The Skinny Scotland July 2017

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July 2017 Scotland Issue 142

Art Galvanize!

Degree Shows 2017 Nicole Gault

Film Flying Lotus Matt Reeves Bong Joon-Ho

Music Siobhan Wilson Public Service Broadcasting Broken Social Scene Mura Masa Waxahatchee Breakfast Muff Shabazz Palaces Turtle Niteworks Elle Exxe Sofar Sounds

Comedy Daniel Piper Benjamin Schatz Andy Daly How Comedy Captured the Fringe: Part 3 Books Don Winslow Ryan Gattis

A decade of Recoat

Clubs Optimo at 20 MetraGnome Lindsay Green EXCLUSIVE: Unbound Edinburgh International Book Festival's late night programme revealed

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

BORN & RAISEDIN THE CITY Auchentoshan® Scotch Whisky, 40% alc/vol. ©2016 Auchentoshan Import Company, Deerfield, IL

SKIN 99 Princes Street, Edinburgh 126-128 Buchanan Street, Glasgow 3

P.36 Okja

P.48 Travelling to New York

July 2017 I N DEPEN DENT

CULTU R AL

JOU R NALI S M

Issue 142, July 2017 Š Radge Media Ltd. Get in touch: E: hello@theskinny.co.uk T: 0131 467 4630 P: The Skinny, 1.9 1st Floor Tower, Techcube, Summerhall, 1 Summerhall Pl, Edinburgh, EH9 1PL 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.

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Editorial Editor-in-Chief Art Editor Books Editor Clubs Editor Comedy Editor Deviance Editor Events Editor Film & DVD Editor Food Editor Music Editor Theatre Editor Travel Editor

Rosamund West Adam Benmakhlouf Alan Bett Claire Francis Ben Venables Kate Pasola Kate Pasola Jamie Dunn Peter Simpson Tallah Brash Amy Taylor Paul Mitchell

Production Production Manager Designer

Sarah Donley Kyle McPartlin

Sales Sales Manager Sales Executives

Sandy Park George Sully

Online Digital Editor Web Developer

Peter Simpson Stuart Spencer

Publisher

Sophie Kyle

printed on 100% recycled paper

4

Contents

THE SKINNY

Photo: Gaelle Beri

P.12 Siobhan Wilson

Photo: Sarah Donley

Credit: Syrkus and Elliot Tupac

P.10 Recoat

Contents Chat & Opinion: Welcome to the July is06 sue with Crystal Baws’ sacrilegious predictions, Jock Mooney’s foodie comic, Shot of the Month, Spot the Difference and a guide to our online highlights.

Heads Up: This month’s best stuff.

08

UNBOUND

37 EIBF associate director Roland

Gulliver on the lively, free space that is Unbound, plus his septet of highlights from the Unbound programme; a taste of Babble On; Edinburgh cabaret outfit Dive on bringing a riotous queer party to the Spiegeltent; and six top crime writers soundtrack their own murder scenes. Plus full Unbound listings.

LIFESTYLE

46 Showcase: Profile of DJCAD fine art FEATURES celebrate urban art specialists 10 We Recoat’s tenth birthday and chat about the changing face of street art and design in Scotland with the minds behind the gallery.

12 Elgin-born songwriter Siobhan Wilson on Paris and writing about mental health.

15 Public Service Broadcasting tackle the troubles and triumphs of South Wales’ mining communities with new album Every Valley.

16 Broken Social Scene are back together!

And we’re more than thankful they’ve come out of hibernation.

18 Optimo turns 20. Yes, this makes us feel old as fuck too.

19 Anchor Point Records maestro Mura Masa talks about coming from the underground to make a pop album.

21 What would objects look like if designers had the creative freedom to do something radical? We hear from new experimental project Galvanize!

22 Degree show digest: a rundown of the best new art at Scotland’s art schools graduation shows.

26 Coast to coast noir: Ryan Gattis takes

us into the LA underworld with Safe, while Don Winslow’s The Force explores police corruption in the (rotten) Big Apple.

28 We chat to Scottish producer Turtle

about taking it slow and steady, and Skye’s Niteworks go Under the Influence.

30 Scotland does well in World Cup shocker: poet Daniel Piper reports back from the Slam's World Cup finals in Paris.

31 Benjamin Schatz on the morality of

joke-telling and Andy Daly revs up for the Fringe.

32 Katie Crutchfield on Waxahatchee’s noisy and honest new album.

graduate Nicole Gault.

48 Travel: As travelling from Edinburgh to

New York gets a whole lot cheaper with Norwegian Air, we take a flying visit to the Big Apple.

49 Deviance: We investigate the safe(r) spaces of the music gig after two seemingly progressive bands betray their fans with sexual misconduct.

51 Food & Drink: A guide to ethical barbecuing, plus a look ahead to a new festival, Heverlee, where food and drink, cutting-edge electronic music and street art collide.

REVIEW

55 Music: Breakfast Muff on new album

Eurgh! and music’s gender imbalance; words with the Scottish chapters of Sofar Sounds; Elle Exxe on the power of pop; and reviews of new albums from Everything Everything, Japanese Breakfast, Nadine Shah and more.

60 Clubs: DJ MetroGnome introduces

59th Degree, Scotland's answer to Boiler Room; we hear from Shabazz Palaces about the sentient being influencing the duo’s brace of new albums; plus all the your clubbing highlights.

64 Books: Up for review this month – Sarah

Winman’s Tin Man and Carmen Marcus’s How Saints Die. Plus all July’s poetry news.

65 Art: We take in the sensorially luxurious

Tschabalala Self's exhibition at Tramway and check out Rob Churm's solo show at Glasgow’s CCA.

66 Film & DVD: A dreamy David Lynch doc arrives in cinemas, Terrence Malick’s Song to Song leaves us reeling and Ray Harryhausen's Sinbad trilogy comes to Blu-ray.

68 Theatre: We ask, is crowdfunding the

best way to finance your Fringe shows?

69 Comedy: Edinburgh improvisers

Spontaneous Sherlock confirm who is the best Baker Street sleuth. Spoiler: it’s not Cumberbatch.

Flying Lotus tells us how he shocked 34 Sundance with his gross debut feature

Kuso.

35 Matt Reeves on the monkey business that is making a Planet of the Apes movie.

36 Korean director Bong Joon-ho will put

you off meat for life with action-adventure movie Okja.

70 Competitions: Win weekend pass to

Carnival Fifty Six, plus we’ve tickets for light-on-its-toes family show TUTU: Dance in All Its Glory to give away.

71 Listings: What’s on in Dundee, Edinburgh and Glasgow.

78 The Last Word: The third part of our Fringe history.

July 2017

Contents

5

Editorial

elcome to my NINETIETH editorial. What a terrifying number of times to have attempted to briefly summarise 64-plus pages of fascinating cultural journalism while also trying to be hilarious. Have you seen the list of stuff that’s in this magazine? It’s massive. I’d actually forgotten we’d done a whole Unbound programme supplement, such is the volume of content we’ve diligently compiled on these here pages.

But we did do an Unbound programme supplement! In the centre pages (and 5000 times dispersed around the Edinburgh International Book Festival come August) you will find the exclusive first announcement of the glittering late-night FREE events of the Book Festival Spiegeltent. Featuring queer parties from Dive, a celebration of the links between Scotland and India on the 70th anniversary of independence, and a special murder playlist compiled by some of Scotland’s top crime writers (they’ve formed a band called the Fun Lovin’ Crime Writers; YES THIS IS A REAL THING).

On the cover this month you’ll find an install shot from Glasgow urban art specialists Recoat, celebrating their tenth birthday with a book and an exhibition extravaganza in the Lighthouse. The world of street art has changed a lot in the decade of their operation, particularly in Scotland. It felt like an opportune time to take stock of all they’ve developed in the period, moving from a niche interest to work that has become part of the fabric of our cities and beyond.

July marks the end of degree show season in Scotland. Our team have diligently visited each of the major exhibitions in Dundee, Edinburgh, Glasgow and Aberdeen and report back to offer an oversight of the latest generation of interesting artists. In the first of our degree show Showcases, we focus on Dundee with a look at the embroidery work of Nicole Gault.

Design comes to the fore again this summer, as a new project from Local Heroes arrives in the SWG3 yard. Galvanize! shifts the curatorial focus from sellable product to social furniture, with weird and wonderful public seating designed by SLAPS and fabricated by Alien & Daughters.

In Music we have an incredible line-up of

diverse talent ready and willing to answer the questions of our crack team of journalists. This month we speak to (deep breath) Siobhan Wilson, Public Service Broadcasting, Broken Social Scene, Mura Masa, Waxahatchee, Breakfast Muff, Shabazz Palaces, Turtle, Niteworks, Elle Exxe and the team behind Sofar Sounds. That’s not even mentioning the album reviews, or the pile of additional features you’ll find online from our north edition (theskinny.co.uk/music, in case your Google’s broken).

Film has just about recovered from the excitement of Edinburgh Film Festival and meets Flying Lotus to discuss Kuso, Bong Joon-Ho to hear about what looks like Ring of Bright Water levels of heartbreak in Okja and War for the Planet of the Apes director Matt Reeves to talk gorilla warfare (GEDDIT?). Not satisfied with just compiling a detailed and exhaustive guide to Unbound, Books also tracks down a couple of authors (Ryan Gattis and Don Winslow) for complementary pieces on LA and New York.

Speaking of New York, did you hear about that time our production manager and events editor got a press trip to the Big Apple and lost their shit? If you missed their over-excitement on the Instagram (much spinning around and tap dancing in the rain) you can read all about it right here. Tl;dr: a good time was had by all, Rudy’s do free hot dogs.

Comedy celebrates its final moments of calm before the Fringe by continuing its detailed exploration of the history of the Fringe. In Part 3, Benables looks at the origin stories of some of the key players and their former lives as underdogs. Looking beyond Edinburgh, Scottish Poetry Slam Champion Daniel Piper shares his experiences of going to Paris to compete in the World Poetry Slam finals. He came second, despite having basically zero experience in the field. Well done that man.

Finally, it is with heavy heart that we bid farewell to our edition in the North of England this month. The final issue hits the streets of Leeds, Liverpool and Manchester next week. It’s been a crazy four years, and we’ll miss it greatly. I think the Spice Girls said it best – 'So glad we made it / Time will never change it, no no no. No, no, no no.'

Sacred Paws win the 2017 SAY Award Congratulations to Sacred Paws – Rachel Aggs and Eilidh Rodgers are the winners of the Scottish Album of the Year Award for their debut LP Strike A Match. They join past winners Bill Wells & Aidan Moffat, RM Hubbert, Young Fathers, Kathryn Joseph and Anna Meredith on an illustrious list; head to the website for a recap of this year’s ceremony, and find out what the band have planned next.

Photo: Tallah Brash

W

Goodbye to The Skinny North The final edition of our sister title in Manchester, Liverpool and Leeds hits the streets this month – The Skinny North says a final farewell by asking some of our favourite people what makes the North so special to them.

To all the contributors, collaborators and friends of The Skinny North, thanks for all the support over the years. We’re throwing one final party at Islington Mill in Salford on 14 Jul to send the edition off in style – facebook.com/theskinnynorth for details and to stick your name on the guestlist.

Spot The Difference One Meow-llion Dollars Here are a pair of criminal masterminds; well, one mastermind, and one meow-stermind. One of them dreams of making millions (millions!), while the other would be happy with millions of Dreamies.

They both plot day and night, planning for world domination one living room at a time. We know that at least one of them is wearing a cat-stume,

but we can’t really work out which – that’s how devious they are.

Let us know the difference between these two absolute fiends; best answer wins a copy of A Field Guide to Getting Lost by Rebecca Solnit, courtesy of our partners-in-crime over at Canongate.

Competition closes midnight Sun 30 Jul. The winner will be notified via email within two working days of closing and will be required to respond within 48 hours or the prize will be offered to another entrant. Our Ts&Cs can be found at theskinny.co.uk/about/terms

Online Only theskinny.co.uk/music As grime dominates the airwaves and festival stages, we explore the genre’s impact abroad through the lens of Manchester-based cultural exchange programme Grime Beyond Borders. We also talk to Dan Croll – the solo artist tells us how he picked himself up and dusted himself off after a very difficult year to release his new album Emerging Adulthood. theskinny.co.uk/film David Lowery discusses putting a sheet on Casey Affleck for appropriately-titled poltergeist drama A Ghost Story; Michael Showalter tells us about balancing laughs and drama on new film The Big Sick; we take a fresh look at the films of Sofia Coppola as some of her greatest hits screen in Glasgow Film Theatre’s CineMasters series this month.

By Jock Mooney 6

Chat

theskinny.co.uk/art You’ll find an extensive rundown of this year’s Scottish art school degree shows further on in this here magazine. If you want to know even more about your future favourite artists, head to the website for full reviews from Duncan of Jordanstone, ECA, GSA and the art schools in Leeds, Liverpool and Manchester. theskinny.co.uk/festivals Friedrich Engels is coming home! Phil Collins tells us why he's dragged a Soviet-era statue of the Communist Manifesto co-author across Europe to be permanently installed in Manchester ahead of its unveiling at Manchester International Festival.

Ahead of Manchester Jazz Festival, we talk to Andy Stamatakis-Brown about the origins of his Cottonopolis project, and closer to home we’ll be reporting back from the inaugural TRNSMT festival at Glasgow Green.

THE SKINNY

Crystal Balls With Mystic Mark ARIES LIFE HACK: If you ring 911, the American police turn up. You can use this neat little trick to arrest any British police that might get in your way. I don’t know what the FBI hotline is, but it’s also worth a shot if the American cops stray beyond their jurisdiction or go rogue.

LIBRA You’re reassured that your government knows what it’s talking about when you look Brexit up in the dictionary to find: Brexit Pronunciation /ˈbrɛgzɪt/ Definition: Brexit.

(See also: ‘Brexit’)

TAURUS After dying surrounded by loved ones and a kindly priest at your bedside, you’re furious to find your body being reassimilated into the earth and your cells reconstituted afresh in an ongoing and beautiful molecular symphony, far grander than the gilded paradise you were promised, with those everlasting dinner party orgies attended by Einstein, Babe Ruth and Marilyn Monroe as winged toddlers pour God’s blood into your groaning mouth.

SCORPIO The Old Testament tells us that the female skeleton is in fact just a giant rib with eye holes and a special groove for the mouth. It’s just a case of waiting for mainstream science to catch up. Christian scientists discovered recently all ribs are in fact a tiny unrealised human female, leading some pro-life activists to demand every rib on the planet is removed and developed into a full person.

GEMINI This month you finally commence what is sure to be heralded as your masterwork: a 358,000 page novelisation of Eastenders.

CANCER When the dinosaurs escape from your ill-considered and poorly-fenced park, you activate the contingency plan: take shelter in the kitchen beneath the pots and pans and pray that a heroic asteroid will come and save the day.

EO L In many ways you’re like 350gsm artboard. Nice and thick.

VIRGO Hosting swinger parties is difficult.

There’s so much admin as you watch people being fucked every which way, tits doing air-circles as you reply to emails.

It’s tough trying to compile spreadsheets through your jizz covered laptop screen, accidentally stapling a ballsack onto a stack of application forms.

Shot of the Month

SAGITTARIUS Going into hospital for your appendicitis, you’re introduced to your new 9-year-old surgeon who you’ve been assured is really really good at the Operation board game. NHS chiefs boast that despite complaints of understaffing these steely-gripped micro-surgeons can get all the crazy objects out of a man’s body without even once setting off his light-up nose alarm. The young anaesthetist then enters, asking you to spin round and round really fast until you get so dizzy you fall over.

CAPRICORN If we’re all one, then you’re filling us all up with Rustlers microwavable sandwiches. You’re the worst part of the Universe.

AQUARIUS Funny how when you lose something it’s always in the last place you lost it.

PISCES People think you don’t have enough in common with your husband, but you reassure them that a love of crisps, a fondness for the colour blue and having birthdays that are only three months apart is a reliable, fulfilling foundation for marriage.

Mannequin Pussy, Sneaky Petes, 10 Jun, by Kate Johnston

July 2017

Ask Auntie Trash:

How do I say "No"?

Our resident theatrical agony aunt helps a reader who’s having trouble saying “No” to an exploitative friend.

Illustration: Stephanie Hoffmann Dear Auntie Trash, I’ve been helping a friend with the marketing materials for their Fringe show and I now regret being involved.

I’m a freelance designer, and they needed help with their posters and flyers. It should have been a day, maybe two day’s work at most, and as my friend has sunk a lot of money into coming to the festival, I agreed to work for nothing.

It’s been a couple of weeks, and they are demanding more and more of my time, rejecting my ideas with no feedback and turning on the waterworks when I tell them I’m working with my paying clients. I realise that they’re under a lot of stress right now, but I’m worried if something else is going on.

I don’t want to work on this project anymore, but I don’t want to lose my friend. What do I do?

The Lost Designer.

H

iya pal, Do you know what the most terrifying word to say to someone is? “No.” We’re often made to feel guilty about saying it, because there are people out there that hear “No”, and think it could be changed to a “Yes”. They think it’s a negotiation, not the end of the conversation. It’s a tiny, wonderful, liberating little word, and you need to find the courage to say it. Let’s practice: “No.” This person is taking the piss. You stepped in to help them out, because you are a good friend, and you had the skills to get them out of this mess. You can make as many excuses as you want for them, that it’s stress, maybe there’s something going on that you don’t know about, what if their mother is dying and they JUST HAVEN’T TOLD YOU. All of these things could be going on, but they are an explanation, not a justification for bad behaviour.

“No.” It sounds like you don’t like conflict, but it also sounds like your friend not only knows this, but is

manipulating you by “turning on the waterworks”.

You know you’re being manipulated, you recognise that you’re being treated badly, and yet, you still feel loyal to this shitebag. In psychology, this is called cognitive dissonance, and it refers to a state where someone’s behaviour contrasts with their words, or their beliefs. (Trashie Tidbit: always be wary of people whose actions don’t match up with their words.) In this situation your friend is acting out of character, and you have adapted your behaviour to try and appease them, rather than changing your behaviour to help yourself. It’s understandable, especially if you’ve been friends for a long time, but it’s not healthy.

“No.” You are worthy of being treated with respect.

You are deserving of wonderful friends, but you’re feeling guilty for even considering walking away, and THAT is what they’re counting on. They believe that you will stay loyal. They can’t bear to have you leave because you are useful to them right now, thanks to your skills, and ability to absorb their bullshit and return for more. Before this project, when was the last time you heard from this person? Can you rely on them when you’re having a tough time? I reckon the answer is: “No.” Walk away from the project. You are being used, abused and taken advantage of. I know it’s hard and I know it’s scary. I know this because I’ve also walked away from toxic relationships; the friend of nearly 20 years, the partner of six years, the collaborator who let me down time and time again, because I recognised that they were never going to change.

Tell them you can no longer work on the project, offer to recommend another designer (but tip that designer off first). You’ve done more than enough. It’s time to let go. It’s time to say: “No.” You are not alone, Trashie xxx

Opinion

7

Compiled by: Kate Pasola

The central belt quietens down this month in preparation for Fringetide, but fear not – we've searched far and wide to get your July cultural calendar locked down...

Wed 5 Jul

Sitting comfortably? Then we'll begin – quite aptly with The Village Storytelling Festival, a raconteur rendezvous that's returning to Glasgow between 4-8 Jul. The big fat programme features all sorts of yarn-spinning fun, from regular storytelling sessions to plays, exhibitions, films, symposiums, ceilidhs and fetes.

Take a look at the full lineup of events online at villagestorytelling.org. uk and get stuck in. CCA, Glasgow, times and ticket prices vary

Time for some industrial bliss, we think. Tonight, head down to Leith Depot for a gig headlined by noisy four-piece Le Thug, a band who haven't played in the capital for quite some time. They'll be complemented by the equally alty sounds of Song,

by Toad contemporaries DTHPDL and Plastic Animals. Leith Depot, Edinburgh, 8pm, £4-5

Photo: Robert Desnos

Heads Up

Tue 4 Jul

The Village Storytelling Festival

Mon 10 Jul

Today's your very last chance to see Rob Churm's Parasite Rex at CCA, a show featuring comic strips and drawings illustrating "research into the workings of the brain, psychological phenomena and scientific experimentation". The exhibition is a busy affair, coinciding with the launch of new comic book The Exhaustion Hook and also featuring a film collab with sound artist Joe Howe. Until 9 Jul, CCA, Glasgow, times vary, free

This month Cameo celebrates the 50th anniversary of the partial decriminalisation of homosexuality in England and Wales with Criminal Acts: A Charged Past, a film season intended to showcase bold British films that engage with LGBTQ+ legal history, either through explicit representation or artistic reflection. Today, catch Nighthawks, an evocative account of London's gay scene following decriminalisation. Cameo, Edinburgh, 8.30pm, £5-7

Parasite Rex, Install View

Photo: Alan Dimmick

Sun 9 Jul

Le Thug

Nighthawks

Fri 14 Jul

Sat 15 Jul

Sun 16 Jul

Edinburgh Jazz and Blues Festival revitalises a relatively quiet month for the music scene between 1423 Jul, bringing a juicy programme of concerts and carnivorous entertainment to venues across the capital. You can peruse the whole programme at edinburghjazzfestival.com, but take our word for it that today you HAVE to see the sweet electronic soul sound of Skinny fave Ibibio Sound Machine at Princes St Gardens. 10pm, £16.50

Up for some retail therapy? Why traipse from store to store in Glasgow's unforgiving climes when you can see it all under one roof? No, we're not enthusiastically endorsing shopping malls, we're talking about Lighthouse and Granny Would Be Proud's collaborative indie pop-up department store, ID. The first floor will be dedicated to homeware and interiors; the second floor, fashion; third floor, children; fourth, menswear, vintage and craft, and the top floor foodie treats. 15-16 Jul, Lighthouse, Glasgow, 10am-6pm, free

Our obsession with Paradise Palms-based craft club Primitive Painters continues as this month they host Constant Gardener, a paper floristry session. (Look, when they stop hosting dank opportunities for creative expression while sipping cocktails surrounded by neon and irreverent décor, we'll CTFO. Okay?) This time you'll get a chance to craft your very own artificial flowers, which is a vast improvement on impulse-buying cacti and neglecting them to a dehydrated death. Thumbs up! Paradise Palms, Edinburgh, 2pm, £16

Ibibio Sound Machine

Granny Would Be Proud

Thu 20 Jul

Fri 21 Jul

Or, if you're in charge of any wee ones today, head to CCA for Unicorn Enchilada a dynamic workshop where Greer Pester and Sally Hackett will investigate the starkly different yet equally odd culinary rituals of Scotland and Mexico.

Along with a selection of specially curated activities, there'll also be "edible bugs, edible bowls, edible play", and even edible insects. Yep. CCA, Glasgow, 11am, £3

All this culture business is kinda thirsty work, which is why we're relieved to hear that Heverlee is stepping up to create a blissful three-day Belgian beer garden. They'll be bringing in Firecracker Recordings for a microfestival ft. Charlie Bones, Linkwood and LuckyMe’s Eclair Fifi; and The Pitt will be on the scran duties (we've heard rumours of moules-frites, steak-frites, carbonade flamande and Belgian waffles). There'll also be street art, projections from KinoKlub, film screenings and more. The New Waverley Arches, Edinburgh, 21-23 Jul, times vary, free

Unicorn Enchilada

Thu 27 Jul

Fri 28 Jul

Right then, it's high time we all got a hit of highconcentrate art – and the timing couldn't be more perfect. Edinburgh Art Festival rolls back in to town from today, bringing a freakin' huge programme of original commissions, pop-up events and exhibitions, partner exhibitions, art lates and more. Keep an eye out for all the latest at theskinny. co.uk/art and go ponder.

27 Jul-27 Aug, locations across Edinburgh, times and prices vary

Tonight Drygate host a trifecta of cabaret, beer and barbering at Pitch, an evening of entertainment organised by street art / circus / theatre folk Surge. Hosted by Swamp Lake ("two reptiles without a cause") and featuring Gingzilla, Cocoloco, Chrissie Ardill, Josh Glanc, Mele Broomes, Steve Vertigo and the Flowerpot Women, it's set to get pretty damn weird. In a good way, obvs. Drygate, Glasgow, 8pm, £5

8

Chat

Dunkirk

Pablo Bronstein, Magnificent Triumphal Arch in Pompeian Colours.

Photo: Hugo Glendinning

Wed 26 Jul “When 400,000 men couldn’t get home, home came for them.” Steady your stiff upper lip, Christopher Nolan’s epic war drama Dunkirk hits DCA this month. The film, the tenth from the Interstellar and Memento director, will tell the story of Operation Dynamo, which saw the rescue of 400,000 Allied troops who were surrounded by Nazi soldiers and stranded in the French beach town during World War II. DCA, Dundee, 21 Jul-10 Aug, times vary, £5.50-7.50

Primitive Painters

Insomnia

Sat 22 Jul Scotland’s biggest gaming festival hits Glasgow between 21-23 Jul, bringing together Insomnia and Resonate to bring exhibits, tournaments and general geeking out to the SEC (10.30am, £15). Or, if you're not all bevved out from yesterday's beery activities, head to The National Whisky Festival, where you'll find over 50 tasting stands showcasing drams from across the globe, masterclasses with experts, live music, food stalls, a bottle shop and your very own whisky glass. Slàinte mhath! Corn Exchange, Edinburgh, 2pm-3.30pm or 4.15pm-7.45pm, £40

Gingzilla

THE SKINNY

Thu 6 Jul

Fri 7 Jul

Sat 8 Jul

Don't know if you're party to the beery battle being raged between real ale and craft beer enthusiasts, but it's a pretty contentious one. Only one thing for it – best go educate yourself about one side of the feud at CAMRA's Real Ale festival, taking place between 6-8 Jul. Nothing stopping you from popping into a pub on the way home to crack open something crafty too – y'know, for research. The Corn Exchange, Edinburgh, 12pm, £4-6

If you're in the mood for some pre-weekend lols, head to Gilded Balloon's comedy showcase at Drygate, hosted by Scott Agnew and featuring Rosco McLelland and Danny O'Brien (8pm, £12.50). Over in Edinburgh, Flint & Pitch host another jam-packed performance showcase at the Scottish Storytelling Centre, headlined by Francesca Beard's How to Survive a Post-Truth Apocalypse, with support from Jen McGregor's Grave and Ross McCleary's Portrait of the Artist as a Viable Alternative to Death. Talk about bang for your buck. 7.30pm, £10

Nobody's too old for magic. If someone tries to tell you otherwise, bring them to Edinburgh's annual Magic Festival, taking place between 30 Jun-8 Jul in locations across the capital. Tonight, it's the Magic Fest Gala at Festival Theatre, ft. illusions, gravity-smashing levitation and all manner of circus-based entertainment (2.30pm & 7.30pm, £2433). Meanwhile, Sneaky Pete's throws a TEESH flavoured 9th birthday party all-dayer, with doughnuts, t-shirts, film screenings and more. Sneaky Pete's, Edinburgh, 6pm, £5

Real Ale Festival

Jen McGregor

Ross McCleary

Wed 12 Jul

Thu 13 Jul

Get your weekly dose of lols at Blackfriar's tonight with alternative comedy showcase Light Bulb.

Tonight's show features CHUNKS 'co-daddy' Nev, BBC acclaimed comedian Rachel Jackson and Improvert Isobel Moulder, along with Sandy Bouttell and John Aggasild. Your hosts for the night? The ever charming Gemma Flynn and Jeff Khan.

Blackfriars, Glasgow, 8pm, free

A bittersweet recommendation comes today in the form of EuropeNow Film Festival at CCA. Organised as a collaboration between the Council for European Studies and the World of Film International Festival Glasgow, there'll be film screenings, talks, director Q&A sessions and roundtable discussions intended to address sustainability and transformation in Europe. This year also features an audience award for Best Feature and Best Short based on voting during individual screenings. CCA, Glasgow, 1214 Jul, events throughout the day, free

Brill grassroots festival King Tut's Summer Nights returns to the Wah Wah Hut today, bringing a fortnight of wicked new music courtesy of over 70 up-and-coming musicians and bands, including Savage Mansion, The LaFontaines and Emme. Tonight's headlined by Ayrshire alt quartet November Lights with support from Patersani, Freelance Liars, Immi and a DJ set from Everything Brighter. Get ready to find your new favourite band. 1324 Jul, King Tut's, Glasgow, 8.30pm, £10 (fest tickets £40)

CHUNKS

Illustration: Jaime Jacob

Tue 11 Jul

EuropeNow Film Festival

Mon 17 Jul

Tue 18 Jul

Wed 19 Jul

Head to The Roxy tonight for And Here I Am, a tragicomic tale spanning both the first Palestinian Intifada and the second. It’s based on Ahmed Tobasi’s personal coming of age story, in which he transitions from armed resistance fighter to artist, refugee in the West Bank to Norwegian resident. July sees the show making debuts across London and Edinburgh, before taking to Palestine for a tour in Sep 2017. 17-18 Jul, Assembly Roxy, Edinburgh, 8pm, £15

The Architecture Fringe 2017 hits Scotland this month. Launching into action on 1 Jul and continuing through until 23 Jul, the programme's packed tightly with all things intriguing, compelling and creative. With retrospectives, pop-ups, tours, lectures and good old exhibitions, you're sure to find something you're into.

Take a look at the programme at architecturefringe.com. Locations across Scotland, times and prices vary

To mark their 10th birthday, scottish urban arts organisation, Recoat have curated an exhibition at The Lighthouse entitled This Will Ruin Everything.

Featuring 40 designers and artists from a broad range of practices, the showcase will take in everything from architecture to digital art and painting. The show will also feature the Lighthouse’s first ever mural, a retrospective installation and screenings. The Lighthouse, Glasgow, 15-30 Jul, times vary, free

Ahmed Tobasi

The Architecture Fringe

Sun 23 Jul

Mon 24 Jul

Tue 25 Jul

Bacon roll aficionados, this is your cultural calling – we won't tell you twice.

Today CCA host a workshop called Daily Bread with Rowan Markson, a culinary investigation into the social, economic and cultural history of bread (and the meat it often flanks); from the Glasgow morning roll to Marrakech crazy bread, Charcuterie Zahwa Halal's fake halal bacon to Sgaia Vegan Meats. CCA, Glasgow, 3pm, free

There's something unmissable brewing at Festival Theatre, and that's WHIST, a trippy AF virtual reality experience inspired

by Sigmund Freud’s dream theory. Each attendee will be given VR equipment and dropped into a labyrinth of 60˚ interactive film, soundscapes and an architectural art installation.

What follows is an hour-long unique narrative led by personal choice. Sounds kinda , but also cool as hell. 21 Jul-3 Aug, performance times vary, £10

July at DCA sees the continuation of Victim of Geography, an exhibition of Clare Woods’ raw and powerful new paintings. Woods paints onto large sheets of aluminium, using found images of people at their most vulnerable, bodies that are exposed or in a remote landscape. Her gestural work operates in long, curved brushstrokes as faces, limbs and outlines come to the fore, distorted into apparitions that are just out of reach. Until 10 Sep, DCA, Dundee, free

Daily Bread

WHIST

Mon 31 Jul

Summer rave, anyone?

WHY NOT, EH? Glasgow's Platform 18 Depot are limbering up to throw a big ol' summer party as a follow-up to their damn popular New Year's Day party. It's a mammoth affair kicking off at 3pm, but with a tasty new paycheck in the bank and a whole Sunday to sleep off the aftermath, there's literally no reason not to go. Platform 18 Depot, Glasgow, 3pm, £35

Pride month might have passed, but the celebrations continue this month with a family-friendly LGBTQI summer party at at Edinburgh's Out Of The Blue Drill Hall (15pm, free). Then, in the evening swing by Monkey Barrel Comedy bar for TBC Improv Theatre's double bill of The Cutting Room and Everyone Gets A Trophy for rapid, hilarious. improvised, inclusive mayhem. Monkey Barrel, Edinburgh, 7.30pm, free

Oklahoma two-piece Skating Polly came together after improvising a set of songs at their family's Halloween party. The band comprises Mayo, who's 15, and Bighorse, who's 19, but is responsible for a mature, lo-fuzzy, pop-rock sound, complete with clever lyrics and influences ranging from by 70s punk and early 90s alt-rock. Tonight they play Broadcast with guests Hands Off Gretel.

Broadcast, Glasgow, 7pm, £7

Platform 18 Depot

July 2017

LGBTQI Summer Party

Illustration: Sonny Ross

Sun 30 Jul

Photo: Moff@ Photography

Sat 29 Jul

Magic Festival

Savage Mansion

Recoat

Clare Woods, Installation View

Skating Polly

Chat

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Urban Renewal As urban art specialists Recoat celebrate turning 10 with a 40-person exhibition in The Lighthouse, masterminds Amy Whiten and Alistair Wyllie assess the changing face of street art and design in Scotland

O

n the Tuesday evening that founders of urban art organisation Recoat, Amy Whiten and Alistair Wyllie are available to chat, they’re just off the tail end of a day as part of Test Unit.

This week-long summer school is open to all and has its participants designing and building new wooden features for the empty industrial site surroun-ding Civic House in North Glasgow. As Recoat, Whiten and Wyllie are providing mentorial support and also helping by mixing paints for some of the new structures. Though they’re among some of the most consistent advocates and facilitators for urban art of the last ten years, they’re still obviously unfazed by a day’s graft – hands-on and out in the elements, work clothes on.

The theme of the week was broadly how to bring change to cities, and it’s part of the same Architecture Fringe Programme as This Will Ruin Everything, an exhibition marking the 10th birthday of Recoat. And Whiten and Wyllie’s organisation is an obvious fit for the Test Unit bill, as their public and community commissions and projects can be found transforming different spaces around Glasgow and beyond. Depending on the specific location, people and artists involved, sometimes they’re blocky, abstract and colourful, or geometric or figurative.

Together, as Recoat, they commission and curate urban artwork and design, and have done so since 2007 when they started the former Recoat Gallery, previously in Woodside, Glasgow West.

This Will Ruin Everything marks a reflection point and “coming of age” (according to Whiten) of Recoat, as well as the graphic and urban design and artworks that they’ve been making, supporting and facilitating for the last decade. This same work extends from what was originally meant to be a three-exhibition programme in Edinburgh,

and a moment of increased resistance to the concept of street or urban art. Whiten recalls, “I remember someone saying ‘My friend doesn’t come to Recoat because they think it’s a graffiti gallery and they’re not interested in graffiti,’ and I was so upset because we exhibited so many different kinds and it changed every month – how can you make such a sweeping judgment?”

“ It doesn’t make sense for it to be male-dominated unless you believe that men are better, and they’re not. It’s actually really simple” Amy Whiten

True to the name, from show to show, they would usually have artists coming in to work directly on the wall in some form. Come the next presentation, it would be painted over, ready for the latest artist. Though usual for the kinds of work Whiten and Wyllie were familiar with and making themselves, the cycle of temporary works and their erasure was just one of the ways that Recoat found themselves distinct from what they

Interview: Adam Benmakhlouf

perceived to be the gallery status quo of that time.

“Recoat Gallery happened a little soon in Scotland. In London, people couldn’t get enough of [the type of art and design work Recoat were showing. But in Scotland] we were running the gallery but not seeing sales in the same way. We never really felt like we were accepted or respected, particularly in the beginning. We weren’t design, so we didn’t fit in the Lighthouse set-up at that point, but we didn’t fit into the fine art circuit like Transmission. We were commercial, but weren’t like Mary, Mary, selling what’s deemed to be high end contemporary fine art. We were just this little oddball, and to some people that was really exciting and underground. What I would say, the support of the local press was great when [is that] we started.”

The back space of Analogue Books in Edinburgh was one place that was interested in showing this intersection of graphic design and illustration work. “Banksy showed there before he was famous,” according to Whiten. Wyllie adds that you could get a print from him then for 50 quid.

While this was the beginning of street art as a recognisable or relatively stable category in Scotland, when the pair had travelled around Australia, New Zealand and Tokyo they had become aware that their championing of more open-ended ideas of creative graphic design fit into broader trends happening internationally. At this point, they remember calligraphy, design and illustration experiencing a crossover, as practitioners were also interested in exhibiting their work.

In the same ten years that Recoat have operated and grown, new audiences and discourses have come to urban art (a relatively new artform in the grand scheme of things). There’s also been some change in the appreciation of work that

R. Liwen

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doesn’t sit so comfortably in either art or design.

“Maybe that’s about visibility – it’s about us doing Graphic Design Festival Scotland, doing Test Unit, and us being confident in expressing what we do in a certain way, that’s maybe more accessible to more people,” says Wyllie. “The fact that the Lighthouse has invited us to do this exhibition feels like a coming of age moment for us as an organisation.” They describe this moment as a time when they feel much more confident explaining what they do, framing their roles as “contemporary urban art specialists.” Under this identity, they include a range of different community, commercial and curatorial tiers.

Within the exhibition itself, there will also be representation of a variety of practices spanning graphics, design, sculpture, painting, photography, and multimedia. For This Will Ruin Everything, Whiten and Wyllie’s thematic structure has been informed by their own early sense of being outside some of the more easily digestible channels and trends of art and design. “When we were talking about feeling like… we didn’t fit in before, I think that’s because a lot of the practitioners we work with move between design and art quite seamlessly. It was almost like to be told we weren’t one thing or the other [was stating the obvious].

Then, that felt like a slight.” Now they describe that feeling as much more of a compliment.

“The creatives we know and work with and exhibit are amazing creative individuals who flow between those things; I don’t think we really know anyone who doesn’t do that, who’s a total purist.

But when we were at art school, we were told you need to be one thing or the other and you need to specialise, specialise, specialise. Even for us to explain at a dinner party what we do, a lot of the time we just say ‘We paint murals.’ It’s just easier.

Doesn’t that make you an even more creative individual if you turn your hand to lots of different things? So the exhibition is a celebration of creatives who are artists and designers and maybe don’t even see the distinctions that everyone else places on them. And that hopefully then creates a bit of dialogue and shuts down the snobbery that seems to exist between [art and design]. Do there really need to be all these distinctions? Is that helpful?”

This increase in visibility might have taken them away from their previous ostensibly underground status, but has meant Recoat have been afforded greater material resources as well as a raised profile and greater appreciation of their work. Though neither Whiten nor Wyllie are able financially to give up their other teaching positions, they’ve nevertheless had relatively more funding to deploy more recently. This means they are able to give much-deserved paid work to some of the people that have supported them one way or another over the last ten years.

The importance, and their appreciation of the grassroots friendly favours and assistance they’ve received is more than evidenced in their acknowledgments page of the accompanying publication to This Will Ruin Everything. “There’s everyone that’s given their time at some point for free, whether they built a floor, sat in our gallery for us in the freezing cold, ran a show, donated beer… And it’s more than 100 people. We’re really lucky that we’ve had so many people who have wanted to do that stuff. What’s so nice about this project, we’re actually able to value their work and that’s really important to us. And we’re trying to do that more and more.” This kind of goodwill has bolstered the funding of the publication itself, with 250 already going to presales on Kickstarter, leaving only another 250 for sale.

THE SKINNY

10 Recoat Collaborators

Good Wives and Warriors

Kid Acne

Will Barras

Lucy McLaughlin

Elph

Fraser Gray

Matt W. Moore

Morag Myerscough

Kirsty Whiten

With their relatively recent increased recognition, they’ve also been able to advance some of the principles of accessibility that have informed Recoat since the beginning. Their Creative Scotland funding for This Will Ruin Everything also covers an ambitious events programme, especially for people outside of the central belt.

They’ll be able to fund support workers to bring groups from across Scotland, as well as the travel for everyone to come to some of the events. “And so we’ll have people from the Highlands, Argyll and Bute, down in Dumfries and Galloway. I think there’s huge geographical and therefore monetary barriers for people living in Scotland. It’s so disparate, it’s so stretched and there’s such a focus on the central belt.” In Glasgow, for issuebased groups, they’ve set up a similar style of funded participation. They mention Y Sort It in Clydebank, an arts hub for young people, as well as LGBT Youth Scotland.

Wyllie makes clear that this is a well-formed part of the work he and Whiten have been doing for a long time. “That is really building on the workshops that we’ve always done, when we have worked with all sorts of groups from all sorts of backgrounds, from adult drug rehabilitation groups to young kids from deprived areas and everywhere in between. We’ve got to that organi-

July 2017

EMA - Florence Blanchard

cally. Now we get to do it on a bit of a bigger scale, and pay for it to happen.”

They consider too the importance of considering the inclusivity of not just the audience, but the exhibiting line-up. Whiten expands: “To be truly equal and inclusive, it can’t just be that we have people visiting from those groups, they have to be in the show.” This is in response as well to a question on some of the arguably masculinised legacies of graffiti, in particular. Developing on this, Whiten thinks about the emergence of street art from graffiti, and the extent of the influence of one on the other. “You can’t argue, graffiti is heavily male dominated and it was definitely a feeling for me when I first… encountered all that, it was really male. Because of that, more street artists are guys.”

Whiten describes feeling uneasy noticing some shows had no women included, and seeking to consciously address that. “Towards the end, and again I think this is a confidence thing, we were starting to try and change that and I think we had the collective (a distinct group of Recoat artists) and three out of the six [were women], and in shows we were starting to be more conscious of it. Moving forward, the language in the current situation with feminism, and the way people are talking about it and exploring it and

thinking about what it is at this stage, maybe a young generation are thinking much more about accessibility and inclusion and not necessarily focusing on the patriarchy in the same way… For example, for the Lighthouse exhibition, we made a conscious decision to be [approximately] 50/50.”

They also mention their recent Graphic Design Festival exhibition THYPE, which was consciously composed to represent men and women equally.

“ We were just this little oddball” Amy Whiten

For Whiten, “As soon as you say, ‘Do you actually believe that women are not as good as men at making art?’ No. So it doesn’t make sense for it to be male-dominated unless you believe that men are better, and they’re not. It’s actually really simple, and if you think about it like that, there’s no way you can create a show or do projects where it’s not more equal. We are curating a series of events, and within that again our panel discussion will be 50/50, our Pecha Kucha will be equal.”

Nevertheless, they acknowledge their status

ART

as white, middle-class people, thinking, with gender, of further issues of inclusivity. “When we sat and talked about who we wanted to be in the show, we [immediately] had 40 people we wanted to include, who we know or we’ve worked with, who we admire, who we wanted to exhibit. It was very quick and easy. If we did that, we could be lazy. We’ve worked really hard not to be lazy about the curation of the show.” Taking this responsibility of choice seriously, they mention thinking as well, for example, of gender, race, disability and sexuality. Though this process of thought is not acknowledged in great detail itself within or around the exhibition, they’re both clear that it will be evident in the strength of the exhibition itself.

Whiten and Wyllie are all set to take a bash out of some of the conventions and contexts they’ve been running up against and talking back at for ten years. Taking aim at unhelpfully ossified distinctions of the identity of the artist or designer, as well as renegotiating the presumptions of worthy Scottish audiences and challenging the unthinking habits of deciding which artist deserve to be exhibited, they promise: This Will Ruin Everything. Wouldn’t that be ace?

This Will Ruin Everything at the Lighthouse, 15-30 Jul recoatdesign.com | architecturefringe.com

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French Connection Elgin-born songwriter Siobhan Wilson talks to The Skinny about Paris, writing about mental health and coming full circle as an artist

Interview: Jonathan Rimmer Photo: Gaëlle Beri

A

t first glance, Siobhan Wilson is just one of many Scottish singer-songwriters to make good use of minimalist production. Kathryn Joseph, Rachel Sermanni and many more have shown there’s a growing hunger for music that’s more stripped back and vulnerable. Of course, it also helps that Wilson has a phenomenal voice and a startling ability to write lyrics that are both delicate and hugely affecting.

But what helps her stand out is her adaptability. A talented cellist, she’s also played in jazz bands, featured on a synth-pop record and is a firm fixture at annual Glasgow folk festival Celtic Connections. So while her new album There Are No Saints is best described as an atmospheric, intimate affair, don’t be surprised if there are a few surprises along the way.

“I don’t think it’s necessarily all down to versatility,” says Wilson. “I get bored really easily.

I find genre fascinating – it’s so interesting the way we describe things and associate art with location and how it provides a space to explore.

I think it reflects my personality – I want to know everyone and do everything and never be stuck on one thing.”

Wilson’s musical journey is far from typical.

Born in Highland town Elgin, she studied music as a teenager in Edinburgh before moving to Paris.

Within months she was fluent in French, signed to a label and living with a fellow singer-songwriter. This whirlwind sequence of events undeniably shaped Wilson as a person, but it also moulded her craft. Two of the songs on the album are sung in French, a tribute to the culture she embraced.

She says: “I don’t know if this is my perception, but I always notice in France that vocals are way up front in the mix of a track. The voice is always at the forefront and swimming in reverb – the French absolutely love it. It’s a sound I’ve always enjoyed and it’s meant I’ve found it quite difficult to do stuff that’s more dry and bandesque if that makes sense.

“For me, I find the actual song is quite often the vocal. It’s not an egotistical thing of being the loudest. In fact, the Elgin side of me doesn’t ever want anything too polished. Where I’m from there’s this mentality where music is quite lo-fi and punky and rebellious. But I definitely can’t hear ‘Scottishness’ in my own music though people point it out. It’s like when you look in the mirror and can’t see the resemblance between you and your parents.”

Despite her French connection, There Are No Saints easily has the most Scottish input of any of her records. Now living in Glasgow, Wilson procured the talented Chris McCrory (Catholic Action and Casual Sex) to engineer and produce the album. Although punk rocker McCrory might seem an unlikely collaborator for classically trained Wilson, they bonded over the desire to make an album that was raw and live sounding.

Wilson says: “Classical and punk music have that in common – the live thing. We had this super DIY bedroom set up in his parents’ house, with a big mattress and sheets and fairy lights. It was very homely and efficient and everything was rehearsed so quickly and organically.

“I like some of the new stuff you hear on the radio, but I just want to hear something that sounds like it was made in the room. It moves me far more. Chris was on the same page – he agreed to keep things sparse and it worked. I feel like it’s the first time I’ve been brave enough to truly be myself.”

Wilson’s unrefined approach meant some of the more emotional moments from the recording process were captured on tape. The majority of

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tracks were one take only, meaning moments like Wilson coming close to tears on Disaster and Grace were left in. Baring your soul can seem forced or clichéd when broached awkwardly, but the themes Wilson explores are genuinely moving.

“ It sounds masochistic, but I really feel like if I can move myself then I can move other people” Siobhan Wilson

“As shown by the title, the album really seeks to question faith and spirituality,” she tells us.

“Tracks like Dark Matter and Dear God are quite existential and tackle depression and things, which I’ve never felt brave enough to tackle before.

I’ve not tried playing the full album yet, but the ones I’ve sung have sent shivers down my spine and I’ve had to stop myself from crying.

“It sounds masochistic, but I really feel like if

I can move myself then I can move other people.

I actually think for a little while I lost the excitement for live performances and wasn’t enjoying it. I had to move myself again because it’s the only way I can authentically reach out to others. That’s not to look for sympathy – people go through the same kind of stuff and I happen to find it’s way easier to sing about.”

Her honesty has obviously paid dividends.

Matthew Young of Song, by Toad Records says on the official Bandcamp page: “Generally I make sure to listen to things through several times and properly think things over before offering to release a record, but on this one I was about halfway through the first song and I knew we’d want to put it out.”

Having released music by Meursault, Adam Stafford and Sparrow and the Workshop, the Edinburgh-based label is the perfect place for naturally talented independent artists to hone their craft. However, Wilson also specifically idenifies Young as a valuable contributor to the overall process. “I first bumped into him at a gig in Summerhall after I’d done the first day of demos with Chris,” she explains. “I thought maybe I could ask for some advice – I never know if it’s good until someone I respect says it’s good. I showed him it and he liked it and it was so easy. It wasn’t a business thing; it was a feeling thing.

“As soon as Matthew heard the demos, he had a vision for the tracklisting – which helps

Music

because I’m rubbish at that bit. It provided a lot of structure to the creative process, which is what you want. You want someone that’s grounded. He also designed the cover, which I was really happy with because it’s abstract and I look a bit like an alien.”

While “alien” isn’t the first word that comes to mind when describing Siobhan Wilson, she’s clearly cut from a different cloth to many of her peers. Though affable and unpretentious, she adds a touch of class to every song she writes.

Now based in Glasgow, she tells The Skinny she’s ready to take to the road and perform her most personal pieces yet, with upcoming dates planned in Manchester and London. “After that I’m planning a full UK tour in September, which I’m looking forward to. I’m also definitely playing here in Glasgow.

“I do really love playing here because it’s home. Some festivals tend to give me that Sunday morning ‘hangover slot’, but things like Celtic Connections have been amazing. With Glasgow, it’s the people that draw me back. Even if I’ve been writing sad songs all day, I can go out and have a laugh and a pint. I used to live in Paris, which was this really moody and romantic place.

Now I’m making moody and romantic music in a city that’s more down to earth – and I love it.”

There Are No Saints is released on 14 Jul via Song, by Toad facebook.com/siobhanwilsonmusic

THE SKINNY

The alternative to fast fashion Independent Pop-Up Design Department Store

ID Store The Lighthouse, Mitchell Lane, Glasgow #IDStoreGla Sat 15 & Sun 16 July

idstorebookings@gmail.com | Grannyproud@gmail.com

Six Floors, One Market Place Men & Ladies Fashion Design Jewellery Design Vintage & Craft Kids’ Products Home Interiors

July 2017

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Sound of Progress J. Willgoose, Esq. walks The Skinny through the people, politics and picket lines that make up Public Service Broadcasting’s emotional third album Every Valley

Interview: Katie Hawthorne

Photo: Dan Kendall

heavy, but this one should break a few speakers, too, hopefully.”

The emotional weight of Every Valley doesn’t make for an easy listen. Turn No More combines Welsh musical superhero James Dean Bradfield with the words of Idris Davies, a Depression-era miner turned poet affiliated with TS Eliot. “There’s this epic, Waste Land-type poem called Gwalia Deserta, and I found a few verses that had a great ring to them. Then [Bradfield] did an amazing job.

Having someone like him working on something like this and placing that kind of trust in us… it says a lot,” Willgoose reflects, clearly touched.

The ballad is turbulent and stormy, and Davies’ remarkable words ring with contemporary consequences.

We try to avoid talking about the inevitable, but 30 minutes in, there it is: “Well, this was written during and after the vote to leave the EU, and during Mr Trump’s ascendance across the Atlantic,” Willgoose sighs. “In each case the only thing I could do was to stop reading the bloody internet and go and do some work.

P

ublic Service Broadcasting have already conquered Everest, dissected WWII, and rocketed through the Space Race. Now, for their third LP, the band has taken to heart the troubles and triumphs of South Wales’ mining communities with Every Valley, exploring the all-too-human cost of our drive to keep pushing forward. What does ‘progress’ mean? Who does it help, and who does it leave behind? Written, rehearsed and recorded on site, Every Valley broadcasts the tales of Ebbw Vale’s miners with compassion and blazing urgency.

Willgoose laughs as he describes the bespectacled band – with a new ‘official’ member in long-term touring pal JF Abraham in addition to multi-instrumentalist Wrigglesworth – as “extremely geeky”. From another group, such a claim might be self-deprecation. Not here. Ever since PSB’s first EP, a rigorous process of archival research has informed the band’s sound, most notably through audio clips borrowed from dusty public service films. Every Valley’s title is borrowed from the 1957 documentary of the same name, but otherwise the band’s process has evolved tenfold. Built on a bedrock of face-to-face interviews, experts, museum visits and, most importantly, weeks spent within South Wales’ valleys, this album takes a particularly personal approach.

“I didn’t want this feeling of cultural tourism, or to be vampires taking this story from afar and not grounding it properly,” Willgoose tells us.

“Especially this kind of story; it didn’t feel right.

Some people [tried] to persuade us to go to one of the big, plush residential studios but we said no, it doesn’t fit this album at all.” Instead, in early January, the band moved in to the Ebbw Vale Institute, a community project space that happens to have recording facilities, too. Throughout our conversation he emphasises the importance of “actually speaking to people, rather than bringing preconceived ideas of the story and of the kind of people involved.” These interviews inevitably shaped the narrative of the album, as first-hand testimonials assisted the band in

July 2017

talking about “complicated stuff in hopefully a more nuanced way.”

The result is an astonishing, hugely emotional album. Over 11 tracks, Every Valley documents the rise and fall of the industry, as well as the power of policy changes and picket lines. Opening track The Valley shows us rock star miners at the forefront of the UK’s industrial power, as a voiceover proclaims ‘Every little boy’s ambition in my valley was to become a miner... They were the kings of the underworld!’ Then, gradually, Public Service Broadcasting begin to pick this world apart. People Will Always Need Coal shines with poignant optimism, but lead single Progress starts to unravel a sense of creeping change. The eerie refrain of ‘Machines will do the heavy work’ captures contemporary anxieties about robots making us all redundant, as well as acting as a reminder that knock-on effects from fast-moving technological developments have existed for decades, if not centuries.

Camera Obscura’s Tracyanne Campbell provides haunting guest vocals – a collaboration that Willgoose spent “the best part of a year” searching for, and believes has resulted in “one of our best songs… I don’t want to blow my own trumpet, but it’s clever!” He elaborates: “Not only have you got the organic and the synthesised elements ultimately combining, but at the end of each chorus it moves up two semi-tones. Then the first chorus is one repetition, the second one is two… and it’s the first [time] we’ve had a sung refrain as a single. So yeah, I feel like [Progess] works on lots of levels.”

The centrepiece of the album is All Out: a strike song which builds into palpable, dignified, righteous anger as a woman’s voice, calm but defiant, says: ‘What you see on the telly is nothing, what you see in the papers is nothing. I was brought up to respect police. I don’t respect them now.’

It’s the heaviest track PSB have ever recorded, and it is scorching. Willgoose reflects, “There’s quite a few [songs on the album] that are emotionally

“The only thing I could do was to stop reading the bloody internet and go and do some work” J. Willgoose, Esq

“It just makes it even more sad because, from an outsider’s perspective, this is the community and the workforce that bore incredible hardship and incredible danger for a very long period, and provided the materials that fuelled the ascendency of the country, fuelled it through the war efforts, twice, and while it did eventually get nationalisation and some kind of health and safety which for some reason these days is held up as a bad thing, but was mostly put in place by unions to save lives… for these [communities] to be basi-

cally wilfully destroyed, and to have it done by the very government they’ve trusted? It’s like, do you really think they care about this area and its people and its history? I find that a hard one to stomach. Ebbw Vale was one of the highest recipients of EU funding in the UK and it voted to leave.

I think it’s a desperate situation, and a lot of people didn’t know what to do but stick two fingers up.

“I wondered if somebody – an especially dim-witted journalist, maybe – might say, ‘Oh, so you’re calling for the mines to be re-opened, are you?’ No, we’re really not. It’s not our position to do so. We’re just drawing attention to the fact that these communities have been let down and betrayed once, and now they’re being abused and capitalised upon to elect these people whose interests really couldn’t be further from theirs.”

His point is reinforced when, after our interview, the first of the so-called “Trump-Era mines” opened outside Pittsburgh in a blind attempt to prop up an increasingly unsustainable industry.

The Guardian reported, two weeks later, that the “global demand for coal has fallen for the second consecutive year.”

Willgoose describes the record as having a “residual sadness and anger” that’s as much a consequence of his wife’s recent battle with cancer as it is the political climate, but “there’s also a feeling of hope and defiance and togetherness.” Without prying further, or resorting to too much speculation, it’s possible he’s referring to You + Me, a beautiful, vulnerable ballad that features guest vocals from Lisa Jên Brown and a rare vocal turn from the band. Elsewhere, tracks like They Gave Me a Lamp ensure that the bravery and resilience of South Wales’ women are celebrated with as much vigour as the actions of the miners – it’s a full and important reminder that communities are built on unity, support and love – and on final track Take Me Home, the local Beaufort Male Choir are halted mid-take by their conductor, and reminded “more people will hear this than they’ve probably heard any other thing you’ve done.”

Surely, hopefully, if the UK’s learned anything in these past 12 months, it’s that we’ve got to listen to each other.

Every Valley is released on 7 Jul via Play It Again Sam Public Service Broadcasting play Barrowlands, Glasgow, 18 Oct publicservicebroadcasting.net

Going Underground: five empowering songs about unions Billy Bragg – There is Power in the Union Although this song was originally written by George Frederick Root, an American songwriter who found fame during the American Civil War, what would this playlist be without the gruff, rallying voice and unwavering political presence of our Billy?

The Strawbs – Part of the Union It’s rumoured that this song might have been written to parody the power wielded by British trades unions, but its foot-stomping beat and cry of ‘It’s out brothers, out!’ meant that The Strawbs’ hit fast became an unofficial workers’ anthem in 1973.

Florence Reece – Which Side Are You On? The incredible Florence Reece wrote this folk song in 1931 in response to the Harlan County War – a struggle for Kentucky miners’ rights.

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Her battle-cry “They’ll never keep us down!” has been covered by dozens of socially conscious musicians. Ken Loach has borrowed the title, and Bob Dylan refers to it in Desolation Row. Woody Guthrie – Union Burying Ground It’s hard to pick a particular up-the-workers number from Guthrie’s immeasurable vaults, but Union Burying Ground from his 1941 album Struggle is a bitter-sweet ode to the cost of putting your community first.

Rosalie Sorrels – I Am a Union Woman Activist, educator, folklorist and musician Rosalie Sorrels died just a few weeks ago, in the middle of June. Her legacy lives in 60 years of powerful lyrics and community work, and this track which calls for support for the American National Mining Union is an apt example of her straight-talking poetry.

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Just Make it Classic The day following the Manchester terror attack we meet up with Broken Social Scene’s Brendan Canning, ahead of the band's show in the city that night, to talk about fifth album, Hug of Thunder, and why they’ve reformed

Interview: Joe Goggins

“Y

ou’re sitting having a beer, and all of a sudden, the memories flood back. ‘Hey, remember that time we were in Peterborough?

Or Stoke-on-Trent?’”

Today’s a turning point for Broken Social Scene. On the one hand, it marks the end of the long road back; they’re in Manchester to play their first full headline show, anywhere, since 2011. On the other, this’ll be the first gig of many.

After having apparently called it quits six years ago, they’ve reconvened in fits and starts, with the odd TV appearance here and the occasional festival slot there. It’s not until now that they’ve found themselves with a reason to be on the road consistently: in July, they’ll release Hug of Thunder, their first full-length since 2010’s Forgiveness Rock Record.

They wrapped up touring for that last album in November of 2011, in Rio de Janeiro. They tweeted shortly before the show that it’d be their last ever. In truth, few took them at their word; after all, fluidity has always been the operative word when it’s come to the Toronto outfit, who are of course less a band than they are a collective. Wikipedia lists 26 present members, many of whom are indie rock royalty in their own right – Leslie Feist, for example, or Jimmy Shaw and Emily Haines of Metric. Torquil Campbell of Stars is in there, too. The touring line-up, understandably, has fluctuated wildly, but it’s always been based around the central duo of Brendan Canning and Kevin Drew, who’ve taken the lion’s share of the songwriting credits over the years.

Even with all the time that’s passed, and as laughable as this comparison would normally seem, Manchester doesn’t feel a million miles away from Rio today. It’s a balmy 26 degrees out, and sunlight streams through the floor-to-ceiling glass frontage at Albert’s Schloss, the yuppiefriendly German bar that occupies the ground floor of tonight’s venue. The atmosphere, though, is subdued. It’s less than 24 hours since the city’s arena – a mile down the road, at the other end of Deansgate – was rocked by a suicide bomb. For Broken Social Scene, there’s a considerable degree of uncomfortable irony that these should be the circumstances in which they finally return full-time; Drew’s on the record as saying that the group decided to reform after the 2015 attack on the Bataclan in Paris.

“We felt that, for sure,” says Canning over coffee in the bar, “Charles [Spearin] and Kevin, especially. We know Eagles of Death Metal a little bit, and it just cut a little deeper, because we’d shared a stage with that band. To then come here, and you have the bombing last night – it seems terribly...” He trails off. “This is the reason we’re getting back together, and then a similar incident happens so close right as we’re starting up again.

It casts a certain shadow, but there was never really any talk of cancelling. People have to come to work here tonight. Fuck, life goes on. We got text messages from home, everybody saying it must be crazy emotional over here. I guess nobody’s immune to tragedy.”

The band – this iteration of it, anyway – arrived in town last night after a torturous journey from Heathrow, although still in plenty of time to while the evening away on the sun terrace at nearby Rain Bar. The individual members of the group kept plenty busy during their hiatus – Drew made a solo album and Canning two, for instance – but it was the frequency of finding themselves in those kinds of situations, just shooting the shit over a few beers, that ensured they never felt like they’d spent too long away from each other.

“It’s less a collection of people than it is a collection of friendships,” Canning relates. “Every-

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body knows what’s going on in each other’s lives, even if that’s not as much the case as it was ten years ago. When you’ve survived all the industry bullshit – squabbling over where we should tour, or how often, or whether or not you should licence a song to Hummer – then there’s a certain resilience to the relationships within the band. Plus, it’s not a big deal that the line-up’s fluid – that’s how music should be. Look at the old jazz guys like Horace Silver, Miles Davis, John Coltrane and Art Blakey – how many different groups they all played with. Some of the collaborations on this record came about because Jason Collett happened to be at a card game, or John Crossingham was in town at the right time to add a guitar lick.”

“ People have to come to work here tonight. Fuck, life goes on” Brendan Canning

That spirit of co-operation is palpable on Hug of Thunder; it feels like much more of a group effort than Forgiveness Rock Record, an album that met with a mixed response and suggestions from critics that perhaps Canning and Drew were wielding a little too much control over proceedings.

Thunder’s reach for talent is a wide one – Feist is back to provide a stirring turn on the title track, while Haines takes the lead on Protest Song. All 15 original members have chipped in, and their individual tastes are well-represented without them ever really stepping on each others’ toes: we get soaring anthems alongside psychedelic

wigouts, and they prove strangely happy bedfellows. Even tonight’s line-up hints at a renewed harmony within the group – Haines and Shaw are back in the cut for this European jaunt for the first time in forever.

“We had a lot of cooks in the kitchen, and everybody was hard at it,” explains Canning. “It wasn’t like You Forgot It in People, where it was a fresh experience for all of us and we were just looking to push down some walls. Some songs took forever to come together, some songs were really spontaneous, and some came out of late night sessions smoking weed, where it just felt like time to put vocals down at one in the morning. Not that we have the same appetite for that as we used to. You Forgot It in People was a fucking haze!”

