00, £tbc

The Irish producer brings the sparkling neo new jack swing vibe as only he knows how, on the back of notes of love from Hudson Mohawke, Cooly G and Benji B et al.

CODE: 3rd Birthday

Shed, 22:30–03:00, £6 (£4)

Pop and chart hits with Andy Robertson in the main room, plus DJ Del playing the ol’ hippity-hop in the Red Room.

The House Sound of Chicago (Roy Davis Jr)

La Cheetah Club, 23:00–03:00, £6 earlybird (£10 door)

La Cheetah Club, 23:00–03:00, £10

The CODE techno specialists celebrate their third year of being by inviting Spanish techno heavyweight Oscar Mulero into their La Cheetah lair for the evening. Expect plenty of the ol’ doof-doof beats.

Subculture (Jasper James)

La Cheetah host part two of their House Sound Of Chicago series, with veteran house supremo Roy Davis Jr on deck duties.

Animal Farm (ItaloJohnson) Saint Judes, 23:00–03:00, £tbc

Dancefloor-filling techno nuts Animal Farm take the reins, joined by vinyl-lovin’ house specialists ItaloJohnson – who recently featured as Resident Advisor’s ‘Breaking Through’ act.

Jaguar Skills (No Face)

Sub Club, 23:00–03:00, £tbc

The Arches, 23:00–03:00, £15

London DJ Jaguar Skills does as he does best – restoring the genre of mash-up to its full glory via his skilled craftsmanship in the art of electronic cutting and pasting. In a ninja mask. Obviously.

Pumpkin and Honey Bunny’s Tarantino Twist The Flying Duck, 20:00–03:00, £4

Tarantino-themed hoedown with a live screening of Pulp Fiction (8pm), followed by dancing into the wee hours with Superfly regulars Duncan and Gregor on decks.

Long-running house night with residents Harri & Domenic joined by bright young Glasgow house music talent Jasper James for the evening.

TYCI: International Women’s Day Special (Honeyblood, SummerSlams DJs) Bloc+, 23:00–03:00, Free (£2 after 12)

The all-female collective, blog and fanzine brings together a selection of live acts and DJs for their monthly party night, this time in celebration of International Women’s Day. Cathouse Saturdays: St Paddy’s Day Weekend Cathouse, 22:30–03:00, £6 (£5)

Sat 16 Mar

Punk, rock and metallic beats with DJs Billy and Muppet, hosting a St Patrick’s Day special as per the law.

Nu Skool

Sun 17 Mar

Buff Club, 23:00–03:00, £7 (£6)

Sunday Roaster

Nick Peacock spins a selection of vintage disco, soul and funk.

Black Tent

The Garage, 23:00–03:00, £5 (£3)

Garry and Andrew Kilgour incite more mayhem than should really be allowed on the Sabbath.

Highlife

Nice ‘n’ Sleazy, 23:30–03:00, £3

Indie, electro and anything inbetween with Pauly (My Latest Novel), and Simin and Steev (Errors).

Absolution

Sub Club, 23:00–03:00, £tbc

Music from across the globe with the ever-capable residents Auntie Flo and Esa Williams.

Imported

Classic Grand, 22:30–03:00, £6

Metal, industrial and pop-punk over two floors.

The Rock Shop

Shed, 22:30–02:00, Free (£3 after 12)

Maggie May’s, 22:00–03:00, Free (£5/£3 student after 12)

Rock, indie and golden indie classics with resident DJ Heather McCartney.

The Shed open their doors on the day of the Lord once more, with an all-new Sunday global house night manned by DJs David Owens and Dave Space.

Cathouse, 23:00–03:00, £2 (£1)

Rock, metal and punk playlists all night long, selected by yer man DJ Mythic, hosting a St Patrick’s Day special as part of Cathouse’s celebratory Irish weekender.

Mon 18 Mar Burn Buff Club, 23:00–03:00, £5 (£3/Free with wage slip)

Long-running trade night with Normski, Zeus and Mash spinning disco beats.

Space Invader The Garage, 23:00–03:00, £5 (£3)

Andy R plays chart hits and requests past and present, with DJ Muppet holing up in The Attic.

ShamPain

La Cheetah Club Vs Void (JTC, Traxx) La Cheetah Club, 23:00–03:00, £10

Fri 22 Mar Old Skool Buff Club, 23:00–03:00, £7 (£6)

Connoisseur’s mix of old-school jazz, funk and soul.

The Hot Club Nice ‘n’ Sleazy, 23:30–03:00, £3

Tearin’ it up with 60s psych-outs and modern sleaze, provided by Rafla and Andy (of The Phantom Band).

Damnation Classic Grand, 23:00–03:00, £6

Two floors of the best in punk, metal and alternative tunes.

Propaganda O2 ABC, 23:00–03:00, £4

Student-orientated night playing the best in new and classic indie music.

La Cheetah Club team up with Void for a night of full on jackin’ with guests JTC (aka Tadd Mulinix) and Traxx.

The Garage: 19th Birthday Party The Garage, 23:00–04:00, £7 (£5)

The Garage celebrate turning the grand old age of 19 with a special zoo-themed night. Make like a zebra.

Sat 23 Mar Nu Skool Buff Club, 23:00–03:00, £7 (£6)

Nick Peacock spins a selection of vintage disco, soul and funk.

Absolution Classic Grand, 22:30–03:00, £6

Metal, industrial and pop-punk over two floors.

Tue 19 Mar Killer Kitsch Buff Club, 23:00–03:00, £5 (£3)

Electronic music of all ages, for all ages. i Am Sub Club, 23:00–03:00, £tbc

Resident young guns Beta & Kappa play the usual mix of electronica and bass.

Voodoo Voodoo

The Garage, 23:00–03:00, £5 (£3)

New Tuesday nighter with DJ Garry playing a selection of dancefloorfriendly anthems.

Jagermeister Tour Afterparty Cathouse, 23:00–03:00, Free with ticket stub

The Cathouse host the official after-bash for the Jagermeister tour. Free entry with ticket stub.

Wed 20 Mar Garage Wednesdays The Garage, 23:00–03:00, £5 (£3)

Craig McGee’s staple eclectic mash-up midweeker.

Not Moving

Nice ‘n’ Sleazy, 23:30–03:00, Free

South African house, grime, jungle, R’n’B and hauntology. A tropical mix, ayes.

Funk’d Buff Club, 23:00–03:00, £4 (£3)

All-new Wednesday nighter with Sean Chan playing bangin’ house only.

Thu 21 Mar Boom Thursdays The Garage, 23:00–03:00, £5 (£3)

Chart and indie anthems, plus a live Twitter feed where you can log tune requests (#Garagelive).

The Afterparty Buff Club, 23:00–03:00, £4

Euan Neilson handpicks a selection of classic R’n’B and hip-hop.

Philanthrobeats Sub Club, 23:00–03:00, £tbc

Monthly club where promoters raise funds for the charity of their choice, with various live guests taking to the decks.

Shore Nice ‘n’ Sleazy, 23:30–03:00, Free

Eclectic new party night playing everything from the electronic aquatic funk of Drexciya to the outer-space jazz of Sun Ra. R.U.IN Thursdays Cathouse, 23:00–03:00, £4 (£2)

A floor of rock and metal, plus guest DJs mixing it up in the Jager Bar. Jellybaby (Rascals) O2 ABC, 23:00–03:00, £3 adv. (£5 door)

Chart, disco and party tunes.

Can’t say fairer. Bolstered on the evening by a one-off live PA set from Rascals.

Rock, metal and punk playlists all night long, selected by yer man DJ Mythic.

Monster A-Go-Go: Creatures of the Deep Tiki Party Nice ‘n’ Sleazy, 19:30–03:00, £5

Opera.

Expect the

unexpected.

Cathouse, 22:30–03:00, £6 (£5)

Slouch, 23:00–03:00, Free

Badass mix of indie, rock and electro with DJ Heather McCartney.

Rip This Joint Slouch, 23:00–03:00, Free

DJ Jopez plays a choice selection of indie, rock, blues and funk.

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.

Spangled Cabaret The Flying Duck, 21:00–03:00, £5

Eclectic (read: chaotic) night of variety acts, live music and danceable beats from DJ Paul Puppet.

The Shed Fridays Shed, 22:30–03:00, £6 (£4)

Pop and chart hits with Andy Robertson in the main room, plus DJ Del playing the ol’ hippity-hop in the Red Room.

Jay Haze (Tricky, Wax Works) Saint Judes, 23:00–03:00, £6 adv.

The multifaceted DJ, producer and multiple label owner (three and counting) does his thing, demonstrating just why he’s a solid protagonist in the current electronic industry.

Heavy Daze: David Lynch Special Bloc+, 23:00–03:00, Free

Ambient night playing witch house, slow rave, cold wave and ghetto gothik, this time going a bit Lynchian with themed tunes and fire-dream visuals. All hail.

Keep It Local Make Do, 23:00–03:00, £5 (£3)

New night aiming to promote and raise the profile of local club nights, whilst helping fledgling club nights get off the ground – featuring residents from local nights Notsosilent, Flash Mob, Frogbeats, Luska and K.I.L. Numbers Vs Vitamins (DJ EZ) Sub Club, 23:00–03:00, £tbc

The Numbers lot square up to the mighty Vitamins crew, bolstered by a guest set from Tottenhambased garage specialist DJ EZ (pronounced E-Zed, natch).

Subculture Sub Club, 23:00–03:00, £tbc

long-running house night with residents Harri & Domenic manning the decks.

Cathouse Saturdays Cathouse, 22:30–03:00, £6 (£5)

Punk, rock and metallic beats with 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.

Voodoo Cathouse, 16:00–21:00, £4 (£2 members)

Under 18s rock night playing, er, anything and everything rock.

Love Music O2 ABC, 23:00–03:00, Free (£5 after 11.30)

Saturday night disco with Gerry Lyons and guests.

I Heart Garage Saturdays The Garage, 22:30–03:00, £7 (£5)

Student superclub playing everything from hip-hop to dance and funk to chart.

Singles Night The Flying Duck, 23:00–03:00, £5

Andy Divine and Chris Geddes’ gem of a night dedicated to 7-inch singles from every genre imaginable.

The Shed Saturdays Shed, 22:30–03:00, £7 (£5)

Frothy weekend mix of commercial pop and cheese classics, plus DJ Del playing the ol’ hippity-hop in the Red Room.

Pistols At Dawn (Bill Brewster) La Cheetah Club, 23:00–03:00, £8

All round dance music oracle Bill Brewster brings his eclectic music choices to new alternative club night on the block, Pistols At Dawn, playing a three-hour set of all things underground.

Kill Yr Idols (Les Diaboliques) The Berkeley Suite, 23:00–03:00, £3

DIY disco with a punk attitude, where psychedelic voodoo grooves meet souped-up turbo-tech, played out by guest purveyor of phychedelic dungeon disco, Les Diaboliques.

Sun 24 Mar Sunday Roaster The Garage, 23:00–03:00, £5 (£3)

Superhero-themed edition of weekly rock and metal night. Make like Batman.

Fri 29 Mar

Shed, 22:30–02:00, Free (£3 after 12)

Two floors of the best in punk, metal and alternative tunes.

Propaganda

The Shed open their doors on the day of the Lord once more, with an all-new Sunday global house night manned by DJs David Owens and Dave Space.

Mon 25 Mar Burn Buff Club, 23:00–03:00, £5 (£3/Free with wage slip)

Andy R plays chart hits and requests past and present, with DJ Muppet holing up in The Attic.

ShamPain SWG3, 22:00–02:00, £tbc

The party night returns with a regular Monday slot in’t the warehoose, with the residents and their guests keeping it suitably wild and eclectic.

Tue 26 Mar Killer Kitsch Electronic music of all ages, for all ages. i Am

Rock, metal, punk and emo over two levels, with the residents manning the decks.

Badseed

Cathouse, 23:00–03:00, £4 (£2)

Old Skool

Buff Club, 23:00–03:00, £5 (£3)

Cathouse Fridays

R.U.IN Thursdays: Superhero Party

Party night of live bands, burlesque, go-go dancing and suchlike, with a creatures of the deep tiki theme (think pirates, monsters and mermaids).

Imported

The Garage, 23:00–03:00, £5 (£3)

Nice ‘n’ Sleazy, 23:30–03:00, Free

Duncan Harvey plays a mix of vintage rock ‘n’ roll, sleazy R’n’B, swing, soul, surf and pop from a bygone age.

TV Tuesday

Cathouse, 23:00–03:00, £2 (£1)

Long-running trade night with Normski, Zeus and Mash spinning disco beats.

Space Invader

SWG3, 22:00–02:00, £tbc

The party night returns with a regular Monday slot in’t the warehoose, with the residents and their guests keeping it suitably wild and eclectic.

Renegade

Buff Club, 23:00–03:00, £7 (£6)

Connoisseur’s mix of old-school jazz, funk and soul.

Damnation Classic Grand, 23:00–03:00, £6

O2 ABC, 23:00–03:00, £4

Student-orientated night playing the best in new and classic indie music.

Cathouse Fridays Cathouse, 22:30–03:00, £6 (£5)

Rock, metal, punk and emo over two levels, with the residents manning the decks.

Badseed Slouch, 23:00–03:00, Free

Badass mix of indie, rock and electro with DJ Heather McCartney.

Rip This Joint Slouch, 23:00–03:00, Free

DJ Jopez plays a choice selection of indie, rock, blues and funk.

Booty Call The Garage, 23:00–03:00, £5 (£3)

Mixed bag of indie, rock, underground hip-hop and chart classics across four 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.

Sensu Sub Club, 23:00–03:00, £tbc

Sub Club, 23:00–03:00, £tbc

Barry Price and Junior provide the cutting edge electonic from across the globe, with guests being kept under wraps for now.

Crimes Of The Future

Nice ‘n’ Sleazy, 23:30–03:00, Free

The Berkeley Suite, 23:30–03:00, £6 adv.

Resident young guns Beta & Kappa play the usual mix of electronica and bass.

Voodoo Voodoo Duncan Harvey plays a mix of vintage rock ‘n’ roll, sleazy R’n’B, swing, soul, surf and pop from a bygone age.

TV Tuesday The Garage, 23:00–03:00, £5 (£3)

New Tuesday nighter with DJ Garry playing a selection of dancefloorfriendly anthems.

Wed 27 Mar

Scott Fraser and Timothy J. Fairplay host their favourited music club playing a decidedly left-field selection of Krautrock, electronic, dub and everything inbetween.

Harsh Tug Nice ‘n’ Sleazy, 23:30–03:00, £3

Digital Dust (Altered Natives) Stereo, 23:00–03:00, £5

The Digital Dust crew set off their brand new night at Stereo with a guest spot from rugged, tenement-yard house don, Altered Natives.

85A’s Renegade Maskerrade The Flying Duck, 20:00–04:00, £3

Glasgow art collective 85A host a masked party based on their new industrial horror flick, Chernozem, featuring a set from Sister Deadfoot, plus midnight beats from the 85A DJs and guests Golden Teacher.

Pressure: One Big Room The Arches, 23:00–03:00, £12 adv.

The mighty deep house and techno monthly welcome back one of Detroit’s greatest techno exports, Robert Hood, for a headline slot – his raw and minimalist techno sound never failing to hit the spot.

Magic Waves (Kid Machine, David Barborossa, Casionova, Ean) La Cheetah Club, 23:00–03:00, £8

The Magic Waves party hits Glasgow with the finest of everything Italo in their kit-bag, joined by a stellar cast of live guests.