Plus, the band unanimously agreed that if they were going to make a go of this comeback – if they were going to really justify it – they were duty bound to put new material out. They’re in a different place now, 18 years down the line from when they first formed; Canning remembers having sneered at older bands on the reunion circuit back in the day, only to have found himself staring down the same barrel before Hug of Thunder started to come together. “Fuck, we just haven’t done enough to rest on our laurels! There was no Anderson .Paak when we were starting out, you know? It still feels like we’ve got to step up and earn our place.”

He does, though, have a more sympathetic view of longstanding bands who no longer resemble their old selves anymore. “I remember what I thought about Deep Purple when I was 15, having been through all these different singers and band members, and that’s not how I feel any more.

Honestly, being in a band is a miracle, and if you can continue over years and years and survive different phases and still have people buying tickets for this thing you built, then that’s amazing.

You just have to keep pouring yourself into it.”

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Broken Social Scene’s best material has always had a timeless quality to it, and they know it, too; it’s the recognition of that fact that keeps them pushing to make it similarly true of their future output. “I have a friend back home, a guy called Kent Monkman who’s done really well in the fine art world,” says Canning. “Last summer, I remember him saying to me, ‘whatever you’ve got going, just make it classic.’ I think we’ve got a few classics on this record, and I think we’ve still got the knowledge to write songs that make people feel a certain way.”

He’s cut off by the sound of sirens screeching past the window. On the next table, Drew, Shaw and Andrew Whiteman are discussing how best to address last night’s tragedy at the show. Drew tells me he’s hoping to keep the mood upbeat, but there’s a touch of unease in the crowd later that night ahead of the group taking the stage.

When they do, Drew keeps his earlier word: he thanks the crowd for making it out, introduces one of the city’s favourite sons in Johnny Marr, and leads one of the band’s most illustrious ever casts into a spine-tingling rendition of Anthems For a Seventeen Year Old Girl.

Old and new songs alike soar, if not in celebratory fashion then at least in a spirit that suggests defiant positivity. During the encore, Haines is front and centre on a gorgeous, stripped-back version of Backyards, on which the extended lullaby of a last chorus involves the line “It’s a hard parade, just be courageous” on a loop. You realise what Canning meant when he talked about the classics. It wasn’t self-satisfaction – just the quiet recognition of the fact that Broken Social Scene are capable of making people feel better. They picked a good time to come out of hibernation.

Hug of Thunder is released on 7 Jul via Arts & Crafts brokensocialscene.ca

THE SKINNY

July 2017

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Space & Time We speak to the duo behind Glasgow’s Optimo (Espacio) ahead of Optimo 20 this August which celebrates 20 years of the legendary club night

Interview: Claire Francis the dancefloor!” As for the ubiquitous ‘here-wefucking-go’ chant that inevitably starts up on Scotland’s dancefloors, McIvor laughs, “Sometimes we’ll go places and it’s literally a sea of guys pumping their fists with their tops off, and for me that’s just so not appealing,” he laughs. Wilkes interjects, “I think women are put off by that, that’s not fun for them!”

“I used to hate that [chant] so much I’d actually stop the music! Now we’d just be doing that all the time, I’d have to constantly stop playing!”

McIvor says, and the two burst into laughter. “But it follows us right round the world, we’ve been in Australia and had people [chanting]… we take it as a compliment, but we’re like, ‘Are you not bored with this chant?!’”

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s milestones go, the twentieth anniversary of the legendary Optimo (Espacio) – meaning Optimum Space – duo JD Twitch and JG Wilkes (aka Keith McIvor and Jonnie Wilkes) is a defining moment in Glasgow’s rich dance music history.

Their weekly Sunday-night parties at Sub Club ran from 1997 to 2010 and soon accrued cult status, celebrated for their innovation, debauchery and anything-goes attitude to music. Since 2010, the pair have continued to play, tour and release music under the Optimo name – they are globally respected and renowned as one of Scotland’s most iconic clubbing duos.

2010, the year that weekly Optimo parties drew to a close, also marked the end of 13 years of Labour government rule in the UK. Interestingly, the day we meet McIvor and Wilkes at a popular Glasgow beer garden also happens to be the day before the UK general election. The conversation inevitably turns to politics, with the pair both feeling a sense of unease about the impending result.

“I think it’s a very scary time,” says McIvor.

“People say clubbing is not a forum for talking about politics, but I think that’s wrong. I don’t think people should necessarily ram it down one’s throat, but there’s no point running away from it.

It’s an important platform to talk about issues.

Especially with another [potential] five years, [or] ten years of Tory rule, it will have implications on people who like to go out clubbing. We don’t know what those implications will be, but we know it’s not going to be good.”

The subsequent election result may have been an ominous blow to the nation’s underground cultural institutions, but McIvor and Wilkes are still doing their hardest to keep Scotland’s club scene thriving. To celebrate their 20 year milestone the duo have masterminded Optimo 20, a personally curated mini-festival that will take place at The Galvanizer’s Yard, a brand new event space in Glasgow’s West End. The upcoming event aims to champion the eclectic music and ethos

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that has underscored Optimo from the beginning.

“We mulled over doing big events before and hadn’t really wanted to, and we felt like this was something deserving of doing one,” McIvor says.

“People like to pigeonhole things into small boxes, like ‘What is Optimo, what do you play?’ It’s quite hard to sum that up in one little sentence, so the idea behind the line-up was to say, ‘Well, this is Optimo.’” Wilkes continues, “It is intended to be expressive of our ethos. There are artists that played at our original party at the Sub Club, and artists that we’ve only become aware of in the last couple of years.” With a laugh, McIvor adds, “We weren’t really thinking about what would sell a lot of tickets, which is the way most people approach it... which is probably the wrong way to approach it.”

With a diverse line-up of local and international talent, including Ben UFO, The Black Madonna, Aurora Halal, Happy Meals, Midland and Carla dal Forno, a generous portion of the event is dedicated to live acts. McIvor admits, “We’ve always been more interested in producers than DJs. There’s loads of great DJs in Glasgow, there’s a whole load of young, upcoming people, but my personal interest has always been in going out to see music live. And I think, especially in Glasgow, we have an unbelievable wealth of talent. I’m fortunate that I get to release quite a lot of these artists on my label.”

We point out that the festival also offers a welcome gender balance. It’s an element that is still surprisingly and inexcusably absent from many dance music events today, they both agree.

“We didn’t do it in a tokenistic way,” McIvor tells us, “it was genuinely people who we felt aligned so closely and we’ve always been drawn to, people we’re friends with. It also shows that it wasn’t hard to do this! It wasn’t like, ‘How are we going to find all these [female acts]’… it was very, very easy to do. I think a few festivals pay lip service to it, and they book a couple of token acts, but I think it should just be a natural thing, you should be

trying to make it as equal as possible.”

Along with an exciting new location and a dream line-up, McIvor and Wilkes will be donating a portion of the profits from the event to Glasgow’s Coalition For Racial Equality & Rights and to various Glasgow foodbanks. “It’s something we’ve had a long relationship with,” states McIvor. “We’ve had fundraisers for the last four or five years… being rooted in your local community has always been an important part of Optimo.

Particularly Glasgow, it has some problems – I think it’s the highest level of foodbanks in any city in Scotland, if not the UK, and to us it was just intolerable to live in a city where there’s such a disparity of wealth. It’s an opportunity for us to draw attention to these issues, and also raise some money for them.”

This spirit of generosity and inclusivity has always underscored Optimo – in the intervening years McIvor and Wilkes have observed many changes in Scotland’s clubbing scene. “When we started there wasn’t internet!” McIvor exclaims.

“I think I knew two people that were online. You didn’t use the internet at all to promote events, it was all word of mouth. We had quite a long gestation period – in the first year-and-a-half very few people came to Optimo. It was literally people we knew and a handful of other people. It took a year and a half for that word to get out there, whereas now it’s just so fast.”

“We’re still at a loss to figure out exactly why it became as popular [as it did],” Wilkes reveals.

“As Keith says, there’s a lot of this DIY ethos that still exists and always had, it was there from before we started out, with the explosion of rave music. People were getting together and building these parties and events themselves. It was about that feeling of togetherness.”

Wilkes also laments the changing nature of audiences at today’s more mainstream events.

“There seems to be a lack of actual participation or involvement in the moment,” he says. “You can tell because people are texting when they’re on

CLUBS

“ A night out should be fun, with the deepest, most mind-blowing music, it should lift people up and leave them going home in a better mood than when they arrived.”

Keith McIvor

The pair both remain humble and slightly bemused at the level of fame they’ve reached with music fans. Do people ever recognise them in the street, we ask? “Yes, especially in Glasgow!” responds McIvor. “All the time. I’ve never had anyone come up and be rude, but it’s these strange things… I used to go into my local sandwich shop, and the woman behind the counter would always call me Twitch. It was nice, but also kind of excruciatingly embarrassing!”

Optimo is a working relationship “longer than some marriages” the pair agree, but they cite the enduring partnership as “like family”. McIvor explains, “We very quickly realised we both had things that we were good at that we could focus on, and it’s been like that ever since. It’s kind of been a division of labour.” And during their offtour moments they try to spend plenty of quiet time with their families: “It’s not like we’re going down the pub every night together!” Wilkes tells us with a laugh.

Even after twenty years, it’s difficult to sum up the impact that Optimo has had on Scotland’s music scene. But when it comes to their love for what they continue to do, McIvor hits the nail on the head. “We’re deadly serious about music, but within that you can have fun with music! A night out should be fun, with the deepest, most mindblowing music, it should lift people up and leave them going home in a better mood than when they arrived.” Two decades on, that may well be the best way to describe the ethos and enduring legacy of Optimo.

Optimo 20 takes place at SWG3 Galvanizers Yard, Glasgow, 6 Aug optimo.co.uk

THE SKINNY

Weigh Anchor Prodigal beatmaker and Anchor Point Records maestro Mura Masa talks to The Skinny about coming from the underground to make a pop album

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t’s felt like a long wait, but two years after his Someday Somewhere EP and Mura Masa is finally releasing his eponymous debut album. In between we’ve had plenty of singles (many destined for the album), co-writing credits with Stormzy and Låpsley and teased announcements that the album would be out “soon” – only to be followed by silence.

“All the times when I said, ‘Yeah it’s coming soon,’ I genuinely thought that,” confesses Alex Crossan, the chilled-out 21-year-old behind the Mura Masa persona, “but it just took me a bit longer than expected I guess. I really wanted to get it right the first time.” And getting it right meant putting the hours in. “I really put the pressure on myself,” he admits. “I played all the instruments on the album, produced it all myself, so it’s been a really solo endeavour.”

Taking his name from Muramasa Sengo, a 16th century Japanese swordsmith (an obscure reference to match his bookish cool), Crossan is part of a new generation of artists who transcend the limits of geography and access, whose bedroom productions are discovered via music sharing platforms like SoundCloud. “I’m from Guernsey, and that’s quite a far removed place,” he explains. “I was relying on the internet very early on to provide me with a window – or a lens – through which to see underground culture and club culture that I wasn’t experiencing in real life.

The internet is the genesis of my music tastes and the way I make music.”

Prior to Mura Masa, Crossan had shot to digital prominence thanks to the single Lotus Eater, an electronic track taking the hallmarks of the emerging trap scene (808 snares, big bass and meaty drops) and blending them with eastern flute samples. With the track picked up by key UK radio personalities, it wasn’t long before he uploaded the rest of his 2014 beat tape Soundtrack to a Death to SoundCloud (eventually releasing it via Jakarta Records).

The mixtape was stylistically experimental, predominantly electronic but flavoured with hiphop and eclectic sampling. His follow-up EP, 2015’s Someday Somewhere, honed this experimentation down to key elements: steel drums, hip-hop percussion and choice collaborators (Bonzai, NAO, Jay Prince).

Jumping ahead to 2017, his debut LP, distributed by Polydor, is certainly worth the wait. But for all his previous eclecticism – and penchant for electronics – he’s put out a focused pop record, rich in hooks and traditional song structures. From one perspective it’s a striking gear change, from another it’s a savvy graduation avoiding any compromise of his distinctive sound.

“I think that came out of an interest in pop music, and what makes a song part of pop culture – or what makes it enjoyable to a wider audience,” justifies Crossan. “I’ve always loved pop music, but I took the time to explore it in this album a bit more than I have in the past.

“I guess it’s just about taste, really, and what I’ve been listening to and enjoying. Over the last couple of years I’ve been getting into very classic music – like I’ve gotten really into The Beatles and Iggy Pop. I’ve also been listening to a lot more Prince since he died.”

And you can hear it: there are a lot more funk-inspired basslines than in his previous work, with one track – Nothing Else, featuring Brit soul singer Jamie Lidell – sounding like an undiscovered Prince gem. But he’s far from shedding his underground roots. “The electronic stuff won’t ever go away – I’m about to do an Essential Mix for BBC Radio 1, and it’s basically a really tangential journey into loads of weird experimental club music. So it’s definitely there as an influence, and

July 2017

you can kind of hear it in some of the album tracks, but the focus was more on traditional songwriting and skewing pop sensibility.”

The pop credentials are there – not just in the infectious arrangements, but in the record’s family of collaborators, such as chart dynamo Charli XCX, Britpop gorilla Damon Albarn and visionary artist Héloïse Letissier (better known as Christine & The Queens), alongside hip-hop buddies A$AP Rocky and Desiigner. “Every person on the album is somebody who I’m a big fan of,” Crossan explains. “Mainly it comes about like that – just people who I’ve reached out to and they’ve been down to be a part of this weird collaborative album.”

“ The internet is the genesis of my music tastes and the way I make music”

Point, is an imprint label on Polydor, which is a major label. It depends on whether the major labels are willing to accept movements like that and cultivate them and help them out. At the end of the day, movements like that are grassrootsbased and they’re based on friendships. Another one is 1-800-Dinosaur, James Blake’s label. Those guys are all just really good friends in real life, it’s not really something that can die at any point.”

An upshot to such groundswell movements is their effect on representation in the industry.

“The situation is improving,” Crossan suggests.

“There’s a new movement happening from social media and it’s moving from the bottom upwards, where there are communities that are getting together – afropunk is a really good example – and they’re trying to champion people from lots of different cultures that lack representation.”

It’s not all rosy, of course. “I do think there’s an ongoing problem where the people that are at the very top of the music industry are maybe feeding off of that underground bottom energy and not necessarily giving too much credit to those cultures.”

But, he adds, the internet is definitely helping. “Take Awful Records for example. Someone like Father, he can be putting out music through

Interview: George Sully that and speaking about his culture in that way, but at the exact same time he can tweet about how he’s feeling about issues like that, and lots of people see him. Whereas if a major label are releasing music in that way, they don’t have that same fan interaction – so I think that’s a really powerful medium for drawing attention to those sorts of issues, and it creates a dialogue as well, which is super important.”

It’s particularly relevant to artists like Crossan, who have participated in the boom – and subsequent commercialisation – of trap music, a genre with its roots in southern American hiphop and black culture. But he’s sensitive to the minefield of cultural appropriation. “There has to be, because of where that culture comes from,” he warns. “I think where it becomes dark and inappropriate is when you don’t credit the original cultures where those things come from, and you’re ignorant of those kinds of things. As long as you’re knowledgeable and respectful and you add something, and you’re not just taking and copying and culture-vulturing, I think it can be healthy and a celebration.”

Mura Masa is released on 14 Jul via Anchor Point Records muramasa.me

Alex Crossan

One partnership in particular was a pivotal moment in Crossan’s career, as well as being the reason the steel-drum-heavy Lovesick, fka Lovesick Fuck, from Someday Somewhere became the hiphop banger Love$ick. “I’d say collaborating with A$AP Rocky was a really important thing, because he was the first big A-list celebrity with a bit of clout to really take the time to come to the studio with me and make some music.”

On top of everything else, Crossan also runs his own label imprint, Anchor Point Records.

Irish/American singer Bonzai – a key Anchor Point artist and good friend to Crossan – reappears on Mura Masa, having featured on both Soundtrack to a Death and Someday Somewhere. Maintaining that communal, familial environment has been key to the label’s ethos. “I needed a way to independently release music and have my own creative space, without wanting to have the overbearing presence of an external record label – that’s where the idea of Anchor Point came from.”

If the label’s raison d’être is to provide a platform for him and his friends to release music, then this has been facilitated by the regionless connectivity of the internet. And Anchor Point is just one of many emerging independent labels and imprints (some, like Ryan Hemsworth’s Secret Songs project, aren’t even strictly labels) whose roots are wholly social and whose existence is contingent on the web; Crossan knows he’s in good company.

“There’s PC Music – SOPHIE, Danny L Harle, A.G. Cook – and there’s [Atlanta-based] Awful Records – they have Abra and Father and people like that. Then there’s a lot of weird imprint labels in London that release dance music...” he recounts. “If you look for long enough you can find so much cool shit that only exists in the digital world, which I think is amazing.”

It seems counterintuitive for Mura Masa the artist to be a champion of underground communities and alternative music, while Mura Masa the album is such a pop record – and one distributed, ultimately, via a label boasting clients as big as Lana Del Rey, Kendrick Lamar and Take That. But Crossan is conscious of this apparent contradiction and is keen to contextualise.

“PC Music actually did a major label deal, I think – and obviously my record label, Anchor

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THE SKINNY

Grand Design For their second project, design-curators Local Heroes present Galvanize! in SWG3’s back yard. Stacey Hunter fills us in on the new exploration of social sculpture.

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ast August a bold new project launched at Edinburgh Airport, a pop-up shop featuring specially-created products by a select range of Scottish designers hell bent on redefining what constitutes a souvenir and the international face of Scottish design in general. Sitting in a renovated shipping container between the terminal and the tram stop, the Local Heroes project presented a bold face to visitors from around the world, providing the opportunity for them to engage with the nation’s confident, interesting contemporary design and maybe even buy something beautiful and useful for their pals back home.

Behind the Local Heroes project is Dr Stacey Hunter, an independent design curator with a vision for fostering a fertile, vibrant creative scene across Scotland and beyond. She says: “I think there’s this opportunity at the moment because design is under-curated, and under-utilised as a cultural object. So there’s an opportunity to ask what our design language is, and what that could look like if we did have one.” To help generate that her new experimental project, Galvanize!, shifts the focus slightly from the creation of sellable product to social furniture.

The project is situated in SWG3’s new indoor/ outdoor space, a former galvanizer’s yard, part of the history of Glasgow’s industrial fabrications.

Hunter is concerned with encouraging a more maximalist design, moving away from an orthodoxy of ‘good taste’, Scandinavian-influenced minimalism which she regards as somewhat restrictive on the development of new ideas. “It’s a little bit like be careful what you wish for, because the Bauhaus dream in some ways has come true where most people can afford to go into IKEA or whatever and buy decent design – sort of adequate if not amazing. But the room for creativity has really diminished because the market has no patience for it at all. It’s really diminished the room for radical design or what I would define as expressive design, emotional design.”

To counteract this, Galvanize! opens up the door to play. Using Creative Scotland and Scottish Enterprise funding, the project removes the commercial constraints which can be uppermost in a designer’s mind and allows the freedom to experiment. The duo who have undertaken this project are Glasgow’s SLAPS, Sicilian-born Giulia Fiorista and Welshman Ed White. They come from a service design background and initially began working together at Glasgow School of Art, drawn together by a mutual interest in Bowie, post-modernism and tongue-in-cheek design.

Says Hunter, “They’re interested in sex and design, and desire – they produced a collection of toys that talk about sex that were in an exhi-

July 2017

bition at the Lighthouse. They felt perfect for this project because with their service design background they’re able to apply all of that aesthetic that I really like but also really thoroughly research the site and the people that are using it. They thought about SWG3’s business, and their business plan going forward. It looks really light-hearted but it’s actually got a very rigorous, intellectual integrity to it.”

“ What would objects look like if designers had the creative freedom to do something radical? Would they be rude? Would they be ephemeral?”

and fall apart? Would it be made out of materials that are completely eco, or the complete opposite?’”

The Glasgow-Rella responds to its local environment, attempting to answer the eternal Glaswegian question – how do we shelter from the rain while still being able to drink outside?

Says Hunter, “That was coming out of their research to do with the Glasgow climate which is the impossibility of an umbrella because they just get destroyed. They have a whole archive of images of destroyed umbrellas all over Glasgow.”

The Glasgow-Rella is a multi-functional structure: “You can also use it as a bench, a table, a shelf. And then it’s got these plastic umbrella things sticking out of it that provide a bit of shade or shelter depending on where you’re standing.”

SLAPS’ position as a design company who have chosen to set up shop in Scotland is emblematic of broader changes in the creative communities north of the border. Ten years ago there seemed to be an inevitability to the annual design graduate migration to London or beyond in order to pursue serious careers. Now individuals and companies are actively choosing to work here, drawn by lower operating costs and a fertile, supportive community of creatives.

Hunter quotes an original Local Hero, a designer who relocated back to Edinburgh after

Interview: Rosamund West a spell down south. “She felt that in London whenever you present something to a public audience it’s got to be perfectly presented and perfectly realised because you get this barrage of real criticism. Whereas Scotland’s more the kind of place where you can present ideas that are maybe still being formed, you can present them to an audience who’re appreciative, and the critical discourse around it can be critical friends rather than a barrage of trolls ripping your stuff apart.”

Galvanize! launches as part of a public events programme, with both Hypermarket design market and a series of SWG3 nights (like Optimo’s 20th birthday) going on around it over the summer.

Over time Hunter plans to initiate further projects, working with more designers to create work for the SWG3 yard and beyond, serving twin aims of facilitating more creative design production and helping to foster a more coherent identity around what constitutes ‘Scottish Design’ in the collective consciousness. She says, “If you say ‘Scottish design’ there isn’t a snapshot the way that there is with Finnish design, Norwegian design, Italian design.” Hopefully Local Heroes will continue to change that.

Local Heroes and SWG3 present Galvanize! from 30 June, 100 Eastvale Place, Glasgow localheroes.design/projects/galvanize

The products they have created for Galvanize! (working with fabricators Alien & Daughters) are the Glasgow-Rella and the Calm Tree, which Hunter calls “bold talking points that will punctuate the space so that we can get people talking about design that they’ve never seen before – really original, really radical, really unique.” The layers of research that have gone into the finished products should not be underestimated. Says Hunter, “That tree came from a bit of research they did about anxiety. They were thinking about the anxiety that people have in social spaces, like you get there before your friends get there, you’re on your own, where do you stand? Also the social issue of striking up a conversation with another person – if there’s a talking point, if there’s something weird there, that eases the anxiety.”

The Calm Tree provides a talking point, seating, and a calming sensory experience in the form of fringing hanging from the top that can be stroked and played with to alleviate stress. “It’s quite a phallic looking object,” Hunter says. “From my point of view that’s good because one of the questions I was asking was ‘What would objects look like if designers had the creative freedom to do something radical? Would they be rude? Would they be ephemeral? Would it be something that would go outdoors and would eventually break away

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Degree Show Digest 2017 This is the bumper review of all four Scottish art school degree shows Words: Adam Benmakhlouf, Rosie Priest and Rosamund West

Amy Grogan, Glasgow School of Art

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ith the first blush of summer comes Scotland’s degree shows. Always over too quickly, chances are you missed some, and even if you went you probably still managed to forget a wing. This year, three writers have taken on the four schools, distributing The Skinny’s Degree Show Bingo Card to each stop. See the Instagram for full details, but categories include ‘Lads Lads Lads’, ‘Granny’s Living Room’ and ‘A Lone Branch’.

All three writers enjoyed their respective corners, and what follows are four condensed versions of our reviews online.

Dundee Opening the degree show season, Dundee brought a multimedia array of sculpture, video, embroidery and a vastly diverse range of subject matters. In one well composed room, a handmade fairground-feeling installation by Stephanie May McGowan was combined with the solo presentation of dreamily lively gestural paintings by Alice Campbell. In Campbell's works, figures and sometimes fish are suspended in dark blues in loosely described space – hovering, staring wide-eyed at the viewer.

Filling the space in convivial contrast, McGowan switched with ease between deadpan humour (the label on the back of the giant cardboard wheel of fortune, an all-caps ‘NO THANKS’) and poignancy, with a monoprint showing a claw from a grab-a-prize machine holding a tiny figure – or maybe a giant crane with a person hanging perilously by the ankle.

Away from the imagistic, Kirsten Millar experimented with sound installation, as field recordings played through speakers facing large metal sheets rooted in stones. Moving around the work, the sound waves reverberated unexpec-

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tedly through the room and around the body of the listener. Another audio-based presentation, Alice Wadkin presented a radioplay documenting students tearing apart the self-promotional University Strategy 2017. Heard through headphones installed on a platform furnished with standard IKEA fayre, it was an aesthetically ascetic moment of sharp self-awareness.

Seeking to strip back ambiguous allusion, Doaa Yule combined her individual works with misleadingly prosaic explanation. Yule coolly enumerated the intended effects of her work and its motivations, including a large text-sculpture, a video of a hand drawing a thick felt line and a video collage of mainstream films featuring characters in “non-real roles”. Altogether giving a first sense of simplicity, there was immediate complexity in the tension between the transparent expositions and the ultimate agency of the artwork.

Representing delicate and process based work, Jennifer Cooper’s work took the form of delicately made, vaguely fungal-seeming sculptures. Heaped on the wall, and made of paper they were as light looking as bulkily accumulative.

Crafty and detail-oriented effort was also featured in a different tone in the work of this month’s Showcase Nicole Gault. In her bare timber structures, she worked on a durational performance as she cross-stitched ‘HOMO SWEET HOMO’ in huge lettering onto fabric. This was combined with sumptuous handmade dark red, glittered, purple and pastel stacked ceramic vessels, and smaller text works railing against religious-based intolerance, or in joyously declarative phrases like ‘you’re a fucking mermaid unicorn princess.’

Also combining construction, sculpture and textiles, but to a different outcome, Rhona Jack

used what looked like found wood to construct a loom capable of producing the professionallooking abstract geometric woven fabric she also presented. The work successfully troubled distinctions between the individual craftsperson and industrially scaled production. This solitary production lyrically touched on the loss and possibility of reclaiming the community-based production of the Dundee Mills.

Edinburgh ECA shone in allowing its students free rein on how to structure spaces, beyond the more usual individually allocated spaces seen in the other schools. The use of bold and brilliant colours, kitsch glamour and an overall feeling of the absurd gave the ECA a 1980s hue. A backlash, perhaps, to the extremes of austerity and the absurdity of practising art in bleak, grey, times.

Fionnuala Mottishaw explored the bizarreness of manmade objects, creating a unique and inexplicable environment. Tucked away around an easily missed corner, the space reeked with oversaturated colours, noisy-neons and incredible clutter. Similarly reconfiguring a space for herself, Stefanie Blum’s tunneling slid visitors through a pulley-system tunnel, and questioned traditional exploration of the gallery space.

Looking to places and nature, Diana Bechmann’s slightly more sophisticated sculptural boxworks for plants and growths nevertheless had children swarming to the work. Sculptor Lara Hirst also offered a clean output, though in her case enquiring into economics and theories of worth. With the knowledge that ‘one in every 30 pound coins is a fake’, reclaimed gold from money was used to make beautiful, dreamlike

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Shandee Christensen, Glasgow School of Art

sculptures, exploring the impermanent and the permanence of art.

Seeming to echo the practices of Louise Bourgeois, sculptor Kerry Boyd showed uncanny forms that linger and lurk in the large space they inhabit. Seemingly informed by parts of queer theory and an ‘otherisation’ of the body, her works use a variety of textures that at times make you feel completely at home, and at others repulsed by their nature. Similar research interests spanned the photography of Craig Waddell, whose intimate portraits questioned traditional masculinity and celebrated individuals who – in his words – “thrive outside the norm.”

Zoe Griffin explored identity, but in terms of female sexuality through their relationship with patriarchal ideologies. Sexualising inanimate objects, the uncanny ability of foam, or stone, to make you question your relationship with yourself and your own body was so well thought out, and a hauntingly real mirror to our own uncomfortable identities.

Similarly to Waddell, Daniel Cook explored individuals thought of as living ‘outside the norm’.

His brilliant and bizarre film The King and I explored the worlds of two individuals living on the margins of society, margins which have slowly been eroded by the continual growth of the younger professional community in Edinburgh.

The film had a certain Grey Gardens quality to it in which we are at once exposed to a completely unique way of living, while also being taken aback by how different it is from ‘the norm.’

Glasgow GSA once again invaded the disconcerting labyrinth of the Trongate Tontine building, featuring a glorious array of weird and wonderful work from

THE SKINNY

Alice Wadkin, DJCAD

pristine photography to a performative extravaganza meditating on the threat of nuclear attack.

Anna Wachsmuth presented a subtle meditation on the state of Israel, an installation of objects and images that alluded to familiar and comfortable-seeming language and imagery. On the wall, for instance, there was pasted an image of a forest. An accompanying artist’s book contextualised the different elements with their contentious histories and significance. Thus the forest is revealed as the location of a former Arab settlement cleared in the 40s and planted with firs and conifers covering scant remains of homes.

Working more formally, David Walker Kennedy defied gravity with heavy-seeming plaster forms in Karla Black’s puff palette. These were alongside a large canvas work made of stitched together A4 rectangles, forced through a printer, making a series of material experiments that were defiant and unexpected.

Odd juxtaposition of the show went to Katie Rose Johnston and Mahsaneh Poosti’s adjoining displays. Johnston’s riotous room of pastel forms was an explosive childlike space filled with intriguing pieces of craftsmanship. Undermining the childish fiesta, through a curtain to the side Poosti’s installation was a threatening, prisonlike and oppressive space with a throbbing soundtrack and rough plaster walls, covered in Farsi scrawls beneath tin cans and wire.

No degree show review would be complete without mention of Art editor Adam Benmakhlouf’s painting installation exploring gender, sex and identity as outlined in his disconcertingly frank personal statement at the entrance. Thankfully it lives up to the hype with intriguing dissonance, a series of male nudes of varying scales were displayed using innovative strategies over a yellow

July 2017

sandpaper floor and a glittery Klein blue backdrop.

Bringing the atrocities of Glasgow’s tobacco lords into the present tense, Beth Pearson rebranded Scotrail timetables and posters as ‘Scotsail’. Making small adjustments, they presented statistics of the shipments of slaves which crossed the Atlantic in horrifying conditions to supply the plantations of Virginia. It’s a reminder that the streets of the Merchant City and the former second city of the empire are built on the backs of slaves.

In an explosive periodic performance South Korean artist Lea (Ye Gyoung) Choi and two collaborators examined a very reasonable childhood fear of nuclear war by dressing up as a bomb and rollerskating around handing out candles shaped like missiles / penises. It’s playful, joyful, overwhelmingly kitsch, simultaneously addressing one of the darkest corners of the human experience.

Photographer Radu Lungu elevated the mundane with pristine images immaculately printed.

A tree in Cumbernauld is rendered beautiful, the underside of a Glasgow motorway compelling as they are quietly celebrated and transformed into monuments. Nearby, Ben Soedira documents the place he considers home, Dubai, focussing on moments of daily life – men talking, a car, a wall, piles of sand and empty water bottles – to build an image of a place of dusty normalcy away from the towering feats of engineering and human rights abuses.

Aberdeen Degree show season headed up north to Aberdeen to finish its Scottish tour. Here, the Gray’s School of Art students made a virtue of tightly wound explorations of chosen themes.

In the departmental structure as presented,

there was a bit of a false dilemma as students were divided between the mass of Contemporary Art Practice or Fine Art Painting. For one, Alan Aitken built scenes and spaces from energetic coiled painted and drawn marks and dots in smaller works, then lays paint thickly in a larger series. Variously rough and solid, it speaks to a more general departmental trend of making paint precariously on the edge of image, threatening to reverting back into piled stuff.

Presented as a museum, Alice Martin showed colour 3D prints of more mundane items from the Aberdeen museum collection (a pen set, key, comb). Martin displayed one set pristinely, then another to be picked up and felt as uncomfortably uniform in their surprising density and consistently rough surface, making for a tactile indulgence and frustration at once.

Also experimenting with her presentation format, Britney Cameron used thick blackout curtain to make for suggestive sensory deprivation. In this environment, the variously melodic then clanging soundtrack began to manifest in imagined dashes and movement in the darkness.

Evocatively installed, the sound work became more spatially present, whether threatening or soothing.

While many students referred to different aspects of Scottish heritage and landscape, Jaya McPhail considered her own experience as a second-generation immigrant. Small transparent slides were set in a holder that left about a centimetre between each. Rows of text would superimpose onto the next, as McPhail described a split identity between “brownness” and living in a “white environment”. This was set alongside a set of white pots, that only were revealed as being made of terracotta in their cracks and broken edges. The two works together gained

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Douglas Blane, Glasgow School of Art

much from closer consideration, revealing themselves as succinct statements of hugely complicated experience.

Speaking more abstractly to a sense of the personal and first-person, homey looking sinks and bedsheets were the basis for Joanne Laverton’s studies of flat colour abstraction in outmoded orange and lightly described patterned fabric that were pictorially left without heft. Evacuating substance, leaving only surface suggestion, Laverton described in her statement ideas of the losses of remembered place. Thematically, there was a different take by Jasmin Cheyne whose installation of printed images of her grandparents’ belongings took on an uncanny quality as they receded at moments into darkness or printed and cropped digitally on white fabric and paper, set in black-painted walls and floor.

Thinking of tactility in a different way, Donald Butler’s digitally narrated video on gay porn star Colby Keller formed a short video essay on highly connected but low-sex milennials. It’s all the displaced swiping and tapping, he argued, that are the new satisfaction and distraction from irl sex.

On a bulky TV and stand surrounded by digital collages on perspex and transparent fabric, there was a thoughtful confusion of the imagined immateriality of tech and its heavy boxy physicality.

From Anthony Carrick, there were a series of terracotta sculptural reliefs, left pictorially indistinct by the scored, rough texture. At moments, they seemed overgrown, the textured clay seeming like scabbed skin, tree bark, then swerving into something like a coastline. Painted over and over in a late night hue of blue, they were hard to classify, balanced at a moment of twilight flux and dense with suggestion.

Find full length reviews at theskinny.co.uk/art

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Sounds of the City Ahead of this year's King Tut's Summer Nights, we look at Glasgow's relationship with live music, and take a peek at triple-distilled, Glasgow-made Auchentoshan whisky

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ities are interesting places, in that they have a lot of the same stuff in common with one another – the shops, the traffic, the commuting – but each city has its own unique ‘vibe’. Hit Edinburgh, and you’ll find it’s thick with layers of history all piled on top of one another. Go to New York, and it’s all about hustle and bustle, and the constant flow of people, vehicles and ideas around the five boroughs. But head into Glasgow any night of the week, and one thing will immediately come to the fore – sound. Glasgow is a city that’s constantly humming with live music from dozens of venues across the city centre, alongside a whole host of lively bars of all shapes and sizes, and an even livelier welcome from all involved.

It’s a city that was swept up in heavy industry (famously not the quietest thing in the world), and has come out the other side in an explosion of art, music and creativity. Glasgow isn’t exactly a city that stands still, and there’s a sense that there’s always something going on, or just about

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to get going, whether it’s a great party, an exciting new gallery to check out, or an interesting bar to add to your rotation. It doesn’t exactly sit on its laurels; after all, why do that when you could keep doing interesting things and bring new stuff to the city?

“Aggressively welcoming” is how Auchentoshan describe Glasgow, and it’s also how they describe their triple-distilled whisky that’s been made in the city since the 1820s. It’s a fair shout for a city this vibrant. And that’s not vibrant in the tourist board sense; more ‘this crowd are about to tear this venue to pieces, oh wait, they’re actually the most enthusiastic group of people ever’. Bands of all stripes – from Metallica to LCD Soundsystem to The Streets – have described Glasgow as one of their favourite cities in which to play; spend two minutes down the front of a gig at the Barrowlands and you’ll see why.

Unlike many whiskies, which tend to hail from the admittedly lovely but very mossy parts

of the country that very few people actually live in, Auchentoshan is a modern, urban whisky that reflects life in Scotland’s busiest city. Think about it for a second; which are you more likely to receive on arriving in Glasgow – a loud, gregarious welcome and a big hug, or a quick visit from a deer in a tweed cap? We point out the lack of wild animal on the Auchentoshan bottle, and rest our case.

Fittingly for a city with a proud brewing tradition that stretches back to the 18th century, the story of Auchentoshan starts with beer. Their bespoke Distillers Beer is the base for their whisky, which then takes on a life of its own once the distilling process kicks into gear. Auchentoshan is the only single malt to triple distill every single drop and this process takes the 8% ABV beer up to staggering new heights of flavour and aroma.

The result is a whisky that’s smooth, fruity and packed with citrus oomph.

That oomph is important if you want to stand out in a city as interesting as Glasgow, where a bit

of clarity to cut through the noise never goes amiss, but sometimes blending in can be just as positive. Combining the old and new, mixing disciplines and styles together to create something exciting; that’s what keeps city life interesting.

Fittingly for a city-built whisky, Auchentoshan is not the kind of dram that will draw howls of derision should you try to mix it with another liquid. It suits exciting and interesting twists and serves; it’s a tasty drink to be enjoyed, not an antique to be feared. The Auchentoshan and Ale – lemon, honey and Auchentoshan shaken over ice, then topped with ale – is the perfect example of what to do with the whisky. It’s a recipe that brings out the best elements of Auchentoshan, and combines them with other nice things without going too over-the-top. Shocking, we know, but it works. auchentoshan.com Keep up to date with the latest news from Auchentoshan at: facebook.com/auchentoshan

THE SKINNY

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American Clay American Clay are a four-piece shoegaze band from Glasgow. The band started life as the project of Pronto Mama drummer Martin Johnston, who hung up his sticks in favour of stepping up front.

The band is completed by Ross Stewart, William Clapperton and Chris McKeown. Since their inception they’ve released two EPs, 2016’s Happenstance and this year’s Sky Hooks which was released by the new label from Glasgow indie record store LP Records. American Clay play KTSN on 26 Jul; americanclay.bandcamp.com

Fauves

Photo: Michael Roddy

lasgow’s mixture of brewing and distilling heritage, incredible hospitality and raucous live crowds comes together in this month’s King Tut’s Summer Nights series, sponsored by Auchentoshan. A string of gigs running from 13-29 July featuring some of the country’s very best up-and-coming bands and musicians, it’s a chance for the next wave of Scottish music to place their stamp on the history of the venerable King Tut’s Wah Wah Hut. This year’s Summer Nights line-up is a doozy – more than 70 acts across 17 days mean that each evening will be packed full of great music, with headliners, support bands, venue DJs and after show parties. We’ve taken a look through this year’s line-up, and pulled out nine acts that we’re looking forward to catching with an Auchentoshan and Ale in hand (remember to always keep at least one hand free for high-fives, clapping and making other supportive noises). Find the full King Tut’s Summer Night’s line-up at www.kingtuts.co.uk

Ayakara Hailing from Leith in Edinburgh, Ayakara are five school friends – Max, Callum, Felix, Alex and Jonnie – who have been making their mark with energetic, crowd-bouncing live shows for three years now. Their tunes have an old school vibe, and are laced with a good sense of humour; they’re catchy, cheeky and loads of fun. Ayakara play KTSN on 22 Jul; facebook.com/ayakaramusic

Fauves Fauves are a Glasgow-based band, formed in February 2016 by Ryan Caldwell after he began recording some demos with the help of drummer (and now bandmate) Ciaran Devlin. The band is completed by Jonny Glass and Rory Bradley. Having released a few self-recorded songs over the past few months with a playful pop sound, we can’t wait to hear more from this four-piece. Fauves play KTSN on 28 Jul; facebook.com/Fauvesband Five Cousins As far as we know, this Glasgow band aren’t actually cousins. Fronted by singer-songwriter and rhythm guitarist Summer Bain, Five Cousins are an indie-pop band at heart and with Bain’s unique vocal at the forefront, this five-piece are utterly infectious. Five Cousins play KTSN on 14 Jul; facebook.com/fivecousinsband Immi Immi is a singer-songwriter from Glasgow who is relatively new on the scene. She released her self-titled debut EP earlier this year. It is a bit of a concept record, as it explores the different stages of a relationship over the course of four songs: Like You, Easy, Brand New and Sober.

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Ayakara

Immi’s music is perhaps best described as soulful R’n’B with a pop sensibility. Immi plays KTSN on 13 Jul; facebook.com/ImmiMusicUK LUNIR Originally based in Edinburgh, LUNIR describe their sound as “future soul fusion fun”. They released their debut EP, Flux, last year exploring elements of pop and R’n’B creating a soulful musical landscape across the course of three songs. If you like artists like Ibeyi or Solange, then chances are you’ll be quite into LUNIR. The duo have recently moved to Germany so make sure you catch them at Tut’s while you can. LUNIR play KTSN on 23 Jul; lunir.format.com

Savage Mansion Savage Mansion is the new slacker guitar pop project from Craig Angus, the former Poor Things guitarist. Angus is joined by drummer Taylor Stewart and Catholic Action duo Andrew MacPherson and Jamie Dubber, on guitar and bass respectively.

Savage Mansion were recently signed to Eiggbased label Lost Map, with their debut release produced by Tuff Love’s Suse Bear. We like them and you should too. Savage Mansion play KTSN on 26 Jul; facebook.com/savagemansionband

self-titled EP last summer with their sights set on bigger things for 2017. They play King Tut’s Summer Night’s following an appearance on the Friday of TRNSMT festival at the start of the month, with more festival appearances lined up later in the year including Dundee’s Carnival 56.

Catch their high-energy indie in the intimate surrounds of Tut’s this summer. Sahara play KTSN on 14 Jul; facebook.com/saharatheband

Sahara Sahara are a four-piece rock and indie band hailing from Dundee who released their debut

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Photo: Gavin Craigie

EM|ME Emily Meekel, aka EM|ME is a singer-songwriter originally from Holland who is now based in Glasgow. With her multi-instrumental capability, she’s able to traverse genre, neatly encompassing elements of soul, R’n’B, pop and electronica into her rich sound. All that, combined with Meekel’s unique voice, make her one not to miss this month at Tut’s. EM|ME plays KTSN on 23 Jul; facebook.com/EMMEmusicofficial

To Live & Die in LA Ryan Gattis’s Safe pulls readers once more into the violent slipstream of his LA riots novel All Involved, but in 2008 and the world has turned. The author talks safecracking, turf and the interpersonal skills of the LA underworld

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ystopias are so in right now. So, you won’t have to cast your mind far to imagine Los Angeles engulfed in flames: the shrieking backdraft of violence this would suck through South Central. Roving armed gangs of guys with names like Big Fate, Apache and Trouble G, who might use the chaos as a vehicle for settling old scores – the consequences of past slights and underworld power plays spreading like wildfire and sticking like napalm. But remember, this was close to the reality of a rioting LA in 1992 – truth spun into fiction for Ryan Gattis’s kinetic unblinking masterpiece, All Involved. Gattis used the riots as a narrative map onto which he plotted intertwining lives: first-person viewpoints of nurses, firemen, and everyday citizens, but mainly the Latino gangbangers of Lynwood, who live by the rule that la clica es mi vida! (the gang is my life).

Those such as the oh-so-loco Lil’ Creeper, who throws petrol (literally) on a city already ablaze, just to watch it burn. Or Watcher, the dead-eyed 12-year-old pusher and pimp, who when his lady is mistaken for his mother, spits back: “Fool, you better shut the fuck up… That’s my fresa, homes,” But All Involved hit shelves in 2015. So, now the problem. How can your follow-up outgun such a book? Answer: it can’t. So with the new novel, Safe, you zoom in, focus from All Involved’s 17 separate narrators down to two: Ghost, a DEA safecracker, who takes his skills off-grid to rob drug houses across South Central. And Glasses, the savvy yet conflicted gang lieutenant out to stop him and save his own neck from the cops and la clica. Even then, it’s not that simple. You still need fate to deal you a card: “I was actually researching a completely different book when I got a phone call one day,” explains Gattis, on the line from LA. “It changed my life, but it also gave me the idea for Safe.”

A dramatic pause piques our curiosity: a phone call?

“Yes sir,” he responds, formality punctuating his laid-back manner and betraying a Colorado military family background that’s a far different cultural rubric to the LA gangsters who populate his pages – those whom he befriended while researching his work.

He tells the story: “Well I’ve stayed in contact with nearly everyone I did research and background with on All Involved, except for a couple of folks who passed away. So, I had a call one morning, a Sunday at about 6am, and I knew it was from a number I could not,” he pauses again, muses… “disregard.” Some nervous laughter. “I answer the phone, and the only question is ‘Hey, do you want to see a safe get cracked?’ The answer was obviously, yes!”

So, he throws on clothes, drives to the address and knocks on the garage door. “I walked in, the door closed, and here I am, you know, standing in a garage with two safecrackers and a big safe. And I actually got to watch them work on it… it was basically understood that you can talk to us for the time we’re here and after that you’ll never see us again.

“I asked no questions about where that safe was from, who owned it and where it was going… but I can tell you that both of those folks basically hold the job that Ghost held, as freelancers for a major government organisation. And the first question I asked was, do you ever get left alone?”

His novelist’s intuition kicking in, a story already taking root.

“Oh yeah, we get left alone,” they reply. “It’s a Hollywood myth that we never get left alone.

We’re officers of the court, it’s normal.” So, Gattis

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Interview: Alan Bett Illustration: Xenia Latii

asks, does anyone ever come back to try and recover what’s in those safes – drugs, guns, cash?

They tell him yeah, they do. And people pull guns to take back what’s theirs. Often? “Yeah, too many times to count.” And these safecrackers run through the psychology of talking somebody out of shooting them. “I put the other research aside and I started writing Safe that afternoon because I was so blown away by what they said.”

While Safe moves from 1992 to 2008, and from wide lens to sharp focus, what remains constant is the turf the story is played upon. Lynwood, bordering on the better-known Compton, is where Gattis draws his characters and stories from – in the way that, as far as crime writing is concerned, Dennis Lehane is Boston and Richard Price is Jersey and New York.

“ The same things are true about fires in forests as in cities…

It kills some things but it also provides opportunities for new things to grow” Ryan Gattis

“That’s a really interesting connection you’ve already made, simply with language.” Gattis offers back. “The concept of turf in the criminal community, especially in the LA gang community, is extremely important. Obviously, it was more important in the 80s and 90s where people would do some pretty despicable things simply in the name of territory. But I think, with crime, it’s always important to know the social background, I think crime writing of the highest order has a sense of the society in a given city, the problems, the history that’s presented in those scenarios.”

The LA crime fraternity has a defined but evolving culture that, for authenticity, Gattis must study and know inside out. The way they look, talk and think, the interpersonal: “trying to catch the word choice, the sentence structure, the rhythm, the clauses… on top of that I would say, listening with my eyes… watching the language of gesture. The more and more time I spend with folks who have been gang affiliated and have lived in that world, there’s what they say, and what they communicate.”

So, how does someone termed ‘a white-boy fiction writer from Colorado’ by those same exgangbangers, gain permission to tell their stories?

His first connection to that world came through art. Gattis is part of the street art crew UGLAR, who years back had planned a mural, north of Downtown, in Lincoln Heights. “…that’s gang territory, and we actually had to talk to the folks in that particular gang in order to do that mural.

That was a massive eye opener to me. We basically had a negotiation which was very professional… in terms of, hey this is what we’d like to do, is that OK?... The key is not to disrespect them in their own area. Cos we don’t live there, they do.

They have to see that mural every day, so we have to be sure that it’s… something they can respect and not tag. And if it does get tagged we need

to go there and to be on it. We need to go fix it immediately to help send that message that we care about it and we care about you guys and your experience of it.”

His second connection was through violence.

“Lynwood…” he explains “it’s probably the place I’ve felt understood more than anywhere on Earth. That’s a weird thing to say unless I make it clear to people that I’m a survivor of violence.”

When Gattis was 17 he was hit so hard by an American football player tripping on acid that his nose was actually ripped out. He had to endure two facial reconstruction surgeries and it was a year before he could taste and smell again. “My whole life, I tell people the story of what happened to me, I get pity or sympathy. Most of the time in Lynwood I get empathy. I’m with people who’ve been stabbed or shot. In some cases, stabbed and shot. And we connect as people who’ve been through grievous physical pain, it just builds such a bridge… it helps people introduce me to others, has me sit down with their families.”

In both instances, the word is respect. Gattis tweeted out an LA Times story recently, suggesting that, 25 years since the last riot, a majority of citizens felt another was imminent. When I suggest fresh riots might be something the monstrous Lil’ Creeper would revel in, Gattis replies, maybe not,

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he might have changed in the intervening years.

He sees, even in his most troubled character, the capacity for positive transformation – possibly an effect of dealing with reformed ex-gangbangers whose own lives form cathartic narrative arcs.

“This notion of growth is so vital because I see it.

You know, every single former gang member I spoke to for All Involved is definitely not the same person he or she was in the late 80s early 90s, no question. You know, life changes, and if you’re lucky you grow up and you keep living and you get better.”

Some feel the city’s current renaissance has grown from the fertile ashes of ’92. “The same things are true about fires in forests as in cities…

It kills some things but it also provides opportunities for new things to grow,” Gattis suggests, while acknowledging the complexity of the situation and unsure of which communities will actually benefit. But in his writing, he describes a resilient, phoenix-like city – possibly a metaphor for those interviewees and now friends, who escaped the inferno of gang life – that will ‘push right through the flames and come out the other side of them as something broken and pretty and new.'

Safe publishes on 27 Jul, from Pan Macmillan, RRP £12.99 Ryan Gattis will be appearing at Edinburgh International Book Festival, 15 Aug, 2pm, 17 Aug, 7pm

THE SKINNY

New York State of Mind Crime epics are US author Don Winslow’s stock in trade. With his most recent, The Force, he moves the narrative from his well-trodden setting of the Mexican borderlands to New York, exploring police corruption in the rotten apple

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here’s a certain symmetry to the two author interview that The Skinny conducted over the last week. Both US writers of violent, technicolour crime novels. One East, one West. Ryan Gattis came first, and his LA gangster tale Safe is reflected in Don Winslow’s New York cop epic The Force. Each novel an inverted negative of the other – both very much of and about their opposing cities. Gattis suggested that his work was informed by LA’s wide-open spaces – the narrative dictated by the need to drive. Winslow’s subject may be a more compact city, but his actual interview is informed by driving. He’s just come off a TV talk show set and hit the road to a book signing, chatting to The Skinny down the line from the back of a chauffeured car, cruising through the actual Harlem turf of the new book.

That turf initially jars. Winslow admits he’s “pretty much known as a California guy and a California writer.” But he was born in New York, lived and worked there for years. His first book was set there, and his fifth. But no matter how thrilling those earlier works are, they live in the shadow of his more recent stone-cold borderlands classics, The Power of the Dog and The Cartel.

The latter termed “the War and Peace of dopewar books” by James Ellroy.

New York has changed since his days. The neighbourhood he lived in “was poor and troubled and violent.” Now nannies roll double strollers down the sidewalk for pampered middle-class parents. But then gentrification can be as terrifyingly disruptive a force as any criminal activity, no? A laugh that sounds like a shrug from Winslow: “In many ways it is.” Even five years ago, horror B-movie maestro Frank Henenlotter lamented to us that the city he loved doesn’t exist anymore, the New York of the early 80s. He described the sound effects under his feet when he walked down to the set of his film Braindead as “…either a gushy sound from stepping on a used condom or a crunching from crack vials.” Winslow offers a more poetic depiction of this time, when the city was broke in more ways than one: “Yeah, you know, I used to say it felt like walking on the beach, except it wasn’t seashells, it was crack vials. Listen, on an objective basis, things are certainly better, there’s really no question about that. Though there was a grittiness and a soulfulness about the city in those days that parts of me miss.”

The character of that unrepentant New York still ingrains The Force, drawn at times from 70s cinema – classics such as Serpico and The French Connection. “Sure, I’ve been very influenced by film and I think it would be very disingenuous for any writer of my generation to say they weren’t.”

The Force knowingly plays on those silver screen stereotypes, but evolves well beyond them. Its central character is Denny Malone, a bribe-taking, pill-popping, drug-dealing kinda cop, with his finger in every pie possible. And if you dare to accuse Winslow of exaggeration for dramatic effect, just watch the documentary Precinct Seven Five then apologise. What Winslow has done here is modernise. The city might have sanitised itself after the zero-tolerance approach of Mayor Giuliani, but there are complex new issues to face. This means that while Winslow has always wanted to write this book, it would have been a very different beast if penned at any other time.

This is a post-Ferguson thriller, set against a backdrop of Black Lives Matter and bubbling racial tension. “In terms of current affairs, that’s the reason I wanted to write this book now. I felt that it could be relevant,” he says. As ever, his new work moulds the truth of newspaper

July 2017

headlines into the guise of a thriller. “Not one headline, but a number of them. It was police shootings, particularly of young American black men. But also, I just felt that the time was right for me… the Eric Garner case and some others led me to think this was the moment.”

We pitch a Robert F Kennedy quote his way: “Every society gets the kind of criminal it deserves.

What is equally true is that every community gets the kind of law enforcement it insists on.” Winslow agrees only in part. “But here’s what I would say.

We tend sometimes to look at police departments as if they’re separate from the society that creates them and surrounds them, and they’re not. They’re mirrors of that society. So, whether we get the ones we deserve or not is another issue, but I think we get the departments that look like us to a great extent.” And so, we ask, has a country that has built a legacy of foreign wars had that reflected in their law enforcement? “The real problem lies in training,” Winslow suggests. “You’ve got a lot of these smaller town departments that don’t have the funding for proper training, so they hire former military guys, usually young men, without a lot of experience in the real world, except for the military. They give them a couple of weeks training, they throw a uniform on them, give them a gun and say go to it. And then we’re surprised when bad things happen.”

that wants to return to this very simple sort of soundbite, law and order, lock-‘em-up throw away the key, justice system. To use [that term] loosely.”

A vast border wall seems to wilfully misinterpret the history of a war, that after five decades has left drugs cheaper, more plentiful and more potent. His essay comes to the conclusion: “If that’s Trump’s idea of success, I’d hate to see his version of failure.”

“It’s not the Mexican drug problem, it’s the American drug problem, it’s the European problem, but it’s Mexico and Central American countries that suffer the most from it.” But not only. The Force opens with a list of US Law Enforcement personnel killed during the time he wrote the book.

It stretches to a sobering 2 and a half pages of names, many who would have died directly or indirectly as a result of drugs policy. The Cartel opens with a similar list. 131 men and women – journalists murdered or disappeared in Mexico during his work on that novel. Journalism should not be a profession where people die so readily in the line of duty. “Well, it shouldn’t be, but it sure is down in Mexico,” Winslow adds. “Since I wrote that book 39 more reporters have been murdered there covering the drug situation. I felt ethically bound to print those lists on both those books because I’m sitting safely behind my desk

Interview: Alan Bett Illustration: Xenia Latii

writing about this world and these issues, while these folks are out there dying. I thought that they needed to be acknowledged, and acknowledged by name.”

Winslow has attracted his own unwanted attention. “Because of The Cartel, I now get death threats and all that kind of happy crap,” he told Newsweek recently. Possibly testament to the power of his work, but not a compliment you imagine would sit easy. The glare of publicity will only grow though, as adaptations of both The Force and The Cartel begin production for the screen with Ridley Scott attached to both. And after landing the director’s chair, James Mangold seems an ideal fit. His recent Wolverine outing Logan had obvious Western leanings, and The Force feels very much like an urban version of that same genre. “I think that all crime fiction has its origins in the Western,” Winslow ponders. “I think what happened is that the cowboy rode as far west as he could ride, hit the Pacific Ocean, turned around and became the cop and the private eye… Dirty Harry, instead of watching it as a cop film, watch it as Western. And by the way it has exactly the same ending as High Noon.”

The Force is out now, published by Harper Collins, RRP £18.99 Go online to read our full extended version of this interview

“ I used to say it felt like walking on the beach, except it wasn’t seashells, it was crack vials” Don Winslow

A connection The Force makes with Winslow's borderlands books is the ‘war on drugs’. The Cartel is the tip of this pyramid, where vast quantities of cash and narcotics are exchanged by the game’s top players. The Force exists on ground level, where ill-advised government policy seeps down to poison those on the streets. “Yeah, absolutely,” Winslow agrees. “And this is no new story.

You could write this in Greek or Latin or Hebrew, or carve it on cave walls. I mean it’s always the poorest people who suffer the most. And it’s why the alienation between police and minority communities is especially tragic, because they should be allies.”

The author has been vocal in his challenge to the war on drugs, among the most dangerous issues affecting the world. “Without question… because it militarised the police. It turned the police into occupying armies and again did further damage between those communities and the police.” So he put his money where his mouth is, taking out a full-page ad in The New York Times, using a prose format the United States president understands, Twitter: “@realDonaldTrump wants to drag us back into one of the most catastrophic policies in this nation’s history: #TheWarOnDrugs”.

Winslow also heavily criticised Trump and Attorney General Jeff Sessions in a recent essay on Time. com as being ‘either woefully or wilfully ignorant of the facts.’

“The problem is,” Winslow adds down the phone today “…now we have an administration

BOOKS

Feature

27

Scottish producer Turtle tells us about embracing the symbolism of his namesake and finding the light on new album Human Interview: Nadia Younes experimental cinema. “I always sway towards the cinematic. I love atmosphere and it needs to have atmosphere for it to be alive in my personal opinion,” he says. “It’s nice to be able to marry the two and bring the atmospheric, cinematic side into the electronic realm.”

Although based just outside of Glasgow in Clydebank, Cooper says he’s not particularly influenced by the Glasgow music scene, nor does he participate in it much. “I’ve never really followed scenes,” he says. “I can appreciate them wholeheartedly and I can get where they’re coming from but I just kind of did my own thing.”

“ I always sway towards the cinematic. I love atmosphere and it needs to have atmosphere for it to be alive in my personal opinion” Jon Cooper

Instead, he is more influenced by European and American music, which he feels is more in line with his own musical interests. “I’ve just always resonated with European stuff. I think because it’s so far away and it literally does feel foreign,” he says. “When I’m listening to stuff from Scotland, it just doesn’t resonate.”

Now that Cooper has finally found some peace in his life, he is in no rush to jump straight into another project. Rather, he is going to take some time to clear his head and focus on his newly discovered interest in Reiki: a Japanese healing art, which focuses on stress reduction and relaxation.

“It’s been nice to step back and focus on my Reiki stuff, get in that zone and focus on helping others, rather than just helping myself,” he says.

“I feel with the album, I helped myself but I really want to help others as well in any way I can, so even though it’s not music-related, that’s really where my head’s at right now.”

In mythology, the turtle symbolises tranquillity, and through the making of Human, it seems Cooper has finally begun to embrace the qualities of his namesake.

Human is out now via Beatnik Creative facebook.com/weareturtle

Turtle

28

Feature

Photo: Sophie Harris

W

hen artists talk about music as therapy, it can often feel a bit clichéd, but for Jon Cooper, aka Turtle, the process of making his new album Human has taken him on a spiritual journey even he didn’t expect.

“I’m getting attuned as a Reiki practitioner so I’m researching frequencies,” says Cooper. “I really want to try and integrate that into some kind of musical healing, not just to heal myself but to heal other people and imprint some love into the sound.”

Human came into existence during a time when Cooper was attempting to confront a dark period in his life. From the opening track Time, the album feels like a rebirth; a washing away of any negativity and a step forward into a new chapter of Cooper’s life. “I was just really trying to find my place in the world and struggling with self-identity so I was using the music as a kind of healing method for myself, which ultimately let the light in,” he says. “It was a cathartic experience, just struggling with personal issues that anybody can relate to.”

But getting to this stage hasn’t been easy.

Cooper has been working on the album for nearly two years and it’s gone through various incarnations along the way. A lot of this seems to stem from Cooper’s meticulous attention to detail and his desire to get everything sounding exactly the way he wants. “I’ve had to retrain myself to leave an idea as it is because once you start processing it and using plug-ins, you almost start to sound like 90% of the people out there who are using the same software,” he says.

Following the release of his last two EPs, 2014’s Who Knows and 2015’s Colours, Cooper found the project going down a path he hadn’t envisioned. “I got swept away a bit with the playing live thing,” he says. “It’s very difficult to play the stuff live when you’re just standing with a laptop and tweaking a few filters. It just didn’t feel right, so I called it a day with playing live.”

Initially, Cooper created Turtle as a stepping stone: a means of furthering his way into the sync world, with the final goal being to score music for film. This is something Cooper has been working towards for several years, writing music for various production libraries under his own name.

However, with a change of direction in mind, he decided to go by the pseudonym Turtle, he says “so it was less about me and more about the music.

“Somebody gave me the name because I didn’t want to use my own name and I just went with it,” he explains. “Then I started researching the symbolism behind the turtle, what it represents in different cultures and traditions, and it kind of aligned itself with everything I was trying to say in the music.”

There is a distinct film-like quality to Cooper’s work as Turtle: it’s vast, vivid and incredibly emotive. Naturally, this is a result of Cooper’s interest in film, particularly independent, foreign and

Niteworks

Photo: Callum Woodbridge

Being Human

Under the Influence

Ahead of this year’s Skye Live festival in September, we speak to Skye locals Niteworks to find out what has influenced their unique sound over the years Interview: Tallah Brash

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iteworks are four childhood friends from the Isle of Skye – Innes Strachan, Allan MacDonald, Christopher Nicolson and Ruairidh Graham – who fuse the Gaelic language and elements of traditional Scottish music with electronic influences.

Think Capercaillie meets Simian Mobile Disco. It shouldn’t work, but it does – Niteworks are truly original and in a league of their own.

With that in mind, we ask the four-piece what music has influenced them over the years, and after much debate they agreed that whatever made the list “all four of us agreed that it was amazing, and we all had to have actively listened to it, repeatedly.” Boards of Canada, LCD Soundsystem, Craig David and Arcade Fire didn’t quite make the cut and a “special mention must also go to each of the three Moderat albums,” which they “were going to include but ran out of space!”

Peatbog Faeries – Welcome to Dun Vegas [Peatbog Records, 2003] Edinbane Festival on Skye, which ran through the mid-2000s, was an annual jaunt for us that coincided with the start of the summer holidays, and our first taste of the festival scene. Up until this point we were more used to ceilidhs, so to be in a jam-packed sweaty crowd, with the Peatbogs crammed on stage, as the kick came in on Wacko King Hako was completely mind blowing.

Croft No. 5 – Attention All Personnel [Foot Stompin' Records, 2001] We find it funny when people comment on how unique our sound is, as in our minds we are somewhat following in the path of the likes of The Peatbog Faeries and Croft No. 5, who in turn will cite their own influences. Attention All Personnel as an album however, is truly unique. We don’t think anyone has matched Croft’s ‘DIY but polished’ sound and feel since, and it’s that which gives this album so much character.

Apparat – Walls [Shitkatapult, 2007] After leaving school we all moved to Glasgow for university. With this came the expansion of our minds, but more importantly, the expansion of our wallets thanks to student loans. This allowed Ruairidh and Innes to head straight for the shop and tear through an entire month’s rent money on two pairs of studio monitors; cue a month living off Lidl noodles. It was undoubtedly worth it though just to hear Walls in all its glory. The production on this album is still some of the best on any record we’ve heard and as a band we frequently re-visit it for inspiration.

Mylo – Destroy Rock & Roll [Hussle Recordings, 2004] It’s impossible not to mention Mylo, who perhaps grabbed our generation more than any other.

This album almost single-handedly took our musical interests in a new direction, although it didn’t completely destroy rock & roll for us; Ruairidh remains a massive fan of Guns N’ Roses and Iron Maiden (even though they’re pure shite).

Music

WhoMadeWho – WhoMadeWho [Gomma, 2005] On the lead up to the 2006 Skye Music Festival (another rite of passage for us), one of the local filling stations stocked up on CDs of all the acts that would be appearing at the festival. Coinciding with the time when we were all beginning to drive, these CDs obviously ended up on repeat in the car. One of the stand-out albums was WhoMadeWho’s self-titled debut. It’s one of those grower albums that is impossible not to love after a repeat listen, and the set they played at the festival was a ripper too.

Radiohead – Amnesiac [XL Recordings, 2001] The best band in the world. It’s almost impossible to choose one album over the next, but Amnesiac does stand out. Pyramid Song is so so so great, and the drumming on it is particularly incredible.

In fact this album is probably the reason we structure much of our music like we do, all on the build then bam, in with the pipes (or bass or vocals). Grade-A belter.

Hot Chip – The Warning [Astralwerks, 2006] Another favourite for a teenaged Niteworks road trip! Boy From School in particular became a bit of a car-anthem and clichéd as it is, the sound of the summer. It’s definitely also a favourite for a wee bit of a nostalgic listen now and again as we hurtle towards our thirties (shite). Hot Chip are definitely one of those acts that seem to have just got better with age though, so maybe we’ve not got all that much to worry about…

The Chemical Brothers – Come With Us [Astralwerks, 2002] Like Radiohead, we could have chosen any of The Chemical Brothers’ earlier albums. Dig Your Own Hole deserves a special mention, and we debated plenty as to whether we should include that, or Surrender. However, in the end Come With Us won.

The Chemical Brothers played at the SECC in 2005, and it was the first non-festival gig that we went to.

Daft Punk – Homework [Virgin Records and Soma Quality Recordings, 1997] Although Daft Punk seem to have become a bit of a pastiche of themselves, there is no doubt they played a big part in our early days. Up until that point, we hadn’t heard anything at all like the sounds that are to be heard on Homework, and 20 years after its release we still think it holds traction.

Franz Ferdinand – Franz Ferdinand [Domino Records, 2004] Hearing ‘It’s always better on holiday’ reminds us of waking up to warm Tennents in a field. This album soundtracked our first T in the Park – such a great album to put on to revisit ‘the good old days’ (joke) all these years later. Better on holiday indeed!

Niteworks play Skye Live, Portree, Isle of Skye, 22-23 Sep niteworksband.com | skyelive.co.uk

THE SKINNY

July 2017

29

A Poet in Paris Daniel Piper is the reigning Poetry Slam champion in Scotland, but how would he fare when facing poets from around the globe at the Slam’s World Cup finals in Paris?

L

ast week I struck up a conversation with a stranger on a train because people don’t talk enough these days. I had skilfully deduced that we’d both attended the same university (his baseball cap said ‘University of Warwick’ on it). He told me he had studied Computer Science and I told him I had studied Creative Writing. Cue a curious eyebrow and vague tone of condescension: “So what do you do now?”

As has happened countless times before. I mentally juggled the words/phrases “Poet”, “Writer”, “Spoken Word Artist”, “Comedian”, “Performer” and “Well, I sometimes freelance in social media”.

Apologetically, I farted out all five.

What I wish I’d said was: “Well actually mate, I just came second in the world in the Poetry Slam World Cup in Paris. This technically means I’m the second best poet in the world (living or dead).

Plus, as my Mum says, sometimes it’s better to be the runner up (see 1D/Matt Cardle [or Olly Murs/ Joe McElderry]). Plus, I think we’re all familiar with the phrase ‘First the worst, second the best, third the one with the hairy chest’, so you could say I’m the best. So yeah, “Best Poet in the World, mate.”

Okay, that might have sounded a bit stupid.

But after five years of not quite being able to describe what I do, I’m pretty proud to have won both a national and (almost) a world title for it this year. After winning the Scottish Championships in January, at the World Cup I was 0.4 points away from first (the worst) and 0.6 away from third (the hairiest). So second. (The best.)

was competing against them in round one) soon disappeared over that first lunch. It became apparent this was just a really interesting bunch of people, all here to share some stuff we’ve made.

I loved hearing about how people from different countries regard slam poetry – for some it’s a predominantly fun affair, still very niche at home.

For others it’s taken incredibly seriously, with various levels of championships. I felt guilty hearing someone announce that they had “waited years for this.” Until this year I have avoided slam poetry completely, considering myself more of a comedian to be honest. I only went along to that first slam in Glasgow to make friends after moving up from London.

With the inevitable language barriers, a few of these conversations took place over smartphones, shoved in one-another’s faces with Google Translate loaded up. But therein lay some of the most inspiring moments of the competition. All of our poems were projected behind us in both English and French. So while a few hours earlier I was asking Alexander from Russia “What is the weather like there?” or telling Komoru that “I

would like to visit Japan one day!”, that night in the theatre I watched (and read) their beautiful, funny and lyrical poetry.

It isn’t a groundbreaking observation, but onstage, everyone was different. I’ve complained in the past that poetry nights can feel limited to “[insert politician] is bad” or “I got dumped and it was bad”. There was a bit of that, but also stuff about sexuality, bereavement, sea life, Kevin Bacon, the Black Lives Matter movement, vegetarianism, dementia and, probably my favourite, Hitler catching his shoelace in an escalator and being slowly and satisfyingly crushed to death. Some read from a sheet, some sang, some danced and some (me) rapped (badly).

The variety of styles and indeed poets is a testament to the amorphous nature of poetry itself. Not to put too wanky a point on it, but I did rather fall in love with poetry over the week.

That’s where I should write “all over again”. But, that’s the thing – having started off in comedy, I’ve only ever “quite fancied” poetry or, I don’t know, “found it cute”. It took the Poetry Slam World Cup to make me finally fall in love. I guess

Words: Daniel Piper

what I’m saying is: if you ever get the chance to attend any kind of global poetry event, go.

Then again, I had a better time than some. If you spoke French or English, you were at an advantage. I was sad to see Alexander and Komoru knocked out in the first round. There’s no way around it: most of the audience were able to listen to my poems and read them, and I do think that translated – excuse the pun – into higher scores. Then again, the winning poet was Norwegian. What does it all mean? Who knows. Maybe nothing.

It’s strange – I still find the idea of competitive art ridiculous, but that’s not going to stop me putting “2nd in the world” on this year’s Edinburgh flyer. I’m proud of it, and I think for the first time I’m proud to say that I’m a poet, not a sort of “spoken word comedy performer”. The comedian in me wants to be snarky about poetry. But, standing on stage with all 25 other poets at the final, after a fifth rousing night of joy, anger and all the other emotions, it was thrilling to be one of them.

Daniel Piper’s Day Off, Underbelly Cowgate (Delhi Belly), 3-27 Aug (not 14), 4pm, £6.50-£10. daniel-piper.co.uk

“ I still find the idea of competitive art ridiculous, but that’s not going to stop me putting ‘2nd in the world’ on this year’s Edinburgh flyer”

30

Feature

Photo: Perry Jonsson

Anyway, enough about me. I want to talk about the experience of the World Cup itself. For all my “To-be-honest-I’m-just-looking-forward-toa-free-trip-to-Paris” cynicism before going, it turned out to be a very excellent experience.

I was among the first to arrive at Culture Rapide, the small, bohemian (and very red) bar in Belleville which served as our base for the week.

I was met by Charléne, who had been sending me some rather curt emails about flights/hotels/poem lengths for the past few weeks. Except it wasn’t Charléne. It was Pilote, the festival director, proclaiming “Charlene is dead!” It turned out he used a fictional persona for emails. I’m still not sure why. He was interesting.

Pilote handed me my ‘Licence Poetique’ (lol) which gave me 50% off at the bar. The next few hours consisted of poets from 25 different countries arriving one-by-one and getting to know each other over cheap beer, a free lunch of baguettes and some deeply suspect, perfectly circular, processed crab.

By far the best thing about this experience was making 25 friends from 25 different countries.

Any sense of ‘scoping out the competition’ (at least two poets immediately pointed out that I

COMEDY

THE SKINNY

Monstrous Creations Criminally underseen in the UK despite appearing in some of the finest television comedies of the last five years, sketch comic and improviser Andy Daly is one of America’s best character comedians and he’s heading to Edinburgh Fringe

F

rom roles in Eastbound and Down to Silicon Valley and The Office, Andy Daly’s flag is flying higher than ever off the back of his three season US Comedy Central masterpiece Review with Forrest MacNeil. A sometimes excruciatingly dark, yet always hilarious, faux-reality show, where Daly’s titular character gave 1-5 star ratings to ‘real-life experiences’. Experiences ranging from eating pancakes or hunting, to divorce and, in one rather memorable episode, murder.

Much easier to track down in the UK are his multiple performances on the long-running improvised podcast Comedy Bang Bang. Daly regularly pops up as one of his signature characters, which all have similar hallmarks: “I love this idea of characters that seem very wholesome, and very all-American, who are then revealed to be completely deranged in one way or another – just because it endlessly amuses me,” says Daly, “I love initially presenting myself as a delightful person but the more we learn the more horrified we become.”

This year Edinburgh audiences will have a chance to meet some of Daly’s best known characters from his Comedy Bang Bang roster, although he’s not sure it’s going to be pretty. “Well, the show is called Monsters Take Your Questions – you’ll realise over time that all the characters that I play are indeed complete monsters, and it’ll be an opportunity to grill these particular monsters about their point of view on the world. You’re going to meet four people that will change and grow from night to night. As the audience pepper them with questions, the answers will reveal more and more about them. Essentially it’s very dark, depraved and deranged. Oh, and also fun!”

While their monstrous nature is in no doubt, the characters aren’t entirely removed from the real world, such as Don DiMello, a slimy theatre director known for working with the New York Radio City Music Hall Rockettes. “I do make them

Interview: Tony Makos

up from scratch but, let’s take one example of Don DiMello – that came about because I knew somebody who had been a Rockette who told me it was a very regimented, very weird world – the specific size they had to be, their height, this stringent uniformity of kick. It just seemed like a rather oppressive job which got me wondering ‘who is in charge of that? What kind of person runs this squad of high kicking dancing girls performing in a children’s show?’

“Around the time of Donald Trump’s inauguration, when he was getting rejected by everyone, the Rockettes agreed to perform there. Even though a lot of the dancers were coming out publicly saying that they didn’t want to, but were forced to as it was in their contract. So the NY Times ran a profile of the guy who runs the Rockettes and sure enough, he is a disgusting dirtbag. It turns out that I was more or less right!”

An experienced performer, Daly has been ‘living’ with many of these characters for years.

“Each one has a pretty extensive backstory and I take that very seriously – if someone points out a contradiction in the biography it really does bum me out. But, it’s hard to keep track due to the improvisational nature of it all. They also may have slightly mellowed with my age, just to the extent that it’s a little more likely for me to say ‘oh, that goes a little far’ these days. These shows are unscripted so anything could happen. I’ll be feeling it out from night to night to see how far it feels good to go.

“I am so looking forward to it. Several years ago Omid Djalili was really putting the screws on me to come to Edinburgh, but then my television show got in the way. That was back in 2012 and I’ve been chomping at the bit to get over ever since.”

Time will tell if Edinburgh audiences will give Andy Daly his own 5 stars.

Andy Daly: Monsters Take Your Questions, Gilded Balloon Teviot (Wine Bar), 3-13 Aug, 8.30pm, £7-£13.50 gildedballoon.co.uk

Comedians on Ethics Ahead of Kinsey Sicks’ Edinburgh Fringe run, Attorney turned drag queen Benjamin Schatz – AKA Rachel – pens our Comedians on Ethics column to discuss how morally responsible comedians are for what they say

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emind me not to tell you a hilarious joke I came up with. It involves an uproariously inexcusable parody of the song The Girl from Ipanema.

I write parodies for a living. And sing them (and original songs) with The Kinsey Sicks – America’s Favourite Dragapella Beautyshop Quartet. But, as funny as the Ipanema parody is, we’ll never sing it on stage. If we’re comics, and we come up with something sidesplittingly comical, don’t we have to present it to the world?

No, we don’t.

Because there are other values that matter besides making people laugh. And, comics don’t get a free pass from thinking about our ethics just because we do comedy. Wait, you say, comedy and ethics? Isn’t that a contradiction in terms, like McDonald's and fine dining, sensuality and haemorrhoids or Donald Trump and empathy?

Nope. Comedians have to think hard, really hard, about what we say. And if what we say hurts people who don’t deserve to be hurt, what does that say about us?

My route to a comedy career was... unusual.

In the 1980s, the most terrifying years of the AIDS

crisis, I, a young gay man, became the first and only attorney in the USA working full-time nationally on AIDS discrimination cases. In the 1990s, in a minor twist, I became a full-time, foul-mouthed singing drag queen, and have been doing so ever since.

Dramatic career shift, right? Actually less than you’d think. In many ways, they’re the same fucking thing. Except I won’t lose my current job for saying “fucking”.

Good comedy requires two key elements: truth and surprise. Effective social activism does as well. Both need you to snap your audience out of their normal haze and see things fresh. The question in both cases is: to what end?

There are a trillion hilarious jokes that have yet to be invented. Creative, intelligent people are always looking for original ways to capture something undiscovered and transform it into humour. If you’re a comic, and you have to resort to the same old tired jokes denigrating women, or others who already receive more than their share of denigration, you’re not being courageously politically incorrect. You’re being unoriginal, and you’re being mean. Neither of which is

funny. Even if people laugh.

Many comics defend themselves, when saying something truly hurtful or offensive, by saying “it’s just a joke.” As if a joke is some kind of Wonder Woman shield that magically excuses whatever crap comes out of your mouth.

But jokes are simply another form of communication. And, as with any other communication, you’re morally responsible for what you say, and for how you say it. Making people laugh doesn’t get you off the hook. Smart comics think about what we say. If we want to offend people — and I offend people on an hourly basis — we owe it to ourselves and our audience to decide whom we want to offend and why.

The tagline for our Fringe show, Things You Shouldn’t Say, is “If you love Donald Trump, you’ll hate our show!” We savage him. Repeatedly, deliciously, hilariously. If you love what he embraces, you will be offended. I promise.

But we’ve made a conscious comedic choice: to belittle the belittlers and not the belittled.

Being conscious of the consequences of our words doesn’t mean we have to be dull or pedantic.

Interview: Benjamin Schatz It just means we have to be smart. So don’t whine, fellow comics; making people laugh for a living is the most joy-producing privilege I can imagine, unless there are jobs that would pay me to have sex with anyone I want, while eating chocolate. (If you know of any openings, so to speak, please let me know.)

People who see us sometimes describe us as “equal opportunity offenders.’ They’re wrong — we choose our targets carefully — but I take their description as a compliment. Because it means they experience us as daring, bold and surprising. We may have to work harder than some other comics because to us, funny isn’t enough. But if you’re a comic and you’re not working as hard as you can, you probably shouldn’t be in comedy anyway.

And as for that Ipanema parody? What was so funny it still makes us laugh and so wrong that we won’t sing it? Come see our show and ask me afterwards!

I still won’t tell you.

The Kinsey Sicks: Things You Shouldn’t Say, Gilded Balloon – The Museum (Auditorium), 2-13 Aug (not 9), 7.30 pm, £8-13 gildedballoon.co.uk

July 2017

COMEDY

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Weathering the Storm Waxahatchee’s Katie Crutchfeld talks us through her noisiest and most honest album to date

“T

he more time that passes since I started making music, the more I think I’m kind of a slow burner.”

Given that she’s gearing up to release her fourth record in five years, you could be forgiven for thinking that’s a peculiar opening gambit from Katie Crutchfield. It’s not just that she’s prolific; the defining characteristic of her catalogue to date is her penchant for performing stylistic gymnastics from one album to the next. Her debut proper, American Weekend, was a charming series of lo-fi confessionals. When she followed it up a year later with 2013’s Cerulean Salt, the leap forward was profound – the textures were richer, but the overall feeling was one of claustrophobia, with the atmosphere thick to the point of feeling suffocating.

That was what made Ivy Tripp, Crutchfield’s third full-length, feel like another reinvention entirely. Altogether poppier and breezier, it seemed to bury its anxieties at the idea of aimlessness beneath bouncy melodies and clanging guitars.

It might have been Crutchfield’s finest set of songs from a compositional standpoint – the instrumentation was lusher and the ideas more complex – but there was also the sense that it maybe lacked the sort of emotional heft that she’d so readily made her calling card on her previous two efforts.

Accordingly, her fourth LP reads as her most natural progression yet. It builds on the fizz and crackle of Ivy Tripp, in that it plays like the first out-and-out rock record from Waxahatchee, but it’s also scored through with an honesty that was missing from her last album; there’s a delicate balance struck between self-examination and self-care. By her own admission, much of Out in the Storm is about exposing herself to the emotional elements that she’d battened down the hatches against last time out.

“I think, for the most part, my records are kind of cuttingly personal,” she muses over the phone from London. “I mean, they all tend to be very experience-based, but Ivy Tripp came at a weird time in my life. I was depressed, which

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wasn’t helped by a bad living situation, and I was really having a hard time seeing my life for what it was. I reacted to that by leaning towards making my lyrics abstract and poetic, just to try something different. By the time I came to write Out in the Storm, I’d made a lot of changes to the way I was living, so I wanted to focus on things that had happened to me when I was writing Ivy Tripp, that I hadn’t addressed back then.”

All of which plays into the apparent lifeblood of Waxahatchee; that restlessness that sees Crutchfield changing tack from year to year. “If each album’s going to be a departure, then typically I have a really clear vision for how that’s going to happen,” she explains. “This time around, I wanted to get back into my old headspace, where I was approaching things really personally. I didn’t do that on Ivy Tripp. I was really thinking about that, and less about how the songs were going to turn out sonically. I let the melodies and lyrics come to me naturally, knowing that I’d be able to flesh it out in the studio with my band. I didn’t want to shape anything too much – I wanted to be able to take them to rehearsal and try a tonne of different things with them.”

In a lot of ways, then, the way in which Crutchfield confronts the difficulties that she’d shied away from on her last record is actually the manifestation of looking at herself psychologically, by prioritising her own happiness and peace of mind. She’s talked about how she didn’t truly recognise what made her unhappy until she viewed those things through the prism of what it was that brought her contentment. That dichotomy hangs heavy over Out in the Storm, as does the spectre of her former partner – musically and romantically – Keith Spencer, who was a major collaborator on Ivy Tripp but has since exited stage left. “The whole album is really about one relationship; the evolution of it, the end of it, and the sort of drag afterwards,” she says. “That was heavily on my mind, but ultimately, it’s something that I’ve written about before.”

One of the album’s standouts, Silver, sums

up those themes, and lends the record its title – ‘I went out in the storm and I’m never returning’ – as she faces up to her own failings while still coming over as steely in her defiance. “It’s about examining how you got into a certain situation, and not really blaming yourself, but just kind of walking through the steps that you took on the way there. I definitely know it’s important not to overthink things too much, because you’ll drive yourself crazy, but I knew that this was bound to be a very introspective album by nature. I was really trying to capture a moment.”

“This time around, I wanted to get back into my old headspace, where I was approaching things really personally” Katie Crutchfield

Before heading into the studio to cut tracks for the record in her adopted hometown of Philadelphia, Crutchfield worked out the arrangements with her band, which currently comprises of Katherine Simonetti playing bass and Ashley Arnwine behind the drum kit. “I’d been obsessing over every detail,” she recalls, “and I was just telling the guys, ‘don’t worry about it sounding good together – we’re not rehearsing to go on tour.

We’re rehearsing to go into the studio, so just concentrate on your own individual parts.’”

Veteran producer John Agnello, though, had other ideas. He pushed Crutchfield to cut the

MUSIC

Interview: Joe Goggins record live, something that she hadn’t initially felt ready for. “It turned out we were way more prepared than he’s used to,” she laughs, which is quite the compliment given some of the names Agnello’s worked with over the years – Sonic Youth, Dinosaur Jr. and The Hold Steady among them. The wider line-up in the studio, meanwhile, was rounded out by Crutchfield’s sister Allison on keys and Katie Harkin, of Sky Larkin and Sleater Kinney, on guitar.

“The funny thing was that, on the one hand, nobody knows me better musically than Allison; just her presence there put me at ease. If there’s a take I’m not sure about, I only need to look at her to know if it’s the right one or not. She took time out of making her own album (January’s Tourist in This Town), so she really went above and beyond to help me out.

“Bringing Katie in was kind of the opposite of that; we’ve been friends for a while, and obviously she’s a national treasure in Britain, but I was rolling the dice a little bit because we’d never played music together. Silver was actually the first song we did, and she just ripped into one of those riffs on it, and I knew I’d made the right call. I’d gone in knowing that I wanted somebody to play lead guitar, because I wanted it to be a rock record with solos, and she just came in and nailed it.

Any time I had an idea for a part, she could turn it into something awesome.”

Since wrapping the album back in January, Crutchfield has found herself in the eye of an altogether different storm; back in April, she announced that she’d be taking part in a tour put together by Girls creator Lena Dunham and the show’s producer, Jenni Konner, in support of their feminist newsletter, Lenny. The idea was to combine music, discussion and performance art, with a bill including the likes of writer Jenny Zhang and poet Rachel McKibbens; the dates have since been nixed due to Dunham’s ongoing health issues.

At the time, though, Crutchfield’s association with the ever-divisive Dunham was enough to encourage a vitriolic backlash on social media, with myriad commenters on both Twitter and Facebook suggesting that it was a grave enough offence to justify a boycott of Waxahatchee’s music. “The dust seems to have settled a little bit on that now, which is good,” she reflects. “It was a lot to handle; I’m not used to strangers being that mad at me, so it was a little scary. I knew all along we were going to do it to raise money for local abuse organisations, and that it would be a big platform lifting up all these brilliant voices. I knew there were cons, but the pros always outweighed them. It was an opportunity to do some good, and bring these women to audiences in towns that wouldn’t normally have those resources.”

Even with the Lenny run on indefinite hold, Crutchfield will still tour exhaustively in support of Out in the Storm, just as she did behind Ivy Tripp and Cerulean Salt. Her rate of output seems all the more impressive when you consider that she doesn’t write on the road, waiting instead until she’s wrapped live commitments before moving on to a new batch of songs.

“People seem to think I’m really prolific, which is crazy! I feel like some of my closest peers are always working, whereas I can go two months without writing anything. That’s healthy, I guess, because I struggle to focus on the next thing when I’m still in the mindset of playing whatever the last album was every night. My perspective’s probably a bit warped, because I always feel like I could be doing more, but it looks like nobody else sees it that way – which is great!”

Out in the Storm is released on 14 Jul via Merge waxahatcheemusic.com

THE SKINNY

July 2017

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Shock Waves Steven Ellison, better known as music producer Flying Lotus, gives us the lowdown on Kuso, his wild, inventive, moving, political and completely gross first feature film

T

o the best of our knowledge, Royal, the directorial debut by Flying Lotus, is the first film inspired by a GIF. The GIF in question was a black and white photo of Thom Yorke and FlyLo standing behind a DJ booth, which had been crudely animated with a fictitious conversation between the two musicians that imagined the latter dragging the disappointed Radiohead frontman from the turntables after a seven hour set (“Thom, we’re going home. It’s over”).

“It was really silly, but it made me laugh for a long time,” says FlyLo aka Steven Ellison, “and I was thinking, man, I could make stuff like that.”

We’re speaking to Ellison on his tour bus while he’s in the middle of his day job as a genius multigenre music producer, who’s currently on tour across Europe. But his side hustle has promise.

A trip to Sundance convinced him filmmaking wasn’t a pipe dream. “I saw what won at Sundance that year and I was like, ‘OK, I can make a short film,’ so I went to New York straight after and wrote Royal in no time.”

The result was a deliciously perverted story about a couple with some serious dermatological issues and an unconventional sex life. The short premiered in Sundance in 2016, and since then Ellison has expanded Royal to be part of a featurelength portmanteau called Kuso (Japanese for “shit”), which follows various stories from a future LA in the aftermath of a devastating earthquake.

Kuso premiered at the following Sundance earlier this year, and Ellison’s inspired vision was met with reviews proclaiming it the “grossest movie ever”. Those headlines were not without merit. With Kuso, Ellison delivers a cavalcade of filthy sketches, each sicker than the last. The most inspired section, perhaps, involves a man who seeks a cure for his phobia of breasts from a Jack Russell-sized cockroach named Mr. Quiggle, who dispenses medical treatments from the rim of a doctor’s rectum, in which it seems to reside.

Delightfully, the doctor is played by funk legend George Clinton.

It’s a film designed to cause outrage; Ellison must have been delighted with the response.

“Initially I loved it,” says Ellison, whose gentle speech is peppered with expletives and hearty laughter. “But then the stories kind of snowballed

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into things that weren’t true. And then they just started to piss me off.” The number of disgruntled punters at the premiere, for example, had been greatly exaggerated. “It wasn’t nearly as dramatic as they reported, with all the walkouts and all that shit. That was a big ass lie, and I’ve not had that experience before.”

Ahead of Kuso’s wider release, Ellison is braced for more controversy. “I’ve never made a project that’s so divisive,” he confesses. “Some people are just going to fucking hate this movie. That’s fine, but I’m not ready for that yet.” He’s found filmnuts harder to satisfy than music fans. “You know, people can skip a track and still be like, ‘that album was cool.’ Even if you think it sucked it’s no big deal, you’ll check out my next record. But if you hate a movie, you fucking hate a movie. You’re passionate about that hate. You want to make a video about how much you hate this fucking movie. So I’m curious what’s going to happen.”

Perhaps the reason Ellison is so apprehensive is that Kuso isn’t simply a gross-out lark: it’s a deeply personal movie. The apocalyptic, postearthquake LA he has imagined has deep resonance within his psyche. In 1994, when he was around ten, a huge quake hit the San Fernando Valley, and Ellison’s neighbourhood of Northridge was the epicentre. “I’d never experienced a big earthquake before,” he recalls. “I was a child and that shit shook my whole universe.”

Like many Californians, Ellison lives in fear of ‘The Big One’: the earthquake to end all earthquakes. “It’s in our subconscious,” he says. “People will say to you, ‘I think today might be the day.’ We talk about that shit. You’ll hear lots of dogs barking in the distance one night and you’re like, ‘Maybe I’ll take this sculpture and put it on the floor.’ It’s just something in the back of my mind, and I wanted to put those fears in the movie.”

We suspect Kuso’s reception is also important to Ellison because of what it might mean for black cinema. Black filmmakers have long had the weight of cultural representation on their shoulders; few have had the opportunities to make films as wild, inventive and offensive as Ellison’s debut feature.

“It’s sad as fuck to me,” says Ellison when we mention these limitations put on black filmmakers.

“How many other black films are there like this?

Get Out came out, and it’s huge, but to me it’s not doing anything too different. It’s like an In Living Color sketch. They’ve probably done something like that on Key and Peele anyway. But there are no black horror filmmakers. There are no black experimental filmmakers. There are a couple of cats, like Terence Nance (An Oversimplification of Her Beauty), he’s a great filmmaker and he’s on the come up, but it is kind of barren.”

“ If you hate a movie, you fucking hate a movie. You’re passionate about that hate” Steven Ellison

Donald Glover’s brilliant TV series Atlanta is one recent example of a black writer-director creating something utterly idiosyncratic. “Donald actually showed me the pilot of Atlanta, and I showed him Royal,” recalls Ellison when we bring up Glover. “And afterwards I was like ‘Do you want to be in Kuso?’ And he was like, ‘Let me think about it.’ All the while he’s got this big ass moustache, right, and I was like, ‘What the fuck is the moustache all about, bro?’ And he’s like, ‘Oh, well, I had it for an audition.’ ‘Oh yeah?’ ‘Yeah, it’s a big one.’

And I was like, ‘Lando! You’re him! You’re totally going to be him!’”

What was Glover’s response? “He didn’t even answer me, but I knew. But I couldn’t believe I’d asked him to be in my movie right then. I told him, ‘You can’t do this movie now. You’re in the Oprah club.’”

Glover would have given Kuso a bit of star power, but there are still plenty of familiar faces in the cast, including stand-up Hannibal Buress, Tim Heidecker of comedy duo Tim & Eric, and

FILM

Interview: Jamie Dunn

rapper Busdriver. We’re particularly keen to know how Ellison convinced George Clinton to take the role of the physician with a giant bug in his butt.

Ellison doubles over laughing at the memory: “Man, I put it to him like this: ‘You want to be in my movie, George?’ He said, ‘Hell yeah!’ And I was like, ‘Would you mind showing your asshole on camera?’ He was like, ‘Huh?’” Incredibly, that pitch worked. “[George] was super cool, but he came to set the first day and he was like, ‘Hey man, you know I ain’t ever acted before, right?’ ‘Really, for real?’ I said. And then he was like, ‘Where’s the script, because I only know the monologue at the beginning.’ I was like, ‘Oh shit, George, we’re about to shoot right now.’ I shouted, ‘Can someone get George a script? Get him a script right now!’”

It didn’t take the Parliament-Funkadelic frontman long to get into the swing of it, though.

“George turned out to be amazing. We’d run scenes, and maybe it would take a second or third take, but George was always fucking genuine and interesting. I didn’t realise how much I was counting on him being as good as he was. I put a lot of faith in that situation, but I guess I just wanted him to be him, you know, and not hold back.”

Beyond Clinton’s anus-dwelling cockroach, Kuso is a sharply political film. It has much to say about modern Los Angeles and America’s grim history of racism. And while it was conceived and made before Donald Trump made it into the White House, its apocalyptic vision of America feels even more pertinent with that buffoon in power.

“It’s unfortunate that the movie has gained relevance,” sighs Ellison. “I was part of the optimistic left who were thinking Hilary just fucking had that shit. It was all fun and games, but at the end of the day, everyone was going to vote the right way. Now I’m just a cynical motherfucker. I hate all those politicians. It’s all a game to them…”

He pauses. Something has just occurred to him: “Those lying motherfuckers should watch my movie.”

While we doubt Kuso will ever make it into the White House screening room (Finding Dory is more The Donald’s speed), we’d love to be a fly on the wall if it did.

Kuso is streaming on SHUDDER UK from 21 Jul

THE SKINNY

Gorilla Warfare Talking emotions, Batman and dystopian futures with War for the Planet of the Apes director Matt Reeves

I

magine yourself as filmmaker Matt Reeves, who made a splash in 2008 with the found-footage science-fiction film Cloverfield and then directed Let Me In, the English-language remake of Let the Right One In, followed by Dawn of the Planet of the Apes. Handed the opportunity to contribute a second film to one of the longest running and most provocative science fiction film franchises, Planet of the Apes, what would you do with it?

What Reeves definitely wouldn’t do is create a generic, commercial blockbuster – that’s just not his style, he says. “It’s all about your approach to the story. I don’t know where to put the camera if I don’t emotionally understand what the scene is about.”

The result is a deeply emotional film. The CGI is so seamless, you sense the ‘humanity’ of the apes, allowing a deeper level of identification, which troubles the original film’s narrative. “It’s about the emotional temperature of things: the decision not to depict any of the characters as stock villains, and to have an empathy and understanding of the perspective of all the characters, even the ones who do despicable things, so we can look at this story as really being a mirror of ourselves,” says Reeves.

War for the Planet of the Apes takes the story of human versus ape in an alternative future into very topical territory. Any idea of peace between the species has collapsed. Ape leader Caesar is going to launch a final attack on the humans, but is conflicted about his own decision. “Its place in the series is specifically what we do in times of war,” says Reeves, “the ways in which we lose empathy for those who oppose us, and how that

July 2017

leads us to great atrocity and darkness. That has political implications: the question of empathy and our struggle with it is one of the big issues of our time.”

Reeves and co-screenwriter Mark Bomback dived into war films and westerns to find inspiration for the film’s tone, devouring “war stories where there was a context of spectacle, but what really mattered were the intimate relationships in the foreground,” he says. That means films like The Bridge on the River Kwai (also written

by Planet of the Apes author Pierre Boulle), The Great Escape, The Outlaw Josey Wales, Apocalypse Now and Paths of Glory.

“ I don’t know where to put the camera if I don’t emotionally understand what the scene is about” Matt Reeves

It ends up working as both a war film and as science fiction. The way the director employs nature is reminiscent of Terrence Malick’s use of landscape as a storytelling device in The Thin Red Line, and, crucially, there are rich characters beyond our ape hero. “It was important to me

that the war wasn’t just a war between the species,” says Reeves, “but it was also a war within Caesar and other characters.”

Of course, being a huge sci-fi blockbuster, visual impact also matters. The evolution of special effects technology within just the last few years has resulted in amazingly photorealistic apes, created by SFX firm Weta via hair, skin and moisture simulation. “All of the detail on the apes is of such higher quality that these are by far the best effects that have ever been done – it’s astonishing,” say Reeves. However, he adds, it’s not an SFX-centric movie. “The things that make the performances come through are not technological – that has to do with the artists themselves, because that’s interpretative,” he says, citing Andy Serkis’ portrayal of Caesar.

Serkis is the actor who has single-handedly made motion capture a widely used art form, and has done the best work in the field as a performer. “He and the other actors give their performances and bare their souls, and it’s the animators’ challenge to figure out how to translate the emotions on the faces of humans on to the different anatomy that is the faces of apes, and that’s a very artistic process.”

Serkis’ turn in War for the Planet of the Apes is his most vivid performance in the series. You definitely see the best use of his talents as a motion capture artist since the original Lord of the Rings films. He is joined on screen by Woody Harrelson as his antagonist, called simply the Colonel. “He’s incredibly smart and inventive,” says Reeves of Harrelson. “He had lots of brilliant ideas that we just had to write into the script.

FILM

Interview: Ian Schultz The idea of a war film is to look at how the conditions of war can bring the worst out of us, and one of the things that makes it difficult is that everything the Colonel says is true. That’s upsetting, because from their perspective he is extreme, but he has been made in extreme circumstances. Hopefully it gets you into the position that if you were in his shoes, you would not be tempted to do the things he does.”

Thanks to his gruelling production schedule, Reeves hasn’t done anything but work for months, but he’s now keen to see the new Twin Peaks series. He’s also getting started on directing a new Batman project. “I hope to tell an emotional Batman story that’s very rooted in his character,” he says, adding that he sees commonalities between Caesar and Batman – both are “tortured souls who are struggling to do the right thing in a very imperfect world.”

Another intriguing project that Reeves has been attached to for a while is a new film based on the Ray Nelson story Eight O’Clock in the Morning, also the source of John Carpenter’s They Live. It will not be a remake of Carpenter’s movie – although they share a jumping off point, he says – but a Taxi Driver-like psychological thriller, “following this lonely soul who is suddenly burdened with information: either he is right, or he is crazy.”

Planet of the Apes is the only reboot series with heart and soul, coming from a place of creativity rather than rehashing a franchise for profit. And this third film is the most emotionally effective of the recent trilogy, with intelligent performances and fantastic special effects.

War for the Planet of the Apes is released 11 Jul by 20th Century Fox

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March of the Pigs Director Bong Joon-ho on genetic modification, Okja and that Netflix controversy

“S

omeone said it’s very difficult to define, this movie. For me, that is the biggest praise.” South Korean filmmaker Bong Joon-ho is speaking of his latest project, but such a query of genre and tonal classification could easily be applied to most of his prior features as a director – from debut Barking Dogs Never Bite to Memories of Murder, The Host, Mother and Snowpiercer. With pretty much all of them, you think you know what you’re going to get based on a glance at the plot synopsis, only for a considerably different beast to emerge during viewing; sometimes multiple different beasts.

Speaking of beasts, Bong’s new film, Okja, has one at its centre: a massive, genetically modified ‘super pig’ named Okja, who is the best friend of young Korean girl Mija (Ahn Seo-hyun). After ten idyllic years of caretaking and companionship on Mija’s grandfather’s farm in the mountains, the multinational conglomerate Mirando Corporation come calling for Okja as part of the finale of a decade-long publicity campaign, spearheaded by image-obsessed CEO Lucy Mirando (Tilda Swinton).

The super pig is to be shipped off to New York for the big event, but also an eventual fate, alongside others of her kind, as a new delicacy for the food industry. Single-minded in intent, Mija sets out on a rescue mission to bring Okja home, crossing paths with a grotesque celebrity TV vet (Jake Gyllenhaal, channelling Sharlto Copley) and the Animal Liberation Front, led by Jay (Paul Dano), who also wants to save Okja and take down the Mirando Corporation.

“Some people might think that it’s a Disney film or a children’s film at first,” Bong tells us of possible audience expectations, “and later find out it’s very gory and explicit. That might befuddle them quite some bit.” Indeed, though Okja would potentially be fine viewing for older children (the bad language is barely worse than in beloved 80s family classics), its moments of animal cruelty could prove nightmare fuel in a kid. And some adults, too, which seems to have been the inten-

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tion. “Usually in films, there are two ways that animals are dealt [with],” says Bong. “One is this pet-like animal, and the other category is explicitly showing the slaughtering and butchering of animals. What I wanted to do in this film was merge those two categories together. We can call this movie some kind of adventure, but at the same time, as Thierry Frémaux said at Cannes [where the film had its world premiere], it’s a very political movie at the same time.”

“ We all love watching movies in the theatre, on Netflix, via Amazon, iTunes and cable TV and many things.

It just all co-exists” Bong Joon-ho

The political element will come back up later, but first we want to ask Bong a little more about the piggy in the middle of his new movie. His 2006 film The Host was centred on a sea monster emerging from Seoul’s Han River and terrorising the local population. With Okja, he’s once again working with a new species created for a film, but the eponymous animal is no outlandish-looking creature of menace. Okja is a cute, shy critter; one whose look seems a plausible evolutionary step for animals already roaming the planet.

We wonder if it’s any more difficult to design a creature of that kind, rather than something in the monster movie mould. “Yeah, the approach is

very different,” Bong tells us. “The most important thing about this animal was that she was very innocent and being mistreated. What I wanted from the audience was to question why such an animal, who looks so kind-hearted and innocent, must suffer like this.”

Design inspiration for Okja’s expressions came from a somewhat unlikely source: “We adapted the feeling of the face from manatees – it looks very calm and shy and looks introverted. Although manatees live underwater, I could almost imagine them sweating under the water – manatees feel like a person who never really did anything wrong but is always very guilty and sweating in the process.” This is followed by Bong doing an impression of a seemingly guilt-ridden manatee that will remain a personal interviewing highlight for this writer.

Next comes the topic of Okja as a vision of the future in a similar fashion to Alfonso Cuarón’s Children of Men: a hypothetical, plausible, very near future where the human race will have to face something that is unavoidable – in Okja’s case, the depletion of natural resources for capitalism to exploit. Bong suggests he never actually considered Okja as a sci-fi film, “because maybe in Canada, or the States, they already invented the GM salmon and they’re ready to launch products from these GM salmon. And, as you may know, GM corn has already dominated the world; it’s all over the world. And there’s a certain company that created this GM corn that Mirando is modelled after, although I cannot say it verbally because of legal issues.

“So I do feel like it’s very close to reality,” he elaborates, “so much so that it is now and it is reality. I feel that they’re going to move from GM crops to GM animals. I also, during the filmmaking process, met with people who studied and who experimented with GM animals. So when I was making the film, I expected maybe this kind of thing was going to be a big controversy, but instead of this, Netflix became the controversy.

FILM

Interview: Josh Slater-Williams

But anyway, it’s good. The worst thing is indifference; I’m happy about all the attention.”

Ah yes, the streaming elephant in the room.

Okja is one of Netflix’s bigger titles to date when it comes to features the company is funding alongside distributing. It and Noah Baumbach’s The Meyerowitz Stories were the first Netflix titles to be up for the Palme d’Or, but ire from French cinema chains has seen Netflix films barred from main Cannes competition going forward. Thanks to a French law prohibiting films from streaming online for three years after their theatrical release, Netflix has opted not to release any of their original films in French cinemas.

“The problem is me and Noah Baumbach never studied the French law of the theatres,” Bong jokes of the controversy. “Maybe we should have. The people in the government and the legal institutions and the distribution industries, it’s their job to figure that issue out. I think Netflix executives always watch movies on the big screen with their families on the weekend. I think, also, French theatre association people, they all have the Netflix account. We all love watching movies in the theatre, on Netflix, via Amazon, iTunes and cable TV and many things. It just all co-exists. But I do feel they should come up with a proper relationship and the regulations to sort them out.

“As a writer and director,” he continues, “it’s just a very good other option, making movies with Netflix or Amazon. Especially the global directors who want to make films that are a little bit unique.

For example, Okja – all the studios hesitated to support this film, finance this. And also some small, independent financiers loved the script a lot but, for them, the budget was too big. This kind of middle-sized budget, unique story movie, supported by Netflix, with 100% creative control – from the beginning they gave me director’s final cut. It’s amazing, I’m so lucky. It’s a great chance for filmmakers like us.”

Okja is available to view on Netflix, and will also be shown in select Curzon cinemas across the UK

THE SKINNY

13–28 AUG 2017

July 2017

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1

Welcome to Unbound

The Magnificent Seven

As day becomes night, Unbound opens for free literary events in the Spiegeltent during Edinburgh International Book Festival – 16 nights of music and performance, viewing the festival’s grand themes through the looking glass. Roland Gulliver offers an introduction

Interview: Alan Bett Photo: Sarah Donley

don’t get too comfortable,” Gulliver suggests.

So, in 2017 you have six of the UK’s best known crime writers holding instruments in place of pens to become the The Fun Lovin’ Crime Writers.

We have literary superstar and Gruffalo author Julia Donaldson and her husband Malcolm, performing a really quite adult musical set. “With people like Julia you’re putting someone in a context that is surprising,” says Gulliver, “both to the artist, and in creating situations when audiences will think, ‘that’s the woman who created the Gruffalo and that’s her husband who sings songs to kids… what the???’ Essentially messing with people’s heads a bit.”

Despite its wayward ways, Unbound is still intrinsically connected to the hugely important themes of the Book Festival proper, “making the full festival programme relative and cohesive.” So while the main programme offers authors such as Roxane Gay and Juno Dawson, Unbound features the raucous and riotous club night that is Dive Queer Party. “It’s a really fun and exciting way to respond to that whole conversation and debate around gender roles and identity and representation… bringing someone like Dive in, we can have the serious conversation but we can also have fun around it… it’s about having that intellectual discussion but also a celebration at the same time.”

“ There is a sense of trying to push back a bit so that people don’t get too comfortable” Roland Gulliver

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arkness falls over Charlotte Square Gardens.

Day turns into night. And while the Book Festival proper tucks itself into bed, in the Spiegeltent they are stirring: setting up mics, running soundchecks, testing voices and instruments (and beer taps). Jekyll feels that initial twitch before transforming into Hyde.

And for all his faults, Hyde would surely show you a better night on the tiles than the staid, respectable Doctor. Those in the know, who fully understand that, are already gathering outside.

They need no ticket, these shows are all absolutely free, open and unreserved. These punters don’t even need a single penny in their pocket, unless they want to buy a beer of course – unfortunately we have still to arrive at that particular utopia.

Unbound is now in its eighth year, born in 2009 as a reaction to many things: “To give authors a different stage to perform, get together and experiment, a more free-wheeling approach to the normal Book Festival events,” explains Roland Gulliver, in many ways the parent to this wayward after-dark child of the literary institution that is Edinburgh International Book Festival. It was also responding at the time to the rennaissance of live literature, so over the years the programme has reflected Scotland’s heritage – from past treasures DiScOmBoBuLaTe and the Golden Hour, through to the current cream of the

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crop, Neu! Reekie! and Flint & Pitch (both part of the 2017 programme). Both of these nights pull in an audience beyond those deemed the standard for literary events.

“At literary festivals people get stuck in stereotypes and preconceptions,” Gulliver says, but Unbound lives to subvert these preconceptions. “Oh that’s a children’s author, I’m not interested, that’s science fiction I’m not interested in that, or that’s an international literary ‘with a capital L’ author, so I don’t do that – that general feeling of ‘it's not for me’.” Those same people who would be delighted to stumble in unexpected upon a Nile Rodgers acoustic set, or top poets squaring up verbally in a wrestling ring, or Scottish rap band Hector Bizerk basically blowing the roof off the Spiegeltent.

But Unbound is about far more than just showcasing the finest performers in their everyday guise. It is not about simple replication of what you can see year-round. Unbound is about magical, unique moments, spun from the best literary names and musical performers, then twisted into something unusual and beautiful and new. Combinations of performers you may never see again, sharing a stage with each other and their stories with us, the audience – because in the end, storytelling is what it’s all truly about. “There is a sense of trying to push back a bit so that people

The issue of race and America also features heavily in the main programme, so is refracted through Unbound’s particular prism by bringing The Last Poets into the fold. Gulliver says: “They’re coined as being the godfathers of hip-hop. Having had acts like Hector Bizerk and Stanley Odd in previous years and having brought in that hip-hop and spoken word audience, we’re internationalising that element by bringing in The Last Poets.”

Internationalism is key for Unbound. It has always combined more local talents with those from around the globe. In 2017 two of the most exciting literary voices in the world – Argentinian horror writers Mariana Enriquez and Samanta Schweblin – grace the stage while Paul Muldoon brings his music and literature extravaganza, Muldoon’s Picnic, over from the New York City Irish Arts Centre, featuring musicians from The Pogues and some very special guests. We visit our own Scottish islands with the Island Getaway, then much further afield to India with Yatra (Journey) – fusing Asian blues with both Anglo Celtic and Indian folk traditions, played by world class performers.

Unbound has a malleable personality. It offers time for reflection on the big issues facing the world alongside an all out party, acting as both oasis and arena. And it does this all for free. These artists are willing to step out of their comfort zones, are you?

Unbound, 13-28 Aug, Spiegeltent, Charlotte Sq Gardens, free

UNBOUND

Unbound chief programmer Roland Gulliver picks his highlights from the last 7 years

Page Match

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icking just one highlight from each year is nigh on impossible. The sixteen Unbound nights of every Festival have provided glittering moments, a multitude of warm memories and so many different, daring and hopeful elements – brilliant storytelling, genre-busting events, raucous laughter (and some tears), beauty, power and dancing.

McSweeney’s (2010) This night encapsulated the spirit of Unbound.

International writers, cool names and local spirit. Created with spontaneity, energy and unpredictability. I still have the signed spade and table tennis set.

Dummy Jim: A Monumental Effort (2011) The genre buster! An event that came from a book written in 1951 which inspired a film which inspired a soundtrack, which in turn inspired a website, tea towels, jams and an Unbound night featuring a pedal-powered hurdy-gurdy. Which inspired a book…

Nile Rodgers (2012) The Hollywood night. Having the legendary guitarist and songwriter Nile Rodgers perform to an adoring crowd while reeling off a load of hilarious anecdotes and describing how he wrote songs like Le Freak and China Girl was, truly, astonishing. Trying to get him out of the Spiegeltent was my rock ‘n’ roll bouncer moment.

Reel Iraq: the Golden Hour (2013) One of the most inspiring nights we’ve ever done – poetic, personal, political – with artists from Scotland and Iraq reading and performing. Began with quiet intensity and ended in joyful celebration as the audience danced around the Spiegeltent to Iraqi Choobi dance music.

Page Match (2014) We built a boxing ring. In the year of the independence referendum, poets from both sides of the argument performed to deliver some of the smartest, funniest, satirical, political insight in town. Knock out!

Sounds of the City (2015) Unbound is founded on great storytelling and Ryan Gattis reading from the first chapter of All Involved is a classic. The weight of the silence in the Spiegeltent as the audience hung on the power of his delivery was beautiful and breathtaking. Spinetingling. I’ll never forget it.

Vic Galloway & Friends (2016) This was the night Unbound took over the gardens.

Vic Galloway got the party started with bands and writers in the Spiegeltent while the gardens filled with writers from Edinburgh and eight international Cities of Literature, telling stories.

After the fireworks, the Khartoum Heroes were unleashed on an unsuspecting audience.

THE SKINNY

Stornoway to India: Musical Connections When virtuoso artists from Indian and Scottish folk traditions combine, the results are rich and rewarding. We speak to musicians Dalbir Singh Rattan and James Yorkston to find what they will bring to two sides of the same night at Unbound

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n addition to pioneering Asian Blues with Aziz Ibrahim and working with musicians such as The Stone Roses and Paul Weller, Dalbir Singh Rattan is now one of the composers of Yatra. This musical performance piece is inspired by a historical journey from the Isle of Lewis to India – made up of Gaelic vocal traditions through to the Indian Raga and folk that Stornoway-man and collector extraordinaire Colin MacKenzie would have encountered during his travels from the late 1700s onwards. Dal introduces us to his music and what we can expect on the night.

“We’re not interested in that fusion confusion crap,” says Leeds-born Dalbir Singh Rattan, who plays the Indian drum so well that some know him as the Tabla Jedi. He’s worked with guitarist Aziz Ibrahim for nearly 20 years, and they’ve arrived at a sound that’s entirely their own. “Indian music is so rich and deep, and then all we get is a fusion piece or a Bollywood piece.

I don’t want my tabla to be the token instrument, just because a guy says ‘let’s get a bit of an Indian vibe on this track’. We sell our stuff so cheaply sometimes, it’s like a cheap Indian curry. It’s the

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ames Yorkston has now worked with fellow musicians Jon Thorne and Suhail Yusuf Khan on two acclaimed albums, blending Anglo-Celtic folk and classical Indian musical traditions. He explains the power and freedom the trio’s collaboration brings to the music we will experience on their second half of the night at Unbound.

It seems that improvisation and skill, respect and understanding are the secrets to making unexpected collaborations pay off. At least it works for James Yorkston, Jon Thorne, and Suhail Yusuf Khan, whose blend of western folk and Indian classicism produces remarkable results.

Khan accidentally walked into Yorkston’s dressing room backstage in Edinburgh in 2013; Yorkston was playing the guitar, Khan joined in on the sarangi, and a few moments later they went on stage.

We put it to Yorkston that this kind of thing takes balls, no? “But what’s the worst that can happen?” he retorts, “OK, you make a mistake on stage and no one cares. Early on I was supporting David Gray on a tour, facing an audience of 12,000 people. And I was nervous. Gray said to me, ‘the audience don’t really care if you’re good or bad, they just want to see a one-off event.’ And that’s stayed with me. They don’t want to see you run through something average, and do it well. We did a thing for Marc Riley recently, and it was the same. I said to the guys, don’t hold back. I don’t want to do it well just because we all played in time. We have to do something extraordinary. No sitting back. No B game.”

In print that makes him sound like a maniacal Hollywood movie sports coach, but he’s not. “All I’m doing is singing songs. I’m not a nurse or a doctor or running an aid programme. But at the same time, I really value music. It’s one of the only things that makes sense to me. I treat what I do with respect, but I also don’t take it too seriously.”

So how does his collaboration with Khan and Thorne work? “I was playing with Suhail as often as I could, and I chose Jon [on double bass] for his background in jazz. I knew he’d have the chops to improvise.

“It’s the power of the trio. You have two other instruments to hang on to. It dilutes the main two voices, but it supports and strengthens the

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same with ‘world music’ – what the fuck does that mean? Nothing to me.

“Our uniqueness comes from the style of playing. It’s not the point to fuse anything. We write a new form of music using two traditions. It’s an embodiment of being British Asian musicians.”

“ I don’t want my tabla to be the token instrument, just because a guy says ‘let’s get a bit of an Indian vibe on this track’” Dalbir Singh Rattan

This passion – apparent from the very first moments of our phone call – has led Dal to explore the richness of Indian music through collaborations with musicians across the world, from international rock stars to the finest sitar players. For his latest project though, Dal, through the Stornoway arts centre An Lanntair, collaborated with Gaelic musicians on Lewis to compose Yatra, which means journey or pilgrimage. It’s a new musical about the 18th century journey from Stornoway to India of Colin Mackenzie – later to be the first Surveyor General of India – and Dal’s own journeys to the Outer Hebrides (Lewis is a long way from Leeds). Mackenzie fell in love with India, and produced some of the first British maps of the country, as well as collecting priceless items and documents from his career there.

This new musical celebrates Mackenzie’s life as a collector extraordinaire. The score brings together Gaelic vocal traditions and classical Indian Raga in innovative and progressive ways.

It premieres this summer at the Purvai Festival on Lewis as part of the New Passages project, which marks the 70th anniversary of Indian

Interview: Galen O’Hanlon

independence by exploring past, present and future connections between Scotland and India.

You’ll get a taste of the musical at Dal and Aziz’s Unbound performance. They’ll play elements of it along with a good helping of the Asian Blues they’ve pioneered. And as so much of their work is based on improvisation, there’s rarely more than a few suggestions on the set list. “No show is the same,” says Dal. “I’ve been working with my sparring partner Aziz a long time, and we have the confidence and skill to improvise.”

Did he take a similar approach to working with Gaelic musicians on Lewis? Absolutely. Dal set out a few pieces and sent them ahead to give everyone a starting point. “Then we got the musicians together, and we were just banging ideas at each other. The piece isn’t really dictated by anybody. I didn’t go up there with a firm idea of what I wanted everyone to do. I’m just looking for help.”

“The Gaelic traditions are so strong and embedded, and I didn’t want to change that. I just went in there and said ‘can you help me?’, and they’re the kinds of musicians and artists who will carry you.”

whole. It means you’re not always the leader or supporter, but can be a… midfielder, and kind of float around.”

Finding the right path between Indian and folk traditions has taken a few tries. “When we first tried the more Indian stuff, I would learn the parts and play the chorus but it sounded so obvious and guff, so bad, just like awful diluted Indian tourist music. One song on our first tour was utter cringe – all the time changes were as precise as Bollywood. It was all ‘oh look at this, we can all play in time’.”

“ Musically, we’re just flying, and loving what we do – and if they don’t like it, I don’t care” James Yorkston

You’ll find none of that on the new album, Neuk Wight Delhi All Stars. He’s found a better way to play alongside Khan: “Rather than follow the complicated rhythmic patterns, I try and embellish the song in a way that suits me and suits the way that I’ve learned to play the guitar.

There’s a very experimental aspect to it.”

And what’s he got planned for Unbound?

“We’ll do what we normally do: sit down and see what happens,” he says. And his response to anyone who bristles at this kind of genre-busting?

“Musically, we’re just flying, and loving what we do – and if they don’t like it, I don’t care. Why waste our time being constipated? It’s so stupid to hide within a genre. You have to spread your wings a bit, you know?”

Beating New Passages, Mon 21 Aug, Charlotte Square Spiegeltent, 9pm, free

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“ The stage, the club. That’s our safe space” Dive have been redefining the Scottish queer club scene in recent years. Now they plan to leave their mark on Unbound, bringing their riotous party to the Spiegeltent. Annabel and Annabel explain the fun and importance of these safe spaces

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t was our recent transformative election night when The Skinny rang up the two Annabels, the innovative pair behind Edinburgh cabaret outfit Dive, to chat about their debut at the Edinburgh International Book Festival, safe spaces and making LGBTQI+ history.

For those of you who haven’t made it out to one of Dive’s raucous, riotous parties, let me explain. Dive arose from a club night in the murky depths of Edinburgh’s Henry’s Cellar Bar in July 2013. With cabaret at its core, it has expanded into a collective which hosts club nights, performances and events while partaking in outreach work. While Miss Annabel Sings is always the host, performers are drawn from the ‘Dive Family’: an ever-developing collection of guest-artists, friends and admirers which grows each time they perform. With an emphasis on diversity and openness, they serve as a much-needed counterpart to more commercial gay bars and provide a space in which difference is celebrated.

The two queer women who founded Dive (confusingly, both called Annabel) play indispensable, but very different roles in the up-keep of the collective. Annabel, while also ‘a little bit of a secret performer’ is an Agent Cooper figure, keeping the Dive fires burning while Miss Annabel Sings is host and front-woman.

Miss Annabel’s magnetic stage presence is easily accounted for by her extensive background as a performer: “I trained as an actor when I was growing up, I’ve been in performance and acting for years. I went to university, studied it, I thought about becoming a teacher but decided to fall into the world of cabaret… well, I didn’t decide, I fell into the world of cabaret. I gave up my teaching degree and focused on being a clown. I started acting professionally when I was 11 and am still doing it now, and I’m almost 40. I’ve been doing the festival for many, many years – not the Book Festival, the other festival. I kind of trained officially but also on the job, in the cabaret bars in London.”

However, not everyone needs extensive experience to take part; both Annabels agree that

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Dive is a particularly nurturing environment, where new performers are encouraged to take their shot on stage. The performer list is constantly changing and, as Annabel explains: “the shows themselves feature lots of guest performers and members of the Dive family.” Miss Annabel adds: “The Dive Family started off as four core members but every time we perform or do an event, there’s someone new.”

Annabel rolls out the story of how Dive was born. “[It] started out as a club night and we started it really because there wasn’t anything out there that we wanted to go to. There were a lot of gay clubs and gay nights but they weren’t really open and accessible so we thought we’d make something ourselves — and here we are four years later. We’re still doing club nights but we’re also doing cabaret, as well as performing at the Fringe and now the Book Festival.”

On the subject of their upcoming event at Unbound, Miss Annabel jokes: “Well the Book Festival is really exciting… neither of us can read, so that’s even more exciting!”

“Hopefully we will by the end of August,” Annabel quips.

Miss Annabel expands on the theme, explaining what’s planned for their performance.

“We’re very, very excited to be performing in the Spiegeltent. We’re going to be doing a new outing, especially for the Book Festival, of the near-sellout of the show we did at Summerhall (it was a near-sellout so we may as well call it a sellout) that’s a bit of a performative queer archive. We’re doing a version especially for the Book Festival with more of a literary theme; we’re going to have some of our queer cabaret wonders and clubnight performers as well as some guests who are appearing at the Book Festival.”

Annabel adds that “One of the literary works we want to profile as part of the cabaret is a work called Lovesong to Lavender Menace which is a play that tells the story of a bookshop in Edinburgh, the Lavender Menace bookshop, which is a really important cultural icon in the city, and was a space for meeting and activism, a queer space.

It’s going to be a real honor to feature that.”

Miss Annabel adds onto that: “We’ve also got an international guest that we are bringing over from Berlin, a chap called Le Pustra, he’s a wonderful performer, multimedia, with a real knowledge and passion for cabaret. We really enjoy promoting other people, international work.”

“Obviously during the Fringe as well, we’ve always talked in the past about being able to showcase the queerest pick ’n’ mix of the Fringe.

We’re going to set aside a lovely afternoon with the Fringe brochure,” says Annabel.

“ Within our safe spaces there’s queer, straight, old, young, everyone.

We’re all there on the understanding that we respect one another” Annabel

Dive aren’t just about entertainment, they’re also about community and have been involved with Luminate Festival, Scotland’s creative ageing organisation, who they’ve worked with for a couple of years and for whom they have just finished a six month project. Within this outreach project they were, as Miss Annabel explains, “promoting the power of performance, particularly cabaret, as a therapeutic tool for LGBTQI+ people over 50 to tell their story.”

Annabel explains how it’s impacted them, saying that “It’s been remarkable. It’s really

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Interview: Megan Wallace

changed us, I think, and added to what we do.

The Dive Family includes even more people, some of whom are 72 years old, emerging playwrights who’d never written before. We’re very aware of the history of what these people do and what they’ve done for us.”

“And not just for LGBTQI+ people but for everyone,” Miss Annabel adds, “What people like that, people who are fighting, either outwardly or inwardly are doing for us is incredible and we should never take it for granted.” Naturally, the topic turns to safe spaces and the closure of queer-friendly spaces. “I think people don’t realise how important they are until they’re gone... I think safe spaces don’t have to be in the physical nowadays, they can be online.”

“I think maybe our understanding of a safe space might be a little different to others.” Annabel adds. “I think we’re encouraging diversity within that safe space and encouraging conversations and challenges and pushing boundaries and all that sort of stuff. So it’s OK to have a multitude of opinions and to not agree with each other. Within our safe spaces there’s queer, straight, old, young, everyone. We’re all there on the understanding that we respect one another.”

“And for us our safe space is the performative one,” Miss Annabel explains. “... the stage, the club. That’s our safe space” It’s worth recalling here the Dive motto: ‘be whoever you want to be, however you want to be, wherever you want to be.’ With such an empowering call for diversity, we can only hope that Dive continues to grow, something which seems highly likely considering not only their plans for Unbound but also their forthcoming regular slots at Edinburgh’s Royal Lyceum. It feels as if change is in the air, as if LGBTQI+ entertainment is really coming out into the open. And it also feels a lot like Dive, at least in Scotland, is playing a part in making it happen.

Dive host two nights at Unbound: Homage, Sat 26 Aug, 9pm, and The Last Night On Earth, Mon 28 Aug, 7pm. Both at Charlotte Square Spiegeltent, free

THE SKINNY

Prophets of Rage Some call them the true Godfathers of Hip-Hop and whether you’ve heard of them or not, you’ve definitely heard ‘em.

The Last Poets come to Unbound to see if “y’all are the gangsters that everybody says you are”

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s the 1960s neared their close in the United States of America, the air was boiling over with racial tension. Medgar Evers, Malcolm X and Martin Luther King rose to prominence only to be gunned down. Each gunshot tore away an icon of the civil rights movement and struck another blow against the idea that this conflict would ever be resolved in a language other than bullets and blood. The Black Panthers moved to the forefront of the fight for equality as the divide between the black and white citizens of America gaped wider than ever before and its borders became increasingly fortified. It was from this atmosphere of rage, fear and defiance that The Last Poets were born.