Sat 30 Mar Nu Skool Buff Club, 23:00–02:00, £7 (£6)

Nick Peacock spins a selection of vintage disco, soul and funk.

Absolution Classic Grand, 22:30–02:00, £6

Metal, industrial and pop-punk over two floors.

Subculture Sub Club, 23:00–02:00, £tbc

long-running house night with residents Harri & Domenic manning the decks.

Cathouse Saturdays Cathouse, 22:30–02:00, £6 (£5)

Punk, rock and metallic beats with DJs Billy and Muppet.

The Rock Shop Maggie May’s, 22:00–02:00, Free (£5/£3 student after 12)

Rock, indie and golden indie classics with resident DJ Heather McCartney.

Voodoo Cathouse, 16:00–21:00, £4 (£2 members)

Under 18s rock night playing, er, anything and everything rock.

Love Music

Hip-hop and gangsta rap brought to you by the Notorious B.A.G and pals.

O2 ABC, 23:00–02:00, Free (£5 after 11.30)

The Shed Fridays

I Heart Garage Saturdays

So Weit So Good Nice ‘n’ Sleazy, 23:30–03:00, Free

Saturday night disco with Gerry Lyons and guests.

One-off free party featuring the party sounds of Ean, Smiddy and Kenny White on decks.

Funk’d Buff Club, 23:00–03:00, £4 (£3)

All-new Wednesday nighter with Sean Chan playing bangin’ house only.

Garage Wednesdays The Garage, 23:00–03:00, £5 (£3)

Craig McGee’s staple eclectic mash-up midweeker.

Thu 28 Mar Counterfeit Cathouse, 23:00–03:00, £4 (£2)

Full-on mix of nu-metal and hard rockin’ tunes, with yer man DJ Muppet.

Jellybaby O2 ABC, 23:00–03:00, £3 adv. (£5 door)

Chart, disco and party tunes. Can’t say fairer.

Boom Thursdays The Garage, 23:00–03:00, £5 (£3)

Chart and indie anthems, plus a live Twitter feed where you can log tune requests (#Garagelive).

The Afterparty Buff Club, 23:00–03:00, £4

Euan Neilson handpicks a selection of classic R’n’B and hip-hop.

Shore Nice ‘n’ Sleazy, 23:30–03:00, Free

Eclectic new party night playing everything from the electronic aquatic funk of Drexciya to the outer-space jazz of Sun Ra. Frogbeats: Unleash The Beast (Denney, RIZE, J Bostron) Sub Club, 23:00–03:00, £4

Frogbeats and residents host their D’n’B and jungle showcase night, transforming Subbie into their own concrete jungle for the evening.

Shed, 22:30–03:00, £6 (£4)

Pop and chart hits with Andy Robertson in the main room, plus DJ Del playing the ol’ hippity-hop in the Red Room.

Glasgow City Social Club: 1st Birthday

The Garage, 22:30–02:00, £7 (£5)

Student superclub playing everything from hip-hop to dance and funk to chart.

South Side Soul Pollok Ex-Servicemens Club, 20:00–01:00, £5

Saint Judes, 23:00–03:00, £tbc

DJs Fraser Dunn, Felonious Munk and Alan McKenzie play an all-vinyl mix of soul, motown and R’n’B from the 60s and 70s.

Let’s Go Back... Way Back (Boydie)

O2 Academy, 21:00–03:00, £tbc

Residents Bosco and Rob Mason bring acid-house, techno and rave back to the dancefloor, with Boydie (of The Orb fame) their special guest for the evening.

The house specialists celebrate their first year in style, taking over Saint Judes with a showcase of sets from Dogmatik Records.

Paul Oakenfold: Full On Fluoro Tour Paul Oakenfold brings his Full on Fluoro sound to Scotchland with a supporting cast of Goodgreef favourites, emphasis firmly on the dark trance beats.

La Cheetah Club, 23:00–03:00, £7

Garry and Andrew Kilgour incite more mayhem than should really be allowed on the Sabbath.

the flying dutchman Get £10 tix if you’re under 26. Any seat. Any performance.

58 THE SKINNY

March 2013

Houndin’ The Streets The Flying Duck, 23:00–02:00, £5

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, 22:30–02:00, £7 (£5)

Frothy weekend mix of commercial pop and cheese classics, plus DJ Del playing the ol’ hippity-hop in the Red Room.

Artifact (Mia Dora) Saint Judes, 23:00–02:00, £5

London-based producer catering

The Electric Frog Easter Weekender SWG3, 18:00–02:00, £35 weekend

Easter edition of the favourited micro-festival – again in the cooler-than-cool warehouse surrounds of SWG3 – featuring Simian Mobile Disco, Todd Edwards, Pan-Pot and a back-to-back set from Andrew Weatherall and Ewan Pearson, amongst others.

GBXperience Anthems Easter Special (George Bowie, Mallorca Lee, Scott Brown, Bass Generator, Obsession)

edinburgh C L U B s Zoot Studio 24, 23:00–03:00, 99p (£2.99 after 12)

DJs Swank’n’Jams seamlessly mix tropical beats and swing rhythms, mashed up with some well-kent classics.

SuperSub The Cabaret Voltaire, 23:00–03:00, £3 (£2)

Napier University student night, playing a fine mix of electro, dubstep and house across both rooms.

Champion Sound (Mungo’s Hi-Fi)

SWG3, 18:00–01:00, £35 weekend

Easter edition of the favourited micro-festival – again in the cooler-than-cool warehouse surrounds of SWG3 – featuring Simian Mobile Disco, Todd Edwards, Pan-Pot and a back-to-back set from Andrew Weatherall and Ewan Pearson, amongst others.

Colours (Alesso, Otto Knows) (Jon Mancini, Giovanni Ferri) The Arches, 22:00–02:00, £sold out

Colours return for a second monthly blow-out, with two of the biggest DJs to hit EDM in years making their Scottish debut on the night – welcome Alesso and Otto Knows.

Rave Vs Terror (Fat Frumus, Thorepey, Mistah Bohze, Perished Gusset) Audio, 23:00–02:00, £4 (£2)

Brand new night Rave joins forces with Edinburgh’s Terror crew for an evening of in-yer-face breakcore, hardcore, hip-hop and chip, with a selection of international guests in tow.

Hotflush Presents (Scuba Vs Boddika, Paul Woolford, Locked Groove, Dense & Pika) Make Do, 23:00–02:00, £5 earlybird (£7 thereafter)

Hotflush present what is essentially a what’s-what in modern club music, featuring a back-toback set from Scuba and Boddika, amongst others.

Hieroglyphic Being Nice ‘n’ Sleazy, 23:30–02:00, £5

The experimental Chicago-based DJ and producer plays a special Glasgow set, known for his wild and uncompromising DJ sets (i.e. this’ll be guid).

Sun 31 Mar Trash and Burn Classic Grand, 23:00–03:00, £4

Monthly glam trash and sleaze tease party, with guest burlesque performers, magicians and a bit o’ belly dancing.

Sunday Roaster The Garage, 23:00–03:00, £5 (£3)

Garry and Andrew Kilgour incite more mayhem than should really be allowed on the Sabbath.

Sub Club, 23:00–03:00, £tbc

JD Twitch and JG Wilkes take to the decks for their monthly night of pure Optimo goodness, celebrating Easter Sunday in style with a guest slot from Cologne DJ Barnt, part of Cómeme collective.

Imported Shed, 22:30–02:00, Free (£3 after 12)

The Shed open their doors on the day of the Lord once more, with an all-new Sunday global house night manned by DJs David Owens and Dave Space.

Easter Sunday: 80s Vs 90s Cathouse, 23:00–03:00, £2 (£1)

Easter Sunday party night, playing all yer favourite tunes from the 80s and 90s across two floors.

edinburgh clubs Tue 05 Mar Antics 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, disco and hippity-hop from the Soul Jam Hot DJs. I Love Hip Hop The Bongo Club, 23:00–03:00, £2

Selection of hip-hop classics and brand-new classics to be.

Hector’s House The Cabaret Voltaire, 23:00–03:00, £6 (£5)

Electronic basslines allied with home-cooked house beats.

Wed 06 Mar Bangers & Mash The Hive, 22:00–03:00, £1 (£3 after 11)

Midweek student rundown of chart and cheese classics.

Indigo The Liquid Room, 22:30–03:00, £3 (students free

Indie, pop and alternative favourites with a danceable beat, from LCD Soundsystem to The Ting Tings.

Witness Sneaky Pete’s, 23:00–03:00, Free

Sneaky’s resident bass spectacular of garage, dubstep and bassline house.

Birthday edition of the favourited Bongo mainstay, playing soulful dancing fodder from deep funk to reggae beats with regular DJ hosts Simon Hodge, Johnny Cashback, Astroboy and Wee-G. Wax On!

Base Nightclub, 23:00–03:00, £3 (£4)

The Shake Yer Shoulders crew take to Base for their regular Saturday nighter, playing only the dirtiest and hardest techno tunes they can get their grubby mitts on.

Think Twice (Craig Smith) The Cabaret Voltaire, 23:00–03:00, £7 (£5)

Resident Craig Smith brings a rotation of stand out guests from around the world to the dancefloor.

Samedia Shebeen Studio 24, 23:00–03:00, £5

Night of vinyl-fuelled 80s excess, featuring synth-pop, new wave, Italo disco, breaks and old-skool hip-hop.

Stay Fresh Vs Stay FLY

Thu 07 Mar

The Cabaret Voltaire, 23:00–03:00, £7 (£5)

FLY are joined by Glasgow’s Stay Fresh for a one-off versus night of residents and friends.

Potterrow, 21:00–03:00, £3 (£4 after 12)

The Hive, 22:00–03:00, Free

GBXperience returns to the Arches this Easter with another packed line-up, headlined by Radio Clyde star DJ George Bowie, alongside myriad (like 15+) support DJs. Optimo: Easter Sunday Special (Barnt)

The Bongo Club, 23:00–03:00, £3 (£5 after 12)

We Techno Prisoners

Brand new midweek dub, reggae and dancehall happening at the all-new Bongo, for which they have a special launch night set from Mungo’s Hi-Fi. Free entry for the first 40 folk.

Frisky

The Arches, 22:00–03:00, £15 earlybird (£20 thereafter)

Picture House, 23:00–03:00, £4

All-new student Friday nighter, blasting oot an eclectic mix of indie, dance, pop, dubstep and electro playlists.

Four Corners: 8th Birthday

Eclectic fun night transporting late-night party people to an imaginary jungle voodoo den, featuring a hand-built set modelled on an imagined African township shebeen.

Big Cheese

The Bongo Club, 23:00–03:00, £3

to the more intelligent end of the bass music spectrum, from whom you can expect techno-flavoured minimal dubs, UKG, future bass and slinky, textured drops.

The Electric Frog Easter Weekender

Supersonic Vague

Wee Red Bar, 23:00–03:00, £5 (£3)

Chart, dance and electro fare, plus punter requests all night long.

No Globe (Romare)

Tease Age

The Bongo Club, 23:00–03:00, £3 (£5 after 12)

Citrus Club, 22:30–03:00, Free (£5 after 11)

World beats from the eponymous Edinburgh University-based party collective, taking in African house, kwaito, cumbia, Afrobeat and global bass, joined by a guest slot from high-intensity percussive maestro Romare.

I AM Edinburgh The Cabaret Voltaire, 23:00–03:00, £4 (£3/free via iamclub.co.uk)

Resident young guns Beta & Kappa make their now regular trip east, playing the usual fine mix of electronica and bass.

Juice Sneaky Pete’s, 23:00–03:00, Free

All-new Thursday nighter for Sneaky’s, playing a mighty mix of everything from The Stooges to ODB.

Fri 08 Mar Misfits The Hive, 21:00–03:00, Free (£4 after 10)

Chart, electro, indie-pop and alternative anthems over two rooms.

Planet Earth Citrus Club, 22:30–03:00, Free (£5 after 11)

Retro from 1970 to 1999, moving from Abba to ZZ Top. This Is Music Sneaky Pete’s, 23:00–03:00, £3 (members free)

Indie and electro from the Sick Note DJs. Cosmic (Hoodwink, Lorraine, Sleep Paralysis, Psyubik)

Sat 09 Mar Long-running indie, rock and soul night.

The Egg

Wee Red Bar, 23:00–03:00, £2 (£4 after 12)

Art School institution with DJs Chris and Paul playing the finest in indie, garage, soul and punk.

Bass Syndicate

Term-time student party night playing a selection of cheesy dancing tunes.

Shake Yer Shoulders: 1st Birthday Studio 24, 23:00–03:00, £3 (£5 after 12)

Celebration of all things techno with the Shake Yer Shoulders residents, who are somehow one-year-old already, hosting their birthday bash in the place it all kicked off – Studio 24.

The Bongo Club, 23:00–03:00, £4 (£6 after 12)

Mighty mix of reggae, grime, dubstep and jungle, coupling as the Edinburgh Outlook launch party.

Dr No’s Henry’s Cellar, 23:00–03:00, £4 (£5 after 12)

Danceable mix of the best in 60s ska, rocksteady, bluebeat and reggae.

The Hive, 22:00–03:00, Free

Mon 11 Mar Mixed Up The Hive, 22:00–03:00, Free

Request-driven night of pop-punk, chart, indie and good ol’ 90s classics.

Nu Fire Sneaky Pete’s, 23:00–03:00, Free

DJ Fusion and guests move from hip-hop to dubstep with a plethora of live MCs.

Tue 12 Mar Antics The Hive, 22:00–03:00, Free

Alternative anthems cherrypicked from genres of rock, indie and punk.

Electric Circus, 22:30–03:00, £3 (£4 after 12)

Retro pop stylings from the 50s to the 70s.

Jackhammer (Wolfjazz & Keyte, Slam, Anja Schneider, Mark Archer, Silicone Soul) The Caves, 18:00–03:00, £10 adv.

The Jackhammer crew up our dose of all things techno with ninewhole-bladdy-hours of the stuff from Wolfjazz & Keyte, Slam, Anja Schneider, Mark Archer and Silicone Soul, in that order.

Bad Robot The Liquid Room, 22:30–03:00, £5 (£3)

The Bad Robot invade once more, armed with an intergalactic mashup of electro party tunes.

Invasion of the Jungle Soldiers Henry’s Cellar, 23:00–03:00, £3 (£4 after 12)

Shake Yer Shoulders’ favourited celebration of all things techno, taking on a jungle bent for the evening.

Studio 24, 23:00–03:00, £1.99 (£2.99 after 12)

The folk behind Balkanarama present a brand new Balkan, klezmer, gypsy and all things eastern club night.

SuperSub The Cabaret Voltaire, 23:00–03:00, £3 (£2)

Napier University student night, playing a fine mix of electro, dubstep and house across both rooms.

Champion Sound

The Bongo Club, 23:00–03:00, Free (£3 after 12)

Brand new midweek dub, reggae and dancehall happening at the all-new Bongo.

The Hive, 22:00–03:00, Free

Chart, dance and electro fare, plus punter requests all night long.

Juice Sneaky Pete’s, 23:00–03:00, Free

All-new Thursday nighter for Sneaky’s, playing a mighty mix of everything from The Stooges to ODB. i AM Edinburgh (Krystal Klear) The Cabaret Voltaire, 23:00–03:00, £4 (£3/free via iamclub.co.uk)

Resident young guns Beta & Kappa make their now regular trip east, playing the usual fine mix of electronica and bass, joined by Irish producer Krystal Clear – who brings the sparkling neo new jack swing vibe as only he knows how.