Recording and performing since the end of the 60s as a fluid kind of collective with an often changing line-up, they sold millions of records with no commercial promotion, gave voice to a silenced Black American experience and crafted a branch of aggressive, rhythmic spoken word poetry from which modern hip-hop has grown. Even if you’ve never heard of them, you’ve probably heard them – they’ve worked with Kanye, Common and the Wu-Tang Clan, and been sampled by everyone from a Tribe Called Quest to NWA and The Notorious B.I.G. As the ghost of hip-hop’s past, so ubiquitous is their influence that their presence is felt today even by those who’ve never heard their name.

Last year their story was re-told in the form of Christine Otten’s novel The Last Poets, the success of which, on top of bringing their incredible tale to a whole new audience, will see the author appearing at Edinburgh International Book Festival 2017 alongside those very poets; Umar Bin Hassan, Abiodun Oyewole and Baba Donn Babatunde. Having performed as a Last Poet since 1969 and led the group’s most renowned and revered incarnations, Umar Bin Hassan sat down with The Skinny to tell us a little about poetry, music and America.

The group’s name comes from a Keorapetse Kgositsile line that claimed, like Adorno asking how there could ever be poetry after Auschwitz, that his was to be the last generation of poets

July 2017

before warfare and violence claimed the world.

While his work has never shied from representing the full harshness of reality, Umar is not so cynical about poetry’s capacity to endure: “Why not? It has survived a thousand year wars. A hundred year wars. Slavery. The Holocaust. Populist Movements. And some of your greatest poets have flourished under these horrible and inhuman conditions. Thank you very much!” As Darwinism dictates, you’ve got to adapt to survive and, again, Umar is more than confident that the work he and his fellow compatriots have inspired will be able to alter its form to stay alive, arguing that “it already has. If there had been no Last Poets there would have been no Public Enemy. No Public Enemy, No Beastie Boys. No Proof from Detroit.

No Eminem. No Kendrick Lamar. Get my drift?”

The evolution of poetry into rap often gets kind of bastardised by ‘cool’ English teacher types trying to get their class to read Shakespeare by explaining how he was really the Tupac Shakur of Elizabethan England. In spite of that, the link between poetry and rap is legit and, as a man who found room for a musical revolution in the space between the two, Umar sees the separation as entirely meaningless: “What difference? Anytime you stand to express an emotion... a thought... an image from your heart and mind to another heart and mind it is poetry. Call it what you may. Whether it is commercialised or sanctified. When one human soul seeks the attention of another it is poetry. Pure and simple!”

Its role in the fight back against oppression has been at the heart of rap music since Umar and his friends more or less invented it and, in a time where Black Lives Matter is regarded by some as a controversial statement, The Last Poets’ work remains depressingly relevant. In Umar’s eyes, this consciousness raising is the true role of the poet, whether the person with the pen identifies as an emcee or a scribe: “We want the audience to go away thinking about the state of the world’s condition and what they can do to make a contribution in making it better and liveable for all.” Asked whether he feels the country

has changed much since he began, Umar is a little less diplomatic than usual: “YES EMPHATICALLY! DONALD TRUMP IS PRESIDENT OF THE UNITED STATES!” Hard to deny, the man’s got a point.

“ Whether it is commercialised or sanctified.

When one human soul seeks the attention of another it is poetry” Umar Bin Hassan

As the pioneers of an art form so deeply rooted in a particular life experience, it seems odd at a glance that someone as removed from that life as Christine Otten would be the one to tell their tale. Umar makes it clear that this was never a concern, thanks largely to the legwork the Dutch author put in to capturing the truth of their experiences, explaining “Christine came to America and interviewed family. Friends. Enemies. The boys in the hood. The girls on the corner. The police. Old contacts. New contacts. And people we didn't know but who knew of us. I'm amazed she didn't get the Pope to speak on us.” Any concerns of appropriation can be put to rest as there’s no doubting the Poets’ pride in the work Otten has done to tell their story or the respect that exists between them: “Christine is a real... Whitegirl. A SERIOUS DUTCH WHITEGIRL! But she's our Whitegirl!”

As the group’s first ever visit to Scotland approaches, he’s equally enthusiastic about the prospect of checking out the land of Loch Ness monsters, misty hillsides and roving haggis,

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Interview: Ross McIndoe

though his image of it is a little more Irvine Welsh than Walter Scott: “I can’t wait to get to Scotland.

I wish I was leaving tomorrow. Throughout the years I’ve read and seen movies about you. Can’t wait to see if y’all are the gangsters that everybody says you are. Ha ha ha ha!”

Even without Otten’s own contribution, The Last Poets’ place in history would already be well cemented. They formed one of the most powerful voices in one of the most challenging times in American history, made music out of chaos and birthed a genre that would come to be one of the most innovative and powerful art forms to be found anywhere today. Asked how he himself wants to be remembered though, Umar has an almost sage clarity and humility to his self-image, asking only that people think of him “As someone who was real... and honest. And wasn’t afraid to be that.” Asked about who on the current scene he sees as his successor, he’s equally assured: “My successor is my granddaughter... That’s it! She’s only six months old and she’s driving me CRAZY!” The Edinburgh International Book Festival at large is an amazing event, drawing together some of the most renowned writers on the planet to sit alongside the yet unheralded newcomers who might one day join their ranks. It’s nice. Very nice.

Almost too nice some might think. Where some believe the main festival offers a tea and cakes, quiet conversation kind of family-friendly day, Unbound thrives on its role as the darker underbelly, the place where things can get a little looser, a little less polite, a little more real.

And they don’t come much more real than The Last Poets. They’ve grown their art out of the most unforgiving soil and created beautiful things at a time and place where cruelty and ignorance seemed destined to dominate.

They’ve walked through fire for their art, lived the words they spoke and suffered heavily for their daring. For the first time ever they’ll be in Edinburgh. You should be too.

Meet The Last Poets presented by Apples and Snakes at Unbound, Tue 22 Aug, Charlotte Square Spiegeltent, 9pm, free

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Stick ‘em up punk...

Six of the UK’s top crime writers will try not to kill a tune when they hit the Unbound stage as The Fun Lovin’ Crime Writers, so we asked them each to soundtrack murder scenes from their own books

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t began like all good rock n’ roll stories in the House of Blues in New Orleans.” Doug Johnstone spins out the origins story of The Fun Lovin’ Crime Writers’ musical collaboration, when he and fellow novelists Mark Billingham and Stuart Neville took to the stage on the spur of the moment during an open mic cabaret night at a crime writing convention in the States last year. They will now gather in The Spiegeltent and provide the opportunity for their fans to see them step out of their literary comfort zones, offering a musical set of crime-related cult classics, including I Fought the Law, Folsom Prison Blues and a number of surprises.

The band were asked to compile a murder playlist for The Skinny’s Unbound programme, soundtracking crimes from their own books.

Suitably, for minds who have put some of the most twisted murders onto the page, they have summoned some some dark and terrifying musical choices: Phil Collins, Coldplay... The Chicken Song?

Mark Billingham (vocals and guitar): The opening scene of my novel From The Dead sees a man handcuffed to the steering wheel of a car which is promptly doused in petrol and set alight, so Ashes To Ashes or Burn Baby Burn would work very well as soundtracks. Increasingly, though, I think that music itself can be used as a highly

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effective weapon. I once suggested that gangland enforcers should stop wasting their time and energy using electric drills on people’s kneecaps or performing clumsy dental surgery, when any Phil Collins track will elicit the information they’re after a lot more quickly.

Going further, it’s possible that a particularly vicious and twisted killer could use music as part of their murderous M.O. Imagine, if you dare, the suffering of a victim whose life ebbs away while they are forced to listen to Agadoo or The Chicken Song. But there are limits of course. The agonising death throes of someone for whom the last sound they hear is Coldplay might well be too much for those who can’t bear overly gratuitous cruelty in their crime fiction.

Chris Brookmyre (guest vocals): Crime Scene Part One by the Afghan Whigs infuses my novel A Big Boy Did It And Ran Away so thoroughly that it is an intrinsic part of the book’s DNA. This song inspired me to create the villain, Simon Darcourt, and is the soundtrack to all his murders, but there is one killing in particular that is quintessential.

Simon is a deceptively charismatic individual, making the reader complicit in his atrocities by inviting them to share his opinions and tapping into their prejudices. He has been forced to sit through a number of humiliating corporate

teambuilding seminars led by a particularly obnoxious twunt of a motivational guru.

“Obviously, he had to die,” Simon observes, and at this point the reader may be thinking the same thing.

“‘So kiss me and smile for me,’ John whispers, as the fuselage breaks in half and the propeller slices through the cabin” Doug Johnstone

The song starts from an ominous, creeping bass intro as Simon sets his plans in motion, building layer by layer into an explosion of sound.

Simon forces his way into his victim’s hotel room and makes him dress up in suspenders,

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Interview: Alan Bett

false breasts and a comedy wig before stuffing a plastic Teletubby in his mouth. He then proceeds to strangle him with a silk scarf tied to the bedpost so that his death will look like a particularly humiliating fatal exercise in auto-erotic asphyxiation.

Their revenge fantasy delivered, the song asks the listener the question I want my readers to ask of Simon, the question that inspired me to create the character: “Do you think I’m beautiful?

Or do you think I’m evil?”

Doug Johnstone (drums and backing vocals): My latest novel is called Crash Land and has a picture of a low-flying aeroplane on the cover, so it doesn’t take a genius to work out what it’s about.

A young guy called Finn meets mysterious older woman Maddie at Kirkwall Airport in Orkney. She gets hassled by oil workers. People get drunk, there’s a fight, then the plane crashes killing most of the passengers and crew. Cheery, eh?

There is a surprisingly number of songs about plane crashes, mostly from indie bands. Car Seat Headrest’s Plane Crash Blues, or songs by Pavement, Rilo Kiley, Bright Eyes and Modest Mouse. More generally, Crash by the Primitives springs to mind.

But I reckon the dulcet tones of John Denver’s Leaving on a Jet Plane could soundtrack the

THE SKINNY

sky-based carnage in my novel best. ‘So kiss me and smile for me,’ John whispers, as the fuselage breaks in half and the propeller slices through the cabin. ‘Tell me you’ll wait for me,’ he croons, as the rows of seats get ripped from the floor and thrown out the gaping maw in the plane’s body.

‘Already I’m so lonesome I could die.’ Hmmm, let’s not forget how Denver died in real life, after all.

Also, Leaving on a Jet Plane is a love song, and in my mind Crash Land is a fucked up love story. Val McDermid described it as ‘a powerful argument for not thinking with your dick’. Whether Denver was thinking with his dick when he wrote the song, we’ll never know.

Val McDermid (vocals): Twenty-five years ago, I published my first Kate Brannigan novel Dead Beat. Kate was a private eye based in Manchester and the six books in the series are a chronicle of the city in the 1990s as well as Kate’s cases and her private life. My personal theme tune for the series – and in some respects, its inspiration – was Dire Straits’ moody and atmospheric Private Investigations. It caught my imagination – Mark Knopfler’s stuttering guitar figures, the spoken lyric, the cynicism and romanticism of it all.

It resonated deep inside me and became emblematic of what a private eye novel should be. Except that my books have jokes.

The Distant Echo introduces my Scottish cold case detective Karen Pirie. The book is set

partly in 1978 and I find music is a great time machine for transporting me back to a particular year. So I was listening to The Jam and The Clash and early Joy Division while I was writing it. The title comes from a Jam track – Down in the Tube Station at Midnight – and I wanted to give the chapters titles of other tracks or little quotes from Jam songs but my publisher refused because of the costs of obtaining permissions. But in my head, I still know which chapter is A Town Called Malice.

Stuart Neville / Haylen Beck (vocals, guitar and harmonica): One of the numbers I sing in the Fun Lovin’ Crime Writers’ set is AC/DC’s Dirty Deeds Done Dirt Cheap. That makes me think about a character from my second novel, Collusion: a hitman called the Traveller. Early in the book, when crime boss Bull O’Kane asks him if he has a problem “doing women and children,” the Traveller shrugs and says, “Depends on the money.” He’s a mercenary bastard, in other words. You could say the same for the character Bon Scott plays in Dirty Deeds... as he describes all manner of sordid acts he’s willing to perform “for a fee.” On top of that, although I had intended the Traveller to be a gentleman assassin when I first started writing the book, as soon as he appeared on the page, he turned into a barely literate, pig ignorant thug. Which is a description I don’t think Bon Scott would have objected to.

Coming back to my latest book, Here and

Gone (written as Haylen Beck), its central crime is a kidnapping rather than a murder. The villain of the piece, Sheriff Ronald Whiteside, is notable for his mirror shades, which he only takes off when he really wants to scare the crap out of someone.

Given the American desert setting, I am of course reminded of ZZ Top’s Cheap Sunglasses.

Luca Veste (bass): I can’t write without music playing. Silence is my kryptonite. Over the years, instead of removing songs from my playlist, I am constantly adding tracks. Current total – over 600 songs. I throw them on shuffle and get to work writing crime. Songs range from Anyone Who Had a Heart by Cilla Black to Uptown Funk by Bruno Mars to Echoes by Pink Floyd. I have an eclectic taste in music.

Writing a murder scene has its own playlist.

I know when those dark and disturbing scenes are coming up, so I’ll break and fire up the murderlist.

This is a special list of songs that are full of loud guitars, screaming vocalists, and pulsating drums.

Rage Against The Machine (Killing in the Name, Bombtrack) feature heavily, as do the heavier songs from Muse (Uno, Psycho) [plus] Rammstein and Metallica. It puts me in the right mindset to spill blood onto the page, driving the anger out, fuelling the rage.

In my upcoming novel, The Bone Keeper, those types of songs aided me to find the darkness within to bring the most terrifying character I’ve

created to date to life. Then, I’ll go back to The Carpenters and Fun Lovin’ Criminals to write about the aftermath. The victims and the lives they leave behind. Music will always be my first love, so I’m glad it can be of use in my actual day job!

The Fun Lovin’ Crime Writers’ Murder Playlist Killing in the Name – Rage Against The Machine Ashes To Ashes – David Bowie Down in the Tube Station at Midnight – The Jam Disco Inferno (Burn Baby Burn) – The Trammps Crime Scene Part One – The Afghan Whigs Plane Crash Blues – Car Seat Headrest Crash – The Primitives Psycho – Muse Agadoo – Black Lace Leaving on a Jet Plane – John Denver Private Investigations – Dire Straits A Town Called Malice – The Jam Dirty Deeds Done Dirt Cheap – AC/DC Cheap Sunglasses – ZZ Top Anyone Who Had a Heart – Cilla Black Uptown Funk – Bruno Mars Echoes – Pink Floyd Bombtrack – Rage Against The Machine Uno – Muse The Chicken Song Anything by Phil Collins Fun Lovin' Crime Writers, Wed 23 Aug, Charlotte Square Spiegeltent, 9pm, free

A Taste of Unbound A taste of what you can expect over Unbound’s riotous middle weekend, from three performers out of the Babble On section of the programme

If….with apologies to Kipling (Rudyard not Mr)

by Elvis McGonagall

Love Poem, written in haste (with Autocorrect on)

by Brian Bilston

If you can keep your daddy’s dollars free from tax If you can grope women and put them in their place If you can tweet the world alternative facts If you can kick sand in every Muslim’s face If you can have a “great relationship” with “the blacks” If you can wear your arrogance like cheap cologne If you can feed your empty soul with golden Big Macs If you can blow your own tiny trombone If you can contradict yourself inside a minute If you know you’ve bought the race before it’s run Yours is America and all the fear in it And – which is more – you’ll be the President my son

O what Brave New Worm is this that holes you, my sweet darting love?

I see you in the stairs that twinkle up in the heavy above.

January 2017 “My whole life is about winning” (D.Trump) Sad! A full collection of Elvis McGonagall’s poems from 2003 to 2017 entitled Viva Loch Lomond! has just been published

by Burning Eye Books

Your light shins down upon me and sets my heart on fir.

You stir up my emoticons and fill me with dessert.

I gazebo upon your lovely Facebook, your rainy nose, sweet, unmissable, the blue-greed eyes like limpet pools, your petty mouse, juicy, kissable.

Come with meat, Angel of my Drums, hold my ham, journalist into the night, and together lettuce explore the worm, over the horizontal and out of sigh.

From You Took the Last Bus Home by Brian Bilston, published by Unbound

Rose

by Vanessa Kisuule I’m somewhere in the middle Between a child Soothed to sugared silence With a spoonful of Calpol And an old maid Looking down the neck Of a empty bottle Wondering where her youth went These are the sickly sweet times Where solace comes In the false promise of tomorrow And a mug of cheap rose wine Pour yourself a measure You fleeting piece of glory We have all the time in the world And no time at all So pull up a chair Ferment with me Vanessa Kisuule’s debut collection Joyriding The Storm, is published by Burning Eye Books Babble On’s Poetry Party and True Stories are on Sat 19 and Sun 20 Aug, Charlotte Square Spiegeltent, 9pm, free

I N D E P E N D E N T

C U LT U R A L

J O U R N A L I S M

Editors: Rosamund West & Alan Bett Designer: Kyle McPartlin Production Manager & Picture Editor: Sarah Donley Illustrator: Elena Boils

July 2017

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What’s On at Unbound 2017 A night by night guide to goings on in the Charlotte Square Spiegeltent. Events kick off at 9pm, although you might want to arrive half an hour earlier to join the queue (or more, if it looks like a popular choice). Each is, as always, completely free

Sun 13 August

The Art of Neuroscience A unique creative collision of words, music and aroma, bringing together stories and curiosities from the world of neuroscience. As the Department of Clinical Neuroscience prepares to relocate to Little France after more than 50 years at the Western General, musician and composer Alex Menzies and cross-media artist Susana Cámara Leret join writer Gavin Inglis for the first Unbound you’ll experience with your eyes, ears AND nose. A sensory sensation.

Mon 14 August Island Getaway

Take a break from the urban bustle of Edinburgh’s festivals and join the editors of the Island Review (theislandreview. com), Jordan Ogg and Malachy Tallack, as they bring together a spirited crew of writers and musicians for their Unbound debut. Expect celebration, rumination and elaboration on the extraordinary appeal of islands, told in story, song and verse by guests including Amy Liptrot, Miss Irenie Rose and Kevin MacNeil. A night not to be missed by the islo-curious and islomaniac alike.

Tue 15 August After Dark

A night of unsettling stories and music – when the thrills become terrifying, dark, brooding shadows grow and our dreams become nightmares. Come hear two of Argentina’s most exciting new writers, Mariana Enriquez, author of the gothic Things We Lost in The Fire, and Samanta Schweblin, whose Fever Dream is a haunting tale of broken souls. They’re joined by two of Scotland’s best musicians: Rachel Newton, who revitalises traditional Scottish folk tales, and Ela Orleans, who soundtracks a journey through the underworld.

Wed 16 August

Shoreline of Infinity’s Event Horizon Edinburgh’s monthly live SF cabaret breaks out for Unbound with a special show celebrating Ken MacLeod’s Guest Selected series of Book Festival events and featuring science fiction writers from the Festival plus a mix of poetry,

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Feature

songs, music, drama and art. It’s science fiction, and it’s alive! Shoreline of Infinity is Scotland’s science fiction magazine, published quarterly with short stories, poetry, artwork and articles: shorelineofinfinity.com

Thu 17 August

The Donaldsons Strike Back!

After storming the Spiegeltent in 2015, legends of children’s literature Julia and Malcolm Donaldson return to the Unbound stage for more rambunctious stories and songs. The creators of the world-famous Gruffalo have escaped for one night to captivate the big kids.

Enthrallingly entertaining, mesmerisingly magnificent – staying up late on a school night has never been so much fun.

Fri 18 August

Kayo Chingonyi & Friends Kayo Chingonyi is one of the most exciting voices in UK poetry. His debut collection Kumukanda is a powerful, hilarious exploration of race and masculinity which kicks hard against easy notions of identity. Host of wordy wonders in London like The Poetics of Grime (ICA) and The Blend, for Edinburgh he has created a special Unbound night featuring the likes of poet Miriam Nash, alt-folk singersongwriter Genevieve Dawson, novelist S K Perry, and East London rapper and MC, Eklipse.

Mon 21 August

Beating New Passages A soulful night of music exploring Scotland’s relationship with India.

Yorkston/Thorne/Khan perform hits from their critically acclaimed debut album Everything Sacred and follow-up Neuk Wight Delhi All Stars – a mingling of traditions from Britain and India via the Appalachian Mountains. Aziz & Dal present their electrifying blend of British beats and Asian blues, interspersed by readings from Abir Mukherjee and Nalini Paul.

Tue 22 August

Meet The Last Poets Formed in the crucible of 1960s black rights activism, with the Black Panthers at the peak of their powers and an irresistible mood of revolutionary hope in the air, The Last Poets have come to be known as ‘the godfathers of hip-hop’, such has been their impact on generations of musicians. This, their first ever appearance in Scotland, is unmissable for true fans of the genre. Tonight they perform their vital, vibrant, often furious work and are joined by Christine Otten,, whose novel The Last Poets captures their lives.

Wed 23 August

Fun Lovin' Crime Writers

Descending upon Unbound like a group of maverick loner cops brought together to crack one last case, a musical literary incarnation of Avengers Sat 19 August Assemble, crime writer supergroup, Babble On Poetry Party the Fun Lovin' Crime Writers will storm Still think of poets as wallflowers hiding the stage with a selection of suitably in their garrets? You’ve obviously never inspired tunes. Join literary superstars been to their parties – but tonight’s Mark Billingham, Doug Johnstone, your night. Hosted by armchair Stuart MacBride, Val McDermid, Chris revolutionary Elvis McGonagall, Brookmyre and Luca Veste plus a Saturday’s Unbound sees an eruption collection of murderously good guests of wild voices. Ten-time slam champ for their first live gig together. Dare we Vanessa Kisuule, mysterious ‘Poet say, it would be criminal to miss it?

Laureate of Twitter’ Brian Bilston and New Zealand’s Hera Lindsay Bird Thu 24 August – whose poems caused a social media Muldoon’s Picnic stir earlier this year – all take to the Hosted by Pulitzer Prize-winning poet stage, while 2017’s Scottish National Paul Muldoon, this show is described Slam winner Daniel Piper shares his

by Muldoon himself as ‘an omniumspecial brew of comedic performance gatherum’, by Time Out as a ‘music-andpoetry. An unmissable, unforgettable literature extravaganza’ and by us as a night of new verse. stonkingly good night out! Rarely staged outside New York, and in Edinburgh for Sun 20 August True Stories Live – Lost & Found one night only, Muldoon and his house band Rogue Oliphant (including Cait Love The Moth? This intimate O’Riordan of The Pogues, Chris Harford storytelling event asks ordinary people and Ray Kubian) are joined by special to tell true stories from their life to the guests: Steeleye Span-singer Maddy friendly Spiegeltent crowd. With the Prior, singer-songwriter Lisa Hannigan, theme of Lost & Found, the stories award-winning writer Bernard might be heartwarming, revealing, MacLaverty and leading Scottish poet funny, shocking or sad – or all of these at Don Paterson. Produced by Poetry once. Molly Naylor introduces a mix of Ireland and supported by an Arts storytellers, including some Festival Council / An Chomhairle Ealaíon and performers. Sign up for the True Arts Council of Northern Ireland Touring Stories workshop earlier in the day and Grant. Hosted in New York City by the you get to be one of the storytellers.

Irish Arts Center.

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Fri 25 August

Sun 27 August

‘I woke up in a ditch clutching a pack of Sugar Puffs, it was 1970’. Join Neu! Reekie! hosts Kevin Williamson and Michael Pedersen for a night paying tribute to the legendary Edinburgh poet Jock Scot. A dead-pan performer with an irascible personality, his work captured life on the edges in 80s Britain and celebrated his love for his native city. Co-programmed by Davy Henderson and featuring the likes of The Sexual Objects, Salena Godden, Gareth Sager, Tam Dean Burn, Don Paterson, Kevin Harman and Faye Banks.

A delicious mash-up of spoken word, poetry and music featuring some of the best rising stars of the literary and music scenes in Scotland. The bill includes poetry and spoken word from Rachel McCrum and Sara Hirsch; up-and-coming 404 Ink author Chris McQueer; music from Laurence Made Me Cry and more, all brought to you by Scotland’s finest champions of new voices, Flint & Pitch.

Sat 26 August

Ladies, gentlemen and everyone in between! Anarchic entertainers Dive Queer Party conjure the spirit of ’47 to stage a closing cabaret party of epic proportions. With fakery making the headlines and the world falling apart around our ears, the glitter-spattered minds at Dive Towers have had time to reflect: what would we do on our last night on earth? Well this, obviously.

Join Miss Annabel Sings, the Dive family and the queerest pick ‘n’ mix of the Fringe as they conga their way into a brave new world – one where you can be whoever you want to be, however you want to be, whenever you want to be. It’s the closing night of the Festival: party like it’s your last!

Neu! Reekie!: Jock Scot Unbound

Dive: Homage

Promising to blow fresh glitter up the arse of any festival in their wake, Dive Queer Party bring back their sell out 2016 hit Homage with a special literary plot twist. Travel to the ends of the rainbow with chief weirdo Miss Annabel Sings, a smörgåsbord of homegrown performance talent and a handpicked selection of international guest stars.

Strap yourself in for a mind-blowing celebration of the heroes of queer culture from books, music, film and fashion from the past 70 years – on the 50th anniversary of the UK decriminalising homosexuality.

Featuring Le Pustra, Alice Rabbit and many more.

The Flint & Pitch Revue

Mon 28 August (7pm Til Late) The Last Night on Earth

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Nicole Gault ‘HOMEGROWN BELTER’

“H

ow sexuality, gender and the institution of religion affects and shapes society, with particular emphasis on the LGBT community, has always interested me significantly.

“We live in a world that still makes allowances for prejudice and where personal freedom is still inhibited. Geographical areas of interest include the Bible Belt in America where biblical literalism is rife and this is a strong driving force in the foundations of the work. The idea of the family unit, its traditions and values, have been a fundamental aspect of how my work has developed. Taking the identifiable and possibly memorable craft of cross stitching and moving it into a contemporary realm challenging generational differences of liberalism within a family setting. Pop culture in relation to music, television and the internet in particular has influenced this subject matter and the level of personal expression and freedom this enables. This is reflected through sculptural and two dimensional work accompanied by constructional aspects that challenge our perceptions of masculinity and femininity. Subtle hints of religious influence are present through exploring familial settings.

“As an artist, I find myself consumed by societal issues and use my work in order to bring attention to certain things. In recent years, I have been exploring our relationships with gender, sexuality, race and how religion affects these issues. I create organic ceramic forms from clay, which ultimately take on a suggested figurative shape, to challenge and reflect our traditionalist views.

“Degree show was a bit of a mixed bag. It took a while for the people who filtered through to engage with the work. I found it interesting that the majority of people that stopped to look at the cross stitch piece in particular thought that it just said “Home Sweet Home” but quickly backtracked when they realised the true message (Homo Sweet Homo). Even more interesting that these were people of an older generation giving further importance to the message that I was conveying: that liberalism differs generationally.”

Originally from Port Glasgow, Nicole Gault studied HND Contemporary Art Practice at City of Glasgow College before moving on to study Fine Art at DJCAD in 2014. instagram.com/trnsmtrapture

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July 2017

SHOWCASE

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LE Y ST FE LI

A Flying Visit Visiting NYC from Edinburgh just got a whole lot more chilled thanks to new, crazy-cheap flight routes with Norwegian Air. We took a trip to The Big Apple to research the perfect low-pressure city break – here’s what we learned

I

t was only in the boarding queue for my flight to New York that I realised just how desperate I was to visit. For over 20 years I’d muted my eagerness to see the city in its glittering, foggy, rhythmic glory. I’d devoured its neon districts and steaming subways on sitcoms and perfume adverts, but always assumed it to be the territory of capitalhopping businesspeople, committed dreamchasers, competition winners or honeymooners.

After all, it’s the billboard-filled, flashing capital of capitalism, and only found at the end of a long-haul flight. Hardly a realistic holiday destination for someone with student debt, a lovely job in the arts and an ironclad incapacity to save money.

And then, just like that, Norwegian Airlines changed the game; announcing new, affordable flight routes between the UK and the USA. And we’re not talking slightly discounted, we’re talking eye-rubbing, thigh-slapping, cackling aloud in disbelief-type prices. At the time of writing you can nab a return from Edinburgh International to New York’s Stewart airport for £200.

The airline kindly provided The Skinny with two return flights this June, allowing us to, er, ‘research’ the perfect NYC mini-break and give you, our readers, the 411 on the future of affordable long-hauls. Obviously, we obliged.

Getting off the ground Disclaimer – it’s a budget flight. You’ll land upstate at Stewart Airport, which is an 80 minute bus journey from NYC (actually a pretty standard journey time in Big Apple airport terms). The seats are not lined with goose feather pillows and you’ll have to do some bodily origami to get some kip. We were brought a tasty veggie meal, as booked, on both flights, but were expected to buy bottled water if our thirst was not satiated by the one or two drinks provided at meal-time – a budget airline policy we hope will be readdressed for long haul. There’s on-board WiFi and an entertainment streaming service for your phone or tablet, but it was subject to teething problems in the new flight routes. That said, there’s a decent bus service between Stewart and NYC, and if you’re equipped with refreshments, downloaded distractions and readiness to sleep creatively, the corners cut are definitely worth it for the hefty savings. That’s tip number one right there.

On to the attractions Here’s our next tip – gone are the days of justifying a £700 return flight with a voracious itinerary that’ll leave you broke, knackered and devoid of the will to live (let alone fly home). Cheap flights = the prospect of a return visit. Knowing you can always go back – and that the godforsaken Hershey’s Chocolate World will still be there when you do – makes it a whole lot easier to spend some of the trip uncovering your very own hidden city treasures.

We spent only four nights in NYC, and flexibility was the key to our success (tip number three, in case you’re keeping count). We listed every single must-see and must-eat, grouped them in blocks according to proximity and created a mix’n’match itinerary that could accommodate the hysterical weather. Didn’t stop it pissing down when we hit the Top of the Rock, but hey, you can’t have it all.

Swapping photo-opps for one-offs Of course, we made pilgrimages to Grand Central and The Highline, MoMA and The Guggenheim, Times Square, Central Park and Ground Zero. But we also felt free to catch a subway to Williamsburg and stroll through the technicolour streets of party supply stores and pawn shops. Tip number four – don’t waste time on photo-opps you’re secretly not bothered about.

We didn’t feel FOMO when resting our legs for an indulgent hour in the lesser-known

McCarren Park, watching a cross-section of Brooklynites stroll round and round the sunwarmed race track. We skipped Broadway and pretzels for yard sales and agonising over the toppings on our pressed juice ice creams – but it didn’t feel like a guilty trade-off. As evening fell on each of our days in the city, we felt fulfilled rather than frazzled (jetlag aside).

Because our visit took place during Pride season, we also took a little time swooning over the rainbow flags which festooned the stoops and shop fronts in Greenwich Village and Hell’s Kitchen – two areas in Manhattan known for their progressive undercurrents. We made a quick beer stop at Rudy’s, a highly praised dive bar with a dusty ruby-red interior, amicable atmosphere and – most importantly for carnivore boozers – free hotdogs with your drinks.

A tattooed, stocky dude with a radiant smile (who I’d assumed to be a Rudy’s bartender) brought over a stack of the promised hotdogs.

When I declined due to my vegetarianism, he hot-footed out onto the street, returning minutes later with a generous bucket of blue cheese salad.

The encouraging nods and knowing giggles of nearby punters – his friends – demonstrated that this was not a case of exceptional customer service, rather the friendliness of a New York local and classic Rudy’s regular. “This is what we do here – nobody goes without,” he told me, introducing himself as ‘Meatball’ and setting

Words: Kate Pasola Photos: Sarah Donley

down a pitcher of cold beer.

For the next couple of hours we got to know Meatball and his gang over shots and beers; a few of the guys were skyscraper construction workers, and one guy, Max, was a journalist from the Village Voice – NYC’s answer to The Skinny. Though diverse in conversation and backgrounds, they were united in a single recommendation for the following day: Coney Island’s Mermaid Parade, an annual pride street party that’s exactly what it says on the tin. And that brings us to our final tip; listen to locals. Bitten by the spontaneity bug?

Roll with it.

Although, despite our fervent promises, we never made it to the Mermaid Parade. Apocalyptic storms and misplaced raincoats made the prospect of a day outdoors on Coney Island quite unattainable. Instead, we sheltered at Saigon Shack with a comforting bowl of pho, we drank beer in Stonewall, and we yelped with joy at Drag Queen Bingo. Nevertheless, I’ll remember the recommendation, Meatball’s baffling hospitality and that Rudy’s booth, full of bourbon and ebullience for years to come.

And who knows, maybe we’ll make it next time?

Flights provided courtesy of Norwegian Air. Find out more at norwegian.com/uk Futuristic robot hotel provided by yotel.com/en/hotels/ yotel-new-york Literary history hotel provided by algonquinhotel.com/

Accommodation We’re not going to pretend to have all the answers here. Where you stay totally depends on the type of experience you’re seeking. We were keen to tick a good few Manhattan must-sees off our list, so picked out a pair of contrasting haunts in the Midtown area.

First up, the purple-hued oasis of efficiency and chicness that is Yotel. With an automated check-in system, a robot concierge, ingeniously designed rooms, comfy beds, a badass roof terrace and skyline views so marvellous you’ll feel like you’ve had a religious experience, it’s a good shout if you’re seeking simplicity and modernity.

If you’d rather a quintessential New Yoik experience, complete with mahogany, mirrors and a romantically faded glamour, check in to The Algonquin, Autograph Collection. It’s a charming hotel steeped in literary history, from the conscientiously stocked newspaper stand, to the framed New Yorker covers, to their tradition of offering guests a complimentary book on the morning of their check-out. Bookish travellers, go bananas.

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Safe and Sound Bands like PWR BTTM and Cabbage capitalise on modern hunger for progressive icons and safe space – that’s why recent allegations of abuse and harassment are not only upsetting, they’re a betrayal of trust

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ecently, two bands have disappointed – and disgusted – their fans. PWR BTTM, an American queer glam punk band, and Cabbage, a British indie-rock darling, are both under intense scrutiny after their lead singers have been accused of sexual misconduct. While celebrities abusing their status in this way is hardly a new phenomenon, these cases are particularly shocking because the public persona of each act was inextricably tied to ideas of social justice and safe spaces.

These bands, and others like them, are part of a new wave which appeals to young, politically active people – often women, non-binary, and queer folk. The social justice demographic is a pool of money to be tapped into – something that many mainstream acts have often overlooked. It’s intoxicating to feel safe.

I’m part of that demographic, and a few months ago, I went to see PWR BTTM in Glasgow.

It was a jubilant gig, with all the hallmarks of a queer-as-heck night, from our furtively applying glitter on the train-ride over, to the newly applied gender-neutral bathroom stickers. These gigs were marketed as a safe(r) space; a place where we could be queer in harmony, without threat of violence. To that end, the band repeatedly reminded us not to mosh too hard, to make sure everyone around us was having a wonderful time.

The songs appealed to both the glitz of gay life, and the pain and loneliness inflicted upon queer people by straight society.

It was a glorious evening; one of those nights that leaves a taste in the mouth as sweet as butterscotch. That taste turned rancid a few weeks later, though, when allegations came to light that Ben Hopkins (one half of the PWR BTTM duo) had sexually abused and then harassed one or more of their fans. It started to feel as though all of PWR BTTM’s safe space bluster was part of the act.

Similar stories are emerging about Cabbage, whose lead singer apparently has made aggressive sexual gestures and advances towards female

July 2017

fans part of his shtick – particularly disappointing from a band whose fanbase similarly adored their feminist-friendly, self-appointed ally status. Both bands deny reports of any sexual misdemeanours.

“Do right-wingers and safe space critics imagine that minorities grow up in cotton-wool, only meeting opposing views during freshers week?”

These bands’ betrayals of their fanbase hurts so much because their followers have a desperate need for spaces where they can express themselves. In a world of straight, white, mediocre idols, we are desperate for heroes from our own communities who represent us – or claim to. I was definitely taken in – at that gig, I felt the sheer bliss that I imagine straight people feel most of the time. I finally felt accepted, in a place of my own.

I can only wonder how the young girls at Cabbage gigs might have felt watching the performances of straight men they felt safe around, whose entire image was constructed around the premise ‘I’m not like those other guys, you can feel safe around me’. We’re eager for allies as well as emblems. We’re so often told that we need straight white men to defend us that it can be such a blessing and a relief to finally find men who seem harmless. It hurts all the more to find

out that this trust just gave them the opportunity to insidiously fuck you over at a later date.

The safe space debate Debates rage in the press about university students’ demand for safe(r) spaces; aged left-wingers bemoan the transformation of radical young warriors into supposed weaklings, while fascists and their fans mock the ‘snowflake-ification’ of the millennial demographic. This is all pretty absurd, considering that the reaction of many Western right-wingers, when criticised for problematic behaviour, is to lash out and demand safe spaces of their own to spout bigotry freely.

However, safe spaces aren’t just found on university campuses. While the name might sound new to an older generation especially, the basic rule of a safe space is the age-old etiquette of ‘just don’t be a dickhead’. A safe space is a place where people can be free to talk as themselves, without fear of reprimand or insult. The concept behind safe space is actually pretty normal to most people: you’d expect not to be laughed at when talking to your doctor about your warts, one hopes that your priest wouldn’t spit at you in the confessional booth, and your Alcoholics’ Anonymous meeting is unlikely to call you a faker who’s desperate for attention. Society is full of pockets of quiet, of trust, of safety. Without them we’d explode. Even so, the toxic response to any demand for a safe space is immediate and predictable: ‘You need to be confronted with other opinions, not coddled!’

Here’s the thing I don’t get: do right-wingers and safe space critics imagine that minorities grow up in cotton wool, only meeting opposing views during freshers week? The notion that oppressed folk are unfamiliar with the opinions of those opposed to our very existence is illogical.

I learned that people are homophobic before I knew I was gay. If you think minorities don’t know about the way the world holds contempt for us,

DEVIANCE

Words: Toby Sharpe Illustration: Jacky Sheridan

you’re the ones with your eyes covered by a frosty lens of snowflakes. All we need to do is turn on the TV. Read the Daily Mail. Walk down the street alone at night and wonder if danger lurks. We are constantly reminded that the world isn’t safe for us. A safe space is brief respite, and when bands like PWR BTTM capitalise on this trust to make a buck, before abusing it to hurt us further, it gets all the more depressing.

What’s the solution?

Trust nobody? Fear all possible allies as fake?

Close our hearts to hope? I think not – at least not totally. One of the things that’s wonderful about the queer community is that we hold ourselves to account rather better than our straight fellows. While Hollywood applauds accused abusers like Casey Affleck or Michael Fassbender, or Chris Brown inks yet another album deal, we got PWR BTTM ditched from their label pretty much immediately – although it seems like, with the help of lawyers, the band may still engender a renaissance.

And while we’re pretty dope at pushing enemies off podiums, we’re also getting better at valorising good work: look at the successes of bands like MUNA, whose music combines radical vulnerability with blazing calls for love and dance, of singers like Mitski who appeal for a gentler, wiser way to make music and listen to it, or movements to make gigs better for women, or festivals a generally safer environment for staff, singers, and guests.

The focus of our efforts shouldn’t be on building heroes or idols, or tearing people down at a moment’s notice, but somewhere in the middle.

What matters in our communities is ensuring that queer people actually have a chance at a life where they can express themselves, where they can be happy, and where they can be safe. theskinny.co.uk/deviance

Lifestyle

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TLK 2 STDNTS Target 40,000 students across Edinburgh, Glasgow and Dundee.

The Skinny Student Handbook, published Sep 2017 To secure your advertising space or for more information call The Skinny sales team on 0131 467 4630 or email sales@ theskinny.co.uk

@TheSkinnyMag @TheSkinnyMag /TheSkinnyMag

Illustration: www.verbals-picks.com

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Making Waves Belgian food and drink, cutting-edge electronic music and street art come together at a new weekend-long festival in Edinburgh this month

B

elgium and Scotland have a good few similarities – they’re both comparatively small countries with chunkier next-door neighbours, they’re both packed with lovely historical buildings, and they both love to party. Oh, and one other thing; they both love beer – Belgium’s beer

Words: Peter Simpson

cellar runs from monk-brewed ales to spontaneously-fermented sours to deliciously crisp pilsners, and the national beer culture is all about perfecting the classics while trying new things. Scotland and Belgium’s shared love of a good beer-fuelled party manifests itself this month in the form of

Heverlee at New Waverley, a three-day long microfestival of art, music, food and beer at the New Waverley Arches in Edinburgh.

‘OK’, we hear you say, and fair enough; we aren’t exactly short of festivals these days, from urban all-dayers to week-long booze-ups in fields.

Close your eyes, spin around five times and run forwards – chances are you’ll end up tripping over a ‘unique boutique festival combining street food and The Arts’, taking down a food truck and synth player in the process. What makes this one a bit different is that it celebrates another similarity between the Belgians and Scots – a love for the madcap and unexpected. That is to say, this ain’t your average beer or beer-adjacent festival; this is your average beer festival’s cool but highly unpredictable younger cousin.

First up, the music. Fittingly for the nation that gave us both electro mash-up aces Soulwax/ 2manyDJs and hip-house pioneers Technotronic (Pump Up the Jam remains a banger to this day, and we won’t hear otherwise), there’s a whole host of interesting, avant-garde electronic DJs being lined up for the weekend by Edinburgh label Firecracker Recordings. Across the three-day fest there’ll be DJ sets from Edinburgh deep house duo Linkwood, NTS Radio’s Charlie Bones and LuckyMe’s Eclair Fifi, as well as Firecracker label boss House of Traps amongst others.

Food-wise, The Pitt are running the show.

The Pitt crew are no strangers to the Arches, with

sister project Food + Flea going from strength to strength at the New Waverley site. However, for the Heverlee event they’ll be moving away from their usual fare and serving up a range of Belgian culinary classics. These range from the expected – your moules-frites, your waffles – to the highly intriguing, like the beery, beefy stew that is Carbonade flamande. As for drinks, there’ll be the chance to try out two limited edition new beers by Heverlee, created especially for the festival.

On the art side of things, the Belgians’ love for a bit of graffiti and street art will be celebrated with a series of new murals curated by Fraser Gray. There’s also immersive video art from surrealist cinema collective KinoKlub, who are putting together a piece inspired by Belgian animation and cinema. There’ll also be a pop-up cinema on the festival’s final day, courtesy of Picturehouse Pop-Up. Heverlee describe the three-day festival as celebrating “some of our favourite aspects of contemporary Belgian culture”, and it promises to be nothing if not a varied weekend. It does have all the components of a good party though. Loads of beer, intriguing food, leftfield dance music, street art and surrealist cinema, all packed into some former railway arches? Count us in.

Heverlee at New Waverley, East Market Street Arches, Edinburgh, 21 Jun 4-11pm, 22 & 23 Jun 12-11pm, free The Skinny is media partner of Heverlee at New Waverley heverlee.com

BBQing Ethically: A brief guide Everyone loves a barbecue; here’s how to have one without destroying the planet or offending your neighbours

A

h, the barbecue. Come rain or shine, we’re ready with a bag of cans for the lads and a packet of two-for-one burgers ready to simultaneously burn and undercook. But what does the whole set-up mean for our eco footprint, we don’t hear you cry?

Not only a sure-fire way of feeding into our fixation with bulk-bought cheap meat, your average BBQ is also a place where convenience presides over conscience – where empty beer bottles are bunged into a bin liner at the end of the night along with the chicken bones and plastic hummus pots that are destined for the landfill site.

But it’s not hard to make better BBQ decisions, even when you’re half-cut, slightly sunburnt and high on burgers...

Do your research This is a polite way of saying ‘make sure you understand how fire works’. Have you placed your foil tin filled with highly flammable material directly on the grass? Have you popped your barbecue directly upwind of another group of people, leaving them in the path of a particularly meaty smoke machine? Have you brought absolutely no water or safety equipment with you, thus increasing the chances of your favourite park being incinerated à la Terminator 2? If the answer to any of these is ‘yes’, go back inside for a moment and have a wee think.

July 2017

Words: Jess Hardiman & Peter Simpson Illustration: Alexis Jang

Don’t eat so much meat Turns out you don’t need a burger, a hot dog, two chicken drumsticks and a half rack of ribs to get you through an evening of drinking shit lager in the sun. Spend a little more on well-sourced, free-range meats and just cook them really fucking well – spatchcock a whole chicken or some shit; do it justice. The meat industry’s negative impact on the environment is no secret, and while we’re not suggesting you give it up altogether, just be realistic about how much you really need.

seasonal produce like courgettes, beetroot, broad beans, tomatoes, watercress, green beans, lettuce, new potatoes, peas, radishes and more.

Drink local booze And speaking of shit lager, get that noise out of here. Scotland’s beer scene is pretty great right now, and the good news is that the supermarkets have jumped on board to the point where you can pick up rock-solid locally-made beers basically anywhere in a city centre. If you’re standing in the aisles thinking ‘oh you know what I fancy, a Fosters’, then get back inside with those accidental arsonists from earlier.

Don’t use disposable plates You’d think it’s all well and good using recyclable paper plates, but once they’ve been soiled with grease and bespattered with tomato ketchup, they’re actually no longer recyclable. Either stock up on some melamine crockery to reuse each time BBQ season rolls around, or, better still, just clamber in to the recesses of your cupboards and pull out what you’ve got – the chipped, the slightly-too-small, the downright ugly. Literally no one gives a fuck if they don’t match.

Shop locally and seasonally In short, shop well – especially if you’re going to be cutting down on meat and spending your cash on tasty craft beers. Make what you do buy the good shit. Favour locally sourced stuff to cut down on air miles, which also means going for

Don’t use disposable cutlery Plastic forks are for two year olds, and they’re all idiots. Wooden cutlery, very literally, doesn’t cut it. Stop being so lazy and just wash up the knives and forks you have in your kitchen drawers, or ask to borrow your neighbour’s if you’re the kind of weirdo that only owns three forks.

Put your rubbish in a bin Even if you’re against everything else on this list, at least tidy up once your fun is over. If you are against this then put yourself in the bin, you absolute monster.

FOOD AND DRINK

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Food News Words: Peter Simpson

T

he worlds of contemporary art and food run headlong into one another at this year’s Embassy Annuale, with Rebecca Green’s piece Top Banana. We’ll just leave this explanatory text here: “A Top Banana is a banana decorated with markings that are tribal, purposeful and meaningless... great to pull out of your lunchbox at work to impress, or intimidate, your colleagues. Please email the artist at rebeccagreen1@mac.com if you would like one.” Are you intrigued? Because we certainly are.

Details at annuale.org.

Over in Glasgow, Grist is an exhibition of work by Glasgow drinks design specialists Thirst Craft. You’ll find illustration, graphic design and typography from their work across a host of drinks – if you’ve ever dreamed of starting your own craft brewery but want to start with the visuals and work backwards from there, this is the place to get your inspiration. 8 Jul - 13 Aug, The Lighthouse, Glasgow, free, thelighthouse.co.uk Then there’s Jupiter Artland’s day of Foraging & Wild Pizza Making, in which forager Lisa Cutcliffe will teach you all about the delicious and totally free plants just lying around waiting for you to turn them into something tasty.

After a blast through which stuff you should and shouldn’t be trying to plunder, you’ll put your new foraged ingredients through their paces on some wood-fired pizza. We are in favour of having wood-fired pizza with basically everything, so thumbs up from us. 15 Jul, 1pm, £55, tickets via jupiterartland.org CCA plays host to Daily Bread, a workshop led by artist Rowan Markson which tackles issues of sustainability and sociology through the prism of bread in both Glasgow and Marrakech. Examine the ways in which cultural taboos and economic circumstances affect our eating habits; Bakery47 and Sgaia Vegan Meats will be contributing recipes to bring things right up to date. 23 Jul, 3pm, free, book via cca-glasgow.com Returning to Glasgow this July are a pair of firmly-established fests. The first is the West End Beer Festival, back for its third outing and promising beers from a host of breweries big and small (21 & 22 Jul, various times, Hillhead Sports Club, £9). Then there’s the Merchant City Festival which features a host of street food markets, food tours, and the highly intriguing Glasgow’s Food Chain on Film, exploring the culinary landscape across Glasgow in the 20th century courtesy of archive film from the Moving Image Archive. (24 Jul, 6pm, merchantcityfestival. com) Elsewhere, the National Whisky Festival follows its successful first edition with an outing at the Edinburgh Corn Exchange. Expect dozens of whiskies, a programme of talks and masterclasses, and everything you’ll need to become a whisky convert for the afternoon. 22 Jul, 12-3.30pm, 4.15-7.45pm, £40, nationalwhiskyfest.scot We close July with a glimpse into our Fringe-heavy future, with the return of the Edinburgh Food Festival. Taking over the Assembly gardens at George Square for a week ahead of the Fringe, there are talks, pop-ups, and a host of local street food aces will be on hand, including Glasgow craft soda creators Rapscallion in their travelling bar. It’s called JÜS, it looks like a giant satsuma, and much like the Fringe itself, it’s as ludicrous and brilliant as it sounds. 26-30 Jul, George Sq Gardens, edfoodfest.com theskinny.co.uk/food

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Lifestyle

Quay Commons

New in Food Our latest new venues round-up, featuring custard tarts, delicious pizza, converted toilets and chicken for days NEW VENUES IN GLASGOW Babs The latest venture from the squad behind the exemplary burgers at Bread Meats Bread, Babs is not a loving tribute to Albert Square matriarch Barbara Windsor. Instead, it’s a restaurant which seeks to elevate the kebab into an artform, with local ingredients freshly fired on roaring charcoal grills. Humble but delicious food turned up to 11?

Sign us up. 49 W Nile St. Chaiwallah ‘Former public toilet turned cafe’ may sound like a particularly intriguing episode of Grand Designs, but it’s actually the story behind Chaiwallah at the entrance to Kelvingrove Park.

Inside it’s all tasty cakes, drinks and savouries made with locally sourced ingredients – the teas are from Tchai-Ovna, the cheese from the award-winning IJ Mellis – plus there are plans to create a roof terrace, allowing you to lord it over earthbound park-goers while drinking a lovely cup of tea. 55 Eldon St. Down to Earth Organic Billed as Scotland’s first all-organic restaurant, everything in Down to Earth is eco-friendly and locally-sourced, from the produce to the reclaimed wood in the tables. Menu-wise, things are pleasantly varied – sure, there are the expected grain bowls and coldpress juices, but there are also impressively meaty breakfast options and delicious organic beers from Yorkshire brewery, Samuel Smith. 351 Dumbarton Rd.

It All Started Here The Glasgow coffee pop-up has put down roots in Shawlands, serving up top-notch coffee each weekend. Expect expertly-pulled espresso from a host of top-notch roasteries from across Europe – if you need a caffeine jolt to get your weekend going, this is where to... begin. Sat & Sun only, 75 Deanston Dr. NEW VENUES IN EDINBURGH Casa Amiga A city centre outpost of the popular Leith Walk spot, Casa Amiga is a Portuguese cafe. That means delicious coffee, and it also means pastéis de nata – the iconic and delicious egg custard tarts soon to be popping up on the faces (and shirts) of happy commuters up and down the Bridges. North Bridge Arcade.

Dough A second branch of the Edinburgh aces, whose pizza is one of our favourites in the capital. Light fluffy dough, great toppings, top chat (we once walked in on the entire staff loudly singing Alanis Morissette) – just an all-round great package.

47 South Clerk St. Harmonium For years, Edinburgh’s veggies and vegans have gazed lustily down the M8 at Glasgow venues like Mono, Stereo and The Flying Duck. ‘Cutting-edge vegan food in cool environs,’ they’d say, ‘we want some of that’. Well good news – Harmonium is the Edinburgh debut of the team behind those venerable veggie spots. In the Leith spot formerly occupied by V Deep, former Mono head chef VSO Henderson is heading up the kitchen, so expect very, very good things. 60 Henderson St.

FOOD AND DRINK

Words: Peter Simpson The Fat Pony New from the man behind Edinburgh bistro The Dogs, The Fat Pony is the latest in a string of new wave wine bars to hit the city in recent years.

Expect dozens of old and new world wines by the glass when the Pony opens its doors. 47 Bread St. Konbo Arcade Cafe If you like old-school gaming and lovely coffee, but have struggled to blend the two together without getting grounds all over your Mega Drive controller, fear not. Konbo, Edinburgh’s first arcade cafe, is here to help. The cafe features a range of Japanese arcade machines, offering retro classics to get stuck into; coffee from Artisan Roast, fresh treats from Tasty Buns and Dough Re Mi, and imported Japanese snacks and drinks provide ample fuel. 123 Gilmore Pl. Quay Commons A new bakery and bar from the team behind Gardener’s Cottage on London Road, the shoreside venue is designed to be a combination of kitchen space, wine shop, bar and cafe. Nestled in next to some of the Shore’s most-loved venues, it’s yet another reason to ditch the city centre and head waterwards for great food and drink.

92 Commercial St. Spatch It’s a simple equation: chicken plus fire equals good. Spatch takes that simple formula and runs with it in its new location right in the middle of town. Good location, solid concept, nice interior, and bonus points for a name that will dramatically increase the number of people shouting the word ‘cock’ at each other as they head onto the Royal Mile. 3 Hunter Sq. theskinny.co.uk/food

THE SKINNY

At Souq Edinburgh, we bring the Middle East to you. A stunning array of hand crafted Turkish & Moroccan lights as well as ceramics, leather goods, sweets, and gifts from the region, adorn our loaded Souq shelves.

The owners of the well loved Hanam’s, Pomegranate and Laila’s restaurants also bring you their atmospheric Arabic cafe in the basement of Souq for that authentic market place experience.

57-59 South Clerk Street, EH8 9PP souq-edinburgh.com info@souq-edinburgh.com 01316676601 @souqedinburgh /souqedinburgh

Your FREE Guide to the Edinburgh Festivals

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July 2017

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Hundreds of reviews

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New issue every Tuesday & Friday

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12pm - 10pm daily

MASTERCLASSES · COMEDY · PRIVATE TASTINGS LIVE MUSIC · LIVE ART · BARTENDER COMPETITIONS STREET FOOD · FLEA MARKET · BOTTLE SHOP www.edinburghcocktailfest.com Please drink responsibly

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THE SKINNY

RE V

Start a Rant

IE W Interview: Tallah Brash

Photo: Paul Burt

We catch up with Glasgow-based Breakfast Muff to chat about their latest album Eurgh! and address gender imbalance in the music industry

“W

e were going to be called Fanny and the Breakfast Muffs and now I’m really glad that we cut it short,” says Simone Wilson early in our chat. “We were looking through mad books like...” – adopting a creepy voice – “‘we need a really good name – a really disgusting name.’”

From the off we know we’re in good company.

Breakfast Muff are as passionate, boisterous and fun in person as they are on record, and as our conversation continues in the back corner of Glasgow’s Hug & Pint, it’s clear to see these three bandmates and pals mean the world to each other.

They bounce off each other throughout our chat, laughing at the funny points and listening intently when something serious is being said. It’s utterly refreshing and they’re a joy to be around.

While Breakfast Muff have only been together since 2014, they’ve known each other for longer.

“Me and Eilidh met through a course at Green Door [Studio] when I was 16,” Wilson tells us, “and [we] became really good pals. We were in another band [together] and thought we wanted to do a girl band and then Cal joined instead and it was nice. It was good.” In a panic Wilson adds: “Not a girl band though, can we rephrase that? A band with three girls in it…” Cal Donnelly quickly chimes in: “Someone left before you’d done any gigs or [written] any songs, but they had this gig booked and I was like ‘I’ll do it, I’ll help’, but then we ended up writing a bunch of songs before the gig just in one practice, and that became the basis for the first album that we did.”

The Feels was the first album the band wrote together, which they made in just two days, and their second, Rainbow Yawn, was made in three, so it’ll come as no surprise to you that their latest effort Eurgh! was made in just four days. “I think we don’t like to overthink anything too much at all,” says Wilson. Eilidh McMillan adds: “The fact that they were all recorded quite quickly isn’t like some kind of a decision really, it’s more like it’s expensive to record things.” Wilson concedes, “We can’t be too precious with it cos we’re all skint.”

The first two albums were recorded in true DIY fashion in the bedroom of Glasgow producer, and Catholic Action frontman, Chris McCrory. For Eurgh! however, they upgraded to The Big Shed Community Centre in the Highlands and in an effort to keep that authentic live sound, they

July 2017

recorded all of their vocals together, with whoever was singing lead on that particular song upfront and those on backing just standing further away from the mic. “It made recording vocals a lot more comfortable and natural,” Donnelly tells us.

But where does the inspiration come for their quirky songs? Previous albums include track titles like Cock, Pizza, Not Down 2 Fuck and Horny People. “We just have rants. We start a rant just talking,” Wilson says. Cackling uncontrollably, McMillan exclaims “It’s true, it’s true!” and Donnelly completes the circle with “It is!” Continuing where she left off, Wilson adds “We don’t think about the music side of it really – we just go ‘Uuughhh, I hate that!’ ‘Fuck Tories!’ ‘I hate Tories so much!’”

Concluding with the most ridiculous simile, McMillan says: “It’s like in High School Musical or something, when someone starts saying something and they just get up on the tables and start singing about it, it’s like that.”

The fact that lyrical inspiration can come in the form of a rant means a song can be written when they least expect it. “We made up three songs while we were [recording The Feels]. On [Rainbow Yawn] we made up that song Horny People really quickly,” Wilson tells us excitedly, outing McCrory along the way. “It’s Chris, he’s not even credited on it, but he’s [saying] ‘I like to put cream on me face.’” Donnelly chips in: “If anything gets written about Chris McCrory it should be that he’s a deviant and you can hear it on that song.”

On all three of their records, Breakfast Muff tackle serious subjects with straight-up, in-yourface emotion – Eurgh! confidently deals with everything from sexuality to feminism to bullying, and from the moment album opener Lunch Money starts, you know they mean business. I Like To’s round of ‘I like to suck dick, you like to eat pussy, and that’s okay’, along with R U A Feminist’s ‘You’re a feminist until I won’t fuck you / You’re a feminist until I talk to other guys’ are the icing on the Breakfast Muff cake, with the latter tackling the serious issues of being in an abusive relationship.

Breakfast Muff aren’t afraid to say exactly what they’re thinking and it’s empowering. “I think we just reached a point where [we were] at gigs just trying to enjoy ourselves and people would sometimes be the worst,” says Wilson. “People are like ‘Aw, Glasgow’s really [great]’, [but] there are still a

lot of lads and I just want to tell them to fuck off!”

“I think for me, it’s all about our personal experiences, 100 percent,” adds McMillan. “When you have the opportunity of being given a platform and people are listening to you, it’s really important to use that wisely, and not just fuck it. If there’s a bunch of dudes playing guitar music they have to try a lot harder – well obviously they don’t care what I think probably, but in my head they have to try a lot harder to impress me. When I was in fifth year I picked up a guitar in music class and the music teacher was like ‘that doesn’t suit you, hahaha’, and there’s like dudes who get guitars for their eighth birthday and shit.

“ When you have the opportunity of being given a platform and people are listening to you, it’s really important to use that wisely, and not just fuck it” Eilidh McMillan

“I think the [guitar band market] is oversaturated,” McMillan continues. “It’s kind of a duty. If you’ve got that platform to use that to try and make a point that’s useful in some way. If it’s not useful why aren’t we just doing something else? I get it, for art’s sake, I do believe in that to a point, but then also when you’ve been given a platform that’s when you should think more carefully about the messages you’re sending across.” We ask Donnelly if he has anything to add to this? “Obviously I agree with what Eilidh’s saying [but] I can only understand it so much – I could never fully

Music

say I’ve experienced what you’ve experienced, especially in music, especially as a guy.”

We all sit for a second in silence; our conversation has taken a turn and we’re all bummed out at the state of gender imbalance in the music industry. “It’s funny,” Donnelly says, breaking the silence, “because [if] you go to any shite open mic night in Glasgow you’ll see some drunk wee prick trying to play Wonderwall and it’s just all guys who all dress like a fucking Topman model – they’re all just belting it out because they’re allowed [to].

It‘s just weird,” he concludes sounding utterly exasperated, “there’s a fucking gap.”

The wonderfully onomatopoeic word and album title Eurgh! springs to mind right about now, and McMillan perks up, asking gruffly “is it ‘EURGH!’ or is it” – in her best Joey Tribbiani voice – “‘EeeEEeuuUUurgh?’” Donnelly is quick to explain that “it’s either an exclamation of joy or disgust, it’s up to you. It just seemed appropriate.”

While angry and frustrated, our chat quickly turns to Girls Rock School Edinburgh, set up to help inspire and give confidence to girls wanting to learn an instrument. As we talk to Breakfast Muff, it’s just a few weeks before they’re due to play a fundraising gig for Glasgow’s Rock’n’Roll Summer School for Girls which is about encouraging “confidence, creativity and noise!”, so it’s not all doom and gloom.

When Breakfast Muff first got together none of them could play drums and Donnelly tells us the real reason they started a band together was their “shared inability to play musical instruments.”

And now, like these Edinburgh and Glasgow projects, the three friends hope to inspire others to get the confidence to do something they otherwise wouldn’t have done. “It’s encouraging,” says Donnelly. “Maybe at the start we wanted to prove to ourselves that we could make a band where it’s just people that can’t really play anything and people would give a fuck about it, and they have.

We get to play gigs and we get to do cool stuff, so in turn it would be nice if people would look at us and be like ‘aw, I want to start a band.’” McMillan concludes: “It would be good if that empowered people and if that’s the case then that’s more important to me than being perfect.”

Eurgh! is out on 7 Jul via Amour Foo breakfastmuff.bandcamp.com

Review

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Sofar So Good We speak to Edinburgh and Glasgow Sofar Sounds organisers to find out what’s next for the Scottish leg of this unique and intimate gigging community

Interview: Megan Wallace

several popular live music venues, as well as increasingly tough council restrictions. Evans comments: “I arrived in Edinburgh after The Picturehouse closed so couldn’t mourn that, but it was so sad to see Electric Circus, and now Studio 24 go too. We are lucky in that, since we move spaces each time, we don’t have all the same restrictions as fixed venues, which frees us up to use lots of different and interesting spaces in different areas.”