Fri 15 Mar Misfits The Hive, 21:00–03:00, Free (£4 after 10)

Chart, electro, indie-pop and alternative anthems over two rooms.

Planet Earth Citrus Club, 22:30–03:00, Free (£5 after 11)

Retro from 1970 to 1999, moving from Abba to ZZ Top. Confusion is Sex

Studio 24, 21:00–03:00, £3 (£6 after 10)

Monthly club bringing the spirit of the psychedelic trance dance ritual to the floor, with live acts, VJs and colourful fluoro decor.

Cream Soda

Sneaky Pete’s, 23:00–03:00, Free

Sneaky’s resident bass spectacular of garage, dubstep and bassline house.

East Beat

Frisky

Sneaky Pete’s, 23:00–03:00, Free

The Hive, 21:00–03:00, Free (£4 after 10)

Picture House, 23:00–03:00, £5 (£4)

The Liquid Room, 22:30–03:00, £3

Indie, pop and alternative favourites with a danceable beat, from LCD Soundsystem to The Ting Tings.

Witness

Coalition

Two rooms of all the chart, cheese and indie-pop you can think of.

Student-orientated night playing the best in new and classic indie music.

Big ‘N’ Bashy

Midweek student rundown of chart and cheese classics.

Indigo

Thu 14 Mar

Weekly cross-genre of bass from a cast of Edinburgh’s best underground DJs. The Sunday Club

Handpicked weekend mix of chart and dance, with retro 80s classics as standard.

Propaganda

The Hive, 22:00–03:00, £1 (£3 after 11)

Sun 10 Mar

Sneaky Pete’s, 23:00–03:00, £3 (members free)

The regular Edinburgh breaks and bassline Manga crew takeover.

Bubblegum

Wed 13 Mar Bangers & Mash

The Bongo Club, 23:00–03:00, £tbc

the flying

dutchman Glasgow-Edinburgh

4 Apr-19 Apr Rewind The Liquid Room, 22:30–03:00, £5

Journey back through the ages, digging out anthemic gems from the last 40 years.

Beep Beep, Yeah!

Electric Circus, 22:30–03:00, £3 (£4 after 12)

Retro pop stylings from the 50s to the 70s.

Soul Jam Hot Sneaky Pete’s, 23:00–03:00, Free

Fresh mix of funk, soul, disco and hippity-hop from the Soul Jam Hot DJs. I Love Hip Hop The Bongo Club, 23:00–03:00, £2

Selection of hip-hop classics and brand-new classics to be.

Hector’s House The Cabaret Voltaire, 23:00–03:00, £6 (£5)

Electronic basslines allied with home-cooked house beats.

Glam techno and electro night with the usual themed party shenanigans, staging its first ever outing at the new Bongo HQ. This Is Music Sneaky Pete’s, 23:00–03:00, £3 (members free)

Indie and electro from the Sick Note DJs. Animal Hospital Studio 24, 23:00–03:00, Free (£5 after 11.30)

The Animal Hospital troops continue to medicate Edinburgh with their unique blend of techno, house and minimal, this time with Yooj in tow – aka he of the driving techno beatwork and hypnotic, deep melodies.

Balkanarama The Caves, 21:30–03:00, £8 (£9 after 10pm)

All singing, all dancing Balkanstyled clubber’s orgy, with live guests including the TransSiberian Marching Band (all 13 of ‘em), plus belly dancing, bespoke visuals and free plum brandy for all. As in, we’re sold.

Cream Soda Electric Circus, 22:30–03:00, £3 (£4 after 12)

Retro pop stylings from the 50s to the 70s.

Listen to music from the show online or try The Flying Dutchman Unwrapped – a FREE hour-long taster.

LISTINGS Mambo

The Sunday Club

Henry’s Cellar, 23:00–03:00, £5 (£4)

The Hive, 22:00–03:00, Free

Old school hip-hop, r’n’b, reggae, dancehall, afro beats and plenty more eclecticness besides.

Supersonic Vague

Two rooms of all the chart, cheese and indie-pop you can think of.

Picture House, 23:00–03:00, £4

Mixed Up

All-new student Friday nighter, blasting oot an eclectic mix of indie, dance, pop, dubstep and electro playlists.

Gimmie Indie Rock!

Wee Red Bar, 23:00–03:00, £5

A night dedicated to American (and sometimes Canadian) indie rock – for fans of fuzz, distortion and huge choruses.

Jackhammer (Derrick May, DJ Rolando, Stephen Brown) The Liquid Room, 22:30–03:00, £12 adv.

The Jackhammer crew provide our regular dose of all things techno with a triple dose of healdine talent in the form of Derrick May, DJ Rolando and Stephen Brown.

FLY The Cabaret Voltaire, 23:00–03:00, £7 (£5)

A powerhouse of local residents take over Cab Vol for their all-new Friday nighter, with occasional special guests dropping by.

Sat 16 Mar

Mon 18 Mar The Hive, 22:00–03:00, Free

Request-driven night of pop-punk, chart, indie and good ol’ 90s classics.

Nu Fire Sneaky Pete’s, 23:00–03:00, Free

DJ Fusion and guests move from hip-hop to dubstep with a plethora of live MCs.

Tue 19 Mar Antics 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, disco and hippity-hop from the Soul Jam Hot DJs. I Love Hip Hop The Bongo Club, 23:00–03:00, £2

Selection of hip-hop classics and brand-new classics to be.

Wed 20 Mar

Tease Age Citrus Club, 22:30–03:00, Free (£5 after 11)

Long-running indie, rock and soul night.

The Egg

Wee Red Bar, 23:00–03:00, £2 (£4 after 12)

Art School institution with DJs Chris and Paul playing the finest in indie, garage, soul and punk.

Bubblegum The Hive, 21:00–03:00, Free (£4 after 10)

Handpicked weekend mix of chart and dance, with retro 80s classics as standard.

The Green Door Studio 24, 22:30–03:00, £2 (£5/£4 student after 11)

Surf, blues and rockabilly from the 50s and early 60s, plus free cake!

Nuff said.

Propaganda Picture House, 23:00–03:00, £5 (£4)

Student-orientated night playing the best in new and classic indie music.

Soulsville The Bongo Club, 23:00–03:00, £5

Swinging soul spanning a whole century with DJs Tsatsu and Fryer, plus live dancers a-go-go.

Gasoline Dance Machine The Cabaret Voltaire, 23:00–03:00, £7 (£5)

Classic Italo and straight-up boogie allied with contemporary house and disco.

Decade Studio 24, 22:30–03:00, Free (£5/£4 student after 11)

Fresh playlists spanning pop-punk, emo and hardcore soundscapes.

We Techno Prisoners Base Nightclub, 23:00–03:00, £3 (£4)

Bangers & Mash The Hive, 22:00–03:00, £1 (£3 after 11)

Midweek student rundown of chart and cheese classics.

Indigo The Liquid Room, 22:30–03:00, £3

Indie, pop and alternative favourites with a danceable beat, from LCD Soundsystem to The Ting Tings.

Witness Sneaky Pete’s, 23:00–03:00, Free

Sneaky’s resident bass spectacular of garage, dubstep and bassline house.

Zoot Studio 24, 23:00–03:00, 99p (£2.99 after 12)

DJs Swank’n’Jams seamlessly mix tropical beats and swing rhythms, mashed up with some well-kent classics.

Champion Sound The Bongo Club, 23:00–03:00, Free (£3 after 12)

Brand new midweek dub, reggae and dancehall happening at the all-new Bongo.

Thu 21 Mar Frisky The Hive, 22:00–03:00, Free

Chart, dance and electro fare, plus punter requests all night long.

Juice Sneaky Pete’s, 23:00–03:00, Free

All-new Thursday nighter for Sneaky’s, playing a mighty mix of everything from The Stooges to ODB.

Fri 22 Mar Misfits The Hive, 21:00–03:00, Free (£4 after 10)

The Shake Yer Shoulders crew take to Base for their regular Saturday nighter, playing only the dirtiest and hardest techno tunes they can get their grubby mitts on.

Wasabi Disco

Chart, electro, indie-pop and alternative anthems over two rooms.

Planet Earth

Sneaky Pete’s, 23:00–03:00, £3 (members free)

Retro from 1970 to 1999, moving from Abba to ZZ Top. Cream Soda

Heady bout of cosmic house, punk upside-down disco and, er, Fleetwood Mac with yer man Kris ‘Wasabi’ Walker.

Pop Rocks!

Electric Circus, 22:30–03:00, £4 (£5 after 12)

Pop and rock gems, taking in motown, 80s classics and plenty danceable fare (well, the Beep Beep, Yeah! crew are on decks after all).

Big Cheese Potterrow, 21:00–03:00, £3 (£4 after 12)

Term-time student party night playing a selection of cheesy dancing tunes.

Sun 17 Mar Coalition Sneaky Pete’s, 23:00–03:00, Free

Weekly cross-genre of bass from a cast of Edinburgh’s best underground DJs.

Citrus Club, 22:30–03:00, Free (£5 after 11)

Electric Circus, 22:30–03:00, £3 (£4 after 12)

Retro pop stylings from the 50s to the 70s.

XY The Liquid Room, 22:30–03:00, £tbc

Anthology of house, electro and D’n’B for your aural delectation, featuring a rota of fresh DJ talent.

Qabalala!

Leith Cricket Club, 19:00–01:00, £4

The unique ‘maximalist qabaret’ party night returns featuring the return of The Pineapple Chunks (launching their new EP on the night), alongside The Leg, Stones and Andy Brown, plus live visuals from Lizzy X. Robigans Reggae Henry’s Cellar, 23:00–03:00, £4 (£5 after 12)

Dub, reggae and dancehall clubbing spectacular.

scottishopera.org.uk March 2013

THE SKINNY 59

LISTINGS

edinburgh C L U B S

Supersonic Vague

Studio 24 Rawks Goes Metal

SuperSub

Picture House, 23:00–03:00, £4

Studio 24, 23:00–03:00, Free (£5/£4 student after 11)

The Cabaret Voltaire, 23:00–03:00, £3 (£2)

All-new student Friday nighter, blasting oot an eclectic mix of indie, dance, pop, dubstep and electro playlists.

DC Breaks (DJ Recypher, Hector B, GiMiK, Conscious Route) The Caves, 23:00–03:00, £6

Ram Records-signed innovative D’n’B duo made up of Dan Havers and Chris Page, DJ-ing across six decks and two mixers, with accompanying Adventures in Light 3D projection mapping show.

FLY The Cabaret Voltaire, 23:00–03:00, £7 (£5)

A powerhouse of local residents take over Cab Vol for their all-new Friday nighter, with occasional special guests dropping by.

Anthony Naples

Sneaky Pete’s, 23:00–03:00, £5 (members free)

The New-York based house producer – who’s lately been hitting up some on the world’s best clubs, notably Berlin’s Berghain – makes a visit to Sneaky’s diminutive sweat-box.

Pop Yer Cherry

The regular alternative rock night takes a foray into all things heavy and metal for their usual last Saturday of the month blow-out.

We Techno Prisoners

Napier University student night, playing a fine mix of electro, dubstep and house across both rooms.

Champion Sound

Base Nightclub, 23:00–03:00, £3 (£4)

The Bongo Club, 23:00–03:00, Free (£3 after 12)

The Shake Yer Shoulders crew take to Base for their regular Saturday nighter, playing only the dirtiest and hardest techno tunes they can get their grubby mitts on.

Big Cheese Potterrow, 21:00–03:00, £3 (£4 after 12)

Term-time student party night playing a selection of cheesy dancing tunes.

Pocket Aces (i AM) The Cabaret Voltaire, 23:00–03:00, £7 (£5)

Dance-inducing party with an anything goes attitude and rotating rota of guest DJs, with I AM residents Beta and Kappa showing their versatility with a monthly appearance.

Electric Circus: Pop Tarts Electric Circus, 22:30–03:00, £3 (£4 after 12)

Making the most of the five weekend month, all the Electric Circus club nights unite for one massive party, with DJs from Magic Nostalgic, Pop Rocks, Beep Beep, Yeah! and more.

Studio 24, 23:00–03:00, £3 (£5 after 12)

Minimal, techno and electro beats with DJs Wonksie, Mikey Fuckin Thomson and Sean VD Chimera.

Robigans Reggae (Rhoda Dakar, DJ Amma)

Sun 24 Mar

Henry’s Cellar, 23:00–03:00, £4 (£5 after 12)

Dub, reggae and dancehall clubbing spectacular, with a duo of guest DJ slots from queen of 2-Tone Rhoda Dakar alongside DJ Amma.

ETC15: The Runaway Circus Wee Red Bar, 23:00–03:00, £7 (£5 in fancy dress)

Coalition Sneaky Pete’s, 23:00–03:00, Free

Weekly cross-genre of bass from a cast of Edinburgh’s best underground DJs. The Sunday Club The Hive, 22:00–03:00, Free

Edinburgh Tekno Cartel bring the sleazy bass and techno beats, this month with a special circus theme to help welcome their newest resident, Stevoid, who may or may not be a bearded lady.

Substance (Objekt, JD Twitch) The Bongo Club, 23:00–03:00, £10

For their first party at the all-new Bongo, Substance pull it out the bag with a special double bill of headliners in the form of Japanborn Berlin-resident Ojekt (aka TJ Hertz) and Glasgow mainstay, and one-half of Optimo, Mr JD Twitch.

Two rooms of all the chart, cheese and indie-pop you can think of.

In Your Chop Studio 24, 22:00–03:00, £tbc

Full psycadelic circus-styled night, taking in live bands, dancers, DJs, VJs and a partridge in a pear tree.

Mon 25 Mar Mixed Up The Hive, 22:00–03:00, Free

Request-driven night of pop-punk, chart, indie and good ol’ 90s classics.

Nu Fire Sneaky Pete’s, 23:00–03:00, Free

Sat 23 Mar

DJ Fusion and guests move from hip-hop to dubstep with a plethora of live MCs.

Tease Age Citrus Club, 22:30–03:00, Free (£5 after 11)

Tue 26 Mar

Long-running indie, rock and soul night.

The Egg

Antics The Hive, 22:00–03:00, Free

Wee Red Bar, 23:00–03:00, £2 (£4 after 12)

Art School institution with DJs Chris and Paul playing the finest in indie, garage, soul and punk.

Bubblegum The Hive, 21:00–03:00, Free (£4 after 10)

Handpicked weekend mix of chart and dance, with retro 80s classics as standard.

Transmission

Alternative anthems cherrypicked from genres of rock, indie and punk.

Soul Jam Hot

The Voodoo Rooms, 19:30–23:00, £8

Electric Circus, 22:30–03:00, £6 (£7 after 12)

Picture House, 23:00–03:00, £5 (£4)

Student-orientated night playing the best in new and classic indie music.

Dr No’s

Electronic basslines allied with home-cooked house beats.

Wed 27 Mar Bangers & Mash The Hive, 22:00–03:00, £1 (£3 after 11)

Midweek student rundown of chart and cheese classics.

Indigo

Sneaky Pete’s, 23:00–03:00, Free

Sneaky’s resident bass spectacular of garage, dubstep and bassline house.

East Beat

Sneaky Pete’s, 23:00–03:00, £3 (members free)

Studio 24, 23:00–03:00, £1.99 (£2.99 after 12)

Mark Balneaves and Martin Lightbody play some of the finest underground underground house and techno across four decks, FX units and laptops.

Messenger

The folk behind Balkanarama present a brand new Balkan, klezmer, gypsy and all things eastern club night.