Unlike Edinburgh, in the midst of full-blown venue crisis, Glasgow’s gigging scene is going from strength to strength. As Dun puts it: “There are some amazing independent promoters in Glasgow at the moment (Synergy Concerts being the one that stands out the most) that work crazy hard at making the city one of the best cities in the country for live music. There are very few nights of the week right through the year where there isn’t a great show being put on. Bands of all genres and from all over the world too. It’s really exciting.”

Elaborating on why Glasgow is such a great place for Sofar, Dun says: “The sheer number and quality of bands is mad. We try as best we can to put on one show a month and we are spoilt for choice as to who we can book and the different places we can host shows.”

While Edinburgh can’t necessarily compete with Glasgow on these terms, Evans explains why Sofar works so well in the capital: “To me Edinburgh is a great sized city for Sofar – it’s compact enough to have a connected and supportive music community but big enough to allow us to grow our audience while still being able to value those who love going to Sofars so much that they come back again and again.

“The secrecy of the venues also allows us to show people great spaces in areas of Edinburgh they wouldn’t normally think about going to, for instance in June we had a gig at Chamber Studios in Granton – it was the first time most people had ventured that way but it’s such an amazing place

Do Not Miss

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Review

Photo: Solas Nicol

PAWS

The Motion Poets

The Motion Poets, Stereo, Glasgow, 13 Jul

Photo: Calum Buchan

Strange Behaviours: Summer Party, Tolbooth, Stirling, 8 Jul Strange Behaviours: Summer Party is a multi-stage, eclectic and diverse mini music festival taking place in the fair city of Stirling tonight from 7.30pm. There’s indie-punk from PAWS, hip-hop from Loki, garage-pop from Domino signees Spinning Coin, slacker-pop from Passion Pusher and loads more. Treat yourself to a day out in Stirling, then stay late into the night for a glorious cross-section of Scotland’s thriving music scene.

We’ve been promised “it’s gonna be beautiful.”

and the guys over there are just fantastic, so we were so thrilled to partner with them!”

Both chapters have events planned for July and August and continue to expand and grow so be sure to keep your eyes peeled for exciting Sofar news and events in Scotland. Additionally, the two cities will be hosting Give a Home events on 20 September, a collaboration between Sofar and Amnesty International in aid of refugees, which takes place on the same day in over 60 countries across the world. Uncharacteristically, certain acts have been announced ahead of time, with the Glasgow event set to feature Frightened Rabbit and The Fratellis, and the Edinburgh event serving as host to indie rockers The National.

The Skinny have teamed up with Sofar Sounds Edinburgh to co-curate a special event in the capital on 20 Jul Sofar Sounds Glasgow’s next event is on 23 Jul in Shawlands Apply for tickets to both events at sofarsounds.com

The Ninth Wave, Dragon’s Den, Dundee, 14 Jul Awarded Best Newcomers at the 2016 Scottish Alternative Music Awards, Glasgow’s The Ninth Wave are heavily influenced by 80s new wave and gothic pop, and are super-polished and tight when it comes to their live show. Fresh from playing one of the official TRNSMT after parties last weekend, The Ninth Wave play Dundee tonight in celebration of their new single, Reformation, released 14 Jul via Distiller Records. They also play The Poetry Club, Glasgow, 13 Jul.

The Motion Poets are a young indie grunge band who live together in Edinburgh. After getting together last year, the four-piece released their debut single, One Too Many, at the start of May and tonight play their first headline show in Glasgow at the mighty Stereo. Get there early to enjoy some delicious vegan food and a hefty helping of support acts in the form of Glasgow’s Flakes and fellow Edinburgh bands Posable Action Figures and IDKID.

Music

The Ninth Wave

The London Astrobeat Arkestra

The London Astrobeat Arkestra: Stop Making Sense, Summerhall, Edinburgh, 15 Jul

Photo: Ian Schofield

ounded in 2009, Sofar Sounds (Sofar standing for ‘songs from a room’) started as a passion project for London-based music lovers Rafe Offer, Rocky Start and Dave J. Alexander. They’d felt let down by recent gig experiences and decided to get some musician friends over to Alexander’s flat for a low-key performance. Since then, Sofar Sounds has become a platform that enables an unexpected mix of artists and audiences to come together to celebrate what’s really important: the music. Gone are the extravagant light shows, the overpriced bar, and the extortionate ticket prices. In their place, a typical Sofar gig offers up new talent in an intimate venue and the chance to meet new, like-minded people.

In order to deliver an out of the ordinary music experience, the people at Sofar had to come up with a model that was in itself pretty extraordinary. When you buy a ticket to a Sofar Sounds event, you do so without any prior knowledge of where it’s going to be within your chosen city, or who is going to be playing. It’s only the day before the gig that you are notified of the venue (which could be anywhere from a furniture shop to your best friend’s living room!) with the line-up being a secret right up until the beginning of the show. Even if you can’t make it to an actual Sofar gig, you can always catch it on their global YouTube channel, making sure you don’t miss out, no matter what your situation is.

With regards to what’s on offer on the day, typically a show will consist of three performers, though organisers are free to shake things up however they see fit. Accordingly, a Sofar Sounds gig can feature spoken word poets, comedians, and even artists, in addition to musicians. The only certainty is that each performer is equally valued and respected, meaning there’s never any talk of ‘openers’ or ‘headliners’.

The idea might be somewhat unorthodox but it’s certainly caught on. What started as a two-man job in the UK’s capital has now spread to over 350 cities worldwide, providing roughly 500 opportunities for artists to play each month. Here in Scotland, we have two active chapters, one in Edinburgh and one in Glasgow. We speak to Lucy Evans and Craig Dun to find out a little bit more about how the initiative works in their respective cities and what they’ve got planned for the future.

Anyone familiar with the gigging scene in Edinburgh will be aware of the recent closures of

Photo:Ludovic Farine

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Jonathan Demme’s live Talking Heads concert movie Stop Making Sense is a thing of legend and wonder, constantly celebrated among film and music fans alike. Experience Talking Heads’ music like never before as they get an African overhaul courtesy of The London Astrobeat Arkestra who’ll be making their first trip to Scotland to play their favourite Talking Heads songs as featured in the film. We don’t know about you, but we’re 100% sold on this concept – see you on the dancefloor!

THE SKINNY

Pop Rocks Interview: Claire Francis

We speak to Edinburgh’s rising pop talent Elle Exxe ahead of a busy summer

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lle Exxe’s big break came in 2016, when she picked up the title of Best Female Solo Act at the inaugural Unsigned Music Awards in London.

Since then, the rising electro-pop star has released her debut album, Love Fuelled Hate, and has a busy summer festival schedule ahead – she recently took to the stage at Isle of Wight Festival, and has further appearances at Sziget Festival in Budapest, and closer to home, V Festival and Carnival 56, on the cards.

To get to know the upcoming talent from Edinburgh a bit better, we begin by going back to the influences behind her rock-inflected sound, which she explains was formed from a common source. “Like most people I guess, my influences came from my dad. He was listening to Supertramp, The Beach Boys and The Eurythmics, he would play those CDs all the time [when] we went on long drives,” she tells us. “My brothers got me into Queen, Foo Fighters and Marilyn Manson, stuff like that.”

Growing up in Edinburgh also exposed the singer-songwriter to an eclectic range of music that has further inspired her own compositions.

“There’s quite a good jazz scene in Edinburgh,” she affirms, which she says enabled her to develop her skills at saxophone and piano. “Also, the only underage club in Edinburgh was called The Mission,” she adds, “and I was kinda into Rage Against the Machine, heavy metal and emo music, and stuff like that growing up!”

Elle Exxe has been singing and writing songs since the age of 15, when she would perform under the name Harrison (her real name being Linda Harrison). She explains that the moniker Elle Exxe marked a transitional period in her career and holds a symbolic meaning on several levels. “There was a combination of things that happened. I wanted to escape the singer-songwriter behind the piano [image]. I wanted to make a break from that, and one of the first things that led me to it was when I sign off an email, I sign off with my initials, which is L, and a kiss – so Elle Exxe,” she reveals.

“There were a few other associations I had with it, and I like symmetry, so the palindrome style of Elle Exxe was interesting to me,” she continues. “And also it was feminine, you know! I was beginning to embrace myself as a woman and with ‘elle’ meaning ‘her’ in French and the double

elleexxe.com | carnivalfiftysix.co.uk

SUNN O))), the experimental metal and drone band, have a reputation for playing some of the loudest live shows around, so have been rather aptly tucked away in Glasgow’s SWG3 tonight.

Witnessing a SUNN O))) show is akin to joining a cult – the famous O))) symbol will be made by hands throughout the venue, held aloft in an approving manner, and you’ll quite literally vibrate from head to toe for the duration of their set as the lengthy notes ring out in your ears. If you’ve never experienced SUNN O))) before then there’s no time like the present, right?

Philadelphia-based Sheer Mag formed in 2014 and have since released a trio of EPs entitled I, II and III – one for each year of the band’s existence. This month, the five-piece release their debut album, Need to Feel Your Love, via Static Shock Records and are on tour to celebrate. Tonight, the magnificent Sheer Mag are brought to you courtesy of Freakender and Mono themselves, with support from Glasgow punks Anxiety, and DJs playing until late as they have a lovely 2am licence.

Martha Ffion

Photo: Estelle Hanania

Martha Ffion, Sneaky Pete’s, Edinburgh, 20 Jul Martha Ffion is the musical project of Glasgowbased Irish singer-songwriter Claire Martha Ffion McKay. After self-releasing her three-track EP Go in 2014, she was quickly picked up by Turnstile (Cate Le Bon / Gruff Rhys / Joanna Gruesome) who put out her dreamy Trip EP last October. It’s a delight from start to end, and live Ffion is a truly captivating talent with a voice that would melt even the most stubborn block of butter. She also plays tomorrow night (21 Jul) at Glasgow’s Glad Cafe.

Music

Sheer Mag

Miracle Glass Company

Edinburgh Blues N Rock Festival, Corn Exchange, Edinburgh, 29 Jul After the resounding success of their debut last year, the Edinburgh Blues N Rock Festival are back for 2017 with another strong line-up for their sophomore event. This year the festival features performances from the likes of Mike Sanchez’s Rock & Roll, Rhythm & Blues, Boogie Woogie Piano Band as well as Edinburgh bands Black Cat Bone and Miracle Glass Company, the latter of whom were nominated in the Best Live Act category of the 2016 Scottish Alternative Music Awards.

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Photo: Gavin & Gareth Bragdon

Sheer Mag, Mono, Glasgow, 22 Jul

July 2017

Elle Exxe plays Carnival 56, Camperdown Park, Dundee, 12-13 Aug

Photo: Marie Lin

SUNN O))), SWG3, Glasgow, 16 Jul

SUNN O)))

place! And the line-up is really strong. I love White… oh, and Mark Ronson! I’ve heard Rudimental are pretty good live so I’m looking forward to seeing them as well.”

Speaking of festivals, as the conversation draws to a close we ask her who she would most like to share a festival stage with? Without hesitation she responds with, “Freddie Mercury. If he could come back, even as a hologram, I’d be like ‘right, I’ll support that,’” she laughs.

And which song would they sing? “Don’t Stop Me Now, because I’d be having such a good time.”

With that kind of enthusiasm and love for a true pop classic, Elle Exxe’s performances should appeal to the guilty-pleasure pop fans in all of us this summer season.

Her debut album Love Fuelled Hate expounds upon this message – described by herself as “a story of love kind of turning to hate” – is a collection of 14 brightly-coloured pop songs. “My music, if you looked at it superficially, it might sound completely disconnected to my deeper message, but in a lot of my music you’ll hear themes of me fighting against people that maybe haven’t been treating each other with love. You can’t hate someone without loving them first!” she adds with a laugh.

Turning to her upcoming slots at a number of high-profile festivals, the singer says she is particularly looking forward to performing at one of Scotland’s newest music festivals Carnival 56 in Dundee. She’ll share the stage this August with acts including Mark Ronson, The Fratellis, White, Honeyblood and Be Charlotte. She exclaims: “It will be really interesting and Dundee is a great

Photo: Colin J Smith

xx chromosome in ‘Exxe’, there were just loads of things that came together. It just worked for me on every level!”

With this rebranding comes a discussion of the image-based nature of pop music, and the fact that the genre is often regarded as superficial by many music critics. What does she think it is that makes pop music meaningful? “It’s accessible to the majority of the population,” she responds. “If you’re making commercial music it’s because it appeals to most of the people in society. Once you have something that’s popular, you can attach your message to it.

“So, for me,” she continues, “I’m really passionate about encouraging people to love one another, rather than the message which I feel is being promoted which is to love yourself. Which of course is important, but I feel like people have forgotten about loving each other.”

Album of the Month Mura Masa

Mura Masa [Anchor Point, 14 Jul]

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Not all pop is manufactured, or made by men in suits with dollar signs in their eyes – sometimes an artist knows what makes a track wriggle into your brain and stay there for days. London-based youngling Alex Crossan might be too early in his career to have perfected that alchemy just yet, but coming from a bedroom in Guernsey with just Ableton and a web browser to guide his musical development, he’s goddamn close. Showing a clear progression from his 2014 Soundtrack to a Death mixtape and 2015’s Someday Somewhere EP, Mura Masa has finessed his style from scrappy hip-hop-inspired electronics to a surprising and self-aware pop record.

Marked by a considered sonic vocabulary (marimba, music box, steel drums), this selfproduced, self-titled album bounces along with a breezy personality, with recent singles like 1 Night (feat. Charli XCX) and What If I Go? (feat.

Bonzai) catching like instant classics. Always a student, rather than a passive consumer, of the music he finds, Crossan’s slipped in basslines from the funk playbook (Nugget / NOTHING ELSE! / helpline) and some mean guitar (Messy

Public Service Broadcasting

Every Valley [Play it Again Sam, 7 Jul]

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Public Service Broadcasting bring things back down to earth and then some with Every Valley, an emotionally and texturally rich record which digs into the history of the Welsh mining industry and reflects upon the legacy of deindustrialisation in Britain. Combining archive clips and interview snippets with a sweeping post-rock score, the band gives new meaning to the notion of aural history as they weave a loosely chronological narrative that charts the opening of the pits through to the miners’ strike and the subsequent mass redundancies.

Raw, harsh, mechanical – this is how music inspired by heavy industry typically sounds. Every Valley however is lush and symphonic, more interested in expressing the human spirit of the mining communities than aestheticising the conditions in which they toiled. There’s certainly a degree of sentimentality afoot – with all the shimmering strings and twinkling xylophones there couldn’t not be – but the overall picture of the mining years is a nuanced one, a celebratory but critical overview of a pivotal period in British history.

Progress, which features vocals from Camera Obscura’s Tracyanne Campbell, embodies this tension spectacularly and “I believe in progress” could easily have been portrayed cynically. Instead it’s utterly euphoric, seeming to say “yes, progress – but on our terms” and is a testament to the power not of coal, but people. [Andrew Gordon] Listen to: Progress, Every Valley

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Love), easily filing them alongside the hip-hop of Love$ick or the muffled, near-drum‘n’bass breakdowns of Second 2 None. It’s a confident, competent step forwards from a sure-footed talent, earning its repeat listens through mature considerations. And there will be repeat listens – just you try not to.

Coming from an EDM-neighbouring genre with a tendency to veer into ostentation, he’s graduated to more sincere, sensitive production.

Thanks to Crossan’s knowing arrangements, his diverse squad of collabs – both big-name (Damon Albarn, Christine & The Queens, A$AP Rocky) and leftfield (Tom Tripp, Desiigner, A. K. Paul) – have the elbow room to flourish, complementing and defining the tracks they helm. It’s that ability to make the album as much about his guests as his own emerging sound that confirms Mura Masa as an intelligent producer with an exciting road ahead. [George Sully] Listen to: 1 Night, NOTHING ELSE!, Second 2 None

Broken Social Scene

Leonidas & Hobbes

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Hug of Thunder [City Slang, 7 Jul]

Comebacks are almost de rigueur in indie rock these days, but still, some seem less likely than others. When Toronto’s Broken Social Scene played the ‘indefinite hiatus’ card in 2013, it seemed likely to be the last we’d ever hear from them. And yet! Here we are.

Ostensible frontman Kevin Drew was inspired to bring some positivity into the world after the horror of 2015’s Paris attacks, and duly the record comes on like the warmest of family reunions with some utterly tremendous pop songs. The double whammy of Halfway Home and Protest Song is as strident a pair of anthems as they’ve ever written, with choruses exuding the confident swagger of a band that’s aiming beyond the stratosphere.

Hug of Thunder ploughs through emotional highs and lows with an empathetic grace, sometimes decorating its more dramatic moments with swells of brass, ditto its out-and-out rock’n’roll cuts; elsewhere they just let everything hang loose on a light robo-funk groove. The highlight is the Leslie Feist-led title track – a Rubik’s cube of a subtle pop song, with mighty hooks unfolding through complex yet thoroughly rewarding logic – but in truth there’s nothing you’d call a low point.

Perhaps realising what they nearly threw away, this is simply the sound of a band having the time of their lives. A delight. [Will Fitzpatrick] Listen to: Hug of Thunder, Halfway Home, Protest Song

The Rags of Time EP [Hobbes Music, 7 Jul]

Imagine meandering through beautiful hills and valleys then coming into a clearing with the sun warming your skin. In front of you is a sandy beach and the crystal-clear water of the Balearic Sea. Lovely, isn’t it? You’ve arrived at Benirrás Beach, Ibiza – just the place you’d likely hear Leonidas & Hobbes’ new EP The Rags of Time.

Leonidas & Hobbes share a mutual appreciation of soundtracks, disco, jazz, house, acid, psychedelic, dub and Balearic. Balearic as described by Alfredo, the Godfather of the Balearic Beat,

Haim

Something To Tell You [Polydor, 7 Jul]

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Haim straddle the awkward middle-ground of pop and rock – a place where the scales are tipped heavily in the favour of ‘commercial’, rather than ‘critical’, success. It’s also the place where a lot of the most inoffensive, innocuous, casual fan-baiting material can be found. Haim’s sound is hopelessly derivative – new album, Something to Tell You, doubles down on what Days are Gone began – but they fully embrace it, diving headlong into 1970’s AM pop and updating it just enough to sound contemporary, while constantly harkening back to it.

RECORDS

is “a mixture of chill out, lounge and dance music”.

The Rags of Time incorporates Alfredo’s description and then some.

A-side Web of Intrigue (Extended Mix) builds to a dramatic Spanish guitar riff with interspersed horn blasts and an afro beat. It garners an atmospheric feel of a soundtrack you’d hear on an Ennio Morricone spaghetti western but with added electronica and disco. AA-side Heavy Weather comes in a few different versions, with the stand out being the Acid Rain Mix. The track has a futuristic dub style with a laid-back trippy feel.

Riding on the resurgence of Balearic and Italodisco at the moment these tracks sound accomplished yet fresh; The Rags of Time EP will surely find its way into many a playlist this summer. [Donald Shields] Listen to: Heavy Weather (Acid Rain Mix) Lyrically, very little new ground is covered on this album (just look at the track titles); the songs have a feel of personal strife, but are so vague that they can fit into just about any explanation you care to apply to them. But these criticisms are unimportant when faced with the simple catchiness of the music.

Haim have an ear for catchy melodies and big, crowd-pleasing choruses. Lead single Want You Back is a classic example – peppy guitars and sugary harmonies, leading to a stripped down, clap-along breakdown and the final explosive chorus. Maybe down the line they’ll get restless and experiment, but at this early stage it’s a lot more fun to enjoy yourself in the easygoing riffs than to criticise a lack of sonic innovation. [Lewis Wade] Listen to: Want You Back, Little of Your Love

THE SKINNY

Siobhan Wilson

There Are No Saints [Song, by Toad, 14 Jul]

Elgin-born singer-songwriter Siobhan Wilson has been around a while under the guise Ella the Bird, but it’s under her own name she’s going to be famous. Mostly recorded live, There Are No Saints is a sparse, tender record tying English indie-folk with European classical music to spellbinding effect.

The opening title track is an intriguing start, its choral harmonies and gentle piano demonstrating Wilson’s classical underpinnings after she spent her early adulthood studying in Paris.

Whatever Helps is a different matter altogether, a slow-burning guitar strum in the Sharon Van Etten mould in which Wilson sings about being ‘beaten by the weight of a prayer, trying to move on’. It’s a muted, mesmerising song that has the discipline never to erupt, immediately making Saints a surprising listen.

From then on Saints establishes itself as a sonically pure record that will work just as well on Classic FM as BBC 6 Music, marked by Wilson’s clear, delicate voice. The influence of five years’

Breakfast Muff

Eurgh!

[Amour Foo, 7 Jul]

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Known for loud, energetic sets where members switch between guitar, bass and drums, this is a band that really respects the tenants of punk.

Hard-edged vocals and clanging drums combine in short, up-tempo tracks, bolstered by an insolent attitude and infinite energy. Alternately

Gallic existentialism is clear on Saints as Wilson uses her fluent French in three songs: the gorgeous, faith-questioning Dear God; the twinkly, yearning piano of J’attendrai (I Will Wait); and the understated Paris Est Blanche (Paris is White).

Saints reaches its pinnacle with the bruised Disaster and Grace, its sparse piano and swelling strings captivating: ‘I saw the years in front of us unfold,’ Wilson coos, her heartbreak evident.

Saints isn’t entirely austere though: ‘Don’t want to be a blackbird sitting alone on the top of your gravestone,’ Wilson sings determinedly to Incarnation’s distorted guitar, before Make You Mine sees her recounting a love story with the flirtatious soul of latter-era Jenny Lewis. She’s by no means the finished article yet – as the out-ofplace experiment of Dystopian Bach proves – but by the time There Are No Saints closes, Wilson has undoubtedly made her impression. [Chris Ogden] Listen to: Whatever Helps, Disaster and Grace, Incarnation

soft and screechy, Eurgh! delivers up a cacophony of noise which explores real issues like sexuality and feminism with matter-of-fact honesty over the course of 10 songs.

As a band that has gigged relentlessly since their inception in 2014, playing support slots for the likes of Colleen Green and Diet Cig, and cramming in over forty shows in one year, it’s clear that live performances have been integral in the cultivation of their sound. With that in mind, Eurgh! is recorded so as to encapsulate the spontaneity and energy of playing live, with vocals being recorded so that lead singers are up close

Waxahatchee

Sheer Mag

Shabazz Palaces

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Out in the Storm [Merge, 14 Jul] Album number four from Katie Crutchfield is breezier in tone than previous opus Ivy Tripp, with cuts like Silver and Never Been Wrong making their presence felt via fuzzed-out power chords and stirring melodies. Despite all this heavenly sunshine, however, the breathy confessionals beneath tell a different story.

Out in the Storm proudly flies its flag as a break-up album, albeit one that ignores ‘woe is me’ emo-isms. Instead, Crutchfield uses the death of a relationship to explore the twenty-something human condition and the lies it makes us tell ourselves. Far too self-aware for her own good, Crutchfield is nonetheless becoming one of indie rock’s finest songwriters – it’s a privilege to witness this talent as it continues to bloom.

[Will Fitzpatrick] Listen to: Hear You, Silver

July 2017

Siobhan Wilson

Need to Feel Your Love [Static Shock, 14 Jul] Led by frontwoman Tina Halliday’s powerful voice, Sheer Mag’s debut LP Need to Feel Your Love delivers on all the promise of their previous EPs. Their default sound throws punk energy into classic rock songs, immediately announced by screeching opener Meet Me in the Street.

Need to Feel Your Love’s title track is surprisingly danceable, as is Suffer Me, and the “rock ballad” is briefly flirted with on Milk and Honey. These sounds are deceiving, however, as the band explore some deep political issues, such as race relations (Expect the Bayonet) and gay rights (Suffer Me). Similarly, for a tough sounding band, this is an emotionally raw album, most keenly felt on the excellent shape-shifter Can’t Play it Cool.

[Adam Turner-Heffer] Listen to: Meet Me in the Street, Just Can’t Get Enough, Can’t Play it Cool

Quazarz: Born on a Gangster Star [Sub Pop, 14 Jul] Shabazz Palaces are from the distant future, the forgotten past, or a wormhole connecting both. Songs are dense with effects, whisper-quiet raps masked by stark bass and crystallised percussion. The deepspace mood recalls Ishmael Butler’s essential material with Digable Planets, his heady rapping untouched by time.

Quazarz: Born on a Gangster Star is Quazarz’ origin story. It sounds like muddled fragments on first listen, but laced with stirring melodies, turns-of-phrase and production tricks, it lures you back and when the pieces do begin to form, it’s highly rewarding. For what could be a masturbatory exercise or a cheap way to create buzz for what is ultimately weird-ass inaccessible hip-hop, there’s very little filler to be found. These are sprawling works with clear focus. [Stephen Butchard] Listen to: Shine a Light

to the microphone while supporting vocalists are recorded further back, mimicking the sound levels at a concert.

Maybe (okay, certainly) not to everyone’s taste, Breakfast Muff are as uncompromising here as on previous records like 2015’s Rainbow Yawn. Even if you spend most of the record wondering what, exactly, a ‘breakfast muff ’ is, you’d have to admit that Eurgh! is an ambitious, admirable album. Despite not offering up anything especially musically complex (not surprising given that it only took four days to put together) it brings a whole lot of attitude along with it.

Shabazz Palaces

Quazarz vs. The Jealous Machines [Sub Pop, 14 Jul]

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Shabazz Palaces have fully fallen for space travel on their pair of albums starring Quazarz, Ishmael Butler’s new persona. Jealous Machines is the more political of the two albums, an allegory of technology and disconnection, and is like a fifties sci-fi, creaking with hammy dialogue about how the machines are going to kill us.

The difference is that Shabazz Palaces’ special effects are stunning enough to make you believe they really could.

Both of Shabazz Palaces’ new albums are meticulously crafted, with an obscure narrative and arrangements so vivid they beckon you to unravel them.

This uncompromising obscurity will understandably turn off some. Beneath that, the band are writing songs that make floating into oblivion sound appealing.

[Stephen Butchard] Listen to: Effeminence, 30 Clip Extension

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Topics like false feminism are openly critiqued on stand-out track R U A Feminist, coming as a much-needed revolt against the hypocrisy and sanctimoniousness of modern society.

Fittingly, ‘Eurgh!’ can be an interjection of both disgust and passion, summing up the polarised reactions that this punky, spunky album is sure to generate. [Megan Wallace]

Listen to: Lunch Money, R U A Feminist, Raspberry Pavlova

This Is The Kit

Art Feynman

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Moonshine Freeze [Rough Trade, 7 Jul] This Is The Kit is the alternative folk project of Bristol-via-Parisbased songwriter Kate Stables.

Moonshine Freeze, Stables’ fourth LP and first on Rough Trade, sees her working with her live band and collaborators such as The National’s Aaron Dessner to deliver a mysterious set of songs inspired by folklore and superstition.

While the easy-going nature of Moonshine Freeze makes it very pleasant to listen to, Stables’ storytelling is similarly light, allowing the album to drift by without much emotional consequence.

Even the more arresting tracks, such as Empty No Teeth, don’t bite hard, before the record finally lands with the escalating strum of closer Solid Grease.

Moonshine Freeze is an enjoyable if low-key listen that consolidates rather than shakes Stables’ current status. [Chris Ogden] Listen to: Hotter Colder, Moonshine Freeze

Blast Off Through the Wicker [Western Vinyl, 14 Jul] Californian musician Art Feynman is on a mission. His debut LP, Blast Off Through the Wicker, is a collection where he can seemingly effortlessly combine a krautrock pulse with Nigerian highlife vibes (Feeling Good About Feeling Good), harness Afrobeat rhythms alongside squalling guitar solos (Can’t Stand It), or even show off a uniquely slanted view on modern R’n’B (Eternity in Pictures).

Wrapped up in a charming lo-fi sheen, when the tracks really take off and soar with propulsive, organic beats, it can be a thoroughly enjoyable trip through a host of genres. Blast Off Through the Wicker doesn’t always reach stratospheric heights, but some of its psychedelic freak-outs suggest that Art Feynman is on an intriguing musical journey.

[Eugenie Johnson] Listen to: Feeling Good About Feeling Good

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Photo: Gaelle Beri

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59 Degrees North We speak to DJ MetroGnome about Scotland’s answer to Boiler Room, 59th Degree

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says. Now, he devotes his time to unearthing DJs from all over the country and connecting them to new listeners. “The idea is that we promote the Scottish scene. The underground DJ scene.”

It’s also about discovering new artists.

Auskerry might not book would-be DJs straightaway, but he will invite them to his flat to practise.

Refacta and Gchung for example, two garage/ bassline DJs from North Berwick, had never performed a live set before approaching him.

“They asked before I went live, so before December. They have been messaging me with new mixes constantly since then. I got them round twice before, and the last time they came round they had it.” A chance cancellation by another performer freed up a space for the pair to play, who then broke the record for being the most watched video on MetroGnome’s page with 16,000 views. That figure has only now been surpassed by Mrs Magoo on 25,000.

It’s not just the new that needs promoting.

“Lots of DJs get forgotten because they’re not promoting themselves and there’s fresh blood,” Auskerry points out. “That doesn’t mean that they’ve not still got gold in their selection of tunes.” Social media isn’t for everyone, and many DJs would rather spend their time playing music than managing a Facebook account. That means not everyone worth listening to manages to get their name out. Auskerry’s looking to rectify that: “I build the platform, and then they come and play. They don’t need followers on Facebook. They just need to be really good on the decks.”

The idea for 59th Degree came last year while Auskerry was recovering from a brain aneurysm. It severely impacted his speech – “I literally forgot my vocabulary, I forgot the words!” he tells us – and his short term memory. Unable to work, but still keen to develop his craft, Auskerry invited DJs to play back-to-back sessions in his flat. “I love playing with other DJs. I feel like it’s more of a challenge. Also you’re playing off each other so you can hype each other a lot more.” With help from his best friend (and favourite back-to-back partner) DJ Drowzee, Auskerry posted recordings of these sessions to

Facebook. “From there it just snowballed,” he says. “I currently have a list of 26 DJs lined up to play at some point, and six weeks booked ahead.”

Central to Auskerry’s plans to go live was ensuring quality video and audio. “At that point everybody was using their phone and just having it near a speaker. I sat watching them thinking, ‘Would I watch a whole hour of that? No!’ If I was going to go live, it was going to look good.” It took him two months to work out the logistics. He now uses multiple cameras, graphics and software on top of the Facebook app, but on the island Auskerry grew up on there was no computer until he was 14: “The most technological thing I had was my Fisher Price tape recorder,” he tells us.

This is what sets the 59th Degree apart from other DIY live videos, especially Boiler Room. The stream looks good but also maintains the unpolished feel of a bedroom gig, not least because it’s filmed in Auskerry’s room.

“ What I’m trying to do is show that every town, every city, has got good DJs” Owen Auskerry

When pressed on the differences between 59th Degree and Boiler Room, Auskerry emphasises its fun and inclusive spirit. “We’re sillier!” he exclaims. “I’m a bit silly and I like a bit silly.” He feels that Boiler Room now takes itself too seriously, although puts that down to the pressures of having a global reach. It’s a problem that he sees with the underground music scene in general. “Why should a DJ not look like they’re having fun while they’re DJing? I’ve never understood that. If I, as a DJ, am not enjoying

what I’m playing, why should you?” The last thing Auskerry tells his guests on 59th Degree before going live is to remember to smile. “We look like we’re having fun, and we are.”

Auskerry’s light-hearted approach seems to be working. Nowadays, within the first 20 seconds of a video going live, around 60 people will be watching. 59th Degree has become a staple to many people’s Thursday evenings. “People say lovely things. I got a guy the other day in Oxford.

He lives in the middle of nowhere and he’s not been to a club in two years because he lives too far away. He says that the 59th Degree has become a good source of his music, and he’s really hyped for Thursday at six o’clock.”

What’s next for 59th Degree? Auskerry is preparing a new logo, website, and Facebook page (he currently runs it from his DJ MetroGnome account). He aims to get 1,000 followers in the first month and hopes to reach double figures by the end of the year. He also hopes to travel: “If this is true in Scotland that there is this much talent that is not heard of, there’s got to be sound everywhere.” Auskerry envisages the 59th Degree promoting underground music all over the world, but with Scotland and the UK still at its core. “Even if we go abroad, we’re getting international artists to play for us. And we’re representing the British scene abroad.” This is crucial at a time when more venues are closing in Edinburgh. Using digital tools, artists can find new places to play their music live, and on a global scale.

It was partly experiencing the underground first-hand in the old Bongo Club that made Auskerry want to contribute to it. “I still remember walking in and thinking, ‘If I go through this, if I experience these nights, if I have this much fun, and I don’t ever put a bit back in’... that’s what it was about. To try and make a bit of it how I wanted it to be.” And concludes, “I think now, with the experience I’m getting, I could do this in some form for the rest of my life. Be that radio, be that setting up a stream – I feel like this is the scene that I want to be in.” facebook.com/DJMetroGnome

Photo: Ben Glasgow

was going to go and get a job in social media marketing,” reveals Owen Auskerry, aka drum ‘n’ bass/garage DJ MetroGnome. “Get a suit, do the job, and know that I was probably going to put my head through the wall constantly.” Lucky for his landlord (and for thousands of underground music fans), Auskerry has found a different use for his Edinburgh flat. We’re sitting in the home of his digital venture, 59th Degree.

Auskerry has been broadcasting live guest DJ sets on Facebook since December last year. In those few months, his fan base has jumped from 300 followers to over 2,500, with each video garnering between 8,000 and 16,000 views during the two-hour broadcast, and then doubling over the next 48 hours. “I still can’t quite believe the numbers,” he says. “In the promotional video I did before going live, I said that in the last four months we’d got 44,000 views. Well, I now get over 70,000 a month.”

59th Degree is essentially Scotland’s answer to Boiler Room, taking its name from the Orkney island that Auskerry grew up on, 59 degrees north of the equator. This allusion to one of Scotland’s more far-flung corners suggests a focus on musicians outside the central belt. “If you live in Edinburgh, you often see a lot of the same warm-up acts over and over again, because they’re easy,” Auskerry explains. “You maybe get a new headliner every so often but you don’t get all the headliners from Inverness or Ayr or wherever.

You can only hear them if you go to Ayr or to Inverness. What I’m trying to do is show that every town, every city, has got good DJs.” Auskerry describes practically tripping over DJs as he travels around, but still finds some places too small, isolated, or scattered about, struggling to sustain a scene that can house them: “You couldn’t put on a bassline night. You’d have to put on a bass night and have drum and bass and everything in there, because you’ve only got twenty people in the whole town to play.”

Auskerry knows all about remote living. He himself grew up with only his family and no mains power on the Isle of Orkney. “It’s quite an alternative lifestyle but I absolutely loved it,” he

Interview: Becca Inglis

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Altered States Virtual reality is being hailed as the future of Hollywood, but might VR's more natural home be the stage?

Interview: Jamie Dunn

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ast your eyes across the programme of any forward thinking film festival and you’ll find a strand devoted to virtual reality. Even at a dinosaur like Cannes, where cinema is so sacrosanct that critics get in a tizzy about the inclusion of television in the line-up, VR has crept in. This year’s festival saw the premiere of refugee VR experience Carne y Arena, from Alejandro Iñárritu, the Oscarwinning director of The Revenant. Hollywood is clearly taking the technology seriously, but what if they’re barking up the wrong augmented reality?

Anyone who’s experienced VR will tell you it’s not particularly analogous with cinema. “Think about it,” says Ian Garrett, a designer and producer currently working on multi-site specific project Transmission. “If you’re a filmmaker and you’re moving from 2D cinema to 360 or VR filming, then you’ve gone from this limited frame where you have complete control over the audience’s POV to a wide open environment where nothing is hidden and you can’t control what your audience is looking at.”

To put it another way, in VR, you, the viewer, are in control of the image; in a sense, you are the director. Many argue this absence of an auteur is what makes VR a passing fad, but as Garrett notes, there is already a medium where the creators are required to give up control of the audience: theatre. “As theatre-makers, we put ourselves in place of an audience member in a chair or an environment,” says Garrett. “So in that way the technology lends itself to this sort of immersive recording of the live experience without much of a leap or change of how we think as theatre-makers.”

One of the most straightforward and practical uses of the technology, for example, would be to allow remote audiences to virtually experience watching a show like, say, Hamilton, but without having to physically be in the theatre or buy the expensive ticket.

It’s when you begin to think about immersive theatre, where the audience is at the centre of the action of the play rather than behind the proscenium arch, that the similarities between theatre and VR become even more pronounced. “With both you have an audience that doesn’t want to remain passive,” notes Megan Reilly, Transmission’s lighting designer, “they want to be an active participant in a story, and have some degree of agency.

They give an audience member the opportunity to explore an environment that tells a story.”

There is of course one VR stumbling block that seems insurmountable at this early stage in the technology: the headset. One of theatre’s great pleasures is experiencing it with an audience;

July 2017

the VR headset turns theatre into a solitary experience. There is an exciting inbetween solution, however: augmented reality.

“A lot of augmented reality technology relies on the participant being in a specific location in order to experience it,” explains Reilly. Think of games like Pokémon Go and Ingress. “Immersive theatre requires the same kind of active participation and location specificity,” she says.

“Augmented reality technology means that layers of a narrative can be embedded in specific places and accessed only when an audience member is physically at that spot.”

You can see this augmented reality theatre in action in Reilly and Garrett’s upcoming Transmission project – described as “an immersive theatre production that tells the story of two brilliant sisters selected to join a mission to meet our celestial neighbors” – at this year’s Fringe. “We’re working with the idea of ‘Technological Ghosts’, which uses VR and AR recordings,” explains Garrett, “but asks the audiences to experience them concurrent to a live experience.”

For example, one scene takes audiences to Arthur’s Seat. “You’re intended to go to the spot where it was recorded, and then watch a 360 video that lines up with the real view on your device,” explains Garrett. “So that you’re looking through the device as a window into the past. It informs your understanding of the space, by showing you the ‘ghosts’ of a previous event.”

Rather than the dystopian vision of VR, where we put on our headsets and never interact with real life, Garrett suggests that the technology could, ironically, help reduce the amount of time we spend looking at screens: “Pokémon Go got a lot of people to go outside! They may have been looking for a Pikachu, but they also started to see part of their city which they may not have. It’s about introducing people to new and novel real spaces, by enhancing it with a certain type of digital magic.”

Garrett is sounding almost metaphysical: “In the end, the thing I turn back to is an idea which someone told me about understanding VR. VR is not necessarily a technology, but an achieved state.”

Transmission is told through a live show at the Fringe, a podcast, and several sitespecific, augmented reality scenes. Assembly George Square Studios, 5-26 Aug Download the app from 4 Aug

transmission transmiss.io/n

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Quazarz and Beyond Ishmael Butler tells us about the Palaceer of Shabazz Palaces’ encounter with the sentient being Quazarz and how it came to influence the duo’s two new albums Interview: Nadia Younes

ew artists have gone as far to create an entirely separate universe around their music as Shabazz Palaces, and their latest project is no exception.

Told through the perspective of Quazarz, a musical ambassador sent from another planet to ‘The United States of Amurderca’, the duo take us on a journey over the course of their two new albums where we learn about his experiences on Earth and his observations of our planet. “It was like being in a movie, where you’re immersed in the character and you’re doing it so much that you lose yourself until you get back to yourself,” explains Ishmael Butler, one half of the duo.

Butler developed the idea during the recording of what was to become Quazarz vs. The Jealous Machines and was so inspired that he decided to release another album, Quazarz: Born on a Gangster Star, alongside it. “I was trying to think of a perspective to come from with the music and the lyrics,” he says. “That’s why I came up with Quazarz as this alternate personality so that I could be an observer and present my discomfort with things.”

This is not a two-part album, however. Both explore separate themes and ideas, with the only constant being that they are both told from the perspective of Quazarz. “It’s just like the new approach, the Quazarz approach, so these are two different albums but with that approach in mind,” says Butler.

Quazarz vs. The Jealous Machines focuses on our obsession with modern technology, specifically personal devices and social media. Butler takes a very negative view on this side of technology and sees it as incredibly damaging to society.

“I feel like it’s a very dangerous path that we’ve taken and a choice that we’ve taken as human beings to rely so heavily on these devices and let them permeate our world and give them to our children,” he says. “These are products that are meant to prey on idle-minded people that just need something simple and titillating to do and spend a whole bunch of unnecessary time on so it’s kind of like a dumbed down newness of technology.”

Quazarz: Born on a Gangster Star, on the other hand, is more observational and explores a wider critique of modern society. “Being in the States, with the political climate, I started feeling more alienated so it was kind of like being a person who lives in a place but doesn’t necessarily feel like it’s home or that they’re a part of it,” he says.

“I’m not out here talking about things specifically but the overall feeling that is evoked when thinking about it and living in it is definitely in the album and soaked in it pretty deep.”

But Quazarz doesn’t just address politics.

Observing the music scene, Quazarz notes being immersed in the “ethers of the Migosphere here on Drake world.” This isn’t Butler’s way of addressing the current state of hip-hop though, rather it’s him observing the current state of commercial music on Earth as a whole.

“Migos is sort of the oxygen in the atmosphere, at least here in the States, so I was basically saying that we were offering our musical contribution to this current place,” says Butler. “And it’s Drake’s world, so it was just a play on words and a sci-fi approach to the current musical landscape.”

The futuristic, sci-fi influences in Shabazz

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Palaces’ music have always been a notable attribute, but with the Quazarz saga Butler has taken that influence to a whole new level. Alongside the double album, the duo will also be releasing an accompanying illustrated book by Joshua Ray Stephens, which visualises the Quazarz story.

Stephens contacted Butler via email to suggest they work on something together and once Butler saw Stephens’ work, he knew he wanted to collaborate with him in some way. “I looked at his stuff and I was like ‘damn, this shit is dope,’” he tells us. “He was originally going to do a cover for the album but then the ideas started growing and growing and we finally arrived with this illustrated book, which came out pretty smashing.”

And it doesn’t stop there, with potential Gorillaz-esque live visuals also on the cards. “We plan to do a tour where we incorporate the music with the book and the illustrations and go to special places and do special events,” says Butler.

In fact, like Gorillaz, Shabazz Palaces is as much its own world. Butler reinvented himself from Ishmael 'Butterfly' Butler to Palaceer Lazaro and joined forces with Zimbabwean multi-instrumentalist Tendai 'Baba' Maraire to form Shabazz Palaces in 2009. This was almost fifteen years after disbanding from jazz/hip-hop trio Digable Planets, whose 1992 single Rebirth of Slick (Cool Like Dat) won them a Grammy Award for Best Rap Performance by a Duo or Group.

“ I don’t really go for the whole ‘I want my credit and I need people to know that it’s me.’

I like the ambiguity and the mystery to what’s behind artistic stuff” Ishmael Butler

Initially, Butler refused any interviews and there was a great deal of speculation as to the true identity of Palaceer Lazaro. “I don’t really go for the whole ‘I want my credit and I need people to know that it’s me.’ I like the ambiguity and the mystery to what’s behind artistic stuff,” says Butler. “I was hoping to put the focus back on the music really. Plus, it’s just another way to be creative and add another layer to the product.”

Palaceer Lazaro is to Butler what Sasha Fierce is to Beyoncé: it’s a way of presenting Butler’s weirder, quirkier, more progressive musical side under a new persona. “If you come into each thing with the same perspective and the same outlook, you are probably going to be

Photo: Victoria Kovios

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running on a treadmill, making stale stuff,” he says. “It helps to get into that frame of mind too: change everything around, rename stuff and come from a different perspective.”

Both prominent members in the Seattle music scene, Maraire and Butler each have their own projects outside of Shabazz Palaces. Maraire is one half of Afro hip-hop duo Chimurenga Renaissance and Butler is part of production duo Knife Knights with Erik Blood, who has worked on every Shabazz Palaces album with them. “I listen to him implicitly,” says Butler. “I trust him and I believe him, but I know what I like and what I want to try to do and he helps me to get there really.”

The duo collaborated with Blood once again on the Quazarz project, with Quazarz: Born on a Gangster Star recorded over two weeks at the Protect and Exalt Labs: A Black Space he and Butler share in Seattle. Quazarz vs. The Jealous Machines, however, was developed and recorded over a longer period of time, which allowed Butler to travel to Southern California to work with Quincy Jones’ grandson Sunny Levine.

Butler though is hyper-critical and a perfectionist of the highest order; so much so, that he finds it almost unbearable to listen to his music once it’s completed. “I don’t really listen

Music

to my music because it’s just not relaxing and comfortable,” says Butler. “I’m just listening to what I’m perceiving as flaws or mistakes mostly, so it’s not that enjoyable of an experience.”

When it comes to his music and the messages he puts out provoking change, particularly with such a heavily political project, Butler is reluctant to overthink things. He does, however, seem to see the Quazarz project as more of a catalyst for change rather than as his own personal attempt to create change.

“When you do something and it’s your emotion and your instinct and you release it, it’s almost like a chemical reaction and it’s unknown how it’s going to do anything or change anything,” he says. “I don’t kick back and be like ‘I’m about to change the world with this one’ or something, but I know that we dedicated a lot of time, energy and passion to it so somebody will probably hear it and have some feelings about it and maybe it will do something for them.”

Butler may want to play down the impact Quazarz could have out in the real world, but in Shabazz Palaces’ world, Quazarz’ landing has set off more than just a few ripples.

Quazarz vs. The Jealous Machine and Quazarz: Born Under a Gangster Star are released on 14 Jul via Sub Pop

THE SKINNY

Clubbing Highlights Get set to dance your summer away with this month’s selection of Scotland’s best club events Words: Claire Francis Illustration: Stewart Armstrong Numbers present Mike Servito & Spencer @ Sub Club, Glasgow, 7 Jul This Numbers session pairs local favourite Spencer with Mike Servito, a resident at both NYC’s The Bunker and Detroit’s No Way Back parties. Servito made his debut in 1995 and has held the attention and the respect of his peers ever since, though surprisingly he’s still widely unknown outside of the USA. He played Edinburgh last month – this time, it’s Sub Club’s turn to host the man known for his unique ability to enliven the dance floor.

Guest Selector: Lindsay Green

We Should Hang Out More with Late Nite Tuff Guy @ The Berkeley Suite, Glasgow, 8 Jul As Late Nite Tuff Guy, Cam Bianchetti is one of the new guard of house music defenders, bringing the best disco cuts and remixes of the 70s and 80s to our dancefloors. The Australian is also no stranger to a club banger; prior to adopting the Late Nite Tuff Guy moniker, Bianchetti was a highly regarded acid-techno selector who performed under the name DJ HMC. Expect to dance your feet off, basically.

Ahead of her set at SWG3’s iNCEPT Summer Special, The Club Paisley resident Lindsay Green selects 10 tracks guaranteed to have the party heaving, from house staples to Blondie and The Rolling Stones Interview: Claire Francis

“W

hen you love so much music, it’s hard to pick 10 tracks and say these are my favourites – I probably have about 100,” admits The Club Paisley resident Linsday Green. A respected selector within Glasgow’s techno scene, Green has played at some of the city’s premiere club events, including Return to Mono and Pressure, and has supported the likes of Jeff Mills, Joseph Capriati and Nicole Moudaber.

Here, she has picked 10 tracks that define her eclectic influences, from after-party bangers to rock'n'roll classics.

Laurent Garnier – The Man With the Red Face An electronic masterpiece. Laurent Garnier presents LBS Live at the Arches back in 2011 was amazing! It was the first time I heard this performed live and I was blown away. Great one to end the night with!

Nathan Fake – The Sky Was Pink (James Holden Remix) Epic remix from James Holden. A good friend of mine, Davie, introduced me to this track at an after party about six or seven years ago. I love the journey it takes you on. I played my first gig in Barcelona earlier in the year at Macarena Club.

I ended with this and the reaction I got from the crowd was unbelievable. A moment that will stay with me forever.

Aphex Twin – Heliosphan Selected Ambient Works, what an album! I always get inspired when I listen to it. So many great tracks on there, but Heliosphan is my favourite. I would love to hear Aphex Twin doing this album live.

Inner City – Till We Meet Again (Carl Craig Remix) I always remember hearing Slam dropping this in the Arches years ago, it’s been a favourite of mine ever since. My boyfriend Raymond has done an edit adding the “Can You Feel It” vocal into the intro. It’s great for starting a set off with – the vocal really gets the crowd going, then that lovely bass line comes in.

Funk D’Void – Diabla (Heavenly Mix)

July 2017

Funk D’Void is a class DJ and producer. Whatever he does, it’s never monotonous and always oozes quality. The Heavenly Mix of Diabla is very uplifting and atmospheric.

Laurent Garnier – Gnanmankoudji (Horny Monster Remix) I first heard the Horny Monster Remix in Laurent Garnier’s set from The End closing party. The track is just over 10 minutes long and I love how it progresses. The pads are so powerful and the sax sounds gallus. More recently I have been digging the Emperor Machine Remix, it’s got a more funky vibe.

Blondie – Atomic Blondie have so many great tracks, Atomic is one of my all time favourite records, has been from a young age. I love the guitars in it. I was playing an eclectic set a couple of years ago and finally got the chance to drop it in a club.

Hawkchild DIY & Hyperfunk present: A Grenfell Tower Benefit @ Stereo, Glasgow, 14 Jul For a suggested £5 donation, you can help support the victims and families affected by the Grenfell Tower fire, with a soundtrack of forwardthinking club tracks, R’n’B, hip-hop, trap and pop, headed up by Glasgow’s Hawkchild DIY. Fractal Club with DJ Tree @ Sneaky Pete’s, Edinburgh, 14 Jul Francesco Ferrara, aka DJ Tree, is part of Berlin’s Slow Life collective, known for their popular label parties at the likes of Berlin’s Club der Visionäere. The Spanish/Italian group of DJs and producers are masters of both dancefloor grooves and obscure sounds, so expect plenty of both from Ferrara at this latest Fractal Club party, which also features support from fellow Berlin-based artist Dirty Lemon.

CODE presents Amotik @ La Cheetah Club, Glasgow, 15 Jul Berlin’s Amotik features alongside Italian producer Fabrizio Lapiana on Figure Jams 001, the new split EP from Len Faki’s Figure Jams label.

Known for his moody, hypnotic dancefloor sounds, Amotik’s La Cheetah performance will be a must-see for techno fans.

Queens with Purple Disco Machine @ The Mash House, Edinburgh, 15 Jul After bringing Dimitri from Paris, Late Nite Tuff Guy, Joey Negro and Pete Herbert to the capital in 2016, Queens are back with a night of underground house and disco from German DJ, producer and remixer Tino Piontek, aka Purple Disco Machine. Piontek recently held down a residency in Space Ibiza, so there will be plenty of good time summer vibes in store.

Dense & Pika @ The Reading Rooms, Dundee, 15 Jul Pummelling techno duo Dense & Pika, aka London natives Alex Jones and Chris Sperop head up this stomper at The Reading Rooms, with the warm-up provided by Book Club’s Is Kill and All Good’s Van D. iNCEPT Summer Special @ SWG3, Glasgow, 22 Jul This summer party from the iNCEPT crew brings together a tough cast of techno artists for a ten hour music marathon. Headlined by German techno producer Johannes Heil (who will be playing live), the line-up also features Kim Ann Foxman, Hans Bouffmyhre as Secluded, Lex Gorrie, Linsday Green and more.

Platform 18 Summer Rave @ The Depot, Glasgow, 29 Jul The Platform 18 raves have acquired something of a cult status thanks to their mammoth all-day party vibes. This one promises to be no different, with a killer line-up that includes Jeff Mills, Gary Beck, and a live set from Mathew Jonson.

Sylvester – Do Ya Wanna Funk I love a bit of funk and disco. For me this is one of the best. It’s such a feel good track that makes you wanna dance!

New Order – Blue Monday I’ll never forget the first time I dropped this in a DJ set. I was playing at Boogaloo in Glasgow, this was the last track of the night and the place was going mental. I ended up on the promoter’s shoulders, bouncing about the DJ booth!

The Rolling Stones – Gimme Shelter I love The Stones and was lucky enough to see them live at Desert Trip in Coachella last year.

When I heard the guitar coming in at [the] start of the track I got goosebumps, hearing it live was something else. You wouldn’t think the average age of the band was 73, the guys rocked it!

Lindsay Green plays iNCEPT Summer Special at Glasgow’s SWG3 on Saturday 22 Jul, featuring Johannes Heil (live), Kim Ann Foxman, Hans Bouffmyhre, and more

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Bard is a Four-Letter Word Poetry news for the month looks at Manchester’s poetic response to the recent attack and speaks with game-changing poet Simon Armitage, discussing his new collection, The Unaccompanied

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ust over a month ago, the nation watched as Mancunians came together to commemorate the victims of the bombing, and were moved

by Tony Walsh’s poem This is the Place. Now, Manchester’s creative community is transforming those moving words into a commemorative keepsake. A group of creatives from the city, led by James Torry from Doodledo Motion, have formed a team to put a book together, taking its title from Walsh’s poem.

Each individual or agency featured will take a line from the poem and respond creatively to design a page, with proceeds going to charity.

Contributors include world famous designers Peter Saville and Malcolm Garrett, and established agencies in the city, as well as independent artists, photographers and illustrators.

Partnering with Forever Manchester, MEN’s fundraising initiative and the Greater Manchester Mayor’s Homelessness Fund, the group hopes to raise money from the book for those worst affected by the tragedy, and to help fund brighter futures for young people and the homeless community of Manchester.

Torry, who is leading the initiative, spoke of the extent to which the poem had influenced

How Saints Die

By Carmen Marcus

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Ellie is ten years old. She learns five new words a week and knows that stories can keep you from drowning. She doesn’t know where they have taken her mother, what ECT stands for, or how to keep her father safe. Her next door neighbour warns her fisherman father that the child is wild.

Ellie knows about wildness.

Carmen Marcus’ debut novel How Saints Die is a soaring success; beautiful and devastating. It is a simple story seen through the eyes of a young girl with a vivid imagination, trying to make sense of her mother’s absence and incomprehensible, easily-breakable social rules. In graceful prose, Marcus sketches an image of the North Yorkshire coast then adds the snap of the cold wind, the sting of sea spray, the hotness of welling tears.

The book is stunningly evocative – of a time, of a place, of childhood, and of what it means not to fit in. As Ellie ‘flicks open her penknife to slice a limpet off the rock, suck and pop,’ so Marcus exposes what lies beneath – human cruelty and kindnesses, foibles, frailties and strengths. Ellie is observant; as a child she understands sometimes less and sometimes more: ‘She keeps her prayers precise; they are not wishes.’

Within Ellie’s world of gutting fish and playing dead and weaving noughts in nets, life is harsh and stories are powerful. This book is beautiful, from cover to core. [Ceris Aston] Out 13 Jul, published by Vintage, RRP £14.99

Manchester’s spirit. “It was powerful. It gave a city that was struggling to know what or how to feel some language to articulate it. It gave us permission to feel sadness, defiance, hurt, anger and humour.” Walsh expressed his pleasure in being asked to contribute. “I wrote This is the Place four years ago for Forever Manchester, a charity that’s very close to my heart… After such a devastating and tragic event, I hope that this poem now acts as a symbol of the pride, passion and defiance of Manchester’s people and as a beacon of hope for the future.”

Appropriately, the end of last month also saw a series of events launched in celebration of the 100th Anniversary of Wilfred Owen’s stay at Craiglockhart, where he met Siegfried Sassoon and began to write his most famous works. The commemoration began with a re-enactment of the poet’s arrival at Waverley on 26 June, and will continue all the way through to August with the premiere of a poem by Jackie Kay. Finally, in festival news, this year’s long-awaited programme for The Edinburgh International Book Festival has been released, and includes poets Roger McGough, Hollie McNish, Harry Baker and Iona Lee in some of the top spoken word slots. Also, if you’re in the

area and in time, you should also consider catching the last few days of Ledbury Poetry Festival (30 Jul - 9 Jul), which, as always, has a fantastic line-up, including Helen Mort, Vahni Capildeo and Kayo Chingonyi.

In Print This month’s pick is Simon Armitage’s new collection, The Unaccompanied, his first mainstream collection for seven to 8 years. Asked whether this has been a long-gestating or spontaneous project, he responds: “I’ve done projects in between, and the poems have been accruing steadily in the meantime. I didn’t realise how many there were until I laid them all out on the floor.”

The umbrella theme, perhaps unsurprisingly considering the gap, is what our world has been going through during that period. However, while The Unaccompanied highlights many of the political, economic and cultural themes and issues experienced in recent years – “basically a postrecession landscape” – it more importantly captures the ironic alienation imposed by mass media, consumerism and globalisation. The power in The Unaccompanied lies in its ability to fluctuate in focus, the keynote theme always

Words: Clare Mulley

present at different strengths, but never struggling to make itself evident.

The poems travel through big issues all the way down to more private mental turmoil: arctic ice, disillusioning museums, old age versus modernity, the pettiness of class levels in travel, Poundland, attending a funeral in a scarred suburb, and the loneliness of the gym. Privet is based on a memory of having to trim the hedge as a punishment. “It’s a recollection of an incident in my childhood home, which has become emblematic. At a certain point the co-ordinates of the world become wobbly and untrustworthy… the poem is really getting back to a time long ago where memory is uncertain.”

It only seems fair that one of the collection’s first airings should be Ledbury Poetry Festival in Wales, where he first appeared in 1997 – the year of its birth. The scene has certainly changed since then: “There’s been a resurgence in spoken word.

It was big in the 60s but came back very powerfully.

Doing the opposite thing to what is expected.”

Simon Armitage’s The Unaccompanied is out now, published

by Faber & Faber, RRP £14.99

Walls Come Tumbling Down

Every Fox is a Rabid Fox

Typewriters, Bombs, Jellyfish

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Walls Come Tumbling Down charts the formation of Rock Against Racism, 2 Tone and Red Wedge across two decades where artists and activists joined forces to make music that challenged the inequality around them. Written histories, even the most open-minded and widely-researched, have a natural inclination towards master narratives. They take the complexity and conflict of their given period and smooth it all down into a single, unambiguous storyline. Daniel Rachel’s book rebels against this by telling its tale solely through the testimony of those who were there: drawn from over a hundred interviews with artists, activists and politicians, every word comes straight from the frontlines.

The result is a book that feels more like a documentary film, shot from the middle of the crowd rather than the vantage point of a distanced observer. Punk fought Thatcherism while struggling to deal with its own hard right appeal, reggae stood up to racism while awkwardly holding on to Rastafarian misogyny, rock stars sang anthems against discrimination without acknowledging the prevalent sexism within their own industry. These struggles were never clean cut battles but chaotic melées fought more with good intentions than any master plan and Rachel’s polyphonic style perfectly captures the fragmented, discordant nature of history as it’s really lived.

Walls Come Tumbling Down takes moments that have been elevated into pop cultural mythos and drags them back down to street level.

[Ross McIndoe]

Robert is an unintentional killer. Not only did he fatally elbow his twin sister out of their mother’s womb, he is also responsible for the death of his brother at a much later, unspecified age. In Harry Gallon’s second novel Every Fox is a Rabid Fox, we’re given a full tour of the inner workings of a deeply disturbed, sadistically inclined intellect as he struggles to deal with his turbulent upbringing.

Equal parts Fight Club and The Wasp Factory, the novel attempts to be as harrowing and bewildering as both but ultimately lacks the power and originality of either of those classics. The free-flowing narrative style, which continually jumps back and forth in time and place, achieves the disorientating effect it sets out for, but potentially at the expense of reader enjoyment, and at times it seems as though Gallon is pressing a little too hard on the shock factor pedal.

Having said that, the writer certainly has a lucid, eminently readable style and his dalliances with familial trauma (especially when using the tactic of the naïve narrator) are compelling and compassionate. It’s a worthy, mind-piquing read with loftily cynical sights which doesn’t always score a clean hit – but which may well be all the better off for the raggedness of its wounds. At its best, an overtly stylised and shocking exploration of a disturbed mind, from the exciting new publisher Dead Ink. [Jonny Sweet]

Typewriters, Bombs, Jellyfish is the first collection of essays from Tom McCarthy, a novelist twice nominated for the Man Booker prize for C and Satin Island. A Marmite author, McCarthy has divided critics and readers; phoney and pretentious or a radical modern day Joyce?

Previous readers of McCarthy’s novels will hardly be surprised by the essays’ subjects which provide a highlights reel of 20th century avantgarde culture. Joyce, Derrida, Foucault, Lynch, Ballard, and Kafka are names which repeatedly recur. Critical theorists are name dropped without explanation as it becomes apparent that McCarthy has a particular intended reader in mind, hardly surprising as Tristram Shandy was written as an introduction to Sterne’s novel and the Joyce essay was originally given as a university lecture.

The book’s highpoint is Kathy Acker’s Infidel Heteroglossia, a piece which seamlessly intertwines jellyfish, the body, and language. The Acker essay almost makes up for the only other female-centred piece, the disastrous and porny short story about Patty Hearst. Almost.

Despite being written over a ten-year span, McCarthy’s scope of subject matter is narrow and Anglo-American focused. Herein lies the book’s problem: despite being well executed and intellectually stimulating, the repetition of subject matter becomes, at best, frustrating, and, at worst, tedious. Read in isolation (as they were originally published), the individual essays are engaging pieces of criticism; however, as a collection, the essays become a self-congratulatory and impenetrable ivory tower of high art. [Katie Goh]

By Daniel Rachel

By Harry Gallon

Out now, published by Dead Ink, RRP £8.99

Out now, published by Pan Macmillan, RRP £12.99

By Tom McCarthy

Out now, published by the NYRB, RRP £10.99

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BOOKS

THE SKINNY

This Month in Scottish Art CCA brings shows on the 21st century and lost libraries, Market Gallery houses tongue-in-cheek Jarsdell Solutions Ltd, and new exhibitions also come from Fruitmarket Gallery and GSA, as The Common Guild host new events at the beginning of the month Words: Adam Benmakhlouf

Install View

Parasite Rex CCA

rrrrR Video, sound and drawings are combined at once in the first work of Parasite Rex, Rob Churm’s CCA solo show. Over the two walls, there’s a glitchy video-cum-animation as Churm is recorded overlaying drawings of skeleton parts, as a projector behind him beams a short-delay recording on top.

Across the room and into the next, the many drawings present diverse moments of close pattern, into which Churm envelops his small uniform handwriting, though sometimes emblazoning larger text. Small screeds ask ‘What is line?’ and half quote Paul Klee. Some of the heavier imagery (a baby and father wearing what look like gas masks) and existential implications are in places softened by informally, sometimes lyrically rambling text – including ‘flying robot cars that swooped on me when I was still a child.’

One drawing has at its right and left sides the phrase ‘spectrum properties,’ then at its

foot an emotive description of a lousy studio turning its occupant into a louse. These are the fringes of a vortex of thin black lines, crosshatched marks directing and distracting a restless gaze.

In form, the show is read across dozens of works on paper presented on the wall, as well as flat and arranged across the entirety of two tables.

Over the drawings, the level of detail makes the the drawings vibrate; often they continue to swirl, or are drawn in crisp and overlapping lines, the different depictions of thick, moody foliage, or curlicues of smoke amongst unreal spaces made by interlocking grids.

Representing an interest in communicative graphics, some works are actual posters or make clear reference to comic books. Consistently, expectations of communication or graphic forms are subverted, in their place fragmentary or esoteric references that are substantiated only (and strongly) often by thick texture, an atmosphere of dread or razor edge humour. [Adam Benmakhlouf] Parasite Rex, CCA, until 9 Jul

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ruitmarket Gallery, from 1 Jul, is showing the work of found object sculptor Jac Leirner. For her exhibition, Add It Up, the Brazil-based artist will show works from major collections along with a series of new works. These have been made using her obsessive, addictive process of repeatedly using the same objects, combining them into astonishingly beautiful sculptures that reveal the material poetics of the mundane. As well as the sculptural work, Leirner will also include a selection of watercolours from 1980-2016, small works in which the artist layers a limited selection of colours over and over each other with the same additive aesthetic which informs her sculptures.

Two events for the Steven Claydon exhibition in The Common Guild take place during the first week of July. On Wednesday 5 Jul from 7-9pm, there is a LUX event in Tramway, which develops the ongoing concerns across both exhibitions – at The Common Guild and also Mount Stuart in Bute – presenting a selection of films aming to ‘push and pull at the rupture between elemental materiality of thing and the shifting values, histories and meanings we assign to them.’ Tickets are £3, transaction fees £1 or £1.50 by phone. The next day at The Common Guild, Martin Clark, [Director of Bergen Kusthall in Norway,] will talk about the exhibition and previous projects they completed together. Tickets £3, bookable via Eventbrite.

Also on throughout the month and until 23 August, in the Glasgow School of Art there is Against Landscape, a group exhibition of fifteen artists and Grizedale Arts, ‘a rural organisation in the Lake District.’ Curated by a painter, Daniel Sturgis, there’s an emphasis on the landscape as ‘manifested, but not overtly displayed, in a variety of practices.’ Landscape painting is thus not featured in a conventional way, but instead the exhibition asks what this category might mean today.

Through July Market Gallery in Glasgow hosts

Jarsdell Solutions Ltd, who ‘following an extended period of consultation, research and development, … is pleased to launch the implementation of its latest solution.’ Until 9 July, they host an open studio, then from 10-16 July Market Gallery is the base for itinerant activity before a public exhibition between 17-23 July. Through the project, Jarsdell Sollutions Ltd bring a tongue-in-cheek response to the gallery’s recent displacement from two of its three spaces.

In the CCA Intermedia from Sat 8 July until Fri 28 July, Finas Townsend reflects on his identity as a painter in the 21st century ‘through presentation of artefacts either created or consumed by a twenty-first century painter.’ Townsend, through this autobiographical presentation, wonders ‘how painting transcribes current behaviour and habits’ and asks, ‘how does an artist who continues to use a “traditional medium” earn his contemporaneity in the first place?’

Later in the month from 22 July-3 Sep, CCA present an exhibition in collaboration with Nick Thurston. Titled tenderly The House that Heals the Soul, as a project the show will consider the current status of the library. Together, CCA and Thurston argue ‘public libraries have become one of the last remaining spaces where people can gather without expectation or requirement’ and explore the loss of libraries, thinking of ‘expand[ing] an understanding of the potential of libraries as sites of resistance, shelter, preservation, creation and restitution.’

Also from 22 July, Collective Gallery shows the work of Ross Little, the next on the programme of this year’s Satellites Programme participants.

Glasgow-based Little works predominantly with film and painting, and for the Satellites project will trace different forms of globalised labour found in the ship breaking yards of India and on board a transatlantic cruise ship. The preview takes place on 21 July from 6-8pm.

Tschabalala Self, Sapphire, 2015, Oil, pigment and fabric on canvas

Tschabalala Self Tramway

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Tschabalala Self’s collages and paintings collage/collide pattern from fabric, as well as cloth dabbed with paint. Across the 21 works on show in the front space of Tramway, textures, colour and dramatically inwardly and outwardly curved shapes are overlaid and stitched. In their intersections and different textures, body parts softly convulse in and out from the picture plane.

A foreshortened leg and thigh from behind seamlessly becomes the small of the back and up to a shoulder, all in a sunflower fabric. The dark circles of their centres in their irregularity and contrast draw attention to the right side, as different from the central navy section and left-hand light blue.

Combined with the denser accumulation of smaller patches of the face, the moments of harsh juxtaposition and swooping shapes becomes a means of describing a rush or viscerally felt sensation.

July 2017

Using evocative combinations of colour and material, Self makes an image of an interior sense of anatomy. Rather than allowing for the easy projecting of a sense or narrative onto a more literally drawn or painted figure, the works set up palpable interplays of form and surface. Optically, strong reactions are drawn out by combinations like the assymetrical leopard print pectorals set in the middle of impossibly curved muscled arms with an oblong bright orange behind. With much bare canvas as well, there’s a singularity to the figure that demands attention.

Setting the works close, their scale within the dimensions of the reconfigured gallery space removes again the space for standing back.

Observation is skipped by sensorial jarring or deep satisfaction. There’s a sharing or shifting of onus in Self ’s specifically set pace of response and observation. Intensely felt, the formal drama of each work comes with luxurious urgency.

[Adam Benmakhlouf] Jac Leirner, 120 Cords, 2014

Tschabalala Self, Tramway, until 20 Aug

ART

Review

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In Cinemas David Lynch: The Art Life

Director: Jon Nguyen Starring: David Lynch Released: 14 Jul Certificate: 15

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Tommy’s Honour

Director: Jason Connery Starring: Peter Mullan, Jack Lowden, Ophelia Lovibond, Sam Neill Released: 7 Jul Certificate: PG

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David Keith Lynch, a septuagenarian painter from Missoula, Montana, moves around his studio making a mess with resins and paints, plastic and metal and power tools. He chats with his tiny daughter, or sits before a microphone, smoking, talking in a polite, reserved manner about his early life and inspirations. His speech is quaint and wholesome, sprinkled with folksy apple-pie idioms and – for Pete’s sake – no cussing as he eulogises gently his parents (lovely but straightlaced) and the city of Philadelphia (scary but inspiring). If you didn’t know him already you’d never guess that this is one of the most disturbing and revolutionary visionary artists alive today, and one of the greatest filmmakers of all time.

From the profoundly troubling nightmarelogic of Lost Highway or Inland Empire to the searing, fever-dream fantasia of Wild at Heart, Lynch’s visions seem dredged from an abyssal ocean layer of psyche most people can’t access in waking life.

Like dreams, much of their power lies in their enigmatic quality: what makes them so compelling? What do they mean? Fans seeking a rare horse’s mouth insight into these mysteries will find slim pickings in The Art Life.

Tracing a line from Lynch’s childhood to the shooting of his stunning debut feature Eraserhead, this portrait of the artist as both a young man and an old one misses the productive middle section of his life. This is a clever approach to the subject, but even within these confines, something seems held back. Narrating the film himself, Lynch is candid and forthcoming about those topics he wishes to discuss, but (perhaps unsurprisingly for such an uncompromising purist) he exercises strict control over what those topics are. Others are skirted around, or notable in their absence.

It’s lovely to spend some time with the great man, but ultimately this portrait falls short of its promised intimacy. Then again, perhaps some things are better left unexplained. [Thomas Hughes] Released by Thunderbird Releasing

Awash in enough national signifiers to satisfy the cruel overlords of Visit Scotland, director Jason Connery’s Tommy’s Honour is an earnest and amiable ‘prestige’ picture that engenders all the excitement that implies. Which is to say, not that much. Of course, Connery has his work cut out for him considering the parameters of the story he’s telling.

It’s difficult to mine much dramatic conflict from a sports film about a golfing prodigy who starts out winning and just keeps on going.

Instead, Tommy’s Honour relies on hearty doses of intergenerational conflict and class strife to give it weight, but that doesn’t really rescue this historical biopic from being anything more than blandly respectable.

Jack Lowden stars as the titular Tommy Morris, a 19th-century golfing legend who won his first Open Championship at the age of 17. His greenskeeper father, Tom (Mullan), is also another kind of patriarch: the father of modern golf itself, thanks to his many game and course innovations and his establishment of the very Open Championship his

Tommy's Honour

son would go on to dominate. Despite their mutual passion for the game, ‘Old Tom’ bristles at his son’s cockiness, specifically Tommy’s desire to be seen as equal to the gentlemen who stake him in professional games so they can profit from his wins.

Tommy’s hotshot ways might raise hackles, but he seems to get what he wants without too much struggle. He’s a character that could have become downright obnoxious if not for the subtle charisma of newcomer Lowden. The Borders native

Song to Song

Director: Terrence Malick Starring: Natalie Portman, Michael Fassbender, Ryan Gosling, Rooney Mara, Christian Bale, Cate Blanchett, Haley Bennett Released: 7 Jul Certificate: 15

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Originally titled Weightless, the new existential drama from writer-director Terrence Malick stars Rooney Mara, Ryan Gosling, Michael Fassbender and Natalie Portman as young-ish people balancing romance and ambition in the Texas rock music scene. That’s just the superficial narrative description, though: as ever, Malick is more concerned with gamboling gestures, scattered emotions and experimental techniques.

With the moshpits of SxSW in the distance, and reflective cameos from past rock gods like Patti Smith, Iggy Pop and Johnny Rotten as bookmarks, Malick spends most of this epic of the heart drifting off with his cast to consider what love and life lessons might be in store for partying young people as they traverse a life of hedonism and temptation. Empty wealth, heartbreak and redemption are in the mix, seen in the cinematic style that Malick (and cinematographer Emmanuel Lubezki) have pioneered. In some ways it’s a more straightforward narrative than the intensely personal Knight of Cups, but just as blindingly beautiful and formally distinctive. [Ian Mantgani] Released by StudioCanal

is in nearly every scene, variously sparring with his da’, wooing a local beauty with a scandalous past (Lovibond), and taking on the aristocratic establishment with a righteous indignation born from youth. The film might drag along the journey to its tragic conclusion, but both Lowden and Mullan rescue it from becoming hopelessly mired in the rough. [Michelle Devereaux] Released by Thunderbird Releasing

The Boy and the Beast

Director: Mamoru Hosoda Starring: Kōji Yakusho, Aoi Miyazaki, Shōta Sometani Released: 7 Jul Certificate: 12A

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Mamoru Hosoda (Wolf Children) brings his vibrant world-building skills to the big screen once more with a film overflowing with imaginative energy and visual panache.

After losing his parents, nine-year-old Ren inadvertently embarks upon an Alice in Wonderland-style journey into the realm of beasts – colourful anthropomorphic animals with the ability to ascend into gods. Ren is quickly drawn into the city of Jutengai’s struggle to determine a new Lord and, after being taken on as apprentice by the boorish Kumatetsu, he is gradually able to assemble a new family and find a place for himself in the world. They seldom say a word to each other that isn’t furiously hollered, but Ren and Kumatetsu’s deepening relationship is as enchanting to watch as the film’s most extravagant visual set-pieces.

In its livelier moments The Boy and the Beast is bursting with intricately designed creatures and characters; in its quieter ones, it builds relationships between them that are sincerely sweet, with ruminations on family and childhood that delve deeper than the film’s fantastical surface might suggest. [Ross McIndoe] Released by StudioCanal

The Big Sick

The Beguiled

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Director: Michael Showalter Starring: Kumail Nanjiani, Zoe Kazan, Holly Hunter, Ray Romano, Adeel Akhtar, Anupam Kher, Zenobia Sfiroff, Kurt Braunohler, Released: 28 Jul Certificate: 15

David Lynch: The Art Life

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Review

Director: Sofia Coppola Starring: Nicole Kidman, Colin Farrell, Kirsten Dunst, Elle Fanning Released: 14 Jul Certificate: 15

A regular writing collaborator of David Wain (on the likes of Wet Hot American Summer and The State), Michael Showalter’s own directorial efforts have tended to veer away from absurdist humour towards more grounded comedies with romantic-dramatic registers.

He’s back in dramedy mode for The Big Sick, though writing duty is here left to Emily V Gordon and stand-up/actor Kumail Nanjiani (Silicon Valley), who bring to the screen a version of how their real-life relationships began: Pakistani man starts dating white American woman, with cultural differences and family disapproval causing a rift even before the latter ends up in a medically induced coma, courtesy of an unclear illness.

Zoe Kazan plays the film version of Emily, but Nanjiani gets a star-making turn as, well, himself. Strong support comes from Holly Hunter and Ray Romano as Emily’s parents, begrudgingly bonding with their daughter’s ex as her fate remains uncertain.

With Wain’s hilarious They Came Together, Showalter helped skewer the American romantic comedy; with The Big Sick, he’s gone and made one of the sweetest, funniest modern examples of the genre. [Josh Slater-Williams]

With her latest film, The Beguiled, Sofia Coppola skilfully inverts the gender politics of Don Siegel’s 1971 American Civil War drama to craft a tale of women in wartime who most certainly don’t need a man about the house.

Set in an all-girls school located deep within a mossy Virginian wood, the film begins with a wounded Yankee deserter (Farrell) being discovered by one of the pupils and given sanctuary by the school’s Southern belle headmistress, Miss Farnsworth (Kidman). The man’s arrival sends the house into chaos and he soon learns that a woman (or rather women) scorned will only bring trouble.

The principal cast offer daring, at times gleefully melodramatic, performances. Most notable is Kidman, who laces the no-nonsense Miss Farnsworth with gleeful moments of black comedy. Meanwhile, Kirsten Dunst and Elle Fanning dazzle in roles brimming with sexuality and coquettish playfulness.

What starts as an exercise in genteel restraint crescendos into a claustrophobic, Southern Gothic melodrama. Squarely putting women front and centre, Coppola’s playful use of mordant humour never loses focus in this exploration of female sexuality and jealousy. [Joseph Walsh]

Released by StudioCanal

Released by Universal

FILM

THE SKINNY

The Fisher King

The Sinbad Trilogy

Director: Terry Gilliam Starring: Robin Williams, Jeff Bridges, Amanda Plummer, Mercedes Ruehl Released: Out now Certificate: PG

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Terry Gilliam has always been an outsider: an American in Britain, and someone who frightens the film industry because of the scale of his imagination. After the brilliant but unsuccessful The Adventures of Baron Munchausen, Gilliam had to save his Hollywood career, and took on a screenplay by Richard LaGravenese that had already been through Disney and James Cameron. Gilliam managed to make something magical from it.

Jeff Bridges plays a Howard Stern-esque shock jock, Jack, whose on-air comments prompt an unstable man to commit a massacre in New York. A few years later, Jack goes on a bender, during which he meets a homeless man, Parry (Robin Williams), whose mental state is linked to the massacre. To redeem himself, Jack tries to steal what Parry believes is the Holy Grail.

Gilliam is often accused of using fantastical imagery and detail in lieu of story cohesion, but it’s an unfair criticism: his films always have a strong narrative, and The Fisher King is a prime example.

Gilliam here was working from someone else’s script for the first time, and seems to acclimatise well to LaGravenese’s story without abandoning his singular style, and still manages to add flashes of imagination (including a beautiful waltz at Grand Central, which was Gilliam’s addition).

Given the suicide of Robin Williams in 2014, his appearance now carries a layer of sadness. Many have said his performance in The Fisher King was the closest to Williams the man. By casting Jeff Bridges as Jack, Gilliam made the audience care about a deeply unsympathetic character. Mercedes Ruehl’s performance as Jack’s long-suffering girlfriend Anne earned her an Oscar.

Extras The restored 2K transfer boosts Gilliam’s vision, which was aided enormously by Roger Pratt’s cinematography. The disc’s highlight is a documentary detailing the strange odyssey of how The Fisher King made it to the screen, but it is rammed with riches, including a Gilliam audio commentary, deleted scenes, and Jeff Bridges onset photographs. [Ian Schultz]

The Stone Killer

Director: Nathan Juran / Gordon Hessler / Sam Wanamaker Starring: Kerwin Mathews, Torin Thatcher, Kathryn Grant / John Phillip Law, Tom Baker, Takis Emmanuel / Patrick Wayne, Jane Seymour, Margaret Whiting Released: Out now Certificate: U

Director: Michael Winner Starring: Charles Bronson, Martin Balsam, Jack Colvin, Paul Koslo, John Ritter, Norman Fell Released: Out now Certificate: 15

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“Who told him to go in there?” a uniformed cop asks, minutes into Michael Winner’s 1973 crime thriller The Stone Killer. Charles Before CGI there was Ray Harryhausen. The stop-motion maestro and Bronson’s detective has just hurtled, gun first, into a New York his fantastical beasts brought a level of visual spectacle to the screen apartment building in pursuit of some petty criminals. Minutes rarely seen at the time. Modern CGI has all but eradicated this form later he has shot and killed a 17-year old Puerto Rican kid, and the of animation, which Harryhausen almost single-handedly made fa- department – and the media – are asking whether he really needed mous, but his films still carry a spark of the magic they once held. to do so. “A kid can buy a gun easier than bubblegum,” Bronson After the success of his first Sinbad film in 1958 (The 7th Voyage responds. Some things never change. of Sinbad) Harryhausen would return for two more voyages with the As a consequence of the shooting, he’s shunted out to a Los Arabic adventurer in the 70s.

Angeles police department. It’s clear that Winner – who had prevThe better of these is The Golden Voyage of Sinbad. Released iously worked with Bronson on the likes of Chato’s Land and The in 1973, it is a fun Arabesque filled with fantastical creatures, devilish Mechanic – has some big ideas he wants to wrestle with in this villains and scantily clad maidens. An atmospheric score by composer bi-coastal, sunshine-noir-cum-mob-epic. He struggles to get a Miklós Rózsa (Ben Hur) and a memorable sword fight with a six-armed handle on any of them though, and as the action flits between LA stone idol of the goddess Kali would see it go on to win the first and New York (“Baghdad with a subway,” quips a cab driver), via Saturn Award for best fantasy film. brief sojourns into San Francisco and the Californian desert, it’s Its box office success would see a sequel released four years easy to lose track of the film’s huge cast of characters. later – the same year as Star Wars – and The Eye of the Tiger suffers Anticipating Thomas Pynchon’s sprawling novel Inherent Vice, in comparison, looking dated and old-fashioned, with largely forget- we are introduced to broke cops, spirited hippies, snitching junkies, table stop-motion work.

Black Panthers, ex-soldiers, stoic mafiosa and a gay, jazz-playing The flaws of both films are also more readily apparent in the hood – all within a spritely 95-minute runtime. A plot slowly emerges: follow-up. Plots are thinly sketched with B-movie dialogue and the Bronson’s brutish investigator is trying to unwind a Sicilian mafia direction of both films rarely rises above functional. scheme to use Vietnam veterans to avenge a mob massacre some But it’s the visual effects of Harryhausen that are the draw here. 42-years prior. This unfolds through a series of assassinations, car Stop-motion films are now few and far between, largely replaced by chases and one particularly outlandish set-piece featuring a CGI spectacle. To modern viewers they appear quaint and old helicopter. It’s a mess – but it’s never dull. fashioned, but for those with an open mind, there is still some of the old magic left.

Extras Character actor Paul Koslo pokes fun at Charles Bronson’s grumpy Extras on-set behaviour. Also included is a lengthy audio recording of an Both discs provide a solid offering consisting mainly of interviews interview with Michael Winner and a commentary track featuring with Ray Harryhausen about his career and techniques. Other the excellent critic Nick Pinkerton. [Tom Grieve] extras include interviews with Tom Baker and Jane Seymour along Released by Indicator with the usual collection of trailers. [Michael Jaconelli] Released by Indicator

Released by Criterion Collection

CCA Highlights ummer has come! Enjoy 11pm plays of light, midges on the Isle of Skye and open-topped convertibles screeching towards euphoric sunsets as you blast through bottles of ice-chilled Bru. The CCA is ready for the long evenings with its steady plethora of vitalising events for you, the artful consumer, to enjoy.

The House that Heals the Soul is a a stunning celebration of the importance of libraries as a place of refuge, of history, and of discovery, and how we can nurture and protect this most essential of public places. There are also workshops on self-publishing, book exchanges and – fantastically enough – it’s also a library, so go borrow a book, from 22 Jul to 3 Sep. Eat everything! Especially insects! Which, it must be noted, are a brilliant source of protein, cheap to acquire and delicious in the right contexts. Children are given the opportunity to explore Scottish and Mexican food culture in a hands-on workshop that lets them venerate their food with altars, paint frescoes with the bloodred bug cochineal, and encourage them to explore healthy eating with insects. Give your children a magical and tasty adventure at Unicorn Enchilada with Scottish artists Sally Hackett and Greer Pester, on Thurs 20 Jul. We have not parted from our brothers and sisters on the continent yet, and now it is ever more vital to remember the things that bind us and how we can protect our shared futures.

EuropeNow Film Festival presents a continent in a state of shock and, as the first battle-lines are

July 2017

drawn and recriminations made, how we can sustain the European project and transform the EU for the better in the wake of the economic and emotional perils that face it. Films from 12 artists include Brexitannia, a documentary about Brexit, and a series of short films that show the pain of austerity for everyday Greeks and the dark side of utopia, 12-14 Jul. These are melodies for a summer morning, as the meadow wakes and the birds take the air to reveal a scampering of deer. A voyage through fractal shapes of sound, a distilled flute christened with synth. The small fire of her piano lighting a path that is slowly being erased, the angels of distant strings urging you to walk it.

This is more good music by Kara-Lis Coverdale, whose 2014 album Aftertouches was named best of the year by The Wire and NPR. Here, she unveils her new album Grafts. Immerse yourself in bliss at the CCA, 1 Aug. To hear the joyful burning arias of a tenor or soprano at full throat is a wonderful thing. Raucous Rossini’s accessible one-act comedy operas take the rapid-rhythm operas of Gioachino Rossini and unleash them into a gleeful riot while maintaining the full glory of a town hall Italian opera.

This young opera company is bursting with talent and, fresh from a recent tour of Italy, they are here at the CCA with Rossini’s L’occasione fa il ladro, or Opportunity Makes the Thief. Revel in the high notes and the bathetic lows, 2 and 3 Aug, With subjects of identity ever more politically charged in modern society, and navigating the

Curandi Katz, The Pacifist Library Action #4 Sarajevo (in collaboration with Anna Santomauro).

boundary between mind and body becoming more complex, the CCA hosts new Intermedia exhibition as if we were strangers; that strangeness was ours, an intensely abstract exploration of communities of colour and the way they relate

ART / DVD

Photo: Matej Srepfler

S

Words: Sebastian Fisher

to society. Occupy the liminal space between spectator and artist as Sulaïman Majali and Katherine Ka Yi Liu weave together performance, audio, video and sculpture to produce works that "reserve the right to ambiguity." from 5 to 23 Aug.

Review

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Crowdfunding: The Only Way to Fund a Fringe Show?

With just over a month to go until the Edinburgh Festival Fringe kicks off, The Skinny asks why more and more acts are turning to crowdfunding to finance their shows, and what could be done to make the festival more cost-friendly to artists?

fact that the typical funding avenues are very congested, and the funding bodies themselves really stretched.”

Above the Mealy Mouthed Sea

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he cost of performing at the Fringe can be incredibly high, with the cost of venue hire, accommodation and travel all adding to the financial burden. Because of this, more and more Fringe acts are turning to crowdfunding to utilise their existing fan base and lessen the financial hit.

So, for the modern artist, why is crowdfunding becoming so popular?

Why crowdfund?

For Kate Austen of Doughnut Productions, who are set to perform Speaking in Tongues – The Lies and Speaking in Tongues – The Truths at the festival, crowdfunding was initially not something that she wanted to do. “I’ll be the first to stick up my hand and say I’ve rolled my eyes at other people’s campaigns in the past whether that be for their own shows or for fundraising to go to drama school.

It wasn’t an easy decision to make,” she explains.

Despite her initial reluctance, she readily admits that crowdfunding has made it possible for her to perform at the Fringe, something that wouldn’t have been possible otherwise.

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“We wouldn’t have been able to go. We would have probably had to fund it out of our own pockets and that’s not feasible for the team at this point in time.”

Rebecca Gwyther, the producer of What Goes On In Front Of Closed Doors, says that crowdfunding is a fast and relatively safe way to get funding.

“It is a quick way to boost Edinburgh Festival Fringe funds without too much risk. It requires a lot less work than organising an event, but is still money guaranteed to the project,” she explains.

For Rachel D’Arcy, the producer of Scribble, the choice to crowdfund was simple: “We chose to go for the crowdfunding option to raise funds to make sure we could pay the actors we have taking part in our production, and to cover essentials like flyers, posters and photography.”

Her colleague, playwright Andy Edwards, agrees, “Crowdfunding feels like a viable option in the current climate – which isn’t to say it isn’t without its problems, but that within the context of people making work or people going to see work, there is a shared appreciation of the

Are there other sources of funding available?

There are always options for funding available, however arts funding is competitive and under huge pressure from government cuts. Applications can take weeks, if not months, to be approved.

In addition, the amount of funding available and the type of project that could be eligible varies according to location.

This, coupled with budget cuts and strict rules, often leaves artists reliant on overstretched alternative.

Anya Anastasia, who returns to the Fringe with her new show Anya Anastasia: Rogue Romantic, explains that crowdfunding formed just one part of her finances. “Crowdfunding is actually just one aspect of what I’m doing to raise funds for this tour. I have still applied for multiple grants, and am holding fundraising evenings. My performers themselves are also being flexible in how they approach fees etc with an understanding of the vast risk I am taking to tour this show.”

Asha Obsorne-Grinter, the 18-year-old producer, director and founder of Mixtape Theatre, is set to make her Fringe debut with Spring Awakening: A Reimagining. She believes that crowdfunding was the most accessible option following previous funding rejections.

“We applied to a range of grants, but we didn’t entirely fulfil the criteria of many grants due to our age/lack of ‘adults’ and facilitators, and despite not being a registered company, we are not part of a charity either,” she begins.

“Living in London, there is such great competition for grants in my area that my show was overlooked in terms of council grants because there is very little funding for the arts in my borough. I attempted to apply for a grant from the Arts Council, but this too was very time consuming and geared towards more established companies than my own.”

David Bryan, the sole performer in one-manplay Trashed, echoes these ideas of needless bureaucracy, and believes that this is what’s keeping specific shows and artists from obtaining funding. “It’s hard to fill in forms explaining why we MUST put on this play. We WANT to put it on.

That’s not to say it doesn’t explore key issues, we just haven’t built it to be a great funding candidate. We’re not ticking boxes for the sake of ticking boxes, we’re putting on a great play we’re passionate about.”

Unpolished Theatre, on the other hand, are coming up to the Fringe with their show Flesh and Bone, thanks to the aid of the Charlie Hartill Special Reserve Fund for Theatre [a fund for the production costs of Edinburgh Fringe shows].

Associate Producer at the Pleasance Heather Rose – who has worked with the company since its inception – believes that the way that funding is awarded needs to change.

“Most arts funders are unwilling to fund shows for the Edinburgh Fringe Festival – we are lucky enough to have support from the Pleasance Theatre Trust, but even with that we just needed a bit more to cover all our costs, and with this being our first show, we felt like our friends and family would be happy to support us to make it happen.”

She continues: “Too much funding is geared towards registered charities, and requires long complicated application forms. There aren’t

THEATRE

Interview: Amy Taylor

enough small pots of money with simple applications for artists who are just getting started and are trying to balance building a career with earning a living.”

Jemima Foxtrot is a performance poet and the writer of Unholy Mess’s Above the Mealy Mouthed Sea, which she is set to perform in Edinburgh in August. The piece not only acquired funding, but was also developed with Omnibus Theatre.

Because of this, Foxtrot believes that collaboration between theatre companies is vital.

“We were lucky enough to receive enough Arts Council funding for the development of the show as well as for a small national tour. We are also associate artists at Omnibus Theatre, who support us with rehearsal space, marketing and PR, all of which are invaluable to us.”

However, she also believes that opportunities for funding are currently very limited. “There’s a misconception nowadays that because the arts aren’t big money-spinners they’re not valuable. In short, no there are not enough opportunities for arts funding.

Her comments are echoed by Jamie Firth, the director of Goody, who also managed to secure some external funding. “We were lucky enough to win an award from the Greenwich Theatre [The Greenwich Partnership Award 2017], which came with a small bursary, but otherwise we are always going to be self-funding it.”

“If there are opportunities, we wouldn’t know where to find them. I think this is the biggest stumbling block for most small independent companies – going it alone looks like your only option and, being blunt, we have never considered it. ” “I have found it to be very hard to find grants; and those grant applications that I do find have very specific parameters that my work doesn’t fit into,” agrees Peter Michael Marino, a New-York based performer, set to return to the Fringe this year with his new comedy, Show Up. “I think the biggest barrier is that so many people I know are also artists and most artists don’t make the kind of money where they can make large donations. I need to reach many people and ask for micro-donations. As far as grants go, I’m not sure I possess the skills to write effective grant appeals, nor do I have the money to pay someone to write the grant appeal for me.”

What can the Edinburgh Festival Fringe do to help?

Lewis Dunn, the producer of Any Suggestions Doctor? An Improvised Adventure in Space & Time, believes that the high price of accommodation in August is a real barrier to artists, and that the Fringe should do more to help. “Landlords are the kings of Edinburgh, and there’s nothing anyone can do about it.

“Subsidised accommodation, revenue sharing deals instead of upfront venue costs, less strict rules about what shows need insurance. I did a show once in which I sat in a chair, read a diary and drank cold tea. I had to be insured for up to £5million in public liability. I was tempted to attack someone just to make it worth it.”

Attacks aside, the cost of accommodation came up time and time again, with OsborneGrinter saying it best, “I think that perhaps there should be grants that the Fringe offers for emerging artists, or even subsidised accommodation for artists in shared houses because theatre rental and accommodation have been the single largest costs for my cast.”

THE SKINNY

Spontaneous Sherlock: Comedy Spotlight The game is afoot! Will Naameh of Edinburgh improvisers Spontaenous Sherlock and Men with Coconuts attempts to find a ‘seven-per-cent’ solution to our Spotlight questions...

Interview: Jenni Ajderian Who – or what – is the Moriarty to Spontaneous Sherlock’s Sherlock?

Because Spontaneous Sherlock is 100% improvised, the characters go through various iterations and depictions, and that includes Sherlock himself!

So that’s not an easy question to answer. But I do remember one show in particular where Moriarty spent most of the story masquerading as the Human Torch. So that was a pretty strong move.

And the Irene Adler?

Similarly, Irene Adler has been depicted quite a few ways in Spontaneous Sherlock. And Sherlock’s had quite a few love interests too; he’s actually ended up married to Mrs Hudson at least twice.

Can’t stand in the way of true love.

T

here have been many Sherlock reboots and adaptations of late; who would win in a Battle Royale-style detective-off between the main contenders: Benedict Cumberbatch, Robert Downey Jr, Jonny Lee Miller, Danger Mouse and Dr Gregory House?

All of these contenders are pretty evenly matched. But my money’s on Danger Mouse. All the other contenders routinely use drugs, and to my knowledge Danger Mouse has never shot up on cocaine. So I reckon he’s got the edge.

July 2017

Likewise between the assistants: Martin Freeman, Jude Law, Lucy Liu, Penfold, Dr Wilson?

My money’s on Lucy Liu. Her Watson is by far the most intelligent. Penfold would come last and cry.

Do you have to have an opiate habit to work here, or does it just help?

Before each show we generally warm up by doing short improv scenes in a Victorian genre. But we’ve never taken opiates to prepare for a show. Yet.

The Great Detective’s hobbies include violin playing, amateur boxing and sneering at lesser minds. How would you recommend visitors to Edinburgh spend their time when not frequenting improvisational comedy shows?

Well, two of us in the cast of Spontaneous Sherlock work for The Potter Trail – Edinburgh’s Harry Potter walking tours. So I’d say come see us dressing up as wizards. That’s the full Edinburgh experience.

COMEDY

Spontaneous Sherlock features live musical accompaniment – are we to believe that Holmes and Watson might engage in a danceoff sometime soon?

This genuinely happened in a show at last year’s Edinburgh Fringe! In other shows Sherlock and Watson have also had a rap battle, sung the entire Pokémon theme song, and joined a scat collective of orphans living in a tunnel called ‘The Railway Boiz’. We take Arthur Conan Doyle’s work very seriously.

Spontaneous Sherlock plays The Monkey Barrel Comedy Club monthly, and at the Edinburgh Fringe: PBH Free Fringe at The Liquid Room (Annexe), 5-27 Aug, 7.40pm, free spontaneoussherlock.com

Review

69

Win tickets to Fringe show TUTU: Dance in All Its Glory P

hilippe Lafeuille’s beautifully choreographed, light-on-its-toes family show TUTU: Dance in All Its Glory has been delighting audiences throughout Europe. With impeccable skill, six dancers playing over 40 roles take you on a hilarious journey through the icons of classical ballet and contemporary dance.

A homage to the greatest choreographers worldwide and throughout history, TUTU celebrates the world of dance with precision and poise. From Swan Lake to Dirty Dancing, Chicos Mambo’s joyful and hilarious production celebrates dance in all its glory.

To be in with the chance of winning one of five pairs of tickets to what Figaroscope has described as “the most surprising and joyful show of the season”, simply head to theskinny. co.uk/competitions and correctly answer this question: How many dancers are performing as part of TUTU? a) Two b) Six c) Ten Competition closes midnight Sun 30 Jul. Winners will be notified via email within two working days of closing and will be required to respond within 48 hours or the prize will be offered to another entrant. Our Ts&Cs can be found at theskinny.co.uk/about/terms

Win a pair of weekend tickets to Carnival Fifty Six C

04 - 28 August 2017 | Tickets available at edfringe.com

70 YEARS OF DEFYING THE NORM 70

oming to Camperdown Park, Dundee on the 12 and 13 August, Carnival Fifty Six is Scotland’s newest independent festival! With five areas, hosting some of the biggest names in music such as Rudimental, Mark Ronson, Clean Bandit and the Fratellis, C56 will be filling the gap in the North-East festival market.

Looking to harness talent local to Dundee and Scotland, there will also be a host of newly signed acts as well as artisan food and drinks suppliers to ensure you have the best possible weekend.

To win a pair of weekend tickets to C56, simply head to theskinny.co.uk/competitions and correctly answer this question:

COMPETITIONS

Where is C56 taking place this year: a) Camperdown Park b) Baxter’s Park c) Caird Park Competition closes midnight Sun 30 Jul. Carnival Fifty Six is a festival open to people aged 12+. People 17 and under must be accompanied by an adult over the age of 26 years old at all times. Winners will be notified via email within two working days of closing and will be required to respond within 48 hours or the prize will be offered to another entrant. Our Ts&Cs can be found at theskinny. co.uk/about/terms

THE SKINNY

Glasgow Music Sat 01 Jul

ALPHA MALE TEA PARTY (ADULT FUN + CANAL CAPITALE + FRANTIC)

NICE ‘N’ SLEAZY, FROM 19:30, £6

The Liverpool-based choppy alternative punk instrumentalists play a set of their noise-happy angular tunes.

JP RUGGIERI

THE HUG AND PINT, FROM 19:30, £7

Folk singer-songwriter from New York.

THE STATLER PROJECT

STEREO, FROM 19:00, £6

A Stereo set from the Scottish indie/dance band. With influences ranging from minimal techno to krautrock, expect something interesting.

AIDAN O’ROURKE + KIT DOWNES

THE GLAD CAFE, FROM 19:30, £11

Brand new duo, comprising Aidan O’Rourke of Lau / Kan / Blazin Fiddles, and Mercury Music Prize nominated, BBC Jazz Award Winner harmonium and keyboard player Kit Downes (ECM).

STEVEN WARWICK (DJ BURRNESHA + DICK 50 & RIBEKA) THE ART SCHOOL, FROM 23:00, £4 - £5

Berlin-based producer and artist Steven Warwick plays live with support from DJ Burrnesha, Dick 50 & Ribeka. Warwick’s latest venture also utilises a new sonic repertoire allowing for a new route for his music.

Sun 02 Jul

THE JACKSONS (CRAIG CHARLES FUNK & SOUL CLUB + THE REFLEX + SHAKA LOVES YOU + GERRY LYONS)

O2 ACADEMY, FROM 19:00, £42.50

The Motown legends take to the road with a hit-filled show.

AVALANCHE PARTY (BLUEBIRDS + THE PALE KIDS + FAT BLACK CATS)

BROADCAST, FROM 19:00, £5

The next in Control Social Club’s late night series, featuring the return of Yorkshire band Avalanche Party, who’ve got a brand new single.

RONNIE AND OLIVIA

ORAN MOR, 17:00–20:00, FREE

A free evening of stripped down blues at Òran Mór from the Glasgow trio.

STEVE HOFSTETTER

NICE ‘N’ SLEAZY, FROM 19:30, £15

The author, columnist and comedian stops by Sleazy’s for a set.

Mon 03 Jul

YORKSTON / THORNE / KHAN

THE HUG AND PINT, FROM 19:30, £13

Yorkston/Thorne/Khan return to Summerhall’s Dissection Room with their new album Neuk Wight Delhi All-Stars, presenting a confluence of currents, among them the north Indian sarangi; jazz-tinged bass and gentle acoustic guitar.

Tue 04 Jul

THE LIVING END (DEAD BY MONDAY)

KING TUT’S, FROM 20:30, £16

Aussie punk rock band formed in the mid 90s.

Thu 06 Jul

URVANOVIC (MIG + YOUS)

NICE ‘N’ SLEAZY, FROM 19:30, £5

Pronounced ‘er-van-o-vitch’, the pop-styled seven-piece pitch up for their usual variety bucket of strings, synths, vocals, percussion and other noises.

FOOTBALL, ETC. (DAGS! + UNDO)

BROADCAST, FROM 19:00, £7.50

THE HUG AND PINT, FROM 19:30, £6 - £8

ST. PROVIDENCE

CLASSIC GRAND, FROM 19:00, £6 - £8

The Glasgow alt rock band play for a Classic Grand crowd.

JACEK STACHURSKY

O2 ABC, FROM 19:00, £25

A rare Scottish show combining music and stories from the artist’s career. Followed by a meet’n’greet, if that’s your thang.

ROCK IT! STRINGS OF FIRE (DAS PLASTIXX + AUDIO CYNIC + DEVILS IN SKIRTS + A.K. GARFUNKEL)

BOX, FROM 20:00, FREE

Prepare yourself for a riff-fueled night of balls-to-the-wall energy from four very different acts.

Fri 07 Jul

POLIS (VIXXXIONARY + NOW WAKES THE SEA)

THE HUG AND PINT, FROM 19:30, £5

A combo of pschedelic synth, R’n’B vox and eclectic lyrics make this band something pretty unique.

MISS THE OCCUPIER (THE TWISTETTES + SLIME CITY)

NICE ‘N’ SLEAZY, FROM 20:00, £5

The punk-inflected Glasgow popsters continue to blast Sister-era Sonic Youth through ace girl group melodies.

THE DIRTY BEGGARS (THE JELLYMAN’S DAUGHTER)

CLASSIC GRAND, FROM 19:00, £10

There’s a humdinger of an all-night hoedown on the cards at this Classic Grand party, celebrating the return of bluegrass/Americana band The Dirty Beggars.

TRNSMT FESTIVAL (RADIOHEAD + BELLE & SEBASTIAN + LONDON GRAMMAR + RAG 'N' BONE MAN + EVERYTHING EVERYTHING + JP COOPER) GLASGOW GREEN, FROM 14:00 £59.50 - £155

Brand new multi-stage festival from the folk who brought you T in the Park.

Album launch for Edinburgh-based wonk pop troubador Passion Pusher. A night of indie, noise, electronic, fuzz, fun.

TULAMH HOUSE FUNDRAISER

THE RUM SHACK, 20:00–01:00, £5 - £10

Sat 08 Jul

GLASGOW GREEN, FROM 12:30

Three up-and-coming rock bands play Sneak’s.

2325 +VIOLET

BROADCAST, FROM 19:00, £5

The Aberdonian hardcore fivepiece stop by for a show.

SPIRAL OH (PASSION PUSHER + THE EDIOTS + LUMER + SWEATY PALMS (DJ SET)) BROADCAST, FROM 19:00, £5

The Glasgow-based zine and music showcasers throw on another spread of new local music.

AIDAN SMITH (CARA ROSE + LIAM DOYLE)

THE HUG AND PINT, FROM 19:30, £5

The singer-songwriter young’un stops by for a set of covers and originals, traversing folk, piano pop, ballands and lol-songs.

Sun 09 Jul BLACK SNAKE ROOTS

ORAN MOR, 20:00–20:00, FREE

Ronnie and Olivia play tunes from their Classic Acoustic Songbook in the cosy bar.

KURT TRAVIS + ANDRÉS

THE HUG AND PINT, FROM 20:00, £8

A full band performance from Doghouse-signed artist Kurt Travis and his musical entourage.

TRNSMT FESTIVAL (BIFFY CLYRO + THE 1975 + TWO DOOR CINEMA CLUB + TWIN ATLANTIC + BLOSSOMS + THE VIEW + THE STRYPES) GLASGOW GREEN, FROM 12:30

Brand new multi-stage festival from the folk who brought you T in the Park.

Mon 10 Jul

JOYCE MANOR & MARTHA

STEREO, FROM 18:30, £10

Cali-hailing quartet who, although known for a pop punk sound are foraying into new territory with album Cody.

Tue 11 Jul NAS

O2 ACADEMY GLASGOW, FROM 19:00, £32.50

The legendary Queens MC takes to the road some 23 years since his debut LP’s release.

RISING APPALACHIA

TOM HANG (PHOENE)

Hailing from the East End of Glasgow comes a wave of acoustic guitars, electronic beats and synths in the form of Jt Forrest.

Expect a party.

THE MOTION POETS (ACADEMY STRANGERS + FLAKES + IDKID)

STEREO, FROM 19:30, £6

The indie rockers play their first headline show in Glasgow, with a roster of stellar surports.

KING TUT’S, FROM 20:30, £8 - £40

VOLCANO X (YOUNG MACHETE + GRACE & LEGEND)

NICE ‘N’ SLEAZY, FROM 19:30, £4 - £6

Big scoop of heavy metal for you courtesy of the Dundee band.

Fri 14 Jul ALLUSONDRUGS

NICE ‘N’ SLEAZY, FROM 20:00, £7 - £10

The grungy Leeds quintet do their guitar-fueled rock thing.

SAOR + UIR + FIRST TEMPLE OF THE ATOM

STEREO, FROM 19:00, £10

Atmospheric metal / Celtic folk band Saor headline a show in Glasgow, performing material from their new album Guardians.

KING TUT’S SUMMER NIGHTS: DECLAN WELSH & THE DECADENT WEST (FIVE COUSINS + SAHARA + LOST IN VANCOUVER)

KING TUT’S, FROM 20:30, £8 - £40

The Wah Wah Hut’s Summer Nights schedule continues with a headline set from Declan Welsh & The Decadent West.

FIT TO WORK (BRATAKUS + SICK OF TALK + GIRL’S SCOUT)

13TH NOTE, FROM 20:00, £5

A night billed as “hardcore punknetworking in a synergistic work environment”. Ironically, of course.

Sat 15 Jul

SUZUKI JUNZO (COSMIC FRIENDS)

NICE ‘N’ SLEAZY, FROM 20:00, £6 - £8

Tokyo-based Japanese underground guitarist and vocalist.

SYCOPHANTASY

THE FLYING DUCK, 22:00–03:00, FREE

Cross-genre wild child Sycophantasy is one part of Push It, has played alongside Paula Temple and has risen through the ranks in the Glasgow DJ scene. Who knows what she’ll play, but it will be good.

LARRY HEARD AKA MR FINGERS LIVE

BARROWLANDS, 19:00–23:00, £27.50

Influential Memphis-based musician who developed his wealth of skill in soulful house production while growing up and working in Chicago in the 80s.

ORAN MOR, 17:00–20:00, FREE

KING TUT’S, FROM 20:30, TBC

WELCOME TO THE NEW MALT ORDER

The Wah Wah Hut’s Summer Nights schedule continues with a headline set from Verse Metrics.

SUNN O)))

SWG3, 19:00, £22.50

Mon 17 Jul

JT FORREST

Get stuck into some sixties goodness in a dedicated party at Oran Mor, featuring music from early beat-boom, the mod era and through to psychedelia.

JESSE MALIN (MATTHEW RYAN)

KING TUT’S, FROM 20:30, £8 - £40

BROADCAST, FROM 19:00, £6

BACKBEAT NON-STOP 60S POP

THE VAMPS

KING TUT’S SUMMER NIGHTS: VERSE METRICS (ATLAS:EMPIRE + FOXES FOLLOW + MOSHVILLE TIMES DJ SET)

A band at the intersection of metal, drone, jazz, contemporary composition and minimalism.

The Wah Wah Hut’s Summer Nights schedule continues with a headline set from Patersani.

LARKINS

Sun 16 Jul

Thu 13 Jul

NICE ‘N’ SLEAZY, FROM 19:30, £6

O2 ACADEMY GLASGOW, FROM 19:00, £16

THE HUG AND PINT, FROM 19:30, £12

NICE ‘N’ SLEAZY, FROM 19:30, £7 - £10

KING TUT’S SUMMER NIGHTS: PATERSANI (FREELANCE LIARS + IMMI + EVERYTHING BRIGHTER DJ SET)

Acoustic-driven British pop unit led by singer Brad Simpson.

A melange of folky elements, complex songwriting and textured harmonies.

BEAR (DEATH REMAINS)

Brand new multi-stage festival from the folk who brought you T in the Park.

Wed 05 Jul

New York singer-songwriter who began playing live at the tender age of twelve, in seminal hardcore band Heart Attack.

KING TUT’S, FROM 20:30, £8

The Basick signed Belgian metal band play Sleazy’s.

TRNSMT FESTIVAL (KASABIAN+ CATFISH AND THE BOTTLEMEN + GEORGE EZRA + THE KOOKS +STORMZY + CIRCA WAVES + CABBAGE)

The folky nomads return to Glasgow.

HERMITAGE GREEN

THE OLD HAIRDRESSERS , FROM 19:00, £5 - £7

STEREO, FROM 19:00, £7.50

THE RUBBER WELLIES

American garage rock trio on the go since 1986.

Folksy types from the Emerald Isle.

Guest DJs and live acts playing reggae, soul, disco and ska.

California/Texas-hailing rock’n’roller signed to Dine Alone Records.

O2 ABC, FROM 19:00, £16

PASSION PUSHER (JEALOUS GIRLFRIEND + SHAMGATE + ODD LAW)

The Texan indie/emo three-piece play a show in support of their new album Corner.

MATTHEW LOGAN VASQUEZ

THE GORIES (THE KIDNEY FLOWERS + THE JACKHAMMERS)

KING TUT’S SUMMER NIGHTS: VIDA (VOODOO + THE RAHS + PLEASURE HEADS + THE VAN T’S DJ SET + STRAY CATS DJ SET ) KING TUT’S, FROM 20:30, £8 - £40

The Wah Wah Hut’s Summer Nights schedule continues with a headline set from Vida.

THE GLAD CAFE, FROM 19:00, £8 - £10

Solo electronic work from Lobster Theremin label owner Jimmy Asquith, plus support from French ambient electronic music producer Phoene.

MARC HALLS (WE ARE ALL FOSSILS + AUSTIN MILLER + THE GRACIOUS ATTEMPT) THE HUG AND PINT, FROM 20:00, £6

Former Fei Comodo and Hey Vanity man, now out riding solo playing music influenced by City & Colour, Bon Iver and Damien Rice.

Tue 18 Jul DANNY GRUFF

THE HUG AND PINT, FROM 19:30, £7

Folk and pop artist, out on tour following the success of his 2016 ONTAW project (stands for One New Tune A Week).

KING TUT’S SUMMER NIGHTS: FALSE FRIENDS (ADAM ROSS GREENE + CHRIS GREIG + OCEANCOE + CLUB DECODE DJ SET)

KING TUT’S, FROM 20:30, £8 - £40

The Wah Wah Hut’s Summer Nights schedule continues with a headline set from False Friends.

STONES N ROSES

NICE ‘N’ SLEAZY, FROM 19:30, £7.50

Guns N’ Roses and Stone Roses mash-up makers.

Wed 19 Jul

TMSA YOUNG TRAD TOUR (MOHSEN AMINI + CLAIRE HASTINGS + HANNAH MACRAE + ROBBIE GREIG + JESSICA BURTON + MURRAY WILLIS + RYAN YOUNG + JEAN DAMEI) DRYGATE BREWING CO., FROM 19:30, £8 - £10

Concert featuring seven talented young traditional musicians who were finalists or winners in the annual BBC Radio Scotland Young Traditional Musician of the Year 2016 Award.

KING TUT’S SUMMER NIGHTS: QUICK (COURIERS CLUB + AWKWARD FAMILY PORTRAITS + FAIRFOLLIES + HOLY SMOKES DJ SET) KING TUT’S, FROM 20:30, £8 - £40

The Wah Wah Hut’s Summer Nights schedule continues with a headline set from Quick.

Thu 20 Jul

Fri 21 Jul MARTHA FFION

THE GLAD CAFE, FROM 19:30, £7.50

The musical project of songwriter Claire Martha Ffion McKay, recently signed to Turnstile – home to the likes of Gruff Rhys and Cate Le Bon. WRONG HANDS

THE FLYING DUCK, 22:00–03:00, FREE

Another night of eclectic selections from Subcity’s Wrong hands.

CCA & SARAMAGO SUMMER PARTY

CCA: CENTRE FOR CONTEMPORARY ART, FROM 20:00, FREE

Summer drinks, dancing and DJs at CCA!

COLT 45 (SWALLOWS + NORTHERN NIGHTLIGHTS)

BROADCAST, FROM 19:00, £6 - £8

The Cumbrian punk rockers swing by with another dose of punk rock fury.

TAPED LIVE

CLASSIC GRAND, FROM 19:00, £5

Two piece modern rock band launching their new EP.

KING TUT’S SUMMER NIGHTS: AVA LOVE (OTHER HUMANS + VICTORIA’S FLIGHT + WALT DISCO + EMUBANDS DJ SET + INDIGO VELVET DJ SET)

KING TUT’S, FROM 20:30, £8 - £40

The Wah Wah Hut’s Summer Nights schedule continues with a headline set from Ava Love.

THE KIDNEY FLOWERS (ROCKET REDUCER + THEE RAG N BONE MAN + TINNED GOOD)

NICE ‘N’ SLEAZY, FROM 19:30, £5

Psych and shoegaze from the selfprofessed fast food enthusiasts.

FOLK DEVILS AND INCA BABIES

O2 ABC, FROM 19:00, £10

Two of 80s post punk’s finest.

INVISIBLE INC PRESENTS (PETER POWER + KONZEL)

THE RUM SHACK, 20:00–13:00, £5 - £7

Peter Power launches his new 12” on local label, Invisible Inc. Playing live is ¼ of Optimo Music’s Junto Club, under the mysterious guise of Konzel.

Sat 22 Jul

FOGGY CITY ORPHAN (BAD MANNEQUINS)

BROADCAST, FROM 19:00, £5

Hilariously named after the Chinese translation of Oliver Twist, FCO are band made up of two brothers, their cousin and an entirely unrelated drummer. Their catchy, lightweight indie rock has been tipped by Steve Lamacq and Tom Robinson.

SHEER MAG

MONO, FROM 19:30, £8 - £9.50

Power pop punk rockers from the USA.

O2 ACADEMY GLASGOW, FROM 19:00, £10

KING TUT’S SUMMER NIGHTS: THE RANZAS (IBG + THE SNUTS + AYAKARA + THE CANDID MIXTAPE DJ SET + SOLDIER ON DJ SET)

WOVEN SKULL

The Wah Wah Hut’s Summer Nights schedule continues with a headline set from The Ranzas.

PASSENGER (CHRIS SIMMONS)

Brighton born singer-songwriter Mike Rosenberg’s pared back new guise (i.e. five piece band becomes one).

NICE ‘N’ SLEAZY, FROM 19:30, £5 - £7

Three piece project from Northwestern Ireland who combine minimal drones with psychedelic distorted riffs to create an atmospheric, haunting sound.

ALEX WAYT

THE HUG AND PINT, FROM 20:00, £5

The singer-songwriter launches a brand new album, It Found Me at The Hug and Pint.

INTER- #10: ELA ORLEANS, CUCINA POVERA, MARK VERNON, KLAYSSTARR LIVE IN SURROUND SOUND

STEREO, FROM 19:30, £6

The e’er charming and beguiling Ela Orleans plays the tenth edition of experimental night series INTER. KING TUT’S SUMMER NIGHTS: FOREIGNFOX (DROWNED OUT + THISFAMILIARSMILE + CRYSTAL + RAVE CHILD DJ SET)

KING TUT’S, FROM 20:30, £8 - £40

The Wah Wah Hut’s Summer Nights schedule continues with a headline set from Foreignfox.

MOONYA

BLOC+, FROM 21:00, FREE

Solo dream pop mastergal from France.

BORN AND RAISED IN THE CITY

KING TUT’S, FROM 20:30, £8 - £40

SCOTTISH BEAT-BOX BATTLE (BIG TAJJ VS SPEE SIX NINE + TOGO FAM + ASHTRONOMIK + REDKING) NICE ‘N’ SLEAZY, FROM 19:30, FREE

P2M bring an eight-man beatbox tournament to Sleazy’s, judged by Maverick Quest and Kemikal.

Sun 23 Jul BLACK SNAKE ROOTS

ORAN MOR, 17:00–20:00, FREE

Ronnie and Olivia play tunes from their Classic Acoustic Songbook in the cosy bar.

THE KUNDALINI GENIE (THE VALKARYS + THE DURTY WURKS + GHOST DANCE COLLECTIVE)

BROADCAST, FROM 19:00, £5

A night of modern psychedelia at Broadcast.

KING TUT’S SUMMER NIGHTS: LUNIR (EMME + MERIGOT BOOST SOUND + OXTERED TO THE BOTHY + PODCART DJ SET) KING TUT’S, FROM 20:30, £8 - £40

The Wah Wah Hut’s Summer Nights schedule continues with a headline set from Lunir.

Tue 25 Jul

Wed 26 Jul

TOOTS AND THE MAYTALS

O2 ABC, FROM 19:00, £29.50

Toots and the Maytals, originally called simply The Maytals, are considered legends of ska and reggae music. Their sound is a unique, original combination of gospel, ska, soul, reggae and rock.

ZZ TOP

O2 ACADEMY GLASGOW, FROM 19:00, TBC

Bearded 70s blues rock outfit from Texas, and the only American rock band to stick with the same line-up for 30+ years. Props.

KING TUT’S SUMMER NIGHTS: AMERICAN CLAY (LIFE MODEL + SAVAGE MANSION + BLACK BORRACHERO + INSTINCTIVE RACOON) KING TUT’S, FROM 20:30, £8 - £40

The Wah Wah Hut’s Summer Nights schedule continues with a headline set from American Clay.

Thu 27 Jul

KING TUT’S SUMMER NIGHTS: LOST IN STEREO (MIAMI MONROE + CRASHES + FINDING ARGYLE + LOST MANAGEMENT DJ SET)

KING TUT’S, FROM 20:30, £8 - £40

The Wah Wah Hut’s Summer Nights schedule continues with a headline set from Lost in Stereo.

MARBLE GODS (HAPPY SPENDY)

NICE ‘N’ SLEAZY, FROM 19:30, £4

Glasgow indie-pop band playing a Sleazy’s set.

THE NILZ

13TH NOTE, FROM 19:00, TBC

The Irish sleaze punk band hit the road.

Fri 28 Jul SACRED REICH

CATHOUSE, FROM 19:00, £20

The Arizona-based thrash metallers take it to the road once again, following their official 2007 reunion tour.

SOCIAL BITE PRESENTS: TUNES FOR CHANGE

STEREO, FROM 19:00, £7

Social enterprise Social Bite and mental health organisation Ensemble team up for a lovely fundraiser and awareness night, ft. an array of local bands.

KING TUT’S SUMMER NIGHTS: MODEL AEROPLANES (VISTAS + FAUVES + THE LAFONTAINES + WE SHOULD HANG OUT MORE DJ SET)

KING TUT’S, FROM 20:30, £8 - £40

The Wah Wah Hut’s Summer Nights schedule continues with a headline set from Model Aeroplanes.

ELEPHANT GERALD (LONELY SOULS)

KING TUT’S SUMMER NIGHTS: RASCALTON (SHREDD + SWAY + FUTURE GLUE + PUBLIC RECORDS DJ SET) KING TUT’S, FROM 20:30, £8 - £40

The Wah Wah Hut’s Summer Nights schedule continues with a headline set from Rascalton.

MURDERBURGERS 10 YEAR ANNIVERSA-RAMMY (BILLY LIAR + DON BLAKE + FREDDY FUDD PUCKER + THE ATOMS + THE LEMONAIDS + FUCK! (IT’S PRONOUNCED SHIT!) + ELK GANG + TURTLE LAMONE & THE PROHIBITIONS + BIKE NOTES) NICE ‘N’ SLEAZY, FROM 14:00, £6 - £8

Glasgow’s own pop-meets-punk princes celebrate a whole decade of shows.

TRIASSIC TUSK: WAX & WAYNE (TRIASSIC TUSK DJS, LIVE ACTS TBC)

THE RUM SHACK, 21:00–01:00, £5 - £10

With the hottest compilation of 2016 and previous guests consisting of King Creosote, Withered Hand, Jo Foster and Lomond Campbell, expect a great night of live music and rare vinyl.

Sun 30 Jul MILK TEETH

KING TUT’S, FROM 20:30, £9

Garage punk group hailing from Stroud.

RONNIE AND OLIVIA

ORAN MOR, 17:00–20:00, FREE

A free evening of stripped down blues at Òran Mór from the Glasgow trio.

RADIOPHONIC TUCKSHOP

THE HUG AND PINT, FROM 19:30, £6.50

“Minor supergroup”, ft. Joe Kane (Dr Cosmos Tape Lab, ETTE) Paul Kelly (The Martial Arts) Ian Cronan (How To Swim, Mother and the Addicts) Allan McGarry (The Fast Camels) and Craig McGown (Them Beatles). Crikey mikey.

THE SKYS

NICE ‘N’ SLEAZY, FROM 20:00, £8

Lithuania proggers featuring a host of guest stars including Dave Kilminster and Anne-Marie Helder.

THE ELUSIVE TREE ENSEMBLE

TRON THEATRE, FROM 19:45, £9 - £14

Six-piece ensemble traversing a ‘variety of moods, energy levels, grooves and arrangement ideas’.

Mon 31 Jul

SKATING POLLY (HANDS OFF GRETEL)

BROADCAST, FROM 19:00, TBC

Pop rock duo who came together when playing an improvised set at their family’s halloween party.

NICE ‘N’ SLEAZY, FROM 19:30, £5

The explosive blues rock trio hit Glasgow for the first time in over a year.

HELEN REEVES BAND

TRON THEATRE, FROM 19:45, £9 - £14

A night of country singer-songwriter goodness at Tron.

Sat 29 Jul

SOLDIER ON (LOGAN’S CLOSE)

BROADCAST, FROM 19:00, TBC

Rock’n’roll band playing a show in support of new single Sixties Girl.

JOEY LANDRETH

BROADCAST, FROM 19:00, £6

Dose of vulnerable, soulful music from guitarist and singer Joey Landreth.

A NEW GENERATION OF WHISKY...

July 2017

Find full listings at theskinny.co.uk/whats-on

Listings

71

Edinburgh Music Sat 01 Jul JACUZZI GENERAL

PARADISE PALMS, 21:00–01:00, FREE

JG returns to honour us all with his musical prowess. Taking time out from his day-to-day pushing of hydrotherapy hot jets he’ll be joined on the decks by a very special guest.

FABRIC BEAR (LOST IN VANCOUVER + SWAY + BETTY & THE BASS) SNEAKY PETE’S, 19:00–22:00, £6

Spreading their fuzz-fueled riffage from mate’s garages to packed-out shows in King Tut’s, Edinburgh gang Fabric Bear are a new and exciting prospect.

Sun 02 Jul

PARADISE VINYL (PERCY MAIN)

PARADISE PALMS, 17:00–22:00, FREE

Purveyor of the most choicest of cuts committed to wax, Percy Main presents a monthly showcase of his fave sounds from the Paradise Vinyl collection.

Mon 03 Jul ALEX CORNISH

THE VOODOO ROOMS, 19:30–01:00, £10

Singer-songwriter from Dunbar who has produced five homemade albums to date, with his latest being Hang on the Word out in the summer of 2017.

RON DAVIS + SYMPHRONICA (ARTEPHIS)

LA BELLE ANGELE, 19:00–22:00, £11

Critic’s choice SymphRONica have topped the charts and won international raves for their innovative electric/acoustic jazz sound.

Wed 05 Jul

LE THUG (PLASTIC ANIMALS + DTHPDL)

LEITH DEPOT, FROM 20:00, TBC

Industrial bliss in a gig headlined by noisy four-piece Le Thug, a band who haven’t played in the capital for quite some time.

YORKSTON / THORNE / KHAN

SUMMERHALL, 20:00–23:00, £12 - £14

Yorkston/Thorne/Khan return to Summerhall’s Dissection Room with their new album Neuk Wight Delhi All-Stars, presenting a confluence of currents, among them the north Indian sarangi; jazz-tinged bass and gentle acoustic guitar.

EDINBURGH FOLK CLUB: EDDIE SEAMAN & LUC MCNALLY

SUMMERHALL, 19:30–22:30, £7 - £10

This thrilling tune set from Scottish duo Eddie Seaman and Luc McNally combines versatility and virtuosity so effortlessly that it belies their short time spent in musical partnership.