The Bongo Club, 23:00–03:00, £6 (£7 after 12)

Sweet reggae rockin’ from the original sound system, plus MC Ras Ista Lion on special guest duty.

60 THE SKINNY

Chart, dance and electro fare, plus punter requests all night long.

I AM Edinburgh The Cabaret Voltaire, 23:00–03:00, £4 (£3/free via iamclub.co.uk)

Resident young guns Beta & Kappa make their now regular trip east, playing the usual fine mix of electronica and bass.

Juice Sneaky Pete’s, 23:00–03:00, Free

All-new Thursday nighter for Sneaky’s, playing a mighty mix of everything from The Stooges to ODB. Gin ‘N’ Juice The Liquid Room, 22:30–03:00, £tbc

New night traversing the gamut from classic hip-hop through to dirty south beats, via a whole lotta Run DMC.

Fri 29 Mar Misfits The Hive, 21:00–03:00, Free (£4 after 10)

Chart, electro, indie-pop and alternative anthems over two rooms.

Planet Earth Citrus Club, 22:30–03:00, Free (£5 after 11)

Retro from 1970 to 1999, moving from Abba to ZZ Top. Xplicit The Bongo Club, 23:00–03:00, £tbc

Heavy jungle and bass-styled beats from the inimitable Xplicit crew and guests.

Vitamins Sneaky Pete’s, 23:00–03:00, £5 (members free)

The Vitamins party starters do their usual (i.e transforming the venue space and playing the latest underground dance).

Mjölk Wee Red Bar, 23:00–03:00, £3 (£4 after 11.30)

Occasional night playing the finest in Swedish indie pop, plus 60s, 70s and independent tunes from near and far.

Anticausal System Henry’s Cellar, 23:00–03:00, £5 (£6 after 12)

The Bongo Club, 23:00–03:00, £2

Indie, pop and alternative favourites with a danceable beat, from LCD Soundsystem to The Ting Tings.

Witness

Danceable mix of the best in 60s ska, rocksteady, bluebeat and reggae.

Definition

The Hive, 22:00–03:00, Free

All-new student Friday nighter, blasting oot an eclectic mix of indie, dance, pop, dubstep and electro playlists.

Musika: Sasha

The Liquid Room, 22:30–03:00, £3

Henry’s Cellar, 23:00–03:00, £4 (£5 after 12)

Frisky

Sneaky Pete’s, 23:00–03:00, Free

Fresh mix of funk, soul, disco and hippity-hop from the Soul Jam Hot DJs. I Love Hip Hop

The Cabaret Voltaire, 23:00–03:00, £6 (£5)

A hodgepodge of quality tracks chosen by JP’s spinning wheel.

Expect anything from 90s rave to power ballads, and a lot of one-hit wonders.

Propaganda

Thu 28 Mar

Electronic mash-up party for your Friday night pleasure.

Supersonic Vague

Selection of hip-hop classics and brand-new classics to be.

Hector’s House

Joy Division tribute act.

Magic Nostalgic

Brand new midweek dub, reggae and dancehall happening at the all-new Bongo.

March 2013

Picture House, 23:00–03:00, £4

The Caves, 21:00–03:00, £15 earlybird

Musika play host to the launch of the third episode of mighty Welsh DJ and record producer Sasha’s Involv3r album.

FLY The Cabaret Voltaire, 23:00–03:00, £7 (£5)

A powerhouse of local residents take over Cab Vol for their all-new Friday nighter, with occasional special guests dropping by.

Terror (Fat Frumus, Thorepey, Ill Papa Giraffe, Perished Gusset) The Banshee Labyrinth, 23:00–03:00, £3 (£2)

The Terror crew raid the underground for another genre-hopping night of hip-hop, hardcore, rave and punk, manned by a selection of international talent.

Defcon (Of Me Nut Records) Studio 24, 23:00–03:00, £5 (£7 after 12)

Off Me Nut Records special, with Phatworld and Kid Lib banging out the best jungle and rave they can get their paws on, alongside the Defcon residents.

Sat 30 Mar Tease Age Citrus Club, 22:30–02:00, Free (£5 after 11)

Long-running indie, rock and soul night.

The Egg

Wee Red Bar, 23:00–02:00, £2 (£4 after 12)

Art School institution with DJs Chris and Paul playing the finest in indie, garage, soul and punk.

Mumbo Jumbo The Bongo Club, 23:00–02:00, £7 (£5)

Party soundtrack of funk, soul, disco and house with Trendy Wendy, Steve Austin and guests, jollied along by the technofriendly Bubble DJs in room two and Bongo Dave on live congas and percussion duty.

Bubblegum The Hive, 21:00–02:00, Free (£4 after 10)

Handpicked weekend mix of chart and dance, with retro 80s classics as standard.

Ride Sneaky Pete’s, 23:00–02:00, Free (£3 after 12)

Ride girls Checkie and Lauren play hip-hop and dance, all night long – now in their new party-ready Saturday night slot.

Propaganda Picture House, 23:00–02:00, £5 (£4)

Student-orientated night playing the best in new and classic indie music.

Madchester The Liquid Room, 22:30–02:00, £6

Monthly favourite of indie classics and baggy greats, from Primal Scream and the like.

Betamax Studio 24, 23:00–02:00, £5 (£4)

Monthly offering of new wave, disco, post-punk and a bit o’ synthtastic 80s with your hosts Chris and Big Gus. VEGAS! The Voodoo Rooms, 21:00–01:00, £6

50s-themed party fun night, with Frankie Sumatra, Bugsy Seagull, Dino Martini, Sam Jose and Nikki Nevada. Plus Vegas showgirls a-go-go, natch.

Pocket Aces The Cabaret Voltaire, 23:00–02:00, £7 (£5)

Dance-inducing party with an anything goes attitude and rotating rota of guest DJs. We Techno Prisoners Base Nightclub, 23:00–02:00, £3 (£4)

The Shake Yer Shoulders crew take to Base for their regular Saturday nighter, playing only the dirtiest and hardest techno tunes they can get their grubby mitts on.

Big Cheese Potterrow, 21:00–02:00, £3 (£4 after 12)

Term-time student party night playing a selection of cheesy dancing tunes.

Karnival (Jesse Rose) The Annexe, 23:00–02:00, £10 (£8)

Karnival host their only date of the month, taking to The Annexe with LA-based house specialist Jesse Rose.

Bombskare: Official Afterparty Studio 24, 23:00–02:00, £4 (free with Bombskare ticket stub)

Bombskare provide the ska, reggae and two-tone following their live set earlier in the evening (also at Studio 24).

Sun 31 Mar The Green Door Studio 24, 22:00–03:00, £4

Surf, blues and rockabilly from the 50s and early 60s, plus free cake!

Nuff said.

Coalition Sneaky Pete’s, 23:00–03:00, Free

Weekly cross-genre of bass from a cast of Edinburgh’s best underground DJs. The Sunday Club The Hive, 22:00–03:00, Free

Two rooms of all the chart, cheese and indie-pop you can think of.

The Edinburgh Tattoo Convention: Official After-party Studio 24, 22:00–03:00, £4 (£2 with tattoo convention ticket)

Specially-selected rock, metal and alternative playlists, acting as the official after-bash for The Edinburgh Tattoo Convention.

theatre glasg o w CCA Cryptic Nights: The Third Mind 6–7 Mar, 8:00pm – 10:00pm, £5

Traversing the line between music, technology and performance, Cryptic Nights present an interactive audio-visual app and performance exploring the idea of ‘algorithmic cinema’, combining cinema, music, and live action

by Matthew Collings, Christos Michalakos and Erik Parr.

Citizens Theatre The Salon Project 15–23 Mar, not 17, 18, 6:00pm – 10:00pm, £25

360-degree simulation of an opulent Parisian Salon, kicking off in the dressing room where guests will be transformed in full period evening dress prior to the performance. Tickets need to be booked (and measurements submitted) two weeks in advance.

Theatre Royal The 39 Steps Tour 11–16 Mar, times vary, From £10

All-new version of Alfred Hitchcock’s spy thriller following the adventures of dapper hero Richard Hannay, complete with the obligatory pencil moustache.

Tramway Air Falbh leis na h-eoin 9 Mar, 7:30pm – 9:30pm, £5

Collaboration between artist Hanna Tuulikki, choreographer Rosalind Masson and filmmaker Daniel Warrem, which finds them interrogating the mimesis of birds in Gaelic song – for which they spent a week exploring the birdlife in the Hebrides.

Figment 14–16 Mar, times vary,

World premiere of a new work from Tramway’s young theatre group in residence, Junction 25, exploring the things we see and the things we don’t.

Cottiers Theatre

Tron Theatre

Good Omens

Slick

20–30 Mar, not 24, 25, 26, 7:30pm – 9:30pm, £5 (£3)

Comedy in two acts – based on the novel of the same name by Neil Gaiman and Terry Pratchett – based on the plot of an angel and demon who have known each other since the Garden of Eden.

Oran Mor A Play, A Pie And A Pint various dates between 26 Feb and 30 Mar, 12:00pm – 1:00pm, From £8

Afternoon session showcasing new work from a selection of talented playwrights, plus a pie and a pint, naturally. See oran-mor.co.uk for schedule details.

Three Sisters 4 Mar, 6 Mar, 29 Mar, 7:30pm – 9:30pm, £10 (£8)

New adaptation of one of Chekhov’s most popular plays, in which a marooned family desperately attempts to make the journey back to their precious home.

Paisley Arts Centre Slick 5 Mar, 7:30pm – 9:30pm, £10 (£6)

Dark and dirty exploration of greed, corruption and the all too easy loss-of-innocence told via a mix of absurd comedy, visual storytelling, puppetry, object theatre and physical performance.

Part of manipulate festival.

26–30 Mar, 7:45pm – 10:00pm, From £7

Dark and dirty exploration of greed, corruption and the all too easy loss-of-innocence told via a mix of absurd comedy, visual storytelling, puppetry, object theatre and physical performance.

Part of manipulate festival.

A Man Came To A Woman 15–23 Mar, 8:00pm – 10:00pm, £10 (£7)

The first UK staging of Semyon Zlotnikov’s inspired physical comedy, a surreal farce satirising the age-old conundrum of how two people of a certain age and uncertain future meet and get along.

Total Football: More Beckett Than Beckham 19–23 Mar, 7:45pm – 10:00pm, From £7

Mischieviously sharp and acutely observed meditation on our times from the award-winning and masterfully inventive theatre company that is Ridiculusmus.

Anna Weiss

27–30 Mar, 8:00pm – 10:00pm, £10 (£7)

Mike Cullen award-winning and uncompromising drama, exploring the issue of False Memory Syndrome and how it can tear lives apart.

EDINBURGH Bedlam Theatre All My Sons

Jack Webb: Dance Triple Bill

Arthur Miller’s first commercial and critical success, based on a true story about a successful self-made businessman whose factory supplied the US military during the war.

Waiting for Godot

Part of a rising wave of Scottish dancers currently exploring new ways to choreograph, talented chap Jack Webb presents a triple bill of dance – including his glamrock inspired piece, GlitterGrid, containing actual glitter.

The Glue Factory Black Sun Drum Korps’ Lady MacBeth 31 Mar, 6:00pm – 7:00pm, £donation

Glaswegian industrial trio Black Sun stage a new imagining of Shakespeare’s Macbeth, combining nocturnal magick and industrial witchcraft to create a visceral and feminine invocation of a Chorus of Witches.

The King’s Theatre Fame: The Musical 5–9 Mar, times vary, From £14

New singalong production of the stage musical, based on the classic 80s film of the same name.

Mother Africa 29 Mar, times vary, From £16

An ensemble of acrobats, dancers and musicians from across Africa come together to present a colourful display of circus acts, live music and dance.

The Old Hairdressers How To Catch A Cat Burglar 18–19 Mar, 7:30pm – 9:00pm, £8

Sonic Boom’s brand new comedy play about what do you do when you find a burglar in your flat – apparently the answer’s kill ‘em and wrap ‘em in a bedsheet and fairy lights, o’course. Part of GICF.

various dates between 25 Feb and 16 Mar, times vary, From £10

The latest incarnation of the favourited rock’n’roll musical arrives at the Playhouse.

Priscilla Queen of the Desert 4–9 Mar, times vary, From £15

New theatrical production of the O.T.T. musical adventure where two drag queens and a transsexual get a cabaret gig in the middle of the desert. Now with added Jasonbloody-Donovan.

Boogie Nights 18 Mar, 7:30pm – 9:30pm, From £22.50

70s musical concert featuring The Osmonds, Gareth Gates, Louisa Lytton, Andy Abraham, Chico and, yes – even young Shane Richie Junior. Aye, ALL the ‘stars’...

Russian State Ballet: Coppelia 19 Mar, 7:30pm – 10:00pm, From £17.50

The acclaimed Russian ballet company take on the classic comedy of errors, set in a doll maker’s workshop.

Russian State Ballet: La Fille Mal Gardée 20–21 Mar, 7:30pm – 10:00pm, From £17.50

The acclaimed Russian ballet company perform Alexander Gorsky’s recreation of one of the oldest ballets still regularly performed, about a young girl’s efforts to thwart her overly possessive mother’s plans for her.

Russian State Ballet’s Swan Lake 22–23 Mar, times vary, From £17.50

The acclaimed Russian ballet company perform their own reimagining of Tchaikovsky’s classic love story.

Festival Theatre High Society 5–9 Mar, times vary, From £15

19–23 Mar, 7:30pm – 9:30pm, £6 (£5.50)

13 Mar, 7:30pm – 9:30pm, £5 (£4.50)

Edinburgh University Theatre Company present their reworking of Samuel Beckett’s absurdist play in which two characters wait endlessly and in vain for the arrival of someone named Godot

19 Mar, 7:30pm – 10:00pm, From £13

Scottish Dance Theatre returns under the charge of new Artistic Director Fleur Darkin, with two all-new works: Second Coming and Winter, Again.

The Great Gatsby New adaptation of the F Scott Fitzgerald classic, choreographed

by David Nixon, paving the way for Baz Luhrmann’s all-star 3D film adaptation due summer 2013.

The Full Monty 25–30 Mar, times vary, From £11.50

New stage adaptation of the BAFTA award-winning film about six steelworkers with nothing to lose (i.e. they get nekkid).

King’s Theatre Oklahoma 13–16 Mar, times vary, From £15

22 Mar, 7:30pm – 10:00pm, £11 (£9)

15 Mar, 7:30pm – 10:00pm, £11.50 (£9.50)

The Edinburgh Gilbert and Sullivan Society present a new production of the ever-popular musical, a bittersweet story full of melodrama.

Ain’t they all...

The Government Inspector

Hauntingly programme of three live dance works, film and animation exploring the events surrounding 9/11.

Spring Awakening New production of the classic play about the terrors of becoming an adult, following a highly religious community in late 19th century Germany.

Edinburgh Playhouse Mother Africa 28 Mar, times vary, From £16

An ensemble of acrobats, dancers and musicians from across Africa come together to present a colourful display of circus acts, live music and dance.

Renowned for their imaginative use of public spaces, Janis Claxton Dance present a performance based on the study of emergent mathematical patterns, featuring an international cast of nine dancers.

Royal Lyceum Theatre Time and the Conways 26 Feb – 9 Mar, not 3 Mar, 4 Mar, times vary, From £14.50

New adaptation of JB Priestley’s play; an extraordinary manipulation of time and the fates, climaxing with the narrative returning to the original moment when the successful Conway family began to sow the seeds of their own downfall.

Takin’ Over The Asylum various dates between 3 Mar and 30 Mar, 2:30pm – 10:00pm, From £14.50

After its world premiere at Glasgow’s Citizens Theatre, Edinburgh’s Lyceum play host to a moving adaptation of Donna Franceschild’s cult 90s BBC television series set in Glasgow.

St Augustine’s Church Macbeth: Biography of a Killer 28–29 Mar, 7:30pm – 9:00pm, £11 (£9)

New rendering of Shakespeare’s classic, Macbeth, set in a modern day war bunker, where the final hours of the Scottish king’s life are shared with us through an interview with a reporter.

Traverse Theatre A Play, A Pie and A Pint

21–23 Mar, 8:00pm – 10:00pm, £15.50 (£11.50/£6 unemployed)

Giuseppe Verdi’s lyrical comedy opera of three acts, streamed live from the Opera National de Paris.

Scottish Dance Theatre: New Works

David Esbjornson brings his awardwinning production Scotland-way, telling the always-charming tale of the friendship that blossoms between a prickly ol’ southern matriarch and her chauffeur.

The Yeoman of the Guard

Romantic comedy of the magical variety (i.e. there’s actually a magician in it) by Alistair Rutherford, performed in an intimate cabaret bar style full of one-liners and humour.

Within This Dust

23 Mar, 24 Mar, times vary, Free

12 Mar, 6:30pm – 9:00pm, £25

14–16 Mar, 8:00pm – 9:00pm, £10 (£8)

Brunton Theatre

Chaos and Contingency

5–23 Mar, not 10, 11, 17, 18, 1:00pm – 2:00pm, £12

Southern Light Opera’s retelling of the Rodgers and Hammerstein smash hit set in a Western Indian territory in 1906, providing the colourful backdrop against which Curly and Laurey’s love story plays out.

Driving Miss Daisy

Passing Through

National Museum of Scotland

Sparkling new production of Cole Porter’s timeless classic, adapted from the hit 1956 film starring screen legends Bing Crosby, Grace Kelly and Frank Sinatra.

Falstaff: Live from The Opera National de Paris

21–23 Mar, times vary, From £12

The Arches 12 Mar, 7:30pm – 8:30pm, £8 (£5)

The Rocky Horror Show

5–9 Mar, times vary, From £14

19–23 Mar, times vary, From £12

26–30 Mar, times vary, From £14

Retelling of Nikolai Gogol satirical play in which a penniless nobody from the big city arrives in a small town, where he is mistaken for the all-powerful government inspector by its corrupt and self-serving officials.

Afternoon session showcasing new work from a selection of talented playwrighs, plus a pie and a pint, naturally. See traverse.co.uk for schedule details.

Chapel Street and Bitch Boxer Double bill of two award-winning new shows, first presented as part of the ‘Old Vic New Voices’ at the Edinburgh Fringe Festival 2012, with Luke Barnes’ Chapel Street and Charlotte Josephine’s Beat Boxer.

Quiz Show: Preview 29–30 Mar, 7:30pm – 10:00pm, £11.50 (£6)

After terrifying us with his last outing, Bullet Catch, talented Scottish playwright Rob Drummond returns to push the boundaries once more, with a new production set inside a quiz show offering contestants the chance to play for the ultimate prize...

Usher Hall Going Global 30 Mar, 7:30pm – 10:00pm, £15 (£13)

Series of special performances aiming to take a whistle-stop tour of the world of dance, from Bollywood to the tip-tap of 42nd Street.

DUNDEE Dundee Rep My Name is Rachel Corrie 1–6 Mar, not 3, 4, 7:30pm – 9:30pm, prices vary

Powerful one-woman play about Rachel Corrie, the twenty-threeyear-old American who was killed by an Israeli bulldozer in the Gaza Strip in 2003, composed from Rachel’s own journals, letters and emails.

The Gardyne Theatre La Traviata 7 Mar, 7:30pm – 10:30pm, £16 (£5 under 26s)

Scottish Opera present Verdi’s interpretation of one of the most popular love stories of the 19th century, La Dame aux Camelias, celebrating the 200th anniversary of Verdi’s birth.

Gotta Work 16–17 Mar, 7:30pm – 9:30pm, £tbc

The junior section of Dance2K presents a collection of tap and modern pieces.

COMEDY glasgow

Fri 15 Mar Paul Merton: Impro Chums

Wed 06 Mar Wicked Wenches (Ava Vidal, Celia Pacquala, Eleanor Morton) The Stand, 20:30–22:30, £6 (£5/£3 members)

All-female stand-up, with a suitably varied mix of headliners and newcomers taking to the stage.

Thu 07 Mar The Thursday Show (Nick Revell, Celia Pacquala, Gareth Waugh, Bruce Devlin) The Stand, 20:30–22:30, £10 (£7/£5 members)

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.

Fri 08 Mar The Friday Show (Nick Revell, Celia Pacquala, Gareth Waugh, Bruce Devlin) The Stand, 20:30–22:30, £12 (£10/£6 members)

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts.

Sat 09 Mar The Gatsby Club: An Evening of Slapstick!

Glasgow University Union, 20:30–02:00, £14 (£12)

The 1920s-themed cabaret and club night takes on a comedy bent for the evening, featuring a lineup of comedians, cabaret acts, burlesque performers, and more, plus themed cocktails and a dressup code (think flapper dresses and bowler hats).

The Saturday Show (Nick Revell, Celia Pacquala, Gareth Waugh, Bruce Devlin) The Stand, 21:00–23:00, £15

Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend.

Sun 10 Mar Michael Redmond’s Sunday Service The Stand, 20:30–22:30, £6 (£5/£1 members)

Chilled Sunday comedy showcase with resident Irish funnyman Michael Redmond and guests.

Mon 11 Mar Improv Wars The Stand, 20:30–22:30, £4 (£2)

Improvised comedy games and sketches, with an unpredictable anything-goes attitude – just how we like it.

Wed 13 Mar The Fun Junkies The Stand, 20:30–22:30, £5 (£4/£2.50 members)

Diverse offerings from the comedy spectrum, featuring stand-up, variety acts, sketches, musical comedy and, yes, magicians!

Thu 14 Mar Simon Evans: Friendly Fire Oran Mor, 19:00–22:00, £14

The fearsome iconoclast is back with a brand new show from which nothing is safe from the critical glint in his tiny, tiny eyes. Part of GICF. Puppetry of the Penis The Pavilion Theatre, 19:30–21:30, £19.50

The Australian duo bend their genitals into all manner of shapes, including such manoeuvers as The Hamburger, the Wristwatch and the Windsurfer. Jesus would’ve wept.

Zoe Lyons: Pop-Up Comic The Stand, 19:30–21:30, £12 (£10)

More acerbic comedy rants from the award-winning Zoe Lyons, awash with silliness, satire and caustic one-liners. Part of GICF. Gary Little: The Thing Is The Stand, 19:30–21:30, £10 (£9)

The master comedy storyteller tours his brand new show, addressing death, love and the dying of hair as he goes. Part of GICF.

The King’s Theatre, 19:30–21:30, From £16.50

TV funnyman Paul Merton leads a merry improvised evening, taking audience suggestions and weaving ‘em into comical anecdotes. Part of GICF. David O’Doherty The Garage, 20:00–22:00, £15 (£13)

The Perrier Award-winning Irish comic hits the road with a bag containing a tiny keyboard, six C batteries (spare) and a book of actual sex tips he found in a dentist’s waiting room.

Sarah Cassidy: Beard Envy Vespbar, 20:15–21:15, £6 (£5)

The Floridian joker charts her travels to the Scottish town of Beardmore to discover the source of her beard envy (FYI, she wishes she could grow one). Part of GICF.

Sat 16 Mar Henning Wehn: Henning Knows Bestest Oran Mor, 19:00–22:00, £15

Jolly stand-up German comic, who pretty much seems to have selfappointed himself German Comedy Ambassador to the UK, mores the joy. Part of GICF. Daniel Sloss The King’s Theatre, 17:00-20:00, £15.50

Award-winning comedian and internationally acclaimed halfman-half-Xbox Daniel Sloss brings the laughs. Part of GICF. David O’Doherty The Garage, 20:00–22:00, £15 (£13)

The Perrier Award-winning Irish comic hits the road with a bag containing a tiny keyboard, six C batteries (spare) and a book of actual sex tips he found in a dentist’s waiting room.

Paul Tonkinson: Fancy Man The Stand, 19:45–21:45, £12 (£10)

The Yorkshire chap – a former double award-winning Time Out Comedian of the Year – takes to the road with his eagerly-anticipated debut tour. Part of GICF.

Sun 17 Mar Justin Moorhouse: Justin Time The Stand, 19:00–21:00, £12 (£10)

The Manc stand-up comic and radio DJ takes his romp of a new show on tour.

St Patrick’s Day: Irish Comedy Special The Stand, 20:30–22:30, £12 (£11)

A selection of top comics from the contemporary Irish circuit do their thing, in honour of St Paddy’s Day.

Mon 18 Mar The PPOWH Benefit (Dylan Moran, Karen Dunbar, Des McLean, Fred MacAulay, Bruce Morton, Des Clarke, Michelle McManus, Janey Godley, Michael Redmond, Scott Agnew, Raymond Mearns) The King’s Theatre, 19:30–21:30, £21

A star-studded comic cast come together to raise funds for Glasgow’s Prince and Princess of Wales Hospice, with Dylan Moran headlining alongside some of the best in Scottish comedy talent.

We’ll gloss over the Michelle McManus bit. Part of GICF. Zombie Science: Worst Case Scenario The Stand, 19:30–21:30, £7 (£5)

Spoof tutorial on the real science behind a zombie epidemic and how we might survive it, hosted by Theoretical Zombiologist Doctor Austin. He’s certified an’ that.

Part of GICF. Josh Widdicombe: The Further Adventures of...

The Stand, 21:30–23:00, £10

Tony Law: Maximum Noise The Stand, 19:30–21:30, £10 (£8)

The Canadian comic tours his new show, hopefully with new tales of his sausage dog, Cartridge, whom we’ve grown to love. Part of GICF.

Wed 20 Mar Wendy Wason: Wanging On The Stand, 21:30–23:00, £9 (£7)

Ms Wason does what she does best: bangs on about her loves, her hates and her couldn’t-carelesses. Part of GICF.

Thu 21 Mar Tom Stade Totally Rocks The King’s Theatre, 19:30–21:30, £17.50

The shouty Canadian monster that is Tom Stade takes his 2012 Edinburgh Fringe show on the road, imbued with his his refreshingly laid-back and unconventional ethos on life. Part of GICF.

Fri 22 Mar Harry Hill: Sausage Time The King’s Theatre, 19:30–21:30, £31

The hairless funnyman returns with his new live show, in which he promises incontrovertible proof that God exists, accompanied as per by his madcap live showband, The Harry’s.

Jimmy Carr: Gagging Order Clyde Auditorium, 20:00–22:00, £25

Carr tours his new solo show, packed with one-liners, stories and jokes done in his own admitted ‘sick’ sense of humour. Part of GICF. Anna Morris: Dolly Mixture The Old Hairdressers, 20:30–22:00, £8 (£7)

The renowned character comic takes in a series of diverse sketches, with the intro narrated by a creepy doll’s head. Part of GICF. Andy Fury LovesFilm Vespbar, 19:00–20:30, £5 (£4)

The Geordie comic charts his decision to watch a cult classic movie every day for a whole year, in an attempt to catch up with his fellow 30-year-olds for whom Ghostbusters et al weren’t banned whilst growing up. Amen to that.

Part of GICF.

Sat 23 Mar Harry Hill: Sausage Time The King’s Theatre, 19:30–21:30, £31

The hairless funnyman returns with his new live show, in which he promises incontrovertible proof that God exists, accompanied as per by his madcap live showband, The Harry’s.

Jerry Sadowitz: Comedian, Magician, Bawbag!

The King’s Theatre, 22:00–23:30, From £20.50

The defiantly un-PC comic – known for hating, well, pretty much everything – do his offensive thing, most likely hating on gays and foreigners. Some more.

Mitch Benn: Reduced Circumstances The Stand, 19:30–21:30, £12 (£10)

Musician-cum-comic Mitch Benn sings some humourous songs, mostly about how he shrunk down from 25 stone to 15 stone. Part of GICF. The Wee Man’s Rap Battle Showdown The Arches, 20:00–21:30, £8 (£6)

A selection of Scottish comedians go head-to-head with some UK rap talent in a hip-hop battle of wit, MC’d by Reverend Obediah Steppenwolfe III. Part of GICF. Jimmy Carr: Gagging Order Clyde Auditorium, 20:00–22:00, £25

Carr tours his new solo show, packed with one-liners, stories and jokes done in his own admitted ‘sick’ sense of humour. Part of GICF.

Sun 24 Mar Al Murray The King’s Theatre, 19:30–21:30, £26.50

The young stand-up works through his inability to embrace adventure in his life, and his continued frustration with everything he comes into contact with. Be gentle with him. Part of GICF.

Alastair James Belshaw once more dons his Pub Landlord persona, serving up the ale-inspired acumen and bar-room buffoonery, as per. Part of GICF. Sean Walsh: Seann To Be Wild

Tue 19 Mar

The Jill Edwards’ Comedy workshop graduate does his sharp, observational thing. Part of GICF. David Burke: 3 Days Off Jesus

Sean Lock: Purple Van Man The King’s Theatre, 19:30–21:30, £22

Loved for his wondering, grumbling puzzlement at life, Mr Lock puts himself in the mind of a ‘purple van man’ (like a white van man, but probably dafter) for some more deft observations on the world. Part of GICF.

The Stand, 21:30–23:00, £10

The Roxy 171, 18:00–19:30, £5

The non-drinking Irish funnyman invites one and all for a cup of tea and a night of comedy and stories – touching on growing up in old Ireland, amongst other things.

Part of GICF.

Mon 25 Mar Richard Herring: Talking Cock Citizens Theatre, 20:30–22:00, £15

Having previously covered such heavyweight topics as yoghurt and fascism, Herring’s latest opus finds him making a tenth anniversary return to his acclaimed show musing on, erm, willies. Part of GICF. The Grape and The Grain: Vladimir McTavish and James Dowdeswell

EDINBURGH Tue 05 Mar Grassroots Comedy The Pleasance, 19:30–23:00, £1

Showcase night featuring the best in fresh, local talent – bringing together first-time and upand-coming comics in a series of quickfire 10-minute slots.

Wicked Wenches (Ava Vidal, Celia Pacquala, Cat Wade, Eleanor Morton)

The Good, The Bad and The Unexpected The Stand Comedy Club, 20:30–22:30, £5

A bright collective of comedians experiment with the medium of stand-up, under the ever-watchful eye of Jo Caulfield.

Wed 13 Mar

Thu 21 Mar

Zoe Lyons: Pop-Up Comic

The Thursday Show (Kevin Gildea, Andy Sir, Nat Luurtsema, David Burke)

The Stand Comedy Club, 20:30–22:30, £12 (£10)

The Stand Comedy Club, 20:30–22:30, £6 (£5/£3 members)

More acerbic comedy rants from the award-winning Zoe Lyons, awash with silliness, satire and caustic one-liners. Part of GICF.

Lucy Porter: People Person

Wed 06 Mar

The Thursday Show (Ian Coqnito, Paddy Lennox)

The Stand, 19:30–21:30, £12 (£10)

Justin Moorhouse: Justin Time

The Stand, 21:30–23:00, £8 (£6)

Vladimir McTavish and James Dowdeswell team up for a doubleheader festival show, themed wholly around booze. Part of GICF.