THE FLESHTONES (THE NOTHINGS)

BANNERMANS, FROM 19:30, £4 - £7

Garage rock legends out of New York for a special show.

Thu 06 Jul STEAKNIFE

PARADISE PALMS, 21:00–01:00, FREE

A live broadcast of domestic industrious discotheque and rare musical warblings from DFA Millar and Frank.

PAT DAM SMYTH

THE MASH HOUSE, 19:00–22:00, £6.50 - £8.50

Pat Dam Smyth’s debut album The Great Divide was hailed as a modern masterpiece and received critical acclaim. His music falls somewhere between John Grant, Leonard Cohen, Father John Misty and Nick Cave.

MOONYA

BANNERMANS, FROM 20:00, £5

Solo dream pop mastergal from France.

FREE STONE + THE JULIE-ANN BAND (LAUREN MACKENZIE)

SNEAKY PETE’S, 19:00–22:00, FREE

Classic rock, psychedelic, soul and blues bands launching new material.

72

Listings

THE PROSSIES

IBIBIO SOUND MACHINE

HENRY’S CELLAR BAR, 19:00–01:00, £5

PRINCES STREET GARDENS, FROM 22:00, £16.50

An evening with Edinburgh-based singer-songwriter Andy McKay, multi-instrumentalist Richard Moore and his band Lost Revellers, and blues dude Baz Simpson AKA The Wolf.

Fri 07 Jul

MARTHA WAINWRIGHT

THE CAVES, 19:00–22:00, £25

The American-Canadian singer (aka sprog of Kate McGarrigle and Loudon Wainwright III, and sister to Rufus) does her fiery folk-rock thing.

LARKINS (D.M.S + TORMAIN)

SNEAKY PETE’S, 19:00–22:00, £5

Three up-and-coming rock bands play Sneak’s.

GLOBAL ROOTS

PARADISE PALMS, 21:00–01:00, FREE

Global Roots returns to Paradise Palms for a night of Afrobeat, world music and a large helping of disco and funk.

JACEK STACHURSKY

THE LIQUID ROOM, FROM 19:00, £25

A rare Scottish show combining music and stories from the artist’s career. Followed by a meet’n’greet, if that’s your thang.

THE RHYTHM N’ BOOZE WHISKY CLUB: ESTHER SWIFT

ASSEMBLY ROXY, FROM 19:30, £25

A new kind of whisky tasting, hosted by Forbes whisky blogger Felipe Schrieberg and featuring contemporary folk harpist and songwriter Esther Swift.

Sat 08 Jul

OTHER THUMPERS (DONALD DUST)

PARADISE PALMS, 21:00–01:00, FREE

Leather loving, trash talking, synth fetishist Donald Dust returns for his monthly fiesta of Italo, early 80s house experiments and high energy cuts.

GREYHAVEN (TIBERIUS + HOUSE OF HATCHETS)

OPIUM, 19:00–22:00, £5 - £7

London based alt rock band.

Wed 12 Jul

EDINBURGH FOLK CLUB: BOB FOX

SUMMERHALL, 19:30–22:30, £7 - £10

Known to many as one of Britain’s most respected and internationally acclaimed performers and nominee for Folk Singer of the Year at the BBC Radio 2 Folk Awards.

Thu 13 Jul WASTED YEARS

OPIUM, 19:00–22:00, £5 - £7

Wasted Years started officially in 2015 with debut single Fight or Flight. Expect everything from hooky pop/rock tracks to aggressive hard rock to even soft melodic track.

PARADISE PALMS’ 3RD BIRTHDAY PARTY

PARADISE PALMS, 18:00–01:00, £0 - £15

Paradise Palms celebrate another year of music, entertainment, food for the soul and fabulous company in tropicalocal style.

Festivities will kick off at 6pm with music from the Palms DJs, plus interactive performance, music and powerful shape making.

VINNUM SABBATHI (KUROKUMA)

BANNERMANS, FROM 19:30, £7

Monster riffs from the Mexican sci-fi doom instrumentalists.

IN COMMON

TRAVERSE THEATRE, FROM 00:00, £12

A new project by Tom Bancroft exploring the commonalities between jazz, electronica, Scottish traditional music and Indian classical music.

Fri 14 Jul ALTERED SKY

BANNERMANS, FROM 19:30, £7

Scottish Rockers who’ve gained mass critical acclaim and continue to grow.

Mixing west-African funky seventies grooves with highlife guitar licks and deep synth electronica, Ibibio create a soulful gumbo that feels instantly familiar and yet also new and fresh.

THE BAIL SHERIFFS + FRONT TOWARD ENEMY

WEE RED BAR, 19:00–22:00, £8

The Bail Sheriffs “try to save their own souls” in a punk/rock/ country show at The Wee Red. CREME FRESH RADIO TAKE OVER

PARADISE PALMS, 21:00–01:00, £0 - £12

Taking time out from hosting some of the freshest Dj’s the music scene has to offer, Creme Fresh Radio will take over Paradise Palms for an evening of finely curated foot-tapping, heart swelling and friendly tunes.

HOMETOWN (LOUIS VAUGHN + MACKA B2B JUSTIN BICKLER B2B DOLPHINS ON ECSTASY )

LA BELLE ANGELE, 22:00–03:00, £6

House and techno night bringing you a roster of fine local Djs. JOHN SCOFIELD + MIKE STERN

FESTIVAL THEATRE, FROM 20:00, £32 - £42.50

A rare and incendiary jazz guitar double bill as part of Edinburgh Jazz & Blues Festival.

RUMBA DE BODAS

TRAVERSE THEATRE, FROM 00:00, £15

Italian collective who formed in Bologna backstreet bars and play a mix of Latina, swing, Balcanica, reggae, soul and folk.

Sat 15 Jul

CHERRY SUEDE (STEWART MAC + DEAN ROBERTS + GUY JONES )

SNEAKY PETE’S, 19:00–22:00, £5

Join Randy Scott and Randy Young from Cherry Suede along with Stewart Mac and Dean Roberts plus Guy Jones for a triple headline show at in an intimate setting for a night of songs and stories.

ANTON AND THE COLTS (STEVE GROZIER AND BAND)

LEITH DEPOT, FROM 19:30, TBC

The Glasgow lot bring the countryfried soul-meets-bluegrass ruckus with the occasional thunderous edge.

THE PYGMIES (VELCRO TRIO)

TRAVERSE THEATRE, FROM 00:00, £12

Up-beat and off-beat Afro-jazz, ska and blues merrymakers, playing as part of the Jazz & Blues festival.

TMSA YOUNG TRAD TOUR (MOHSEN AMINI + CLAIRE HASTINGS + HANNAH MACRAE + ROBBIE GREIG + JESSICA BURTON + MURRAY WILLIS + RYAN YOUNG + JEAN DAMEI) SUMMERHALL, FROM 19:30, £8 - £10

Concert featuring seven talented young traditional musicians who were finalists or winners in the annual BBC Radio Scotland Young Traditional Musician of the Year 2016 Award.

THE LONDON ASTROBEAT ARKESTRA: TALKING HEADS STOP MAKING SENSE

SUMMERHALL, FROM 19:00, £15 - £18

the London Astrobeat Arkestra perform The Talking Heads’ Stop Making Sense live with a degree of raw, cosmic, human energy.

WALKWAY (TANTRUM)

BANNERMANS, FROM 20:00, £7 - £9

Edinburgh debut for the up-andcoming rockers, with support from Scotland’s own Tantrum.

A NIGHT WITH ELLA

FESTIVAL THEATRE, FROM 20:00, £17.50 - £27.50

Seonaid Aitken pays homage to Ella Fitzgerald as part of Edinburgh Jazz & Blues Festival.

Sun 16 Jul

RACHEL ALICE JOHNSON (GLASS SHIPS + FORREST CAN’T RUN)

SNEAKY PETE’S, 19:00–22:00, £5

Since the release of her debut EP this spring, ECA graduate Rachel has received glowing reviews from critics for both her written work and live performances, earning her comparisons to the likes of Lana Del Rey and Wolf Alice.

THE KATET PLAYS STEVIE WONDER

HARMONICA FESTIVAL

TRAVERSE THEATRE, FROM 00:00, £12

THE VOODOO ROOMS, 19:00–01:00, FREE

Edinburgh’s seven-piece soulfunk monster.

Mon 17 Jul

DAVID BOWDEN AND CHARLIE STEWART BAND

TRAVERSE THEATRE, FROM 00:00, £12

A fruitful joining of forces between fiddler and Young Traditional Musician of the Year Charlie Stewart plus bassist David Bowden, winner of Young Scottish Jazz Musician. Expect folk and jazz.

Tue 18 Jul

BRIAN KELLOCK & JON-ERIK KELLSO

TRAVERSE THEATRE, FROM 00:00, £12.50

A tribute to the harmonious partnership of Louis Armstrong and Earl Hines (plus many of the greats besides) with Brian Kellock and Jon-Erik Kellso.

Wed 19 Jul

SPOOKY MEN’S CHORALE

LA BELLE ANGELE, 19:00–22:00, £11

A vast, rumbling, steam-powered and black clad vocal behemoth.

JAZZ CENETARY GALA CONCERT (THE NEW ORLEANS CLASSIC BIG BAND)

FESTIVAL THEATRE, FROM 20:00, £22.50 - £32.50

A celebration of the early years of Jazz. Part of Edinburgh Jazz & Blues Festival.

FRAGILE BLISS / MEDBØE, HAMILTON, KANE

TRAVERSE THEATRE, FROM 00:00, £12

Acoustic band from the Czech Republic fusing the jazz, classical and folk roots of central Europe.

Thu 20 Jul MARTHA FFION

SNEAKY PETE’S, 19:00–22:00, £8

The musical project of songwriter Claire Martha Ffion McKay, recently signed to Turnstile – home to the likes of Gruff Rhys and Cate Le Bon. JACK LUKEMAN

THE VOODOO ROOMS, 19:30–01:00, FREE

Respected and loved performer in Ireland, stopping by for a live show.

DAVID HERSHAW AND SANDIE FORBES

THE VOODOO ROOMS, 21:00–01:00, £8

Scottish contemporary folk duo David Hershaw and Sandie Forbes’ music combines elements of the Scottish folk tradition with modern songwriting, infusing familiar melodies with fresh arrangements.

COMMUNITY RADIO: THE JACUZZI YEARS

PARADISE PALMS, 21:00–01:00, FREE

Exploring music from around the world in a weekly radio show presented by Palms resident and purveyor of passion and sensual positivity Jacuzzi General.

WE ARE H

BANNERMANS, FROM 20:00, £5

A live show for fans of Tool amd Godsmack.

GRAEME STEPHEN (AIDAN O’ROURKE)

Jam and hang out with other harmonica-mad individuals from all over the world.

THE BLIND BOYS OF ALABAMA + THE COMO MAMAS

FESTIVAL THEATRE, FROM 20:00, £25 - £35

The legendary gospel singers play Edinburgh Jazz & Blues Festival.

DOLPHIN BOY FT. PLAYTIME TRIO

TRAVERSE THEATRE, FROM 00:00, £12

Dolphin Boy brings his remixes, mash-ups and thrilling electronica to Edinburgh Jazz and Blues Festival, along with the transcendental sound of The Playtime Trio.

Sat 22 Jul SACRE NOIR

BANNERMANS, FROM 20:00, £5

Edinburgh alt rock outfit returning to deliver a killer live show.

DEACON BLUE

EDINBURGH CASTLE ESPLANADE, FROM 18:45, £42.50 - £47.50

The Glasgow-formed 80s popsters play tracks offa their eighth LP, The Hipsters, some 25+ years and still going strong.

TOMMY SMITH + BRIAN KELLOCK

FESTIVAL THEATRE, FROM 20:00, £16.50

PTEROGLYPH (BEYOND GRACE + RUNEMASTER)

BANNERMANS, FROM 20:00, £4

A beastly night of metal at Bannermans.

MARTIN TAYLOR

FESTIVAL THEATRE, FROM 20:00, £22

Witness five decades of guitar expertise come to life, live on stage with the multi awardwinning Martin Taylor.

MONTICULE

SNEAKY PETE’S, 19:00–22:00, £5

Edinburgh trio Monticule’s unique style has drawn comparisons to the likes of The Black Keys and Alabama Shakes.

CORN EXCHANGE, FROM 13:30, £20 - £30

A showcase of national and international blues and rock talent, along with a DJ room, tasty treats and licensed bars. Cheap tickets if you’re a member of Edinburgh Blues Club!

SACHIKO FURUHATA-KERSTING

USHER HALL, FROM 19:30, £8 - £21.50

Acclaimed pianist and appointed Steinway Artist brings her virtuosity to Usher Hall with a programme of Beethoven, Schumann and Chopin.

CHOKING SUSAN

BANNERMANS, FROM 20:00, £7 - £9

THE EDINBURGH PLAYHOUSE, FROM 19:30, £22.90 - £44.90

HARMONICA FESTIVAL

Jam and hang out with other harmonica-mad individuals from all over the world.

ELECTRIC FIELDS WARMUP PARTY

SNEAKY PETE’S, 19:00–22:00, £5 - £8

Scotland’s best new festival presents a special line-up to be announced soon.

JIM PETRIE’S FESTIVAL ALL STARS

TRAVERSE THEATRE, FROM 00:00, £12.50

The renowned trumpeter and vocalist (and diehard traditionalist) teams up with Brian Kellock and John Burgess for an EJ&B festival.

Sun 23 Jul

DAVID PATRICK TENTET

FESTIVAL THEATRE, FROM 20:00, £16.50

David Patrick debuts the world premiere of Jeux, Debussy’s last orchestral work as part of Edinburgh Jazz & Blues Festival.

SOWETO KINCH

GEORGE SQUARE PICCOLO TENT, FROM 20:30, £16

MOBO Award-winning rappersaxophonist, MC and composer.

DOG ON A SWING

THE CAVES, 19:00–22:00, £10

DOAS launch their new album Autonomy in the atmospheric surrounds of The Caves.

Wed 26 Jul TOROUS

BANNERMANS, FROM 20:00, £5

The Birmingam trio bring a load of the heavy, prog stuff to Bannermans.

Thu 27 Jul

COMMUNITY RADIO: THE JACUZZI YEARS

PARADISE PALMS, 21:00–01:00, FREE

Fri 28 Jul

PARADISE PALMS, 21:00–01:00, FREE

EDINBURGH BLUES N ROCK FESTIVAL (MIKE SANCHEZ’S ROCK ‘N’ ROLL, RHYTHM & BLUES, BOOGIE WOOGIE PIANO BAND + THE PRETTY THINGS + THE STEVIENIMMO TRIO + MIRACLE GLASS COMPANY + GERRY JABLONSKI & THE ELECTRIC BAND + MIRROR SPEAKS THE TRUTH + THE DEKE MCGHEE BAND + BLACK CAT BONE)

THE VOODOO ROOMS, 19:00–01:00, FREE

Fri 21 Jul Edinburgh tropical fun machine Samedia Shebeen continue their monthly residency at Paradise Palms. The resident DJs team and guests spin fresh beats from Brazil, Latin America, Africa, the Middle East and beyond with a healthy dose of old school sounds.

SNEAKY PETE’S, 19:00–22:00, £7

Cracking line-up of local acts influenced by 90s golden era UK indie.

Detroit-hailing punk band, formed in 1991 and headed up by Colleen Caffeine.

Exploring music from around the world in a weekly radio show presented by Palms resident and purveyor of passion and sensual positivity Jacuzzi General.

SAMEDIA SHEBEEN

THE SOCIAL ORDER (HEADSHRINKER + JAKE MORGAN)

Sax and ivory duo from long time collaborators Tommy Smith and Brian Kellock.

Graeme Stephen and his trio bring melodic, rhythmic soundscapes to Edinburgh Jazz and Blues festival.

TRAVERSE THEATRE, FROM 00:00, £15.50

Sat 29 Jul

THE HITMAN BLUES BAND AND THE NEW YORK CITY HORNS

THE VOODOO ROOMS, 19:30–01:00, £11

The NYC modern blues band hit The Voodoo Rooms.

NIKNAK + GK MACHINE

PARADISE PALMS, 21:00–01:00, FREE

Nik and Nak are back. Expect boogalo, humpers, star funk, pumpers, disco-techno, Italo fudge, pop, electroniqueefa and wild dance moves. This month the ladies are joined by Leftfield DJ and producer GK Machine.

COMA VIOLET

BANNERMANS, FROM 20:00, £5

The fuzz pop four-piece play Bannermans.

BANGERS ‘N’ MASH

THE MASH HOUSE, 19:00–22:00, £4

Every musical act had to start somewhere, and grassroots is where it’s at. Bangers ‘n’ Mash aim to provide a platform for local musicians and songwriters to flourish.

JOE MCELDERRY: GLORIA

The former X Factor winner heads out on tour in support of new single, Gloria. Yay.

ARCADE TAPE MACHINE 003 (HOSTEL FREAKS + LEKTROID) THE SAFARI LOUNGE, 20:00–23:59, £4 - £5

Kraftwerk Party with live synth acts, remixes, covers and bespoke visuals.

Dundee Music Sat 01 Jul

CUT (SHATTERHAND + THIRD FLOOR INCIDENT + B. ITINERANT)

CONROY’S BASEMENT, FROM 19:00, £5 - £6

Two guitars, one drum, full throttle attack. Think Jon Spencer jamming early Wire songs - but this is no post-punk snooze fest.

DAVE ARCARI

CLARKS ON LINDSAY STREET, FROM 18:00, FREE

Talented blues rocker playing a mix of guitar-driven blues and trash country.

Sat 08 Jul SOUL IN THE CITY

WHITEHALL THEATRE, FROM 19:30, £7

Infectious Northern soul night at Whitehall.

TARGET 5

BEAT GENERATOR LIVE!, FROM 20:00, £7

Aberdeen-based MOD tribute band.

Wed 12 Jul

ORGAN CONCERT (STUART MUIR WITH THE WILLIAMS DUO)

WHITEHALL THEATRE, FROM 19:00, £0 - £5

Bede and Vicky Williams return to join the City Organist for a concert with that a tasty combo deal of organ and trumpets.

Fri 14 Jul

NINTH WAVE (CHEYENNE SOCIAL CLUB + TRUE ROMANCE + THE MOTION PO)

THE DRAGON’S DEN, FROM 19:30, £5

Ultra captivating, super polished, glamorous AF alternative rock / rock’n’roll.

Sat 15 Jul AFRICAN PRAISE

CAIRD HALL, FROM 18:00, £3 - £5

A musical, choreographic and dramatic celebration of the culture and history of Africa from the Dundee African Gospel Choir and the Afro-Scottish Heritage Drama Group.

HOLDING ABSENCE (RAINFALL)

Glasgow Clubs Sat 01 Jul NU SKOOL

BUFF CLUB, 23:00–03:00, £6 - £7

Nick Peacock spins a Saturdayready selection of vintage disco, soul and funk.

CATHOUSE SATURDAYS

CATHOUSE, 22:30–03:00, £5 - £6

Or Caturdays, if you will. Two levels of the loudest, maddest music the DJs can muster; metal, rock and alt on floor one, and punky screamo upstairs.

THE ROCK SHOP

MAGGIE MAY’S, 22:00–03:00, £3 - £5

Rock, indie and golden indie classics with resident DJ Heather McCartney.

LOVE MUSIC

O2 ABC, 23:00–03:00, £5

Saturday night disco manned by your man Gerry Lyons and guests.

SUPERMAX (DJ BILLY WOODS)

THE BERKELEY SUITE, 23:00–03:00, £8

DJ Billy Woods, start to finish, open to close.

HARSH TUG

NICE ‘N’ SLEAZY, FROM 23:30, £0 - £3

Hip-hop and rap brought to you by Notorious B.A.G and pals.

LEZURE (TASKER & FERGUS CLARK)

LA CHEETAH CLUB, 23:00–03:00, £5 - £7

Whities label takeover with label boss Tasker and affiliate Fergus Clark, providing a blazing soundtrack all night long.

I LOVE GARAGE

THE GARAGE GLASGOW, 23:00–03:00, £5 - £7

Garage by name, but not by musical nature. DJ Darren Donnelly carousels through chart, dance and classics, the Desperados bar is filled with funk, G2 keeps things urban and the Attic gets all indie on you.

SUBCULTURE XXX (ÂME + HARRI & DOMENIC)

SUB CLUB, FROM 23:00, £15

The enigmatic Berlin-based artist makes a trip to Subbie. Sold out – 150 tickets on the door.

FLEETMAC WOOD: RUMORS RAVE

THE ART SCHOOL, FROM 23:00, £10

40th birthday rave with Rumours remixes, edits and originals.

BEAT GENERATOR LIVE!, FROM 19:00, £7

INTERNATIONAL REGGAE DAY (REGGAE SHACK DJS)

MEDICTATION (SPOILERS + TRAGICAL HISTORY TOUR + GOODBYE BLUE MONDAY)

Celebrate International Reggae Day with Rum Shack’s regular reggae spinners. Special guests TBA.

The Wales-hailing melodic hardcore act hit Dundee.

CONROY’S BASEMENT, FROM 19:30, £6 - £8

Collab project comprising members of Leatherface and The Sainte Catherines; expect emotionally rich melodic punk rock.

MEDICTATION (SPOLIERS + THT + GOODBYE BLUE MONDAY)

CONROY’S BASEMENT, FROM 19:30, £6 - £8

Collab project comprising members of Leatherface and The Sainte Catherines; expect emotionally rich melodic punk rock.

Sat 22 Jul

THE DURTY WURKS (FRANCIS DUFFY AND THE KINGPINS + UNF)

BAR 15, 19:00, £5

Edinburgh-based psych rock'n'roll band.

Thu 27 Jul

THE RUM SHACK, 21:00–01:00, £0 - £3

Sun 02 Jul SUNDAY SCIENCE

THE GARAGE GLASGOW, 23:00–03:00, £3 - £4

As scientific as a club filled with tipsy Sunday night partiers can get, really. LED lights, glow in the dark wands, ‘Science’ cocktails and cannons. Unlikely to instigate any eureka moments, but it’ll do.

Mon 03 Jul BARE MONDAYS

THE GARAGE GLASGOW, 23:00–03:00, £3 - £4

Lasers, bouncy castles and DJ Gav Somerville spinning out teasers and pleasers. Nice way to kick off the week, no?

BURN MONDAYS

BUFF CLUB, 23:00–03:00, £3 - £5

BOB FEST (DOG TIRED + BLACKENED RITUAL + FORGOTTEN REMAINS + SOLAR SONS)

Long-running trade night with Normski and Mash spinning the disco beats.

THE FIREFLY, FROM 19:30, FREE

Tue 04 Jul

Penicuik’s yearly “heavy metal vomit party” (their words) makes a stop at Dundee’s Firefly haunt.

Sun 30 Jul HYMN FOR HER

CLARKS ON LINDSAY STREET, FROM 19:30, FREE

Country blues invigorated by a hint of psychedelia from a band touring their new release, Drive Til U Die.

KILLER KITSCH

BUFF CLUB, 23:00–03:00, £3 - £5

Eclectic Tuesday nighter playing the best in house, techno and electronic – or, in their words ‘casually ignoring shite requests since 2005’. #TAG TUESDAYS

THE GARAGE GLASGOW, 23:00–03:00, £0 - £4

Indoor hot tubs, inflatables as far as the eye can see and a Twitter feed dedicated to validating your drunk-eyed existence.

I AM (BETA)

SUB CLUB, 23:00–03:00, £0 - £5

One half of resident tag team Beta & Kappa play the usual fine mix of electronica and bass, with a special guest or two oft in tow.

THE SKINNY

Glasgow Clubs

One half of resident tag team Beta & Kappa plays the usual fine mix of electronica and bass.

Wed 05 Jul

Wed 12 Jul

WRAP-IT

THE GARAGE GLASGOW, 23:00–03:00, £0 - £4

DJ Craig cures your Wednesday woes at The Garage.

LIGHTS OUT (JOSE PERMO)

NICE ‘N’ SLEAZY, FROM 23:30, FREE

Italo disco, funky house and detroit techno.

Thu 06 Jul HIP HOP THURSDAYS

DJ SUNNY EGG THE FLYING DUCK, 22:00–03:00, FREE

Rapid Tan and Breakfast Muff legend Eilidh McMillan play pop and punk bangers.

INTERGALACTIC FUNK SMUGGLERS + LUNACY THE BERKELEY SUITE, 23:00–03:00, TBC

Can you hear the funk, Major Tom? Helmets on, stars out - an intergalactic and Lunacy crossover dance party to knock your space boots off.

Euan Neilson plays the best in classic R’n’B and hip-hop.

TRNSMT: OFFICIAL AFTER PARTIES (EVERYTHING EVERYTHING DJ SET + THE NINTH WAVE + PROPAGANDA DJS)

O2 ABC, 23:00–03:00, £5

O2 ABC, FROM 23:00, £8

BUFF CLUB, 23:00–03:00, £3 - £5

JELLY BABY

Thursday nighter of chart, disco and party tunes. Can’t say fairer.

ELEMENT

THE GARAGE GLASGOW, 23:00–03:00, TBC

Ross McMillan plays chart, house and anthems with giveaways, bouncy castles and, most importantly, air hockey.

UNHOLY

CATHOUSE, 23:00–03:00, £2 - £4

Cathouse’s Thursday night rock, metal and punk mash-up.

ALL NIGHT PASSION

LA CHEETAH CLUB, 23:00–03:00, £3 - £5

Jump on the night train and be taken on a journey through disco, love and magic. A fundraiser for the Drumchapel food bank.

FIRST DATES (SPOOK SCHOOL DJS)

NICE ‘N’ SLEAZY, FROM 23:30, FREE

Post-everything indie disco with free entry.

Fri 07 Jul OLD SKOOL

BUFF CLUB, 23:00–03:00, £6 - £7

Connoisseur’s mix of old-school jazz, funk and soul for your jivin’ pleasure.

CATHOUSE FRIDAYS

CATHOUSE, 22:30–03:00, £5 - £6

Screamy, shouty, post-hardcore madness to help you shake off a week of stress in true punk style.

JAMMING FRIDAYS

MAGGIE MAY’S, 22:00–03:00, £3 - £5

Indie rock’n’roll from the 60s to 00s with resident tune-picker DJ Jopez.

MISSING PERSONS CLUB

LA CHEETAH CLUB, 23:00–03:00, FREE

The Missing Persons Club residents return to the basement booth of La Cheetah for a summer bonanza.

GLITTERBANG

NICE ‘N’ SLEAZY, FROM 23:30, £0 - £3

Exactly what it says on its sparkly tin – a dazzling night of disco Europop.

WTF FRIDAYS

SHED, 22:30–03:00, £4 - £6

Student-friendly Friday night party, playing (as one might expect) cheesy classics of every hue.

FRESH BEAT

THE GARAGE GLASGOW, 23:00–03:00, £3 - £6

Dance, chart and remixes in the main hall with Craig Guild, while DJ Nicola Walker keeps things nostalgic in G2 with flashback bangers galore.

A series of afterparties providing TRNSMT-goers the opportunity to dance into the night.

Sat 08 Jul NU SKOOL

BUFF CLUB, 23:00–03:00, £6 - £7

Nick Peacock spins a Saturdayready selection of vintage disco, soul and funk.

CATHOUSE SATURDAYS

CATHOUSE, 22:30–03:00, £5 - £6

Or Caturdays, if you will. Two levels of the loudest, maddest music the DJs can muster; metal, rock and alt on floor one, and punky screamo upstairs.

THE ROCK SHOP

MAGGIE MAY’S, 22:00–03:00, £3 - £5

Rock, indie and golden indie classics with resident DJ Heather McCartney.

LOVE MUSIC

O2 ABC, 23:00–03:00, £5

Saturday night disco manned by your man Gerry Lyons and guests.

SINGLES NIGHT

NICE ‘N’ SLEAZY, FROM 23:30, £0 - £3

Pop, disco and rock action at Sleazy’s Singles Night.

DASH BERLIN

CLASSIC GRAND, FROM 21:00, £24.50

Jeffrey Sutorius, Eelke Kalberg and Sebastiaan Molijn’s Dutch dance music project hits Classic Grand.

WE SHOULD HANG OUT MORE (LATE NITE TUFF GUY)

THE BERKELEY SUITE, 23:00–03:00, £10

The WSHOM crew chuck another stomper with residents supplying the disco vibes from start to finish.

LOOSEN UP (FERGUS CLARK + CHARLIE MCCANN + DAVID BARBAROSSA)

THE RUM SHACK, 21:00–01:00, £3 - £5

Fergus, Charlie and David delve into their vast record collections to bring you the best roots reggae, cosmic soca, Afro disco, island funk and more.

I LOVE GARAGE

THE GARAGE GLASGOW, 23:00–03:00, £5 - £7

Garage by name, but not by musical nature. DJ Darren Donnelly carousels through chart, dance and classics, the Desperados bar is filled with funk, G2 keeps things urban and the Attic gets all indie on you.

LET’S GO BACK (BOSCO + ROB MASON) LA CHEETAH CLUB, 23:00–03:00, £5 - £7

Let’s Go Back return to the 80s with a leftfield take on the club sounds of the era. A mash-up of new wave, new beat and new romantic.

DJ LAG (DJ LAG + LETITIA PLEIADES)

THE ART SCHOOL, FROM 23:00, £7 - £8

DJ Lag, the pioneer of the Durban, South African Gqom sound brings his hypnotic, minimalist technoid sound beyond the confines of the coastal city straight into Glasgow.

Representing the home rhythms will be the dancefloor DNA of Letitia Pleiades.

TRNSMT: OFFICIAL AFTER PARTIES (CIRCA WAVES DJ SET + CATHOLIC ACTION) O2 ABC, FROM 23:00, £8

A series of afterparties providing TRNSMT-goers the opportunity to dance into the night.

DJ Craig cures your Wednesday woes at The Garage.

Thu 13 Jul HIP HOP THURSDAYS

BUFF CLUB, 23:00–03:00, £3 - £5

Euan Neilson plays the best in classic R’n’B and hip-hop.

JELLY BABY

O2 ABC, 23:00–03:00, £5

Thursday nighter of chart, disco and party tunes. Can’t say fairer.

ELEMENT

THE GARAGE GLASGOW, 23:00–03:00, TBC

Ross McMillan plays chart, house and anthems with giveaways, bouncy castles and, most importantly, air hockey.

UNHOLY

CATHOUSE, 23:00–03:00, £2 - £4

Cathouse’s Thursday night rock, metal and punk mash-up.

Sun 09 Jul SUNDAY SCIENCE

THE GARAGE GLASGOW, 23:00–03:00, £3 - £4

As scientific as a club filled with tipsy Sunday night partiers can get, really. LED lights, glow in the dark wands, ‘Science’ cocktails and cannons. Unlikely to instigate any eureka moments, but it’ll do.

TRNSMT: OFFICIAL AFTER PARTIES (TWIN ATLANTIC DJ SET) O2 ABC, FROM 23:00, £8

A series of afterparties providing TRNSMT-goers the opportunity to dance into the night.

Mon 10 Jul BARE MONDAYS

THE GARAGE GLASGOW, 23:00–03:00, £3 - £4

Lasers, bouncy castles and DJ Gav Somerville spinning out teasers and pleasers. Nice way to kick off the week, no?

BURN MONDAYS

BUFF CLUB, 23:00–03:00, £3 - £5

Long-running trade night with Normski and Mash spinning the disco beats.

Tue 11 Jul KILLER KITSCH

BUFF CLUB, 23:00–03:00, £3 - £5

Eclectic Tuesday nighter playing the best in house, techno and electronic – or, in their words ‘casually ignoring shite requests since 2005’. #TAG TUESDAYS

THE GARAGE GLASGOW, 23:00–03:00, £0 - £4

Indoor hot tubs, inflatables as far as the eye can see and a Twitter feed dedicated to validating your drunk-eyed existence.

LA CHEETAH CLUB, 23:00–03:00, £5

FORMAL INVOCATION

OLD SKOOL

Connoisseur’s mix of old-school jazz, funk and soul for your jivin’ pleasure.

CATHOUSE FRIDAYS

CATHOUSE, 22:30–03:00, £5 - £6

Screamy, shouty, post-hardcore madness to help you shake off a week of stress in true punk style.

JAMMING FRIDAYS

MAGGIE MAY’S, 22:00–03:00, £3 - £5

Indie rock’n’roll from the 60s to 00s with resident tune-picker DJ Jopez.

WTF FRIDAYS

SHED, 22:30–03:00, £4 - £6

Student-friendly Friday night party, playing (as one might expect) cheesy classics of every hue.

CONCRETE CABIN (MOTHER)

THE ART SCHOOL, FROM 23:00, £3 - £5

The Vic Bar is transformed into a world of grime, d'n'b and varied contemporary dread sounds with the help of Concrete Cabin AKA DJ Crud of 12th Isle and Mother (Heated Heads).

FRESH BEAT

THE GARAGE GLASGOW, 23:00–03:00, £3 - £6

Dance, chart and remixes in the main hall with Craig Guild, while DJ Nicola Walker keeps things nostalgic in G2 with flashback bangers galore.

THE BERKELEY SUITE (MISTER SATURDAY NIGHT )

THE FLYING DUCK, 22:00–03:00, FREE

NICE ‘N’ SLEAZY, FROM 23:30, FREE

SARRA WILD

OH141 honcho Sarra Wild plays her monthly disco / Afro / house and world boogie night.

Sat 15 Jul NU SKOOL

BUFF CLUB, 23:00–03:00, £6 - £7

Nick Peacock spins a Saturdayready selection of vintage disco, soul and funk.

CATHOUSE SATURDAYS

CATHOUSE, 22:30–03:00, £5 - £6

Or Caturdays, if you will. Two levels of the loudest, maddest music the DJs can muster; metal, rock and alt on floor one, and punky screamo upstairs.

THE ROCK SHOP

MAGGIE MAY’S, 22:00–03:00, £3 - £5

Rock, indie and golden indie classics with resident DJ Heather McCartney.

LOVE MUSIC

O2 ABC, 23:00–03:00, £5

CODE (AMOTIK + NICK MORROW)

The Code label honcho and purveyor of hypnotic, dreamy, dance-floor techno makes his Scottish debut.

THE LANCE VANCE DANCE

NICE ‘N’ SLEAZY, FROM 23:30, £0 - £3

Feel good beats for hands and feet.

I LOVE GARAGE

THE GARAGE GLASGOW, 23:00–03:00, £5 - £7

Garage by name, but not by musical nature. DJ Darren Donnelly carousels through chart, dance and classics, the Desperados bar is filled with funk, G2 keeps things urban and the Attic gets all indie on you.

THE SWEET LIFE (THE SWEET BOYS)

THE BERKELEY SUITE, 23:00–03:00, TBC

Sweet boy induction for Lewis Watson as he stops by to blow the lid off TBS. MOJO WORKIN (FELONIOUS MUNK)

THE RUM SHACK, 20:00–01:00, £2

Various guest DJs playing nothing but soul, 60s R’n’B, motown and Northern soul.

Sun 16 Jul SUNDAY SCIENCE

THE GARAGE GLASGOW, 23:00–03:00, £3 - £4

As scientific as a club filled with tipsy Sunday night partiers can get, really. LED lights, glow in the dark wands, ‘Science’ cocktails and cannons. Unlikely to instigate any eureka moments, but it’ll do.

Mister Saturday Night all night long at TBS.

Mon 17 Jul

O2 ABC, 23:00–03:00, £4

THE GARAGE GLASGOW, 23:00–03:00, £3 - £4

GREEN BRIGADE (DEREK WARFIELD & THE YOUNG WOLFETONES + GARY OG + FIANNA + AN SPIORAD + MAXI RFB.) CLASSIC GRAND, FROM 20:00, £15

The Summer Hooley returns for another big’un at Classic Grand – though you’ll have to beg/ borrow/steal your way in, as it’s sold out.

CRAIGIE KNOWES (STEVEN SIMPSON + THE BURRELL CONNECTION + DJCJ + HUNTER MITCHELL)

LA CHEETAH CLUB, 23:00–03:00, FREE

Electronic dance party for the soul with Cragie Knowes.

#TAG TUESDAYS

THE GARAGE GLASGOW, 23:00–03:00, £0 - £4

LA CHEETAH CLUB, 23:00–03:00, £5

BUFF CLUB, 23:00–03:00, £6 - £7

Resident young guns Beta & Kappa play the usual fine mix of electronica and bass, with a special guest or two oft in tow.

For a suggested £5 donation, you can help support the victims and families affected by the Grenfell Tower fire, with a soundtrack of forward thinking club tracks, R’n’B, hip-hop, trap and pop, headed up by Glasgow’s Hawkchild DIY.

Fri 14 Jul

PROPAGANDA

TRY AN AUCHENTOSHAN & ALE

HAWKCHILD DIY & HYPERFUNK: A GRENFELL TOWER BENEFIT

STEREO, FROM 23:00, DONATION

Saturday night disco manned by your man Gerry Lyons and guests.

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like.

O2 ABC, 23:00–03:00, £4

Rock’n’roll prom night extravaganza.

NICE ‘N’ SLEAZY, FROM 23:30, FREE

The last ever goth disco with Andy Brown. Free entry.

THE BERKELEY SUITE, 23:00–03:00, £5

PROPAGANDA

SUB CLUB, FROM 23:00, £10 - £12

WRAP-IT

THE GARAGE GLASGOW, 23:00–03:00, £0 - £4

A hot, hot night of strictly heaters ‘n’ steeshers as a roster of banging DJs whip up fire in the booth. Dress to sweat and get ready to dance.

The collective responsible for creating space for female, queer and marginalised voices throw on a rammy.

The 12th Isle label runners and DJ collective take control of the Vic Bar space for dancing and musical miseducation.

Resident DJ at The Bunker New York and close friend of The Black Madonna, Detroit dude Mike Servito has truly earned his recent resurgence in popularity.

I AM (BETA & KAPPA) SUB CLUB, 23:00–03:00, £0 - £5

ELECTRIC SALSA (171 + MULLEN + BISSET )

SPITEHOUSE DJ SET

THE ART SCHOOL, FROM 23:00, £3

NUMBERS :MIKE SERVITO (SPENCER)

ANNA & HOLLY’S DANCE PARTY NICE ‘N’ SLEAZY, FROM 23:30, £0 - £3

THE FLYING DUCK, 22:00–03:00, FREE

12TH ISLE

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like.

I AM (KAPPA) SUB CLUB, 23:00–03:00, £0 - £5

BARE MONDAYS

Lasers, bouncy castles and DJ Gav Somerville spinning out teasers and pleasers. Nice way to kick off the week, no?

BURN MONDAYS

Indoor hot tubs, inflatables as far as the eye can see and a Twitter feed dedicated to validating your drunk-eyed existence.

Wed 19 Jul NOT MOVING

Golden Teacher and Dick 50 DJs spinning outer-national sounds and exotic international groove worship.

WRAP-IT

THE GARAGE GLASGOW, 23:00–03:00, £0 - £4

DJ Craig cures your Wednesday woes at The Garage.

Thu 20 Jul HIP HOP THURSDAYS

BUFF CLUB, 23:00–03:00, £3 - £5

Euan Neilson plays the best in classic R’n’B and hip-hop.

JELLY BABY

O2 ABC, 23:00–03:00, £5

Thursday nighter of chart, disco and party tunes. Can’t say fairer.

STEREOTONE (CHESTER B2B WHEELMAN)

LA CHEETAH CLUB, 23:00–03:00, £3 - £5

Chester and Wheelman go b2b all night long for one last time before Chester leaves Glasgow to go study, bringing their partnership to an end for at least three years.

Dress 2 Cry. ELEMENT

Cathouse’s Thursday night rock, metal and punk mash-up.

Fri 21 Jul OLD SKOOL

BUFF CLUB, 23:00–03:00, £6 - £7

Connoisseur’s mix of old-school jazz, funk and soul for your jivin’ pleasure.

CATHOUSE FRIDAYS

CATHOUSE, 22:30–03:00, £5 - £6

Screamy, shouty, post-hardcore madness to help you shake off a week of stress in true punk style.

JAMMING FRIDAYS

MAGGIE MAY’S, 22:00–03:00, £3 - £5

Indie rock’n’roll from the 60s to 00s with resident tune-picker DJ Jopez.

WTF FRIDAYS

SHED, 22:30–03:00, £4 - £6

Student-friendly Friday night party, playing (as one might expect) cheesy classics of every hue.

PARTIAL (TRAXX)

LA CHEETAH CLUB, 23:00–03:00, £7 - £10

Partial join forces with H&P for their 10th year celebrations, bringing over the visionary behind both Nation and Jakbeat, Traxx.

FRESH BEAT

THE GARAGE GLASGOW, 23:00–03:00, £3 - £6

Dance, chart and remixes in the main hall with Craig Guild, while DJ Nicola Walker keeps things nostalgic in G2 with flashback bangers galore.

YELLOW DOOR (YELLOW DOOR)

THE BERKELEY SUITE, 23:00–03:00, £0 - £5

PROPAGANDA

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like.

SUNDAY SCIENCE

THE GARAGE GLASGOW, 23:00–03:00, £3 - £4

As scientific as a club filled with tipsy Sunday night partiers can get, really. LED lights, glow in the dark wands, ‘Science’ cocktails and cannons. Unlikely to instigate any eureka moments, but it’ll do.

Mon 24 Jul

Sat 22 Jul

THE GARAGE GLASGOW, 23:00–03:00, £3 - £4

NU SKOOL

BUFF CLUB, 23:00–03:00, £6 - £7

Nick Peacock spins a Saturdayready selection of vintage disco, soul and funk.

CATHOUSE SATURDAYS

CATHOUSE, 22:30–03:00, £5 - £6

MAGGIE MAY’S, 22:00–03:00, £3 - £5

UNHOLY

O2 ABC, 23:00–03:00, £4

Eclectic Tuesday nighter playing the best in house, techno and electronic – or, in their words ‘casually ignoring shite requests since 2005’.

ULTIMATE BELTERS (DJ TEACHERZ)

NICE ‘N’ SLEAZY, FROM 23:30, £0 - £3

Sun 23 Jul

Suzie Rodden melts the ego and burns the flag of inhibitions.

CATHOUSE, 23:00–03:00, £2 - £4

Tue 18 Jul KILLER KITSCH

The Nomadic techno and techhouse night makes its regular(ish) trip to Subbie’s basement, this time handing over the decks to electronic talent Peter Van Hoesen.

Or Caturdays, if you will. Two levels of the loudest, maddest music the DJs can muster; metal, rock and alt on floor one, and punky screamo upstairs.

THE GARAGE GLASGOW, 23:00–03:00, TBC

A night of contemporary classics, unheard of gems and well-kent belters, all for your general dancing pleasure, natch.

BUFF CLUB, 23:00–03:00, £3 - £5

BIGFOOT’S TEA PARTY PETER VAN HOESEN (WRICK) SUB CLUB, FROM 23:00, £8 - £10

Ross McMillan plays chart, house and anthems with giveaways, bouncy castles and, most importantly, air hockey.

Long-running trade night with Normski and Mash spinning the disco beats.

BUFF CLUB, 23:00–03:00, £3 - £5

DISTILLED DIFFERENT

THE ROCK SHOP

Rock, indie and golden indie classics with resident DJ Heather McCartney.

LOVE MUSIC

O2 ABC, 23:00–03:00, £5

Saturday night disco manned by your man Gerry Lyons and guests.

HAVEN (JENNA & GARY)

LA CHEETAH CLUB, 23:00–03:00, £8 - £10

Haven bring the up-and-coming Liem to the club for his Scottish debut.

SHAKA LOVES YOU

NICE ‘N’ SLEAZY, FROM 23:30, £0 - £3

Hip-hop and live percussion flanked by wicked visuals.

I LOVE GARAGE

THE GARAGE GLASGOW, 23:00–03:00, £5 - £7

Garage by name, but not by musical nature. DJ Darren Donnelly carousels through chart, dance and classics, the Desperados bar is filled with funk, G2 keeps things urban and the Attic gets all indie on you.

BRAIN DANCING

THE BERKELEY SUITE, 23:00–03:00, TBC

The total enigma that this night is, no info about the performer will be released before the night.

Trust.

NEVER BEEN KISSED: AN 80/90S ANTI-PROM PARTY (MILK GLASGOW)

THE RUM SHACK, 20:00–01:00, £5

MILK Glasgow ventures south, equipped with a music video time machine. Get ready to re-live your youth in technicolour with all your favourite music video hits.

INCEPT SUMMER SPECIAL

SWG3 GLASGOW, 4:00PM, £17.50 - £20

This summer party from the iNCEPT crew brings together a tough cast of techno artists for a 10 hour music marathon. Headlined and German techno producer Johannes Heil (who will be playing live), the lineup also features Kim Ann Foxman, Hans Bouffmyhre as Secluded, Lex Gorrie, Linsday Green and more.

BARE MONDAYS

Lasers, bouncy castles and DJ Gav Somerville spinning out teasers and pleasers. Nice way to kick off the week, no?

BURN MONDAYS

BUFF CLUB, 23:00–03:00, £3 - £5

Long-running trade night with Normski and Mash spinning the disco beats.

Tue 25 Jul KILLER KITSCH

BUFF CLUB, 23:00–03:00, £3 - £5

Eclectic Tuesday nighter playing the best in house, techno and electronic – or, in their words ‘casually ignoring shite requests since 2005’.

I AM (BETA & KAPPA)

SUB CLUB, 23:00–03:00, £0 - £5

Resident young guns Beta & Kappa play the usual fine mix of electronica and bass, with a special guest or two oft in tow. #TAG TUESDAYS

THE GARAGE GLASGOW, 23:00–03:00, £0 - £4

Indoor hot tubs, inflatables as far as the eye can see and a Twitter feed dedicated to validating your drunk-eyed existence.

ONLY THE SUBJECT (UNSKILLED LABOUR)

NICE ‘N’ SLEAZY, FROM 23:30, £0 - £3

Trio of 19 year olds producing math / progressive rock and jazz fusion, playing the second edition of Only the Subject at Sleazy’s.

Wed 26 Jul WRAP-IT

THE GARAGE GLASGOW, 23:00–03:00, £0 - £4

DJ Craig cures your Wednesday woes at The Garage.

DRUGSTORE GLAMOUR

NICE ‘N’ SLEAZY, FROM 23:30, FREE

Maxed out messy vibes; trashy, tacky, glamorous and ridiculous.

Oh, and fun, too. Very fun.

Thu 27 Jul HIP HOP THURSDAYS

BUFF CLUB, 23:00–03:00, £3 - £5

Euan Neilson plays the best in classic R’n’B and hip-hop.

JELLY BABY

O2 ABC, 23:00–03:00, £5

Thursday nighter of chart, disco and party tunes. Can’t say fairer.

ELEMENT

THE GARAGE GLASGOW, 23:00–03:00, TBC

Ross McMillan plays chart, house and anthems with giveaways, bouncy castles and, most importantly, air hockey.

UNHOLY

CATHOUSE, 23:00–03:00, £2 - £4

Cathouse’s Thursday night rock, metal and punk mash-up.

A NEW GENERATION OF WHISKY...

July 2017

Find full listings at theskinny.co.uk/whats-on

Listings

73

NICE ‘N’ SLEAZY, FROM 23:30, FREE

BREAKFAST CLUB

FENIX + THE BERKELEY SUITE (TRIKK + OOFT + J WALBAUM & AM)

RENEGADES OF FUNK (NOWICKI + ALSHY)

The highly praised producer stops by to lay it down at The Berkeley Suite.

Gerry Lyons delivers 80s and 90s pop and rock hits.

LA CHEETAH CLUB, 23:00–03:00, £3 - £5

Two deejays exploring the sonic spectrum between funk and techno.

THE BERKELEY SUITE, 23:00–03:00, TBC

NIGHT OF THE JAGUAR

THE FLYING DUCK, 22:00–03:00, FREE

Fri 28 Jul

Art School residents Night of the Jaguar bring the flavour of their parties to the bar every fourth Saturday of the month.

BUFF CLUB, 23:00–03:00, £6 - £7

Sun 30 Jul

OLD SKOOL

Connoisseur’s mix of old-school jazz, funk and soul for your jivin’ pleasure.

CATHOUSE FRIDAYS

CATHOUSE, 22:30–03:00, £5 - £6

Screamy, shouty, post-hardcore madness to help you shake off a week of stress in true punk style.

JAMMING FRIDAYS

MAGGIE MAY’S, 22:00–03:00, £3 - £5

Indie rock’n’roll from the 60s to 00s with resident tune-picker DJ Jopez.

EZUP (DAVID BARBAROSSA + FERRIE + MARK)

LA CHEETAH CLUB, 23:00–03:00, £0 - £6

Expect the rarest cuts, and a bloody good party.

OLD SKOOL

BUFF CLUB, 23:00–03:00, £6 - £7

Connoisseur’s mix of old-school jazz, funk and soul for your jivin’ pleasure.

CATHOUSE FRIDAYS

CATHOUSE, 22:30–03:00, £5 - £6

Screamy, shouty, post-hardcore madness to help you shake off a week of stress in true punk style.

JAMMING FRIDAYS

MAGGIE MAY’S, 22:00–03:00, £3 - £5

Indie rock’n’roll from the 60s to 00s with resident tune-picker DJ Jopez.

SUNDAY SCIENCE

THE GARAGE GLASGOW, 23:00–03:00, £3 - £4

Student-friendly Friday night party, playing (as one might expect) cheesy classics of every hue.

As scientific as a club filled with tipsy Sunday night partiers can get, really. LED lights, glow in the dark wands, ‘Science’ cocktails and cannons. Unlikely to instigate any eureka moments, but it’ll do.

THE GARAGE GLASGOW, 23:00–03:00, £3 - £6

THE GARAGE GLASGOW, 23:00–03:00, £3 - £6

WTF FRIDAYS

SHED, 22:30–03:00, £4 - £6

FRESH BEAT

Dance, chart and remixes in the main hall with Craig Guild, while DJ Nicola Walker keeps things nostalgic in G2 with flashback bangers galore.

HOT HOUSE

NICE ‘N’ SLEAZY, FROM 23:30, £0 - £3

Cat Reilly spins the best in joyous party magic.

LOOSE JOINTS (HONEY SOUNDSYSTEM)

THE BERKELEY SUITE, 23:00–03:00, TBC

Loose Joints play a residents night at TBS. PROPAGANDA

O2 ABC, 23:00–03:00, £4

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like.

TO LET

THE ART SCHOOL, FROM 23:00, £3 - £5

Super fresh Glasgow-based group who host parties in different spaces throughout the city. Their aim is to free up the troops from usual regulations and they bring their party of disco, dancehall and UK funky rhythms back to the art school.

Sat 29 Jul NU SKOOL

BUFF CLUB, 23:00–03:00, £6 - £7

FRESH BEAT

Dance, chart and remixes in the main hall with Craig Guild, while DJ Nicola Walker keeps things nostalgic in G2 with flashback bangers galore.

Edinburgh Clubs Sat 01 Jul BUBBLEGUM

THE HIVE, 21:00–03:00, £0 - £4

Saturday mix of chart and dance, with retro 80s classics thrown in for good measure.

SOULSVILLE

THE BONGO CLUB, FROM 23:00, £5

Raw, high energy R’n’B at Bongo.

THE BOROUGH COLLECTIVE: FIND YOUR RHYTHM (CRAIG SMITH & THE REVENGE)

CABARET VOLTAIRE, 23:00–03:00, £5 - £7

Craig Smith and The Revenge (6th Borough Project) monthly take over. The duo of acclaimed producers plays the finest house music all night long.

TASTE (FISHER & PRICE)

THE LIQUID ROOM, FROM 22:30, £10 - £14

Liquid Room-based LGBTQ night with house tunes and a welcoming energy.

HECTOR’S HOUSE: PSYCHEDELIC SUMMER OF LOVE SHINDIG (PADDY D + GARETH SOMMERVILLE + GAV MILLER )

SNEAKY PETE’S, 23:00–03:00, £6 - £10

Another dress-up house party from Hector’s. Sixties psychedelic theme – be there.

Sun 02 Jul

COALITION (BELIEVE + MAX MERES)

SNEAKY PETE’S, 23:00–03:00, FREE

Weekly bass institution hosted by DJ Believe and friends.

THE CLUB

THE HIVE, 22:00–03:00, FREE

Rock, indie and golden indie classics with resident DJ Heather McCartney.

LOVE MUSIC

O2 ABC, 23:00–03:00, £5

Saturday night disco manned by your man Gerry Lyons and guests.

DOMESTIC EXILE

NICE ‘N’ SLEAZY, FROM 23:30, £0 - £3

FLIP

THE HIVE, 22:00–03:00, £0 - £3

BURN MONDAYS

BUFF CLUB, 23:00–03:00, £3 - £5

Long-running trade night with Normski and Mash spinning the disco beats.

Monday-brightening mix of hiphop, R’n’B and chart classics, with requests in the back room.

MINDSET (GARETH SOMMERVILLE)

SNEAKY PETE’S, 23:00–03:00, £3

Strictly house grooves from Edinburgh house DJ don Gareth Sommerville.

Tue 04 Jul HECTOR’S HOUSE

CABARET VOLTAIRE, 23:00–03:00, £0 - £6

Since May 2012 Hector’s House, known affectionately to many simply as Hector’s, has become Edinburgh’s one of Edinburgh’s fave midweek shindigs. House, disco, techno, garage, hip-hop, soul, funk across three rooms.

TRASH: INDEPENDENCE DAY

THE HIVE, 22:00–03:00, FREE

COOKIE

THE HIVE, 22:00–03:00, FREE

Resident midweek student rammy of chart, club and electro hits.

WITNESS (ROSS BLACKWAX + FAULT LINES + SKILLIS + GUISED)

Rebecca Vasmant’s made a name for herself in Glasgow with her residency at Sub Club, as well as a monthly spot on BBC Radio Scotland playing contemporary jazz records.

SNEAKY PETE’S, 23:00–03:00, £0 - £5

Deep house showcasing residents from L’anatomie and Tweak_.

Sat 08 Jul BUBBLEGUM

THE HIVE, 21:00–03:00, £0 - £4

REWIND

Monthly party night that celebrating the best in soul, disco, rock and pop with music from the 70’s, 80’s, 90’s and current bangers.

MESSENGER

THE BONGO CLUB, FROM 23:00, £6 - £7

Conscious roots and dub reggae rockin’ from the usual beefy Messenger Sound System.

ELECTRO CYCLE

THE VILLAGE, FROM 20:00, FREE

The best in Chicago, deep and funky house music old and new with resident Djs Foxxy DJ and Hi Tech John.

THE BOROUGH COLLECTIVE: TOUCHE (HUGGY & MARCO CAPOZZELLA) CABARET VOLTAIRE, 23:00–03:00, £5 - £7

Listings

THE HIVE, 22:00–03:00, FREE

PLAYROOM (MARTIN VALENTINE )

CABARET VOLTAIRE, 22:00–03:00, FREE

Slo-jams, edits, Afro, disco, house played by the one and only Martin Valentine.

Fri 14 Jul

DOMINO CLUB (P-STYLZ)

CABARET VOLTAIRE, 19:00–22:00, FREE

Sun 09 Jul

COALITION (BELIEVE + KIPPS + MILLER)

COALITION (BELIEVE + JORDAN COCHRANE)

SNEAKY PETE’S, 23:00–03:00, FREE

Weekly bass institution hosted by DJ Believe and friends.

THE CLUB

THE HIVE, 22:00–03:00, FREE

Two rooms of all the chart, cheese and indie-pop you can think of/ handle on a Sunday.

Mon 17 Jul MIXED UP

THE HIVE, 22:00–03:00, FREE

Monday-brightening mix of hiphop, R’n’B and chart classics, with requests in the back room.

MINDSET (GARETH SOMMERVILLE)

SNEAKY PETE’S, 23:00–03:00, £3

Strictly house grooves from Edinburgh house DJ don Gareth Sommerville.

Tue 18 Jul TRASH

THE HIVE, 22:00–03:00, FREE

Alternative Tuesday anthems cherrypicked from genres of rock, indie, punk, retro and more.

HECTOR’S HOUSE

CABARET VOLTAIRE, 23:00–03:00, £0 - £6

Since May 2012 Hector’s House, known affectionately to many simply as Hector’s, has become Edinburgh’s one of Edinburgh’s fave midweek shindigs. House, disco, techno, garage, hip-hop, soul, funk across three rooms.

CABARET VOLTAIRE, 23:00–03:00, £5 - £10

WITNESS (ROSS BLACKWAX + FAULT LINES + SKILLIS + GUISED)

FLY CLUB

COOKIE

THE HIVE, 22:00–03:00, FREE

Resident midweek student rammy of chart, club and electro hits.

Edinburgh and Glasgow-straddling night, with powerhouse of local residents joined by a selection of guest talent.

House, garage and bass adventures with Blackwax and Faultlines.

THE MASH HOUSE, 23:00–03:00, £5

Thu 20 Jul

DISORDER

Dancefloor techno from Edinburgh’s best.

ELECTRIKAL

THE BONGO CLUB, FROM 23:00, TBC

Soundsystem party-starters, part of a music and art collective specialising in all things bass.

FLIP

THE HIVE, 22:00–03:00, £0 - £3

A slo-mo house special. DJ Tree’s home is house / techno label Slow Life. Playing at Club der Visionaere, Hoppetosse, and OHM in Germany’s capital, he has a number of standout mixes for Resident Advisor and Phonica Records.

A very special All You Can Eat Mind Buffet running all day, with doughnuts, t-shirts, film screenings and more.

Sun 16 Jul

Wed 19 Jul

SNEAKY PETE’S, 18:00–03:00, £5

TEESH: SNEAKY PETE’S 9TH BIRTHDAY PARTY (NICK STEWART + DJ CHEERS + DJ EQUIPMENT)

Monthly guest slot from The Borough Collective. Expect a variety of musical styles and techniques from national and international masters of DJing.

Weekly institution Domino Club is back, with DJ P-Stylz at the helm of the mighty ship every Friday evening.

Yer all-new Friday at Hive. Cheap entry, inevitably danceable, and novelty-stuffed. Perrrfect.

FRACTAL CLUB (DJ TREE + DIRTY LEMON)

SNEAKY PETE’S, 23:00–03:00, £8 - £9

PROPAGANDA

THE LIQUID ROOM, FROM 22:30, £3 - £5

SNEAKY PETE’S, 23:00–03:00, £0 - £2

JUICE (KA MI + DAN + DECLAN)

SNEAKY PETE’S, 23:00–03:00, £0 - £2

Dan, Declan and Kami make weird waves through house and techno.

HI-SOCIETY

THE HIVE, 22:00–03:00, FREE

Early weekend-welcoming (y’know, for students) chart anthems, bolstered by hip-hop, R’n’B and urban in the back room.

PLAYROOM (MARTIN VALENTINE )

CABARET VOLTAIRE, 22:00–03:00, FREE

Slo-jams, edits, Afro, disco, house played by the one and only Martin Valentine.

Fri 21 Jul

Thu 06 Jul

THE HIVE, 22:00–03:00, FREE

Sat 15 Jul THE BONGO CLUB, FROM 23:00, £3 - £7

THE MASH HOUSE, 23:00–03:00, £1

JUICE (KA MI + DAN + DECLAN)

SNEAKY PETE’S, 23:00–03:00, £0 - £2

Dan, Declan and Kami make weird waves through house and techno.

HI-SOCIETY

THE HIVE, 22:00–03:00, FREE

Two rooms of all the chart, cheese and indie-pop you can think of/ handle on a Sunday.

Mon 10 Jul MIXED UP

THE HIVE, 22:00–03:00, FREE

PLAYROOM (MARTIN VALENTINE )

Slo-jams, edits, Afro, disco, house played by the one and only Martin Valentine.

Fri 07 Jul

DOMINO CLUB (P-STYLZ)

CABARET VOLTAIRE, 19:00–22:00, FREE

Weekly institution Domino Club is back, with DJ P-Stylz at the helm of the mighty ship every Friday evening.

MINDSET (GARETH SOMMERVILLE)

SNEAKY PETE’S, 23:00–03:00, £3

Tue 11 Jul TRASH

THE HIVE, 22:00–03:00, FREE

Alternative Tuesday anthems cherrypicked from genres of rock, indie, punk, retro and more.

MUMBO JUMBO

A summer closing party BUBBLEGUM

THE HIVE, 21:00–03:00, £0 - £4

Saturday mix of chart and dance, with retro 80s classics thrown in for good measure.

WASABI DISCO (KRIS WASABI)

SNEAKY PETE’S, 23:00–03:00, £5

Four hours of mind-bending, genre-blending jams from sleazy disco punk Kris Wasabi going at it all night.

MUSIKA: SASHA (ALAN DOBSON + JAMIE MCKENZIE)

THE LIQUID ROOM, FROM 22:30, £18.50 - £20

A Musika showcase play host to electronica DJ and producer Sasha in celebration of 20 years of The Liquid Rooms.

QUEENS (PURPLE DISCO MACHINE )

THE MASH HOUSE, 23:00–03:00, £15

Purple Disco Machine headlines Queens’ huge Summer party.

Expect the finest blend of Underground House & Disco, which he aptly describes as ‘deep funk’.

BOOGIE NIGHTS

THE LIQUID ROOM, FROM 22:30, £4 - £6

Monthly party night that celebrating the best in soul and disco from the 60s, 70s and 80s.

DEFINITION (MARK BALNEAVES + MARTIN LIGHTBODY)

SNEAKY PETE’S, 23:00–03:00, £0 - £5

House and techno inspired by the likes of Sonar, Berghain, Fabric and Pressure.

THE BOROUGH COLLECTIVE: HOMEGROWN

CABARET VOLTAIRE, 23:00–03:00, £5 - £7

First installments of the Homegrown series, focused on promoting Edinburgh’s finest DJs. FRACTAL

THE MASH HOUSE, 23:00–03:00, £5

Residents’ party in support of The Joshua Nolan Foundation.

Sun 23 Jul

COALITION (BELIEVE + JORDAN COCHRANE)

SNEAKY PETE’S, 23:00–03:00, FREE

Weekly bass institution hosted by DJ Believe and friends.

THE CLUB

THE HIVE, 22:00–03:00, FREE

Two rooms of all the chart, cheese and indie-pop you can think of/ handle on a Sunday.

CABARET VOLTAIRE, 23:00–03:00, £5 - £10

HEADSET

Garage, techno house hip-hop, funk, R’n’B and free pizza, goddamnit.

FLIP

THE HIVE, 22:00–03:00, £0 - £3

Yer all-new Friday at Hive. Cheap entry, inevitably danceable, and novelty-stuffed. Perrrfect.