Tue 26 Mar The Radio 4 regular and TV panel show luminary returns with her all-new stand-up show, based around a true story with a surprising twist in the tale. Part of GICF.

Wed 27 Mar Chris Addison Citizens Theatre, 20:30–22:00, £20

The Manc star of The Thick of It returns to the Citiz with his twice extended critically acclaimed show – The Time Is Now, Again.

Part of GICF. Rob Deering: The One The Stand, 19:30–21:30, £10 (£8)

The comedian and multi-instrumentalist tours as a one-mansupergroup, chock with songs and silliness. Part of GICF. Scott Agnew: Tales of the Sauna The Stand, 21:30–23:00, £8 (£6)

The Weegie comic takes a look into the little-known world of the gay man’s sauna, with filth all but guaranteed. Part of GICF.

Thu 28 Mar John Shuttleworth: Out of Our Sheds Citizens Theatre, 20:30–22:00, £15

The Perrier and Sony nominated funnyman ventures beyond the garden gate to again tread the mean streets of Britain. Part of GICF. Neil Delamere: DelaMere Mortal The Stand, 19:30–21:30, £12

The Irish comic contrasts his schoolboy self with his current self, in an attempt to work out if he’s actually matured much. Part of GICF.

Fri 29 Mar Janey Godley: Godley Gagged Oran Mor, 19:00–22:00, £13.50

The outspoken Weegie comic tours her new show, centring around the theme of freedom of speech.

Part of GICF. Phill Jupitus Citizens Theatre, 20:30–22:00, £15

The inimitable Mr Jupitus returns to the live stand-up stage, his quick remarks and cheeky sarcasm as prevalent as ever. Part of GICF.

Sat 30 Mar Billy Kirkwood: Easily Distracted Blackfriars Basement, 21:00–22:30, £9 (£7)

The Ayrshire-born comic brings the mayhem, as per – pretty much living proof that AHDA can occur in adults. Part of GICF. Fred MacAuley: The First 25 Years Citizens Theatre, 20:30–21:30, £15

The Scottish comic celebrates 25 years of stand-up, with a mixture of contemporary routines mixed with earlier classic material.

Sun 31 Mar Phil Differ: How To Look Good Knackered Oran Mor, 19:00–22:00, £10

The man behind Watson’s Wind-Up and Only An Excuse doing his own stand up. Part of GICF. Susan Calman: Out Of My Head The Stand, 19:15–20:45, £10

The Glasgow-based funnywoman returns with a brand new show filled with spontaneous thoughts, in a never-to-be-repeated stream of consciousness-style show.

Part of GICF. Josie Long: Romance and Adventure The Stand, 21:15–22:45, £10 (£9)

Sixth solo show from the intelligently-funny comic, addressing tiredness, doubt and turning 30 – but in a reassuringly humourous way. Part of GICF.

All-female stand-up, with a suitably varied mix of headliners and newcomers taking to the stage.

The Stand Comedy Club, 20:30–22:30, £12 (£10)

The Manc stand-up comic and radio DJ takes his romp of a new show on tour.

Thu 07 Mar The Thursday Show (Tony Burgess, Ava Vidal, Jim Park) The Stand Comedy Club, 21:00–23:00, £10 (£7/£5 members)

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.

Fri 08 Mar Improverts Bedlam Theatre, 22:30–23:30, £5.50 (£5)

Long-standing improv comedy troupe fae Edinburgh, whose rather fine show is built entirely on (oft daft) audience suggestions.

The Friday Show (Tony Burgess, Ava Vidal, Jim Park)

Thu 14 Mar The Stand Comedy Club, 21:00–23:00, £10 (£7/£5 members)

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.

Fri 15 Mar Improverts Bedlam Theatre, 22:30–23:30, £5.50 (£5 members)

Long-standing improv comedy troupe fae Edinburgh, whose rather fine show is built entirely on (oft daft) audience suggestions.

The Friday Show (Ian Coqnito, Paddy Lennox)

The Stand Comedy Club, 21:00–23:00, £12 (£10/£6 members)

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts.

The Beehive Comedy Club Beehive Inn, 20:30–22:30, £7

The Stand Comedy Club, 21:00–23:00, £12 (£10/£6 members)

Regular weekend comedy showcase featuring a selection of up-and-coming acts fom Scotland and beyond, topped with a guest headliner. Check their Facebook page on the day for line-up details.

Beehive Inn, 20:30–22:30, £7

The Saturday Show (Ian Coqnito, Paddy Lennox)

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts.

The Beehive Comedy Club Regular weekend comedy showcase featuring a selection of up-and-coming acts fom Scotland and beyond, topped with a guest headliner. Check their Facebook page on the day for line-up details.

Punchline (Pappy’s, John Hastings, David Trent) Usher Hall, 20:00–22:30, £12 earlybird

The rather ace new comedy night returns for its third outing, headered by the three-man sketch comedy troupe that is Pappy’s (soon to have their own BBC show, no less), alongside support from John Hastings and David Trent.

Sat 09 Mar The Saturday Show (Tony Burgess, Ava Vidal, Jim Park) The Stand Comedy Club, 21:00–23:00, £15

Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend.

The Beehive Comedy Club Beehive Inn, 20:30–22:30, £7

Regular weekend comedy showcase featuring a selection of up-and-coming acts fom Scotland and beyond, topped with a guest headliner. Check their Facebook page on the day for line-up details.

Sun 10 Mar The Sunday Night Laugh-In The Stand Comedy Club, 20:30–22:30, £6 (£5/£1 members)

Chilled comedy showcase to cure your Sunday evening back-towork blues.

Mon 11 Mar Newbees Beehive Inn, 20:00–22:00, £2 (£1)

A mixed batch of stand-up rookies take to the stage to cut their teeth. Be gentle on ‘em.

David O’Doherty The Queen’s Hall, 20:00–22:00, £15 (£13)

The Perrier Award-winninåg Irish comic hits the road with a bag containing a tiny keyboard, six C batteries (spare) and a book of actual sex tips he found in a dentist’s waiting room.

Tue 12 Mar Grassroots Comedy The Pleasance, 19:30–23:00, £1

Showcase night featuring the best in fresh, local talent – bringing together first-time and upand-coming comics in a series of quickfire 10-minute slots.

The Stand Comedy Club, 20:30–22:30, £10 (£9)

The award-winning comic takes a look at our obsession with the word ‘normal’ – how we define it, how most of us crave it and why so many crazy things in the world are called by it.

Sat 16 Mar The Stand Comedy Club, 21:00–23:00, £15

Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend.

Helen O’Brien: Bronagh’s Big Weekend The Stand Comedy Club, 17:00–18:30, £10

The BBC Comedy Award Winner presents her one-woman show about a mad weekend in a mad family.

The Beehive Comedy Club Beehive Inn, 20:30–22:30, £7

Regular weekend comedy showcase featuring a selection of up-and-coming acts fom Scotland and beyond, topped with a guest headliner. Check their Facebook page on the day for line-up details.

Mon 18 Mar Newbees Beehive Inn, 20:00–22:00, £2 (£1)

A mixed batch of stand-up rookies take to the stage to cut their teeth. Be gentle on ‘em.

Tue 19 Mar Grassroots Comedy The Pleasance, 19:30–23:00, £1

Showcase night featuring the best in fresh, local talent – bringing together first-time and upand-coming comics in a series of quickfire 10-minute slots.

The Speakeasy (Drizzle, Ari Cass-Maran, Jay Lafferty, James Spence, Ricard Melvin, Ron Vestible) Scottish Storytelling Centre, 20:00–22:00, £5 (£4)

Brand new monthly spoken-word show of the rather ace variety, featuring a feastful of writers, comedians and musicians telling (mostly) true stories, under the watchful eye of host Jo Caulfield.

Peacock & Gamble: Don’t Even Want To Be On Telly Anyway The Stand Comedy Club, 20:30–22:30, £10

Comedy nice boys Ray and Ed bring the idiocy and handsomeness (so say they) to Glasgow. Part of GICF.

Wed 20 Mar Peacock & Gamble: Don’t Even Want To Be On Telly Anyway The Stand Comedy Club, 19:15–21:45, £10

Comedy nice boys Ray and Ed bring the idiocy and handsomeness (so say they) to Glasgow.

Francesca Martinez: What The **** Is Normal?!

The Stand Comedy Club, 21:00–23:00, £10 (£7/£5 members)

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.

Francesca Martinez: What The **** Is Normal?!

The Stand Comedy Club, 19:30–21:30, £10 (£9)

The award-winning comic takes a look at our obsession with the word ‘normal’ – how we define it, how most of us crave it and why so many crazy things in the world are called by it. Part of GICF.

Fri 22 Mar

Mon 25 Mar Patrick Monahan: Shooting From The Lip The Stand Comedy Club, 19:30–21:30, £10 (£8)

High-energy gags of the funnyman’s Irish/Iranian/Teeside heritage, chock with anecdotes, as per.

Newbees Beehive Inn, 20:00–22:00, £2 (£1)

A mixed batch of stand-up rookies take to the stage to cut their teeth. Be gentle on ‘em.

Pandamonium Comedy The Cabaret Voltaire, 19:30–23:00, £4

Brand new platform for new comedians, with an additional featured headliner each edition.

Tue 26 Mar Grassroots Comedy The Pleasance, 19:30–23:00, £1

Showcase night featuring the best in fresh, local talent – bringing together first-time and upand-coming comics in a series of quickfire 10-minute slots.

Richard Herring: Talking Cock The Stand Comedy Club, 20:30–22:30, £15

The Friday Show (Kevin Gildea, Andy Sir, Nat Luurtsema, David Burke) The Stand Comedy Club, 21:00–23:00, £12 (£10/£6 members)

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts.

Robin Ince: The Importance Of Being Interested The Stand Comedy Club, 19:30–21:30, £12 (£10)

The comic-cum-science enthusiast follows up his Happiness Through Science show with a humourous look at his favourite scientists – Charles Darwin and Richard Feynman.

The Beehive Comedy Club Beehive Inn, 20:30–22:30, £7

Regular weekend comedy showcase featuring a selection of up-and-coming acts fom Scotland and beyond, topped with a guest headliner. Check their Facebook page on the day for line-up details.

Improverts Bedlam Theatre, 22:30–23:30, £5.50 (£5 members)

Long-standing improv comedy troupe fae Edinburgh, whose rather fine show is built entirely on (oft daft) audience suggestions.

Sat 23 Mar

Having previously covered such heavyweight topics as yoghurt and fascism, Herring’s latest opus finds him making a tenth anniversary return to his acclaimed show musing on, erm, willies.

Wed 27 Mar WitTank The Stand Comedy Club, 20:30–22:30, £12

Stars of BBC3’s Live at The Electric rocket treat y’all with a lavish parade of inventive characters and sketches.

Thu 28 Mar The Thursday Show (Andy White) The Stand Comedy Club, 21:00–23:00, £10 (£7/£5 members)

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.

Fri 29 Mar The Friday Show (Andy White) The Stand Comedy Club, 21:00–23:00, £12 (£10/£6 members)

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts.

The Beehive Comedy Club Beehive Inn, 20:30–22:30, £7

The Saturday Show (Kevin Gildea, Andy Sir, Nat Luurtsema, David Burke) The Stand Comedy Club, 21:00–23:00, £15

Packed Saturday evening bill of standup headliners and resident comperes to jolly along your weekend.

The Beehive Comedy Club Beehive Inn, 20:30–22:30, £7

Regular weekend comedy showcase featuring a selection of up-and-coming acts fom Scotland and beyond, topped with a guest headliner. Check their Facebook page on the day for line-up details.

Sun 24 Mar Robin Ince: The Importance Of Being Interested The Stand Comedy Club, 17:00–18:30, £12 (£10)

The comic-cum-science enthusiast follows up his Happiness Through Science show with a humourous look at his favourite scientists – Charles Darwin and Richard Feynman. Part of GICF. Patrick Monahan: Shooting From The Lip

The Stand Comedy Club, 20:30–22:30, £12 (£10)

High-energy gags of the funnyman’s Irish/Iranian/Teeside heritage, chock with anecdotes, as per.

Jerry Sadowitz: Comedian, Magician, Bawbag!

Picture House, 19:00–22:00, £19.50

The defiantly un-PC comic – known for hating, well, pretty much everything – do his offensive thing, most likely hating on gays and foreigners. Some more.

Robin Ince’s Show and Tell National Museum of Scotland, 20:00–21:30, £10 (£8)

Comic-cum-science enthusiast Robin Ince invites a series of guests to ‘show and tell’ their favourite things from the world of science. Part of Edinburgh International Science Festival.

Regular weekend comedy showcase featuring a selection of up-and-coming acts fom Scotland and beyond, topped with a guest headliner. Check their Facebook page on the day for line-up details.

Improverts Bedlam Theatre, 22:30–23:30, £5.50 (£5 members)

Long-standing improv comedy troupe fae Edinburgh, whose rather fine show is built entirely on (oft daft) audience suggestions.

Harry Hill: Sausage Time Edinburgh Playhouse, 20:00–22:30, £31

The hairless funnyman returns with his new live show, in which he promises incontrovertible proof that God exists, accompanied as per by his madcap live showband, The Harry’s.

Sat 30 Mar The Saturday Show The Stand Comedy Club, 21:00–23:00, £15

Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend.

The Beehive Comedy Club Beehive Inn, 20:30–22:30, £7

Regular weekend comedy showcase featuring a selection of up-and-coming acts fom Scotland and beyond, topped with a guest headliner. Check their Facebook page on the day for line-up details.

Sun 31 Mar The Stand’s Bank Holiday Special The Stand Comedy Club, 20:30–22:30, £10 (£9)

The Stand celebrate the coming bank holiday with a special Sunday show of laughs, hosted by Stu Murphy.

Mon 01 Apr The Maths Olympics National Museum of Scotland, 15:00–15:45, £4

Stand-up mathematician Simon Pampera fuses sport, music, comedy and numbers into one not-at-all geeky evening of maths-based comedy.

March 2013

THE SKINNY 61

edinburgh

LISTINGS

Aglasgow rt

Romany Dear: Call and Response 16 Mar, 2:00pm – 3:00pm, Free (but ticketed)

CCA Economy @ CCA various dates between 26 Feb and 23 Mar, 11:00am – 6:00pm, Free

Stills’ Social Documents programme concludes with a twovenue group exhibition examining the impact of the economy upon life, extending its wares across Glasgow’s CCA – who host work

by Tanja Ostojić, Hito Steyerl and WochenKlausur, amongst others.

Gallery of Modern Art Niki de Saint Phalle: The Eric and Jean Cass Gift​

Our RSA New Contemporaries winner presents new work over a series of different events, each using dance as a medium to speak through – with Call and Response taking in movement workshop led

by Dear herself. Free, but ticketed (via CCA box office).

Romany Dear: Open Gallery 26–27 Mar, 12:00pm – 5:00pm, Free (but ticketed)

Our RSA New Contemporaries winner presents new work over a series of different events, each using dance as a medium to speak through – with the 26/27 March finding her in gallery for a drop-in sharing of ideas. Free, but ticketed (via CCA box office).

Mary Mary

25 Feb – 16 Nov, times vary, Free

Exhibition of 13 sculptures, one lithograph and other related ephemera by French sculptor, painter, and film maker Niki de Saint Phalle, gifted to Glasgow Museums through the Contemporary Art Society.

Rachel Mimiec: Plough 25 Feb – 27 May, times vary, Free

Glasgow-based artist Rachel Mimiec presents her current installation – working with paint and appropriated images to document landscapes and nature, including works made by children during workshops at the Red Road Family Centre Nursery.

Glasgow Print Studio

Alexis Marguerite Teplin: He, Ho, HA, hmmm… various dates between 26 Feb and 13 Apr, 12:00pm – 6:00pm, Free

The California-born, Londonliving artist – best known for her abstract, visually-arresting paintings – takes over the gallery space with a new selection of solo paintings and sculptures.

Offshore The Wrestlers 1–31 Mar, times vary, Free

Showcase of work from Andrew Cawley’s documentary photography project that began life in 2009, following the wrestlers and fans of Scottish Pro-Wrestling.

Project Ability

Jila Peacock

Artists in Residence 2012

8–31 Mar, not 11, 18, 25, times vary, Free

Jila Peacock showcases the results of a visual collaboration with the music of English composer Jonathan Harvey (who died in December 2012), using his choral work, Messages, as the basis for seven new prints.

Photography in Printmaking 26 Feb – 17 Mar, not 4 Mar, 11 Mar, times vary, Free

A specially-selected group of Glasgow Print Studio members take over the main gallery space to demonstrate the diversity of photographic imagery and technology in contemporary printmaking. Part of Blueprint 2013.

Calum MacKenzie: Tableau Vivant various dates between 23 Mar and 5 May, times vary, Free

Showcase exhibition of digital prints by late artist, printmaker and raconteur Calum MacKenzie, a former director of Glasgow Print Studio.

various dates between 26 Feb and 19 Mar, 10:00am – 5:00pm, Free

Project Ability present a group exhibition looking back at the 2012 residency programme, before they begin their exhibition programme for 2013, with the selected artists each resident for an intense one-month working period during 2012.

RGI Kelly Gallery George Wyllie: Scul?tor and Navigator 25 Feb – 9 Mar, not 3 Mar, times vary, Free

Unique look at the ideas and design of late Scottish artist George Wyllie’s work, including materials related to the artist’s more famous works, alongside a number projects that did not make it to fruition.

Anna King and Rebecca Sharp: Unmapped 14 Mar – 6 Apr, not 17 Mar, 24 Mar, 31 Mar, times vary, Free

Double-header exhibition from contemporary landscape painter Anna King and writer and interdisciplinary artist Rebecca Sharp, featuring paintings and poems investigating juxtaposition of absence and presence.

Glasgow School of Art Marmite Prize various dates between 2 Mar and 6 Apr, 10:30am – 4:30pm, Free

Biennial open submission painting prize and touring exhibition that aims to showcase the best in contemporary painting from the UK and abroad. And has nothing to do with actual Marmite. In the Mackintosh Museum.

Recoat Gallery Kirsty Whiten

The Objects various dates between 27 Feb and 6 Apr, 11:00am – 5:00pm, Free

Group exhibition identifying an area of interest among artists who have created ‘portraits’ or vignettes of inanimate objects using film and video, offering the viewer a different way of looking, examining and critiquing sculptural work.

26 Feb – 31 Mar, not 4 Mar, 11 Mar, 18 Mar, 25 Mar, times vary, Free

A trio of artists in Street Level’s curated miscellany in the Blueprint initiative – Sylvia Grace Borda, Colin Gray an Alex Hamilton – present works that relate to cyanotypes in some way, either directly or indirectly. Part of Blueprint 2013.

Award-winning Bulgarian jeweller Nikolay Sardamov exhibits a solo exhibition of his new jewellery design developments, using circles as components to build three dimensional forms using only six different circle sizes.

Our RSA New Contemporaries winner presents new work over a series of different events, each using dance as a medium to speak through – with When I Move, You Move taking in a dance performance over two parts. Free, but ticketed (via CCA box office).

March 2013

The Virginia Gallery The Eyes of March various dates between 1 Mar and 29 Mar, times vary, Free

Double-header exhibition playing on the theme of the Ides of March, with Monkeytwizzle displaying photography influenced by the personal fear of loss of sight, alongside paintings by Fiona Allsop exploring feelings of foreboding and horror.

Tramway Nick Evans: Solar Eyes 26 Feb – 24 Mar, not 4 Mar, 11 Mar, 18 Mar, times vary, Free

The Arches

Ambitious new exhibition from Glasgow-based sculptor Nick Evans, presenting a newlycommissioned body of sculptures within an environment which is part sculpture ‘theme park’ and part lost civilisation.

Rachel Adams: Space Craft

The Glasgow School of Art Fashion Show 2013

2–24 Mar, not 4, 11, 18, times vary, Free

5–6 Mar, times vary, £7 (£5)

Annual show at which the third year GSA Textile students will showcase a selection of costumes for the stage, to be used as part of the centenary celebration of The Rite of Spring, while the Fashion students present work incorporating Harris Tweed fabric.

The Duchy Ross Sinclair: I Tried to Give Up Drinking with Guitars instead of God various dates between 22 Mar and 13 Apr, times vary, Free

A show about an album by Ross & The Realifers, for which Ross Sinclair will release a new LP he’s been working on over the past few years, accompanied by an exhibition reflecting the story of each of the songs in a visual and melodic reverie.

The Lighthouse Modern Languages 25 Feb – 31 Mar, times vary, Free

Group exhibition offering contemporary perspectives of five international artists and designers on the familiar traditions of Irish craft: Nao Matsunaga, Laura Mays, Deirdre Nelson, Ciara Phillipsn and Barbara Ridland.

Model Business 25 Feb – 31 Mar, times vary, Free

Three businesses that have participated in the Cultural Enterprise Office Starter for Six programme over the last three years show their products and services, giving insight into the challenges they face in launching a creative enterprise.

Critical Dialogues: Scotland + Venice 25 Feb – 10 Apr, times vary, Free

Resulting work of last year’s Scottish contribution to the Venice Biennale, showcasing projects from four practices that responded to the Biennale’s theme of ‘Common Ground’.

The Modern Institute

Roger Billcliffe Gallery

15 Mar, 21 Mar, 23 Mar, 29 Mar, 7:30pm – 8:30pm, Free (but ticketed)

62 THE SKINNY

Three emerging Chinese photographers – Ren Hang, Zhang Kechun and Zhang Jin – present widely varied approaches to the medium both in terms of aesthetic and technique, offering a glimpse into some of the latest trends in contemporary Chinese photography.

Dreaming of Cyanotypes

Showcase of new work by Londonbased artist Simon Periton – his third solo outing at The Modern Institute – for which he’s created intricate cut-outs in steel and aluminum alongside large-scale spray-paintings on paper and glass.

various dates between 2 Mar and 2 Apr, times vary, Free

Intermedia

26 Feb – 31 Mar, not 4 Mar, 11 Mar, 18 Mar, 25 Mar, times vary, Free

Simon Perition: The Rose Engine

Nikolay Sardamov: Intersections

Romany Dear: When I Move, You Move

Remote Places, Close Spaces

9 Mar – 7 Apr, not 11 Mar, 18 Mar, 25 Mar, 1 Apr, 12:00pm – 6:00pm, Free

Selection of drawings, paintings, paste-ups and mural works from the Scottish painter and illustrator, taking in a selection of her half-human beasts of legend – from centaurs to buxom sphinxes.

Glasgow Sculpture Studios @ The Whisky Bond

Street Level Photoworks

25 Feb – 23 Mar, not 3 Mar, 10 Mar, 17 Mar, times vary, Free

The Modern Institute @ Airds Lane Jim Lambie: Shaved Ice 28 Feb – 9 Mar, not 3 Mar, 4 Mar, 5 Mar, 6 Mar, 12:00pm – 5:00pm, Free

The Modern Institute’s new Aird’s Lane gallery space is taken over by new work from Glasgow artist Jim Lambie, who’ll be installing sixteen ladders with mirrored inserts and luminous-coloured coatings – accentuating the height and symmetry of the space.

Glasgow-based artist Rachel Adams creates an installation of new sculptural works in Tramway 5, extending her exploration of the relationship between science fiction, classical sculptural motifs and decorative craft techniques.

Human Rights and Wrongs 7 Mar – 7 Apr, not 11 Mar, 18 Mar, 25 Mar, 1 Apr, times vary, Free

Two-part exhibition juxtaposing ethereal images by Angela Caitlin with the real-life stories of ordinary people and their experiences of torture, poverty and discrimination, told via Billy Briggs’ accompanying text.

Jack McConville: Tutti Fertiti 29 Mar – 21 Apr, not 1 Apr, 8 Apr, 15 Apr, times vary, Free

Edinburgh College of Art Past Forward: Alternative Processes in Contemporary Photography 28 Feb – 15 Mar, 10:00am – 4:00pm, Free

A eight-strong collective of artists display a series of alternative photography work – some employing cameras of sorts, others using no cameras at all. Part of Alt-Photo Festival.

Edinburgh Printmakers Marilène Oliver: Confusao various dates between 16 Mar and 11 May, 10:00am – 6:00pm, Free

Having worked for many years with medical imaging data to create sculptures and installations, Marilène Oliver showcases her first solo exhibition since moving to Sub Saharan Africa – taking in a new series of dark and haunting etchings.

Edinburgh Sculpture Workshop Andrew Kinghorn: Monumental Ego 22–29 Mar, not 24, 10:00am – 5:00pm, Free

Powerful, and sometimes disturbing, large-scale bronze works from Hong Kong-born Scottish sculptor Andrew Kinghorn, exploring the emotional, political and universally personal question of identity.

Embassy Gallery Green Screen various dates between 15 Mar and 31 Mar, times vary, Free

The Edinburgh-born artist showcases a colourful series of paintings inspired by events mined from t’internet, musing the manipulative power of images and the way they often come to define the power relations at work within a wider social context.

First in a series of projects that will pop-up across the city during Spring/Summer 2013, bringing together new works by eight different artists questioning the semantics of art and the moving image.

Transmission Gallery

Massimo Bartolini

Jennifer Moon: There is Nothing Left but Freedom various dates between 19 Mar and 27 Apr, 11:00am – 5:00pm, Free

New work by contemporary Los Angeles-based Jennifer Moon, whose former drug abuse and experience of incarceration influences much of her work, here documenting objects from her nine-month incarceration at Valley State Prison for Women.

WASPS Studios Correct: The Meaning and Construction of Place 2–22 Mar, not 3, 10, 16, 17, times vary, Free

Photographer and audio artist Jenny Wicks explores how researchers at the largest criminological centre in Scotland approach the study of crime and punishment via her photography, audio and installation work created during a nine‐month residency.

EDINBURGH Collective Gallery New Work Scotland Programme: Conor Kelly and Calvin Laing

Fruitmarket Gallery 25 Feb – 14 Apr, times vary, Free

The Italian-born artist, known for his immersive and experiential work, presents a special work made outside of the studio in La strada di sotto – a field of coloured lights of the kind used during street celebrations in Sicily.

Ingleby Gallery Songs of Innocence and Experience 25 Feb – 30 Mar, not 3 Mar, 10 Mar, 17 Mar, 24 Mar, 10:00am – 6:00pm, Free

Triple-header exhibition of work

by Alfred Wallis (1855-1942), Forrest Bess (1911-1977) and Frank Walter (1926-2009), three unique and uncompromising figures from the story of 20th century art.

Inverleith House Derek Roberts: Northern Paintings various dates between 26 Feb and 14 Apr, 10:00am – 5:30pm, Free

Major exhibition of new and recent paintings by Scottish artist Derek Roberts, selected and installed by the artist for the seven rooms of Inverleith House – where they will be shown in natural light.

Lyon and Turnbull

26 Feb – 24 Mar, not 4 Mar, 11 Mar, 18 Mar, 11:00am – 5:00pm, Free

Collective Fundraising Auction

Dovecot

Special auction raising funds for Collective’s exciting 2013 move to the City Observatory, with many an artist from the gallery’s history donating pieces of work – amongst them Turner Prize-winner Martin Boyce, David Shrigley and Callum Innes.

Double-header exhibition from Conor Kelly and Calvin Laing. As part of the New Work Scotland Programme, giving Scottish-based graduates their first significant project or commission.

Wendy Ramshaw: Rooms of Dreams 25 Feb – 30 Mar, not 3 Mar, 10 Mar, 17 Mar, 24 Mar, 10:30am – 5:30pm, Free

Solo show from the leading contemporary British designer – renowned for her jewellery work and large scale public art – spanning the past 50 years of her career, with the centrepiece being a scale model of the original Room of Dreams.

14 Mar, 6:00pm – 8:00pm, £10

National Museum of Scotland Pisces 23 Mar – 14 Apr, 10:00am – 5:00pm, Free

New York-based artist Jason Hackenwerth takes up residency in the museum (23-29 March), weaving together hundreds of balloons into an intricate visual structure – which will then go on show for the duration of Edinburgh International Science Festival.

Patriothall Gallery Erik Cruikshank: Colours as Subject 16–24 Mar, not 18, 19, 12:00pm – 5:00pm, Free

Showcase of works on paper from the Edinburgh College of Art Painting and Drawing graduate, taking in myriad mediums.

Royal Scottish Academy (RSA) Scottish Painters and Limners: Part 2 25 Feb, 4 Mar, 11 Mar, 18 Mar, 25 Mar, 10:00am – 5:00pm, Free

Second showcase from the RSA’s Nationally Significant Collection, exploring work by artists who’ve filled the post of Scottish Painter and Limner since the early 20th Century – from Robert Gibb to current post-holder Elizabeth Blackadder. Open Mondays.

Sculptor’s Print 25 Feb – 31 Mar, times vary, Free

An investigation into printmaking by sculptor members of the Royal Scottish Academy, including work by current members as well as highlights from past and honorary members Eduardo Paolozzi, Iain Hamilton Findlay and Antoni Tapies.

Scottish National Gallery of Modern Art The Scottish Colourist Series: SJ Peploe 25 Feb – 23 Jun, 10:00am – 5:00pm, £7 (£5)

The second in the Scottish Colourist Series of exhibitions takes in a retrospective of Samuel John Peploe (1871-1935), the eldest of the four artists popularly known as The Scottish Colourists.

From Death to Death and Other Small Tales 25 Feb – 8 Sep, 10:00am – 5:00pm, Free

Selected masterpieces from the Scottish National Gallery of Modern Art and the D.Daskalopoulos Collection, taking in some 130 works that each highlight the significance of the body as a theme in 20th and 21st century art practice.

Scottish National Portrait Gallery Lucknow to Lahore 25 Feb – 7 Apr, times vary, Free

Series of photos by Scottish commercial photographer Fred Bremner spanning his travels in the Indian subcontinent from 1882 to 1922, exquisitely detailing the people and places of Imperial India.

Tickling Jock 25 Feb – 25 May, times vary, Free

Photography showcase featuring key figures of 20th-century Scottish comedy, bringing together images of over 50 stars including Sir Harry Lauder, Rikki Fulton, Stanley Baxter, Ronnie Corbett and Billy Connolley.

Edith Tudor-Hart: In the Shadow of Tyranny 2 Mar – 26 May, times vary, Free

Retrospective showcase of the Austrian-British photographer, communist-sympathiser and Soviet Union spy – taking in black and white images of a politicallycharged interwar Vienna and penetrating imagery of children during the post-war years.

Migration Stories: Valentina Bonizzi 25 Feb – 22 Sep, times vary, Free

Having lived in Scotland for eight years, Italian-born artist Valentina Bonizzi uses photography and video to create what she terms the ‘image document’, exploring migrant experiences from 1850 to today.

Minette: The Life and Letters of a Stuart Princess 25 Feb – 5 Jan, times vary, Free

The youngest sister of Charles II comes under the spotlight, with a mini exhibition centred around a full-length portrait of Henriette Anne (aka Minette) by the French artist Jean Nocret.

The House of Annie Lennox 23 Mar – 30 Jun, times vary, Free

Curated in partnership with the V&A, Annie Lennox presents a three decade-spanning review of her work a performer, singer/ songwriter, recording artist and political activist, taking in an array of photographs, videos and costumes.

Scottish Storytelling Centre

The Old Ambulance Depot

Moy Mackay: Well Kent Places

Pent Wait

25 Feb – 19 Mar, not 3 Mar, 10 Mar, 17 Mar, 10:00am – 6:00pm, Free

Scottish artist Moy Mackay presents a selection of picture landscapes and cityscapes, accompanied by a series of poetry and stories written specifically in response to the art works.

Stills Economy @ Stills 25 Feb – 21 Apr, 11:00am – 6:00pm, Free

Stills’ Social Documents programme concludes with a twovenue group exhibition examining the impact of the economy upon life, with Stills’ playing host to works by Tracy Emin, Andreas Gursky, Mitra Tabrizian and Paolo Woods, amongst others.

Paul Charlton 28 Feb – 12 Mar, 11:00am – 6:00pm, Free

Evocative works on wood from the ECA sculpture graduate, who uses alternative photographic practice in his work. Part of Alt-Photo Festival, for which Stills are also running a series of colour pinhole photography workshops (4-8 March).

Summerhall Agnieszka Polska: Sensitisation To Colour 8 Mar – 18 May, 11:00am – 6:00pm, Free

The Polish video and animation artist – known for using appropriation and found film footage in her work – presents a series of photography and sound installations, alongside a new in-situ work.

Karen Lauke: Re/Sonant

8 Mar – 15 May, 11:00am – 6:00pm, Free

Composer, sound artist and sound designer Karen Lauke uses Summerhall’s former large mammal demonstration room (where cows and horses were dissected) as the setting and inspiration for a new series of site specific noisescapes.

Jack Smith: The Beautiful Book

8 Mar – 18 May, 11:00am – 6:00pm, Free

Exhibition of influential late American filmmaker, actor and photographer Jack Smith’s one-and-only photographic book, The Beautiful Book, displaying a very rare first edition of the book alongside reproductions of all the pages.

Graham Miller: 6% Down’s Syndrome – My Photographs, Their Words

8 Mar – 18 May, 11:00am – 6:00pm, Free

Graham Miller presents his documentary photography project – completed over two years in partnership with Down’s Syndrome Scotland – providing insight into the diagnosis, birth and experience of living with the condition.

Flickering Lights 8 Mar – 18 May, 11:00am – 6:00pm, Free

Summerhall showcase a selection of looped films from a trio of British artists – David Bellingham, Maris and Rachel MacLean – with various loops being shown in different rooms across the venue.

Julie Duffy: Coral Canyon

8 Mar – 18 May, 11:00am – 6:00pm, Free

First solo show from artist Julie Duffy since graduating from DJCAD in 2011, bringing together a sculptural new body of work exploring the poetics of how we engage with the space around us.

Paul Robertson: Periodic Tables and Other Science

27 Mar – 7 Apr, 11:00am – 6:00pm, Free

Digital artist Paul Robertson creates the illusion of scientific relationships, where Periodic Tables, molecules and DNA strands become vectors for a pseudo-scientific mapping of the worlds of celebrity, philosophy, art and music.

Tent Gallery The Clipperton Project: Conflict of Interest 23 Mar – 6 Apr, times vary, Free

View from the street-style exhibition by The Clipperton Project sculptor Charles Engebretsen, known for examining notions of isolation and man’s releationship with extreme environments. Part of Edinburgh International Science Festival.

8–12 Mar, 10:00am – 4:00pm, Free

Selection of recent works by the painter Brian Cheeswright, taking in an oily conglomeration of the absurd, infantile, the forlorn and the petty, the ghoulish and seductive.

The Scottish Gallery Diving for Pearls 6–30 Mar, not 10, 17, 24, times vary, Free

Mixed jewellery exhibition pulling together the talents of a selection of iinternational contemporary jewellers, each focuses on the innovative use of pearls.

DUNDEE Cooper Gallery dear linda 9 Mar – 5 Apr, not 10 Mar, 17 Mar, 24 Mar, 31 Mar, times vary, Free

International touring exhibition that considers the maverick British curator, writer, art historian and patron Lynda Morris’ ongoing endeavours and contributions in contemporary art since the 60s.

DCA Jutta Koether: Seasons and Sacraments various dates between 26 Feb and 21 Apr, times vary, Free

Solo show by painter, performance artist, musician, critic and theoretician Jutta Koether, who’ll incorporate elements of underground culture and works inspired by Nicolas Poussin’s Seven Sacraments into what will be her largest UK exhibition to date.

Duncan of Jordanstone College of Art and Design Printed Matter 25 Feb – 16 Mar, 12:00pm – 4:30pm, Free

Showcase exhibition bringing together a variety of artists and designers who work closely with print as part of their practice, developed from an open call for proposals.

Generator Projects Generator Projects: Members’ Show 2013 28 Feb – 10 Mar, not 4 Mar, 5 Mar, 6 Mar, 12:00pm – 5:00pm, Free

Annual mixed members’ show, where current Generator Projects members are invited to submit a single piece of work for display.

Hannah Maclure Centre Synchronise our Eyebrows 25 Feb – 26 Apr, weekdays only, 10:00am – 5:00pm, Free

Major exhibition of unseen works from late artist Scottish Vincent Rattray, known for creating ambiguous scenes and theatrical settings for his painted characters – rich with symbolism and clues to a secret narrative.

The McManus Reflections from the Tay 25 Feb – 13 Aug, times vary, Free

New exhibition focusing on artists with links to Dundee – artists who were born there, worked locally or were associated with the Dundee College of Art.

music

outback

Very Ape

Crystal Baws

Oh Christ, it’s another ‘new Nirvana.’ But come back – there’s more to hard-hitting Toronto trio METZ than a misty-eyed flashback to the glory days of grunge interview: Chris McCall

It’s difficult to square the fact that the band we see bouncing off the walls and writhing around the floor of a Glasgow basement is the same group of gentlemen who, just an hour before, were quietly articulating why they do not deserve to be labelled ‘a new Nirvana.’ METZ are a posthardcore band based in Toronto, signed to Sub Pop, and steadily amassing an army of followers in each city they play – and these guys play a lot of cities.

The Skinny meets with guitarist/vocalist Alex Edkins and drummer Hayden Menzies (bassist Chris Slorach is temporarily engaged elsewhere) on the second night of a marathon tour that will barely pause for breath before the summer. In that time, they will cross Europe, jump over the pond to play annual Texan riot South by Southwest, and race around North America before heading back across the Atlantic.

Despite only just releasing their self-titled debut album last October, by the time we sit down with the band it’s already their second Glasgow gig in the space of three months – and they’re already booked to return in April for a perfect union with fellow Canadian punks Fucked Up and abrasive New Jersey nutters Titus Andronicus at SWG3.

Much like their music, which has drawn favourable comparisons to such leaders of the old school as Melvins and Mission of Burma, METZ are a band living life at a ferocious pace, hurtling around the globe like one of Menzies’ thunderous drum intros. Yet in person they are relaxed and engaging company, looking forward to the long months of touring that lie ahead with optimism and an acceptance that they have a job that needs to be done.

“Touring this intensively is a new thing for us.

It’s exciting,” explains Edkins, smiling broadly as he opens another beer. “We’re definitely excited to have the opportunity to go play all these new places for all these people. It’s something we didn’t really anticipate.” So the prospect of a 40-plus-date tour mapped out before them doesn’t intimidate the band? “Well, we love playin’ so it’s kinda a dream come true,” Edkins continues. “The only bad part is being away from home so much, but we’re slowly getting used to that.”

“It was never something we were striving to do,” Menzies acknowledges. “But it’s not something that we would ever shy away from if the opportunity came up. We’ve always been of the mind-set that if it seems appropriate for what’s going on, then sure, we’ll rise to the occasion, or vice versa – if the record had come out and nothing was really happening then we wouldn’t be doing it.”

But something obviously has happened, or none of us would be sitting here on a dreich winter’s evening in Sauchiehall Street. The rock’n’roll world is waking up and taking notice of METZ as they are that rarest of bands – a fully-formed kick-ass unit which arrived seemingly out of nowhere. In reality, the trio, all of whom are in their early 30s, have been playing live together since 2007 when Edkins and Menzies, both natives of Ottawa, moved to Toronto and quickly hooked up with Slorach.

METZ the album was recorded with assistance from Holy Fuck’s Graham Walsh and Alex Bonenfant, producer of Crystal Castles amongst others. Going well beyond a mere studio capture of their live show, it was mixed with precision for maximum dynamic impact. It’s heavy as fuck; less than half an hour in length, METZ has both an energising and draining effect on the listener.

“From the get-go, we wanted to try and create our own blueprint,” explains Menzies. “There are records that I love, you can just tell from the sound of the snare drum who did it. We wanted to create something like that.”

WITH Mystic Mark ARIES Your increasing appetite for extreme pornography reaches the point where you’re forced to mathematically calculate the theoretical erotic value of a gigadruple anal penetration. Feeding your data into Edinburgh University’s supercomputer, the resulting computer model confirms your estimation: that the simultaneous thrusting of a billion cocks into a single bum-pipe would cause a gravity well to form, pulling in more cocks from the surrounding area until eventually the penetration reached critical mass, exponentially penetrating the anus with more and more cocks until a black hole formed, orbited by an accretion disk of ball sacs. You print off the graphs and retire to the bathroom to study the results in closer detail.

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PHOTGRAPHY: BETH CHALMERS

TAURUS This month after deciding to do a bit of DIY around the house you find yourself hobbling into A&E using your sawn-off leg as a crutch.

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GEMINI You fart so heavily in bed BP have applied for drilling rights to your duvet.

CANCER Too pissed to go to church, you decide instead to eat loaves of bread on your living room floor while smoking incense joints, singing loudly and drinking more wine.

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METZ were happy to take their time making a record that they wanted to hear, their confidence boosted by some early encouragement from the enduringly brilliant Sub Pop, the long-running Seattle label responsible for giving an early leg-up to a gamut of alt.rock titans ranging through the likes of Soundgarden, Mudhoney, Afghan Whigs and Smashing Pumpkins in its infancy 25 years ago, to a vast and diverse stable which includes experimental hip-hop crew Shabazz Palaces and Scotland’s own Mogwai in its present day.

Edkins continues: “The label heard some demos, and they were kinda like, ‘sounds good, but we’d like to hear more when it’s done’ – which was ideal, as it meant that we could make the record with no one else in mind but us. Luckily, at the end of it, they were into it.”

Sub Pop was, of course, also responsible for releasing the debut album from another power trio, led by a skinny, long haired Washington State native by the name of Kurt Cobain. Fans of the famous early 90s Seattle sound have been quick to draw comparisons. It’s fair to say that if METZ had a penny for every time they’ve been asked about Nirvana, they could at least afford to upgrade their flight to the next destination.

“It never ceases to boggle my mind,” laughs Edkins. “I almost feel like it’s doing an injustice to them. I mean you can’t mention us in the same breath, it’s just not right. I think we play the same instruments, I think we play them loudly… but we love that band, and most people do. I just don’t see the similarities, but it’s definitely not a problem we have.”

“I think if we had an extra member, people wouldn’t even say that,” cautions Menzies. “It’s only because of the Sub Pop thing, and the fact there’s three of us.” It’s not much of a stretch to hear similarities between METZ and the primal roar of Bleach-era Nirvana, but what the two Sub Pop signings really share in common is the fact that they are both products of cities which are blessed with thriving DIY punk scenes.

Edkins’ and Menzies’ hometown of Ottawa has a sleepy reputation in comparison to the band’s bustling base of Toronto, or the more bohemian Montreal, home to the Canadian Parliament and the legions of civil servants which it employs. But it has also long provided a launch pad for musicians and attracted bands from across the continent to play at its many venues.

“It was definitely an underground scene,” Edkins confirms. “But once you found it, you could easily go to a gig every night. Once you were tapped in, you would listen to college radio and

wait for them to announce a show. It seemed at the time that it was modelled on the DC hardcore scene. All those Dischord [virtuoso DC label, founded by principled Fugazi/Minor Threat frontman Ian MacKaye] bands were coming up. Oddly enough, Ottawa was a stop for a lot of hardcore bands at that time in the late 90s, early 2000s.

They’d come and play an art gallery or something.

Because people were craving it; they wanted to hear that music at that time.”

So they didn’t have to look far for inspiration in their youth? “Not at all,” says Menzies. “There even used to be a phone number you could call – 234PUNX – and it would list all the shows for that week.” So what drew them away to Toronto?

Edkins ponders. “It offers a huge variety of music and extreme amounts of talent, I think. It’s the place to go for musicians in Canada. It draws people in. The music in Toronto right now is wild.

Whatever you’re looking for, it’s there.”

“From

the get-go, we wanted to try and create our own blueprint” HAYDEN MENZIES Menzies, who works as an illustrator when he’s not pounding seven shades of shit out of his drum kit, sees even more advantages. “It’s not New York or LA, where you go to make it big. You go to Toronto because it’s a healthy environment to be a part of. It’s encouraging and inspiring and it makes you not want to be a lazy shit. If you want to do something there are plenty of like-minded people around that are going to push you in the right direction.”

The direction they are heading in right now is back down the stairs to Broadcast’s basement room, where they’ll perform a thrilling live show that burns with a heartening intensity. Playing to this standard is what sets METZ far apart from so many of their contemporaries. And thanks to their relentless work ethic, your opportunities to see them slay are arriving thick and fast.

METZ play SWG3, Glasgow with Fucked Up and Titus Andronicus on 28 May. Their self-titled debut album is out now on Sub Pop www.subpop.com/artists/metz

LEO You’re 31 years old and your parents are still living with you? It’s about time they got their shit together and found their own place.

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VIRGO When Mr. Snuggles passes away you attempt to put him in cryostasis so that future generations can revive him. Shoving him in the freezer wrapped in tinfoil, you say goodbye.

Unfortunately, since you can’t afford to put any money on the electricity meter, prepare to spend the end of the month scraping rotten cat out of your ice cube trays.

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LIBRA In March you get your bell-end caught in a hinge whilst staring through a crack in the door.

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SCORPIO It’s nice to know that someone out there cares about you enough to track you 24 hours a day with an ankle bracelet.

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SAGITTARIUS Your diet is a disgrace, next time you’re making yourself a cigarette sandwich try adding a bit of salad.

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CAPRICORN Failure to keep up with repayments on your dog means it’s repossessed by

bailiffs.

AQUARIUS Worried about food poisoning you put all your meals into condoms before ingestion. Shrugging off the funny looks of work colleagues you stuff an apple, a bag of Wotsits and rice pudding into an XL-Durex before proceeding to swallow it like an unblinking snake. Due to the lack of nutrition afforded by the condom’s impermeable membrane you’re forced to eat almost constantly. To make things easier you tie a dozen food-condoms together like a latex sausage circle and let your guts perpetually pull it through you like a lubed up bike chain.

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PISCES This month you’re a bit overzealous with the rim-job you give your partner, and suck his skull out of the orifice in one go.

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March 2013

THE SKINNY 63