STRUT!

THE VILLAGE, FROM 19:00, FREE

Funk, dynamite disco and house.

PROPAGANDA

THE LIQUID ROOM, FROM 22:30, £3 - £5

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like.

TELFORT’S GOOD PLACE: BAAZ (BAAZ + TELFORT)

SNEAKY PETE’S, 23:00–03:00, £5 - £7

Telfort presents his vision of house music, presenting Baaz, a house producer, DJ and label boss from Berlin, running the consistently superb and artistic Office Recordings.

FLIP THE HIVE, 22:00–03:00, £0 - £3

Yer all-new Friday at Hive. Cheap entry, inevitably danceable, and novelty-stuffed. Perrrfect.

PROPAGANDA

THE LIQUID ROOM, FROM 22:30, £3 - £5

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like.

RARERAVE

THE MASH HOUSE, 23:00–03:00, TBC

Bassline, jungle and rave at The Mash House.

EQ (TSVI)

THE MASH HOUSE, 23:00–03:00, £5 - £7

Producer and label owner Tsvi has been steadily rising since releasing his debut EP, quickly confirming himself as a key producer in the London club scene.

Sat 29 Jul BUBBLEGUM

THE HIVE, 21:00–03:00, £0 - £4

Saturday mix of chart and dance, with retro 80s classics thrown in for good measure.

RIDE (LAUREL HALLO + CHECKITA BANANA)

SNEAKY PETE’S, 22:00–03:00, £5

Nineties and noughties hip-hop and R’n’B, right up to current jams.

You should go, shorty, if it’s your birthday.

MADCHESTER

THE LIQUID ROOM, FROM 22:30, £5 - £7

Mon 24 Jul

Established in 1994, Madchester’s a long running Edinburgh club night celebrating the baggiest beats from the late 80s and early 90s.

THE HIVE, 22:00–03:00, FREE

THE MASH HOUSE, 23:00–03:00, TBC

MIXED UP

Monday-brightening mix of hiphop, R’n’B and chart classics, with requests in the back room.

MINDSET (GARETH SOMMERVILLE)

SNEAKY PETE’S, 23:00–03:00, £3

Strictly house grooves from Edinburgh house DJ don Gareth Sommerville.

Tue 25 Jul TRASH

THE HIVE, 22:00–03:00, FREE

Alternative Tuesday anthems cherrypicked from genres of rock, indie, punk, retro and more.

HECTOR’S HOUSE

CABARET VOLTAIRE, 23:00–03:00, £0 - £6

Since May 2012 Hector’s House, known affectionately to many simply as Hector’s, has become Edinburgh’s one of Edinburgh’s fave midweek shindigs. House, disco, techno, garage, hip-hop, soul, funk across three rooms.

Wed 26 Jul COOKIE

TWEAK_

Weekly house and techno club bringing the world’s most credible artists to Edinburgh, every Saturday. Now taking place on the last Saturday of every month in The Mash House’s newly refurbished Loft space.

THE BOROUGH COLLECTIVE: CRASH GOES LOVE (GARETH SOMMERVILLE + CUNNIE) CABARET VOLTAIRE, 23:00–03:00, £5 - £7

The sexy, soulful, and disco-fueled side of The Borough Collective.

¡CARNE! (DJ VERRA NIACE + ANGEL) THE MASH HOUSE, 23:00–03:00, £5

A club night for all, hosted by Angel with DJ Verra Nice on the ones and twos.

Sun 30 Jul

COALITION (BELIEVE + JORDAN COCHRANE)

SNEAKY PETE’S, 23:00–03:00, FREE

Weekly bass institution hosted by DJ Believe and friends.

THE CLUB

THE HIVE, 22:00–03:00, FREE

THE HIVE, 22:00–03:00, FREE

Two rooms of all the chart, cheese and indie-pop you can think of/ handle on a Sunday.

WITNESS (ROSS BLACKWAX + FAULT LINES + SKILLIS + GUISED)

Mon 31 Jul

Resident midweek student rammy of chart, club and electro hits.

SNEAKY PETE’S, 23:00–03:00, £0 - £2

FLY CLUB

Edinburgh and Glasgow-straddling night, with powerhouse of local residents joined by a selection of guest talent.

THE CLUB

THE HIVE, 21:00–03:00, £0 - £4

Saturday mix of chart and dance, with retro 80s classics thrown in for good measure.

Dan, Declan and Kami make weird waves through house and techno.

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like.

House, garage and bass adventures with Blackwax and Faultlines.

BUBBLEGUM

CABARET VOLTAIRE, 19:00–22:00, FREE

Weekly institution Domino Club is back, with DJ P-Stylz at the helm of the mighty ship every Friday evening.

Weekly bass institution hosted by DJ Believe and friends.

SNEAKY PETE’S, 23:00–03:00, FREE

Sat 22 Jul

House, garage and bass adventures with Blackwax and Faultlines.

DOMINO CLUB (P-STYLZ)

SNEAKY PETE’S, 23:00–03:00, £0 - £2

Strictly house grooves from Edinburgh house DJ don Gareth Sommerville.

74

HI-SOCIETY

Monthly celebration of house and disco by some of Edinburgh’s finest and most experienced Djs.

CABARET VOLTAIRE, 22:00–03:00, FREE

LA CHEETAH CLUB, 23:00–03:00, £10

JUICE (KA MI + DAN + DECLAN)

SNEAKY PETE’S, 23:00–03:00, £0 - £2

L’ANATOMIE X TWEAK_: RESIDENTS SHOWCASE (SANDEMAN + KIERAN APTER)

THE GARAGE GLASGOW, 23:00–03:00, £5 - £7

Rahaan make a special appearance at La Cheetah, with profits donated to the UNICEF fund for Syria.

Thu 13 Jul

Early weekend-welcoming (y’know, for students) chart anthems, bolstered by hip-hop, R’n’B and urban in the back room.

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like.

Monday-brightening mix of hiphop, R’n’B and chart classics, with requests in the back room.

CLUB FOR SYRIA (RAHAAN + WARDY + DOM D’SYLVA )

House, garage and bass adventures with Blackwax and Faultlines.

Dan, Declan and Kami make weird waves through house and techno.

PROPAGANDA

Early weekend-welcoming (y’know, for students) chart anthems, bolstered by hip-hop, R’n’B and urban in the back room.

Garage by name, but not by musical nature. DJ Darren Donnelly carousels through chart, dance and classics, the Desperados bar is filled with funk, G2 keeps things urban and the Attic gets all indie on you.

WITNESS (ROSS BLACKWAX + FAULT LINES + SKILLIS + GUISED)

THE LIQUID ROOM, FROM 22:30, £3 - £5

No retreat from chronic treats with Glasgow based Industrial and cold-wave cassette label Domestic Exile.

I LOVE GARAGE

COOKIE

THE HIVE, 22:00–03:00, FREE

THE MASH HOUSE, 23:00–03:00, £5

THE LIQUID ROOM, FROM 22:30, £4 - £6

MIXED UP

Wed 12 Jul

SNEAKY PETE’S, 23:00–03:00, £0 - £2

RITUAL (REBECCA VASMANT)

Mon 03 Jul THE HIVE, 22:00–03:00, FREE

CABARET VOLTAIRE, 23:00–03:00, £0 - £6

Since May 2012 Hector’s House, known affectionately to many simply as Hector’s, has become Edinburgh’s one of Edinburgh’s fave midweek shindigs. House, disco, techno, garage, hip-hop, soul, funk across three rooms.

Resident midweek student rammy of chart, club and electro hits.

THE GARAGE GLASGOW, 23:00–03:00, £3 - £4

Lasers, bouncy castles and DJ Gav Somerville spinning out teasers and pleasers. Nice way to kick off the week, no?

HECTOR’S HOUSE

Yer all-new Friday at Hive. Cheap entry, inevitably danceable, and novelty-stuffed. Perrrfect.

BARE MONDAYS

Wed 05 Jul

MAGGIE MAY’S, 22:00–03:00, £3 - £5

House, techno and electro club taking on awesome guest selectors every once in a while.

Saturday mix of chart and dance, with retro 80s classics thrown in for good measure.

CATHOUSE, 22:30–03:00, £5 - £6

THE ROCK SHOP

SUBSTANCE

THE BONGO CLUB, FROM 23:00, TBC

Two rooms of all the chart, cheese and indie-pop you can think of/ handle on a Sunday.

Nick Peacock spins a Saturdayready selection of vintage disco, soul and funk.

Or Caturdays, if you will. Two levels of the loudest, maddest music the DJs can muster; metal, rock and alt on floor one, and punky screamo upstairs.

CABARET VOLTAIRE, 23:00–03:00, £5 - £10

Edinburgh and Glasgow-straddling night, with powerhouse of local residents joined by a selection of guest talent.

Mon 31 Jul

Alternative Tuesday anthems cherrypicked from genres of rock, indie, punk, retro and more.

CATHOUSE SATURDAYS

FLY CLUB

THE BOROUGH COLLECTIVE CABARET VOLTAIRE, 23:00–03:00, £5 - £7

Thu 27 Jul

JUICE (KA MI + DAN + DECLAN)

SNEAKY PETE’S, 23:00–03:00, £0 - £2

HI-SOCIETY

MIXED UP

THE HIVE, 22:00–03:00, FREE

Monday-brightening mix of hiphop, R’n’B and chart classics, with requests in the back room.

MINDSET (GARETH SOMMERVILLE)

SNEAKY PETE’S, 23:00–03:00, £3

Strictly house grooves from Edinburgh house DJ don Gareth Sommerville.

THE HIVE, 22:00–03:00, FREE

Early weekend-welcoming (y’know, for students) chart anthems, bolstered by hip-hop, R’n’B and urban in the back room.

PLAYROOM (MARTIN VALENTINE )

CABARET VOLTAIRE, 22:00–03:00, FREE

Slo-jams, edits, Afro, disco, house played by the one and only Martin Valentine.

Fri 28 Jul

DOMINO CLUB (P-STYLZ)

CABARET VOLTAIRE, 19:00–22:00, FREE

Weekly institution Domino Club is back, with DJ P-Stylz at the helm of the mighty ship every Friday evening.

FLY CLUB

CABARET VOLTAIRE, 23:00–03:00, £5 - £10

Edinburgh and Glasgow-straddling night, with powerhouse of local residents joined by a selection of guest talent.

LIONOIL (PERCY MAIN + YVES)

SNEAKY PETE’S, 23:00–03:00, TBC

No messing about this month for the Lionoil pride as Percy Main and the crew take over Sneaky Pete’s all night for a Julionoil home team hustle.

THE SKINNY

Dundee Clubs Sat 01 Jul

GOING BACK TO OUR ROOTS: #SUPPORTOURLILY READING ROOMS, FROM 16:00, £10

Going Back To Our Roots returns for one day and night only with a roster of DJs, street food and a BBQ, all to raise funds for Lily, a young child who was recently diagnosed with cancer.

Fri 07 Jul

BLACKSCROFT BBQ (MAX + RONAN)

READING ROOMS, FROM 16:00, FREE

Max and Ronan hit the decks while Reading Rooms serves up burgers and cocktails.

PHAZED AND FRIENDS: PART 3 (LINE-UP + RED KING & DAICHI) (BIGG TAJ & SPEE SIX NINE + SWVN + BIG G. O. D. + TEDDY HANNAN + CORRELATE + MR. FUDSON + PATHEW WALKER) READING ROOMS, FROM 19:30, £5

The Phazed gang invite a gaggle of hip-hop acts in order to help launch Red King and Daichi’s new EP, entitled Subconscious.

Sat 08 Jul JUTE CITY JAM

READING ROOMS, FROM 22:30, £5 - £7

Resident birthday boys Max Galloway, Calvin Crichton and Ronan Baxter stir up trouble in the only way they know how.

BLACKSCROFT BBQ

READING ROOMS, FROM 16:00, FREE

Max and Ronan hit the decks while Reading Rooms serves up burgers and cocktails.

Fri 14 Jul ROOMS RESIDENTS

READING ROOMS, FROM 22:30, TBC

A selection of Reading Room residents hold the fort for the evening, playing good vibe tunes all night long.

Sat 15 Jul

BOOK CLUB X ALL GOOD (DENSE & PIKA) READING ROOMS, 22:00–03:00, £10 - £15

Dense & Pika return for a night of techno brilliance, with a doubledup Book Club and All Good party effort.

Fri 21 Jul ROOMS RESIDENTS

READING ROOMS, FROM 22:30, TBC

A selection of Reading Room residents hold the fort for the evening, playing good vibe tunes all night long.

Sat 22 Jul LOCARNO

READING ROOMS, FROM 22:30, TBC

A night dedicated to the 50s and 60s that’s been running for over half a decade.

Theatre

Dundee Theatre

Comedy

Glasgow Theatre

Dundee Rep

Fri 07 Jul

Sat 15 Jul

THE STAND GLASGOW, 21:00–23:00, £6 - £12

THE STAND GLASGOW, 21:00–23:00, £17.50

CCA: Centre for Contemporary Art VILLAGE STORYTELLING FESTIVAL

4-8 JUL, 11:00AM – 6:00PM, FREE

Scotland’s most innovative and participatory storytelling festival, featuring exhibitions, films, music, performances, and, of course, cutting-edge storytelling from some of the most exciting storytellers performing today, including Debs Newbold, Daniel Morden, Clare Muireann Murphy and Ben Haggarty.

PLAYWRIGHTS’ STUDIO, SCOTLAND: STAGE TO PAGE

31 JUL, 7:00PM, £3

DEATH DO US PART

23 JUL, FROM 19:30, TBC

They say danger is the best aphrodisiac, right? Well, you’re in for a mad one at DDUP’s danger cabaret show, featuring “knife-throwing, sword-swallowing, fire-eating, roller-skating, escapology, burlesque, magic and lots of adult humour”.

Edinburgh Theatre Assembly Roxy FROM THE DARK

2-2 JUL, TIMES VARY, £14 - £16

SILENT

1 JUL, 7:30PM, £9 - £14

Olivier Award-Winning play delving into the wonderful world of Homeless McGoldrig, a man who had everything and lost it all.

A MURDER IS ANNOUNCED

10-15 JUL, 7:30PM, £9 - £17

Agatha Christie tale in which the residents of Chipping Cleghorn are astonished to read an advert in the local newspaper that a murder will take place at the home of Letitia Blacklock.

NO OFFENCE, BUT...

6-7 JUL, 7:30PM, £4 - £7

Dundee Rep Young Company perform their exploration of language – spoken and unspoken.

The Gardyne Theatre

HAIRY MACLARY AND FRIENDS

26-27 JUL, TIMES VARY, £8 - £10

Stage to Page is a voluntary collective of writers, directors and actors who meet monthly to conduct short public workshops of scenes from new plays.

Juan Esteban Varela invites the curious to experience illusions and the feeling of astonishment while blindfolded in complete darkness.

Drygate Brewing Co.

Based on Ahmed Tobasi’s personal coming of age story, this is an epic voyage of identity and self discovery combining fact and fantasy, tragedy and comedy.

Glasgow Comedy

Festival Theatre

Sat 01 Jul

PITCH @ SURGE

28 JUL, 8:00PM, £5

Drygate host a trifeca of cabaret, beer and barbering at Pitch, an evening of entertainment organised by street art / circus / theatre folk Surge.

CLOWN CABARET

29 JUL, FROM 20:00, £5

A delightfully delirious evening with some of Scotland’s finest clowns by Clown Cabaret, the lovechild of Plutôt La Vie, Clownstepping and Melanie Jordan.

Merchant City SURGE FESTIVAL

27-30 JUL, TIMES VARY

Surge Festival bedlam hits the streets of the Merchant City in a hurly-burly of gloriously quixotic performances.

WHIST

21 JUL-3 AUG, 7:30PM – 10:00PM, £10

A virtual reality experience inspired by Sigmund Freud’s dream theory combining physical theatre and mixed reality technology.

Performances take place at 10am, 11.30am, 1pm, 2.30pm, 4pm, 5.30pm, 7pm and 8.30pm.

MAGICFEST GALA: LEVITATIONS

8 JUL, 7:30PM, £24 - £33

A Gala Show on the theme of levitations bringing MagicFest 2017 to a grand finale Festival Theatre, with international acts and gravity defying performances.

25-27 JUL, 7:30PM, PRICES VARY

21-22 JUL, 7:30PM, £17 - £19.50

Wilds is a commentary on intolerance and a love letter to resistance.

Born the day after the last US election, it is a fiercely relevant play, influenced by current events that with new elections coming up, feel more pressing than ever.

The King’s Theatre LA CAGE AUX FOLLES

4-29 JUL, 7:30PM, PRICES VARY

An award-winning tale centring on eccentric gay couple, Geogres and Albin.

13 JUL, 7:30PM, £25.40 - £27.40

A musical dedication to the life and times of The Carpenters.

THE DREAMBOYS

11 JUL, 7:30PM, £21 - £46.50

The UK’s top ‘male glamour’ show.

Expect gallons of baby oil, miles of abs and an audience full of yelping onlookers.

THE CHICAGO BLUES BROTHERS

14 JUL, 7:30PM, £24.40 - £41

All your favourite Blues Brothers classics and some, as the touring show continues its reign.

Theatre Royal THE RAILWAY CHILDREN

4-30 JUL, TIMES VARY, PRICES VARY

An uplifting theatrical version of the much-loved children’s book by E. Nesbit.

Tron Theatre THE LYING KIND

6-22 JUL, 7:45PM, £9 - £14

Farcical play about Constables Blunt and Gobbel, who have one last duty to fulfil before clocking off on Christmas Eve – to tell the old couple at number 58 some terrible news.

FAME: THE MUSICAL

Students from one of the USA’s top performing arts academies perform the classic 80s musical.

AMERICAN IDIOT

12-13 JUL, 7:30PM, £17 - £19.50

In an age where almost anything is prime fodder for musical-making, Green Day’s in on the action with American Idiot.

Scottish Storytelling Centre

FLINT & PITCH: HOW TO SURVIVE A POST TRUTH APOCALYPSE

7 JUL, 7:30PM, £10

Spoken word artist Francesca Beard takes us on an epic adventure through a wonderland of lies, fictions, Wikipedia facts and the stories we tell ourselves.

The Edinburgh Playhouse GIRLS NIGHT OOT

28 JUL, 7:30PM, £23.90 - £25.90

Sequel to feel-good production I Will Survive, featuring songs from the 60s right through to modern hits. Frothy as it comes.

THE FRIDAY SHOW (JO CAULFIELD + BRUCE MORTON + FRANCESCO DE CARLO + RACHEL JACKSON + BILLY KIRKWOOD)

Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend.

YESBAR, FROM 22:00, £10

YESBAR, FROM 22:00, £10

THE LATE SHOW

THE STAND GLASGOW, 21:00–23:00, £17.50

Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend.

THE LATE SHOW

YESBAR, FROM 22:00, £10

Late night lols at Yesbar.

THE EARLY SHOW

YESBAR, FROM 19:00, £10

Yesbar lols at – aye – 8pm.

Sun 02 Jul

MICHAEL REDMOND’S SUNDAY SERVICE (KEVIN GILDEA’ ‘MARC JENNINGS + MICHAEL REDMOND)

THE STAND GLASGOW, 20:30–22:30, £1 - £6

Chilled Sunday night laughs to see the weekend out.

Tue 04 Jul

RED RAW (ASHLEIGH STORRIE)

THE STAND GLASGOW, 20:30–22:45, £3

Open mic-style beginners showcase, plus some old hands dropping by to road test new material.

Wed 05 Jul

NEW MATERIAL NIGHT (JULIA SUTHERLAND )

YESBAR, FROM 20:30, £3

Resident host Julia Sutherland introduces a variety of stand-up comedians from the Scottish circuit delivering all new material.

COMEDIAN RAP BATTLES (THE WEE MAN)

THE STAND GLASGOW, 20:30–22:30, £4 - £6

Ro Cambell and The Wee Man’s comedian rap battle-off, where a select batch of comics compete to see who’s got the most swagger when it comes to hippity-hop wit.

Thu 06 Jul

THE THURSDAY SHOW (BRUCE MORTON + BRUCE FUMMEY + MARC JENNINGS + RACHEL JACKSON + ASHLEY STORRIE)

THE STAND GLASGOW, 20:30–22:30, £5 - £10

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.

YESBAR VIRGINS

YESBAR, FROM 20:00, £3

Graham Barrie introduces a selection of fledgling comedy talent handpicked fae Scotland.

Find full listings at theskinny.co.uk/whats-on

THE LATE SHOW

Late night lols at Yesbar.

Late night lols at Yesbar.

YESBAR, FROM 19:00, £10

YESBAR, FROM 19:00, £10

THE EARLY SHOW

THE EARLY SHOW

Yesbar lols at – aye – 8pm.

Yesbar lols at – aye – 8pm.

Sat 08 Jul

Sun 16 Jul

THE SATURDAY SHOW (JO CAULFIELD + BRUCE MORTON + FRANCESCO DE CARLO + RACHEL JACKSON + BILLY KIRKWOOD)

THE STAND GLASGOW, 21:00–23:00, £17.50

Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend.

YESBAR, FROM 22:00, £10

THE SATURDAY SHOW (KEVIN GILDEA + STEVEN DICK + AMY HOWERSKA + RICHARD BROWN + SCOTT GIBSON)

THE SATURDAY SHOW (OWEN O’NEILL + KAI HUMPHRIES + LIAM WITHNAIL + PAUL MCDANIEL + SUSAN MORRISON)

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts.

THE LATE SHOW

AND HERE I AM

The Glad Cafe WILDS

Out of the gate and off for a walk, and all that chat in a children’s show at The Gardyne Theatre.

17-18 JUL, 11:20AM, £12 - £15

King’s Theatre Edinburgh

THE CARPENTERS STORY

July 2017

Classic Grand

MICHAEL REDMOND’S SUNDAY SERVICE (KAI HUMPHRIES + JAMIE DALGLEISH + KIRSTY MORRISON + MICHAEL REDMOND)

THE STAND GLASGOW, 20:30–22:30, £1 - £6

Chilled Sunday night laughs to see the weekend out.

Tue 18 Jul

RED RAW (JAMIE DAGLEISH)

THE STAND GLASGOW, 20:30–22:45, £3

Yesbar lols at – aye – 8pm.

Open mic-style beginners showcase, plus some old hands dropping by to road test new material.

Sun 09 Jul

Wed 19 Jul

Late night lols at Yesbar.

THE EARLY SHOW

YESBAR, FROM 19:00, £10

MICHAEL REDMOND’S SUNDAY SERVICE (ROB KANE + ROSS MCLELLAND + MICHAEL REDMOND)

THE STAND GLASGOW, 20:30–22:30, £1 - £6

Chilled Sunday night laughs to see the weekend out.

Tue 11 Jul

RED RAW (ROSS MCLELLAND)

THE STAND GLASGOW, 20:30–22:45, £3

Open mic-style beginners showcase, plus some old hands dropping by to road test new material.

LIGHT BULB SHOW

BLACKFRIARS BASEMENT, 20:00–22:00, FREE

Brand new alternative comedy showcase.

Wed 12 Jul

NEW MATERIAL NIGHT (JULIA SUTHERLAND )

YESBAR, FROM 20:30, £3

Resident host Julia Sutherland introduces a variety of stand-up comedians from the Scottish circuit delivering all new material.

LARRY DEAN & TOM STADE: WORK IN PROGRESS DOUBLE BILL

THE STAND GLASGOW, 20:30–22:30, £12 - £15

Another edition of The Stand’s new material shows, this time showcasing rough’n’ready jokes from Larry Dean & Tom Stade.

Thu 13 Jul

THE THURSDAY SHOW (OWEN O’NEILL + KAI HUMPHRIES + LIAM WITHNAIL + PAUL MCDANIEL + SUSAN MORRISON)

THE STAND GLASGOW, 20:30–22:30, £5 - £10

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.

YESBAR VIRGINS

YESBAR, FROM 20:00, £3

Graham Barrie introduces a selection of fledgling comedy talent handpicked fae Scotland.

Fri 14 Jul

NEW MATERIAL NIGHT (JULIA SUTHERLAND )

YESBAR, FROM 20:30, £3

Resident host Julia Sutherland introduces a variety of stand-up comedians from the Scottish circuit delivering all new material.

MICHAEL REDMOND & CHRIS FORBES FRINGE PREVIE DOUBLE BILL (MICHAEL REDMOND + CHRIS FORBES)

THE STAND GLASGOW, 20:30–22:30, £8 - £10

Another double-bill episode of new material at The Stand, girding your loins suitably for the Fringe.

Thu 20 Jul

THE EARLY SHOW

YESBAR, FROM 19:00, £10

Yesbar lols at – aye – 8pm.

Tue 25 Jul

RED RAW (MARC JENNINGS)

THE STAND GLASGOW, 20:30–22:45, £3

Open mic-style beginners showcase, plus some old hands dropping by to road test new material.

Wed 26 Jul

FRANKIE BOYLE: WORK IN PROGRESS

THE STAND GLASGOW, 20:30–21:30, £12 - £15

Cantankerous bastard Mr. Boyle takes to a live setting to showcase new material.

NEW MATERIAL NIGHT (JULIA SUTHERLAND )

YESBAR, FROM 20:30, £3

Resident host Julia Sutherland introduces a variety of stand-up comedians from the Scottish circuit delivering all new material.

Thu 27 Jul

THE THURSDAY SHOW (SEYMOUR MACE + JOJO SMITH + PHIL DIFFER + ROSS LESLIE + BRUCE DEVLIN)

THE STAND GLASGOW, 20:30–22:30, £5 - £10

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.

YESBAR VIRGINS

YESBAR, FROM 20:00, £3

Graham Barrie introduces a selection of fledgling comedy talent handpicked fae Scotland.

Fri 28 Jul

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.

YESBAR VIRGINS

YESBAR, FROM 20:00, £3

Graham Barrie introduces a selection of fledgling comedy talent handpicked fae Scotland.

Fri 21 Jul

THE LATE SHOW

YESBAR, FROM 22:00, £10

THE EARLY SHOW

YESBAR, FROM 19:00, £10

Sat 29 Jul

THE EARLY SHOW

YESBAR, FROM 19:00, £10

Yesbar lols at – aye – 8pm.

Sat 22 Jul

THE SATURDAY SHOW (MARK NELSON + STEPHEN CARLIN + GLENN MOORE + MANDY KNIGHT)

THE STAND GLASGOW, 21:00–23:00, £17.50

THE LATE SHOW

Late night lols at Yesbar.

THE EARLY SHOW

YESBAR, FROM 19:00, £10

Yesbar lols at – aye – 8pm.

Sun 23 Jul

MICHAEL REDMOND’S SUNDAY SERVICE (MICHAEL REDMOND )

THE STAND GLASGOW, 20:30–22:30, £1 - £6

Chilled Sunday night laughs to see the weekend out.

THE BIG SHOW

MONKEY BARREL COMEDY CLUB, 20:30–22:50, £12

A great night of premier stand-up right in the heart of the city

Sun 02 Jul

THE SUNDAY NIGHT LAUGH-IN (BRUCE FUMMEY) THE STAND COMEDY CLUB, 20:30–22:00, £1 - £6

Chilled Sunday night laughs to see the weekend out.

STU & GARRY’S FREE IMPROV SHOW (STUART MURPHY + GARRY DOBSON)

THE STAND COMEDY CLUB, 13:30–15:00, FREE

Long-running improvised comedy show with resident duo Stu & Garry weaving comedy magic from off-the-cuff audience suggestions.

PROGRESS!

MONKEY BARREL COMEDY CLUB, FROM 20:30, £5

Monkey Barrel’s rising comedy star showcase; swing by and catch the stars of tomorrow.

THE TBC IMPROV THEATRE

MONKEY BARREL COMEDY CLUB, FROM 19:30, FREE

RED RAW (GEORGE FOX)

THE STAND COMEDY CLUB, 20:30–22:45, £3

Open mic-style beginners showcase, plus some old hands dropping by to road test new material.

Tue 04 Jul PROJECT X

MONKEY BARREL COMEDY CLUB, 20:30–22:50, £0 - £3

THE SATURDAY SHOW (SEYMOUR MACE + JOJO SMITH + PHIL DIFFER + ROSS LESLIE + BRUCE DEVLIN)

All-new student night themed around the film of the same name, Project X.

THE STAND GLASGOW, 21:00–23:00, £17.50

Wed 05 Jul

Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend.

THE LATE SHOW

YESBAR, FROM 19:00, £10

Late night lols at Yesbar.

Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend.

Mon 03 Jul

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts.

THE STAND GLASGOW, 21:00–23:00, £6 - £12

YESBAR, FROM 22:00, £10

THE STAND COMEDY CLUB, 21:00–23:00, £17.50

THE STAND GLASGOW, 21:00–23:00, £6 - £12

Late night lols at Yesbar.

THE LATE SHOW

Sat 01 Jul

THE SATURDAY SHOW (THE REVEREND OBADIAH STEPPENWOLFE III + TOM WRIGGLESWORTH + GEORGE FOX + ZAHRA BARRI + SUSAN MORRISON)

The To Be Continued crew return with more sketches, scenes and improvised antics.

THE FRIDAY SHOW (MARK NELSON + STEPHEN CARLIN + GLENN MOORE + MANDY KNIGHT)

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts.

Edinburgh Comedy

THE FRIDAY SHOW (SEYMOUR MACE + JOJO SMITH + PHIL DIFFER + ROSS LESLIE + BRUCE DEVLIN)

Yesbar lols at – aye – 8pm.

YESBAR, FROM 22:00, £10

YESBAR, FROM 22:00, £10

Cantankerous bastard Mr. Boyle takes to a live setting to showcase new material.

THE STAND GLASGOW, 20:30–22:30, £5 - £10

THE STAND GLASGOW, 21:00–23:00, £6 - £12

Late night lols at Yesbar.

THE STAND GLASGOW, 20:30–21:30, £12 - £15

Late night lols at Yesbar.

Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend.

THE LATE SHOW

FRANKIE BOYLE: WORK IN PROGRESS

THE THURSDAY SHOW (MARK NELSON + STEPHEN CARLIN + GLENN MOORE + MANDY KNIGHT)

THE FRIDAY SHOW (OWEN O’NEILL + KAI HUMPHRIES + LIAM WITHNAIL + PAUL MCDANIEL + SUSAN MORRISON)

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts.

Mon 24 Jul

YESBAR, FROM 22:00, £10

THE EARLY SHOW

Yesbar lols at – aye – 8pm.

Sun 30 Jul

FRANKIE BOYLE: WORK IN PROGRESS

THE STAND GLASGOW, 20:30–21:30, £12 - £15

Cantankerous bastard Mr. Boyle takes to a live setting to showcase new material.

Mon 31 Jul

FRANKIE BOYLE: WORK IN PROGRESS

THE STAND GLASGOW, 20:30–21:30, £12 - £15

Cantankerous bastard Mr. Boyle takes to a live setting to showcase new material.

VIVA LA SHAMBLES

THE STAND COMEDY CLUB, 20:30–22:00, £4 - £5

The Stand hosts a monthly evening of total joke-pandemonium as Edinburgh’s top comics join forces.

TOP BANANA

MONKEY BARREL COMEDY CLUB, 20:30–22:50, £0 - £2

Monkey Barrel’s comedy competition for new folk on the scene.

Thu 06 Jul

THE THURSDAY SHOW (ROB DEERING + GARETH WAUGH + JIM SMITH + WAYNE MAZADZA + JANEY GODLEY)

THE STAND COMEDY CLUB, 21:00–23:00, £5 - £10

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.

SPONTANEOUS SHERLOCK’S MYSTERY

MONKEY BARREL COMEDY CLUB, 20:30–22:50, £5

A completely improvised Sherlock Holmes mystery

Fri 07 Jul

THE FRIDAY SHOW (ROB DEERING + GARETH WAUGH + JIM SMITH + WAYNE MAZADZA + JANEY GODLEY) THE STAND COMEDY CLUB, 21:00–23:00, £6 - £12

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts.

THE BIG SHOW

MONKEY BARREL COMEDY CLUB, 20:30–22:50, £12

A great night of premier stand-up right in the heart of the city

Listings

75

Sat 08 Jul

THE SATURDAY SHOW (ROB DEERING + GARETH WAUGH + JIM SMITH + WAYNE MAZADZA + JANEY GODLEY)

THE BIG SHOW MONKEY BARREL COMEDY CLUB, 20:30–22:50, £12

A great night of premier stand-up right in the heart of the city

THE STAND COMEDY CLUB, 21:00–23:00, £17.50

Sat 15 Jul

THE BIG SHOW

THE STAND COMEDY CLUB, 21:00–23:00, £17.50

Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend.

MONKEY BARREL COMEDY CLUB, 20:30–22:50, £12

A great night of premier stand-up right in the heart of the city

Sun 09 Jul

THE SUNDAY NIGHT LAUGH-IN (CHRISTOPHER MACARTHUR-BOYD + THE ARTIST FORMERLY KNOWN AS JELLYBEAN) THE STAND COMEDY CLUB, 20:30–22:00, £1 - £6

Chilled Sunday night laughs to see the weekend out.

STU & GARRY’S FREE IMPROV SHOW (STUART MURPHY + GARRY DOBSON)

THE STAND COMEDY CLUB, 13:30–15:00, FREE

Long-running improvised comedy show with resident duo Stu & Garry weaving comedy magic from off-the-cuff audience suggestions.

THE SATURDAY SHOW (LARRY DEAN + TONY JAMESON + STEPHANIE LAING + JAY LAFFERTY)

Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend.

THE BIG SHOW

MONKEY BARREL COMEDY CLUB, 20:30–22:50, £12

A great night of premier stand-up right in the heart of the city

Sun 16 Jul

FRANKIE BOYLE: WORK IN PROGRESS

THE STAND COMEDY CLUB, 18:00–19:00, £12 - £15

Cantankerous bastard Mr. Boyle takes to a live setting to showcase new material.

STU & GARRY’S FREE IMPROV SHOW (STUART MURPHY + GARRY DOBSON)

THE STAND COMEDY CLUB, 13:30–15:00, FREE

MONKEY BARREL COMEDY CLUB, FROM 20:30, £5

Long-running improvised comedy show with resident duo Stu & Garry weaving comedy magic from off-the-cuff audience suggestions.

THE TBC IMPROV THEATRE

THE STAND COMEDY CLUB, 20:30–22:30, £8 - £10

PROGRESS!

Monkey Barrel’s rising comedy star showcase; swing by and catch the stars of tomorrow.

MONKEY BARREL COMEDY CLUB, FROM 19:30, FREE

The To Be Continued crew return with more sketches, scenes and improvised antics.

Mon 10 Jul RED RAW

THE STAND COMEDY CLUB, 20:30–22:45, £3

Open mic-style beginners showcase, plus some old hands dropping by to road test new material.

Tue 11 Jul BONA FIDE

THE STAND COMEDY CLUB, 20:30–22:15, £5 - £6

Brand new material especially written for the theme of the night delivered by some of Scotland’s favourite comics.

PROJECT X

MONKEY BARREL COMEDY CLUB, 20:30–22:50, £0 - £3

All-new student night themed around the film of the same name, Project X.

Wed 12 Jul

BENEFIT IN AID OF THE CYRENIANS (KEIR MCALLISTER + JIM PARK + WAYNE MAZADZA + CALUM MACINNES + SUSAN MORRISON) THE STAND COMEDY CLUB, 20:30–22:15, £10

PHIL NICHOL + CHRIS FORBES

A work-in-progress double bill preview of Fringe material.

Mon 17 Jul

RED RAW (JAY LAFFERTY + BEN POPE)

THE STAND COMEDY CLUB, 20:30–22:45, £3

Open mic-style beginners showcase, plus some old hands dropping by to road test new material.

THE CATERING EQUIPMENT THAT TIME FORGOT (PATRICK MULHOLLAND + SCOTT REDMOND + RICHARD BROWN)

PARADISE IN THE VAULT, FROM 20:30, £4.50

This installment in Mulholland and Redmond’s comedy play series takes place in a long-abandoned retail outlet where, in the absence of humanity, a fragile new world order has arisen.

Tue 18 Jul

FRANKIE BOYLE: WORK IN PROGRESS (FRANKIE BOYLE)

THE STAND COMEDY CLUB, 20:30–21:30, £12 - £15

Cantankerous bastard Mr. Boyle takes to a live setting to showcase new material.

PROJECT X

MONKEY BARREL COMEDY CLUB, 20:30–22:50, £0 - £3

Comedy charity benefit raising money for the Cyrenians.

All-new student night themed around the film of the same name, Project X.

MONKEY BARREL COMEDY CLUB, 20:30–22:50, £0 - £2

Wed 19 Jul

TOP BANANA

Monkey Barrel’s comedy competition for new folk on the scene.

Thu 13 Jul

THE THURSDAY SHOW (ASHLEY STORRIE + TONY JAMESON + STEPHANIE LAING + JAY LAFFERTY) THE STAND COMEDY CLUB, 21:00–23:00, £5 - £10

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.

PETER PANCAKES’S COMEDY EXTRAVAGANZA

MONKEY BARREL COMEDY CLUB, FROM 20:30, FREE

Phil O’Shea brings a handpicked selection of riotous lols to Monkey Barrel.

Fri 14 Jul

THE FRIDAY SHOW (LARRY DEAN + TONY JAMESON + STEPHANIE LAING + JAY LAFFERTY) THE STAND COMEDY CLUB, 21:00–23:00, £6 - £12

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts.

76

Listings

TOPICAL STORM (MARK NELSON + KEIR MCALLISTER + STUART MURPHY + VLADIMIR MCTAVISH) THE STAND COMEDY CLUB, 20:30–22:30, £5 - £7

Radical satire from Keir McAllister, Vladimir McTavish, Stu Murphy and Mark Nelson.

TOP BANANA

MONKEY BARREL COMEDY CLUB, 20:30–22:50, £0 - £2

Fri 21 Jul

THE FRIDAY SHOW (KEVIN GILDEA + ANNA MORRIS + JAMIE MACDONALD + RUTH COCKBURN + JOE HEENAN) THE STAND COMEDY CLUB, 21:00–23:00, £6 - £12

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts.

THE BIG SHOW

MONKEY BARREL COMEDY CLUB, 20:30–22:50, £12

A great night of premier stand-up right in the heart of the city

Sat 22 Jul

THE SATURDAY SHOW (KEVIN GILDEA + ANNA MORRIS + JAMIE MACDONALD + RUTH COCKBURN + JOE HEENAN)

THE STAND COMEDY CLUB, 21:00–23:00, £17.50

Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend.

THE BIG SHOW

MONKEY BARREL COMEDY CLUB, 20:30–22:50, £12

A great night of premier stand-up right in the heart of the city

Sun 23 Jul

FRANKIE BOYLE: WORK IN PROGRESS

THE STAND COMEDY CLUB, 18:00–19:00, £12 - £15

Cantankerous bastard Mr. Boyle takes to a live setting to showcase new material.

STU & GARRY’S FREE IMPROV SHOW (STUART MURPHY + GARRY DOBSON)

THE STAND COMEDY CLUB, 13:30–15:00, FREE

Long-running improvised comedy show with resident duo Stu & Garry weaving comedy magic from off-the-cuff audience suggestions.

PROGRESS!

MONKEY BARREL COMEDY CLUB, FROM 20:30, £5

Monkey Barrel’s rising comedy star showcase; swing by and catch the stars of tomorrow.

THE TBC IMPROV THEATRE

MONKEY BARREL COMEDY CLUB, FROM 19:30, FREE

The To Be Continued crew return with more sketches, scenes and improvised antics.

DANNY BHOY & KEIR MCALLISTER WORK IN PROGRESS DOUBLE BILL! (DANNY BHOY + KEIR MCALLISTER) THE STAND COMEDY CLUB, 20:30–22:30, £8 - £10

Work In Progress Show Double Bill -Preview!

Mon 24 Jul

RED RAW (MARC JENNINGS)

THE STAND COMEDY CLUB, 20:30–22:45, £3

Open mic-style beginners showcase, plus some old hands dropping by to road test new material.

Tue 25 Jul BRIGHT CLUB

THE STAND COMEDY CLUB, 20:30–22:30, £5

A selection of comedic academics do a stint of stand-up for your entertainment and enlightenment. Laughs and learning in one neat package = tick.

PROJECT X

MONKEY BARREL COMEDY CLUB, 20:30–22:50, £0 - £3

All-new student night themed around the film of the same name, Project X.

Monkey Barrel’s comedy competition for new folk on the scene.

Wed 26 Jul

Thu 20 Jul

MONKEY BARREL COMEDY CLUB, 20:30–22:50, £0 - £2

THE THURSDAY SHOW (KEVIN GILDEA + ANNA MORRIS + JAMIE MACDONALD + RUTH COCKBURN + JOE HEENAN)

THE STAND COMEDY CLUB, 21:00–23:00, £5 - £10

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.

SPONTANEOUS SHERLOCK’S MYSTERY

MONKEY BARREL COMEDY CLUB, 20:30–22:50, £5

A completely improvised Sherlock Holmes mystery

TOP BANANA

Monkey Barrel’s comedy competition for new folk on the scene.

Thu 27 Jul

THE THURSDAY SHOW (VLADIMIR MCTAVISH + EDDY BRIMSON + STU MURPHY)

THE STAND COMEDY CLUB, 21:00–23:00, £5 - £10

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.

Fri 28 Jul

THE FRIDAY SHOW (VLADIMIR MCTAVISH + EDDY BRIMSON + STU MURPHY)

THE STAND COMEDY CLUB, 21:00–23:00, £6 - £12

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts.

THE BIG SHOW

MONKEY BARREL COMEDY CLUB, 20:30–22:50, £12

A great night of premier stand-up right in the heart of the city

Sat 29 Jul

THE SATURDAY SHOW (VLADIMIR MCTAVISH + EDDY BRIMSON + STU MURPHY)

THE STAND COMEDY CLUB, 21:00–23:00, £17.50

Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend.

THE BIG SHOW

MONKEY BARREL COMEDY CLUB, 20:30–22:50, £12

A great night of premier stand-up right in the heart of the city

Sun 30 Jul

THE SUNDAY NIGHT LAUGH-IN

THE STAND COMEDY CLUB, 20:30–22:00, £1 - £6

Chilled Sunday night laughs to see the weekend out.

STU & GARRY’S FREE IMPROV SHOW (STUART MURPHY + GARRY DOBSON)

THE STAND COMEDY CLUB, 13:30–15:00, FREE

Long-running improvised comedy show with resident duo Stu & Garry weaving comedy magic from off-the-cuff audience suggestions.

PROGRESS!

MONKEY BARREL COMEDY CLUB, FROM 20:30, £5

Monkey Barrel’s rising comedy star showcase; swing by and catch the stars of tomorrow.

THE TBC IMPROV THEATRE

MONKEY BARREL COMEDY CLUB, FROM 19:30, FREE

The To Be Continued crew return with more sketches, scenes and improvised antics.

Mon 31 Jul

RED RAW (ROSS MCLELLAND + DAVID TSONOS)

THE STAND COMEDY CLUB, 20:30–22:45, £3

Open mic-style beginners showcase, plus some old hands dropping by to road test new material.

Art

Glasgow Art Broadcast

HOW TO STOP FALLING IN LOVE, AGAIN

7 JUL, 11:00PM, FREE

Brut has decided to bring back its infamous summer soiree, How to Stop Falling in Love for a second installment this July. Entry is free and you might even get a cocktail on the way in. Expect a raw energetic pulse of dance music and a psychedelic spin.

CCA: Centre for Contemporary Art ROB CHURM: PARASITE REX

1-9 JUL, TIMES VARY, FREE

Glasgow-based artist Rob Churm presents a solo exhibition of drawings, prints, comic strips and digital elements that explore new ways of seeing and describing the world. Churm’s practice takes in a variety of references from science and weird-fiction, newmaterial, post-human thought, and cult film, layering them to construct stories that echo the life he is living.

NEIL SLORANCE: CARTOONS + COMIC ART

1-2 JUL, TIMES VARY, FREE

Neil Slorance is a Glasgow-based illustrator and comic book artist.

Finding success with awardwinning series Dungeon Fun, his portfolio includes everything from DC Thomson to Doctor Who. His political comics has appeared on STV, in the pages of The National and on thousands of Twitter timelines across the world. From indie comics to art that delighted the First Minister (and enraged UKIP’s David Coburn), take a look into Slorance’s impressive journey so far.

BLACK HEARTED PRESS

1-2 JUL, TIMES VARY, FREE

CCA hosts Glasgow-based comic company Black Hearted Press; From 27 June until 2 July, BHP present an exhibition of the work of comic book artist Neil Slorance, who has worked on projects by DC Thomson to versions of Doctor Who. FINAS TOWNSEND III: ... GRABBING THE GIN AND REGRETFULLY LEAVING THE SAUCE

8-28 JUL, TIMES VARY, FREE

...grabbing the gin and regretfully leaving the sauce was conceived as a presentation of artefacts either created or consumed by a twenty-first century painter. The aim of this exhibition is to explore how painting transcribes current behaviour and habits, and to ask how does an artist who continues to use a ‘traditional medium’ earn his contemporaneity in the first place.

THE HOUSE THAT HEALS THE SOUL

22 JUL-3 SEP, TIMES VARY, FREE

An exhibition focusing on the political and social status of libraries. Programmed in collaboration with artist Nick Thurston, CCA’s exhibition spaces will be opened up to house a selection of library and self-publishing resources alongside artworks that look at various histories of, and approaches towards, the protection and presentation of libraries’ collections, infrastructures and their users.

GLASGOW COMIC CON

1-2 JUL, TIMES VARY, FREE

Glasgow Comic Con returns for its seventh year, bringing a host of internationally acclaimed comic book artists and writers to Glasgow.

THE ACTORS’ LAB

2-23 JUL, 6:00PM, FREE

The Actors’ Lab is a space for actors to engage in professional practice workshops in a supportive and creative environment.

The workshops are intended for professional actors to continue their development.

Glasgow Print Studio

RAY RICHARDSON: COUNTRY GOT SOUL

Mary Mary WEED BEACH

1-8 JUL, 12:00PM – 6:00PM, FREE

Known to many as the Martin Scorsese of painting, Ray Richardson’s paintings and prints are drawn from his own experience of being born, bred and a worker in London, but also from his experiences beyond there.

Mary Mary hosts its first solo exhibition from LA-based sculptor Erika Vogt. Many of the works in this exhibition simultaneously function as sculpture, costume, prop and practical object; some even forming functioning vases or work tables further emphasizing their role as a plane for activity.

Glasgow School of Art

1 JUL-27 AUG, TIMES VARY, FREE

1-9 JUL, TIMES VARY, FREE

AGAINST LANDSCAPE

1 JUL-23 AUG, TIMES VARY, FREE

Against Landscape is curated by artist Daniel Sturgis in collaboration with Grizedale Arts and presents a diverse collection of contemporary and historic works that revolve around the idea of landscape representation in painting.

GoMA

PLEASE TURN US ON

1-31 JUL, TIMES VARY, FREE

A group exhibition placing Glasgow at the core of a dialogue between early video art and international counterculture.

Features What’s It To You?, a seminal work from Elsa Stansfield and Madelon Hooykaas, among other videographic works.

POLYGRAPHS

1 JUL-20 MAY 18, TIMES VARY, FREE

A group exhibition with a central point of Hito Steyerl’s film Abstract, which explores truth, fiction and evidence in a complicated world. Features Jane Evelyn Atwood, Muirhead Bone, Boyle Family, Gerard Byrne, Graham Fagen, Ian Hamilton Finlay and more.

MARLIE MUL: THIS EXHIBITION IS CANCELLED

1 JUL-29 OCT, TIMES VARY, FREE

Artist Marlie Mul has cancelled her first exhibition in Scotland.

Until 29 Oct, the gallery will lie empty. To use the gallery for your own activities, speak to a member to staff onsite or download a proposal form from the website.

Hunterian Art Gallery

ART OF POWER: MASTERPIECES FROM THE BUTE COLLECTION

1 JUL-14 JAN 18, TIMES VARY, FREE

Take the oportunity to see major paintings from the Bute Collection at Mount Stuart on the Isle of Bute. Exhibition split across two venues, The Hunterian and Mount Stuart – ticket price covers admission to both.

NEIL CLEMENTS: ELECTRIC EYE

1 JUL-8 OCT, TIMES VARY, FREE

The Hunterian showcases new paintings and sculptures by Glasgow-based artist Neil Clements, whose work concerns tends to take the form of monochromatic paintings, shaped canvases and geometric sculptures.

TURNER’S RHINE JOURNEY

1-30 JUL, TIMES VARY, FREE

The Hunterian showcases a rediscovered watercolour which portrays a a romantic view of the town Bacharach and Stahleck on the Rhine, which the painter Joseph Mallord William Turner visited in 1817.

Market Gallery JARSDELL SOLUTIONS LTD

8-23 JUL, 11:00AM – 5:00PM, FREE

Market Gallery hosts Jarsdell Solutions Ltd, who ‘following an extended period of consultation, research and development, … is pleased to launch the implementation of its latest solution.’ Until 9 July, they host an open studio, then from 10-16 July Market Gallery is the base for itinerant activity before a public exhibition between 17-23 July. Through their project in Market Gallery, Jarsdell Sollutions Ltd bring a tongue-in-cheek response to the gallery’s recent displacement from two of its three spaces.

Platform

PROJECT ABILITY: ASPIRE ARTISTS

Platform welcomes Project Ability and 18 artists from its Aspire programme, who have created large scale paintings specifically for Platform’s exhibition wall.

RGI Kelly Gallery

RORY PRICE + JAMES COSGROVE RGI RSW PAI

8-29 JUL, TIMES VARY, FREE

MANFRED PERNICE: BRÜCKE2 1 JUL-26 AUG, 12:00PM – 5:00PM, FREE

Berlin-based artist Manfred Pernice brings a new exhibition to Modern Institute’s Aird’s Lane branch.

The Telfer Gallery

BYZANTIA HARLOW: POLYESTER BREEZE

1-2 JUL, 11:00AM – 5:00PM, FREE

Polyester Breeze, Byzantia Harlow’s first solo show and first time exhibiting in Glasgow, takes inspiration from DVD only ‘mockbuster’ Aliens versus Avatars, found on a market stall for one pound. It will take the form of a multi media installation of sculptures and printed material including cast and modelled replicas of street rubbish resembling molten, oozing outer-space junk.

Tramway

FLORIAN HECKER: SYNOPSIS

This exhibition brings together the work of Berlin based artist Rory Price and Elected RGI James Cosgrove. This will be the first public exhibition in Scotland of works by Rory Price.

1-30 JUL, TIMES VARY, FREE

The Common Guild

The UK premier of a major international work by Graham Eatough, Robyn Backen, Nigel Helyer, Jennifer Turpin and Andre Dekker.

A journey through Tramway’s theatre space in which audiences enter a seven metre high structure, reaching 20 metres end to end. Performances take place on the hour Tues-Fri 4pm-8pm and Sat-Sun 2pm-8pm.

MARIA FUSCO: RADICAL DIALECT

1 JUL-30 DEC, TIMES VARY, FREE

An ongoing project conceived by writer Maria Fusco, including a cycle of events, a series of commissioned publications and a major new performance, all taking shape across 2017 and 2018. See thecommonguild.org.uk for info.

THE ARCHIPELAGO OF CONTENTED PEOPLES: ENDURANCE GROUPS

1-8 JUL, TIMES VARY, FREE

London-based Steven Claydon’s first solo show in Scotland, in which he’ll present a group of new works spanning sculpture, installation and sound addressing the ideas of jeopardy and pressure – whether in their environmental, cultural or epistemological senses.

A new commission by sonic experimental artist Florian Hecker in which he creates an immersive ‘hallucinatory’ space at Tramway.

NOMANSLANDING

1-2 JUL, TIMES VARY, FREE

TSCHABALALA SELF

1 JUL-20 AUG, TIMES VARY, FREE

Bold, confident and vibrant paintings and works on paper from artist Tschabalala Self, an artist primarily concerned with the concept of the Black female body within contemporary culture.

The Lighthouse CREATIVE HEROES

1-2 JUL, TIMES VARY, FREE

A look at the history of Scotland’s design scene via an exhibition which documents around 100 years of design and advertising.

The works will be presented on large-format graphic banners and will cover the likes of Rex Stewart, Forth Studios and Hall Advertising.

GRIST

8 JUL-13 AUG, TIMES VARY, FREE

Glasgow’s Thirst Craft, a creative and social agency which specialises in craft drinks showcases their graphics, installations, illustrious lettering and typographic work.

THIS WILL RUIN EVERYTHING

15-30 JUL, TIMES VARY, FREE

Scottish, grassroots urban arts organisation Recoat are celebrating their 10th anniversary this year. They’re marking the occasion by curating an exhibition at The Lighthouse featuring 40 designers and artists from a broad range of practices, taking in architecture to digital art to painting. The show will also feature the Lighthouse’s first ever mural, a retrospective installation and screenings.

The Modern Institute

ALEX DORDOY: FROM SVALBARD SOUL

1 JUL-25 AUG, TIMES VARY, FREE

The Newcastle-born, Londonbased artist presents new work at The Modern Institute’s Osborne Street branch.

The Modern Institute @ Airds Lane RICHARD WRIGHT

1 JUL-26 AUG, 12:00PM – 5:00PM, FREE

The Turner Prize-winning artist beings a new body of work to The Modern Institute.

THE SKINNY

Edinburgh Art Arusha Gallery ROSS M BROWN: TERRA INCOGNITA

6-17 JUL, TIMES VARY, FREE

Ross Browns’ work explores environments where architecture and nature, order and disorder overlap. As inspiration, he uses real places that have become such a part of our everyday that tend to go unnoticed, such as motorway overpasses, billboards, industrial zones, etc. 'Terra Incognita' was a term used by early cartographers to describe areas of land which remained undocumented, so in this exhibition what he has set out to find is a form of contemporary “Terra Incognita”.

After exploring each space, and taking multiple photographs, he also takes a lot of interest in understanding the history of each place and intended use, but also how abandonment and time have changed these functions.

City Art Centre EDINBURGH ALPHABET

1 JUL-8 OCT, TIMES VARY, FREE

An A-Z of Edinburgh’s collections, Edinburgh Alphabet takes place across four gallery floors and features over 300 objects from paintings to tapestries, ceramics to silver. Each letter of the alphabet has been given a theme around which objects have been grouped.

THOUGHT COLLIDER

27 JUL-27 AUG, TIMES VARY, FREE

Susana Cámara Leret and Mike Thompson’s practice explores metabolic processes, bodies and spaces. For Thought Collider they will experiment with meanings and values that can be derived from alternative ways of experiencing built and mediated environments.

Collective Gallery EMOTIONAL NEED

1-2 JUL, 10:00AM – 4:00PM, FREE

Emotional Need explores the life and work of anarchist cartoonist Donald Rooum, who has been involved in political organising, publishing and comic illustration since the late-1940s. Donald’s work as an activist and educator are the catalyst for a new film and soft-sculpture exhibited alongside a selection of Donald’s original drawings and ephemera related to his Wildcat Comics series.

ROSS LITTLE

22 JUL-10 SEP, 10:00AM – 4:00PM, FREE

Glasgow-based artist Ross Little graduated from GSA in 2011, and mainly works with film and painting. For his film project at Collective he will trace different forms of globalised labour found in the ship breaking yards of India and on board a transatlantic cruise ship.

Dovecot Studios THE WEAVER’S APPRENTICE

1 JUL, 10:30AM – 5:30PM, FREE

An exhibition featuring objects from the Dovecot’s archive, as well as historic and current works – all intending to tell the story of the Dovecot apprenticeship.

BUILT IN TAPESTRY: DOVECOT TAPESTRIES AND ARCHITECTURE

1 JUL-22 DEC, 10:30AM – 5:30PM, FREE

A balcony-based exhibition at Dovecot highlighting projects from the studio’s history, featuring innovative and bold projects from commissions new and past.

July 2017

DAUGHTERS OF PENELOPE 27 JUL-28 AUG, TIMES VARY, FREE

Dovecot tells a tale of women’s work in the textile industry and within textile art in a group exhibition of work from those who have contributed to the gallery’s history and present.

Features Caroline Dear, linder, Sonia Delaunay, Hanna Tuulikki and more.

Edinburgh Printmakers

MY CAT KNOWS WHAT I’M THINKING

1-15 JUL, 10:00AM – 6:00PM, FREE

An exhibition consisting of nineteen handmade ceramic plates plus four stone lithographic editions. Surprising, humorous and insightful, Great-Rex’s exhibition draws on folk, outsider art and domestic commemorative wares and samplers.

IT WORKS! – EP AT 50

1-15 JUL, 10:00AM – 6:00PM, FREE

An exhibition on occasion of Edinburgh Printmakers’ 50th anniversary raising questions about the nature and purpose of archives and featuring EPcommissioned publications and portfolios from EP’s vast unseen archive.

NEW EDITION

28 JUL-21 OCT, 10:00AM – 6:00PM, FREE

Group exhibition displaying newly commissioned printed works by Museums Press, Poster Club and Emer Tumilty, curated

by Sarah Lowndes. The title of the exhibition underlines the generational group of all of the exhibiting artists, who were born between the late 1960s and the early 1980s, and represent the current wave of Scotland-based artists working with print.

Edinburgh Sculpture Workshop

CHARLOTTE BARKER: FLOTILLA

29 JUL-26 AUG, 11:00AM – 5:00PM, FREE

Charlotte Barker’s work sits at the intersection of sculpture and design. Her new workat ESW maintains many of the idiomatic elements that are associated with ceramics and furniture exploring their sculptural potential and deconstructing the hierarchical relationships between fine art, craft and the decorative arts.

Embassy Gallery ¡ANNUALE 2017

1-9 JUL, 12:00PM – 6:00PM, FREE

Embassy’s grassroots festival of visual contemporary art returns to venues across Edinburgh and online. Check out annuale.org for more information.

Howe Street Arts THINK LESS, FEEL MORE

25 JUL-13 AUG, 10:00AM – 7:00PM, FREE

Think Less, Feel More is the second solo exhibition in Edinburgh by up and coming abstract artist, Alice Boyle. Her paintings plunge onlookers back into the feeling of winter while at the same time developing colour to soften the cold and break through to the promise of regeneration.

Inverleith House PLANT SCENERY OF THE WORLD

28 JUL-29 OCT, 10:00AM – 5:00PM, FREE

Exhibition presenting new, commissioned and existing work by Laura Aldridge, Charlie Billingham, Bobby Niven, Oliver Osborne and Ben Rivers; celebrating the 50th anniversary of the Botanics’ iconic modernist glasshouses.

Scottish National Gallery

1 JUL-1 OCT, 10:00AM – 5:00PM, FREE

1 JUL-25 MAR 18, TIMES VARY, FREE

LIZ MAGIC LAER: PRIMAL SPEECH

Artist Liz Magic Laser responds to Brexit and Trump with a video and room dedicated to the primal scream technique, encouraging audiences to let out their frustrations.

MARCO GIORDANO: SELFFULFILLING EGO

28 JUL-1 OCT, 10:00AM – 5:00PM, FREE

Glasgow-based Italian artist Marco Giordano presents this year’s Temporary commission for Emerging Artists in the Outdoors at EAF. The new work draws interest from Le Cento Fontane and historic stonework set around the Jupiter estate, creating an avenue of sculptures that emit a mist of water, ‘blessing’ each visitor.

PABLO BRONSTEIN: THE ROSE WALK

28 JUL-31 AUG, 10:00AM – 5:00PM, FREE

Argentine-born artist Pablo Bronstein views drawing as the central core of his artistic practice. He will create an ambitious site-specific work at Jupiter Artland which will form part of the permanent collection, comprising two ten-meter-high pavilions, one Gothic and the other in a Chinoiserie style will be connected by a twenty-fivemeter-long rose garden.

Museum of Childhood

ROBERT POWELL: IT’S ALIVE!

1 JUL-18 SEP, TIMES VARY, FREE

Mixing historical toys and contemporary art, this interactive exhibition features incredible clockwork characters from the 1800s, alongside exquisite new etchings exploring the history of automata and the meaning of mechanical life.

WENDY MCMURDO: LET’S GO TO A PLACE

27 JUL-18 SEP, TIMES VARY, FREE

In this site-specific installation, photographer Wendy McMurdo presents a series of portraits of Edinburgh children, in the atmospheric galleries of the Museum of Childhood. The portraits document a generation of digital natives, who inhabit both the ‘real’ and digital worlds.

Rhubaba

YOU HARDBOILED I SOFTBOILED

28 JUL-27 AUG, 12:00PM – 5:00PM, FREE

An ongoing polyvocal project centering around the work of Melbourne-based writer Jessica Yu, who is interested in reconstituting memory and place through her writing. This exhibition consists of an ingallery press, and a purpose built street-front display case, making public the process of writing, editing and publishing.

Royal Scottish Academy RSA

27 JUL-26 AUG, 10:00AM – 5:00PM, FREE

1-2 JUL, TIMES VARY, FREE

Ingleby celebrates its 20th year with an exhibition programme of 27 ‘pairings’ exploring the ampersand; notions of linkage, circularity and pairings. As the sequence reaches parts XI, XII and XIII, it becomes “a celebration of two artists whose work is connected by a spirit of obsession and isolation”, featuring a new painting by James Hugonin and a classic 1953 still life by Giorgio Morandi.

Exhibition of small works sourced by open submission from artists across Scotland, including paintings, drawings, sculptures, prints and photographs – all available to buy – from around 400 different artists. Expect the usual pick’n’mix wonderland.

Jupiter Artland

Ingleby Gallery AND PER SE AND, PARTS XI-XIII

RSA OPEN 2017 22 JUL-1 OCT, TIMES VARY, FREE

SUMMA

The Royal Scottish Academy exhibits works from recent Residency for Scotland artists, including Uist Corrigan, Carrie Fertig, Paul Furneaux RSA, Ilana Halperin, Anneli Holmstrom, Hannah Imlach, Stuart McAdam, Rachel McBrinn, Jock Mooney, Natasha Russell, Geneva Sills and Aeneas Wilder.

A MEETING OF TWO MASTERPIECES

Six-footer British masterpiece Salisbury Cathedral from the Meadows (1831) by John Constable, displayed alongside another celebrated landscape painting, William McTaggart’s The Storm (1890).

BEYOND CARAVAGGIO

1 JUL-24 SEP, TIMES VARY, £10 - £12

A collaboration between the National Gallery, London, the National Gallery of Ireland and the National Galleries of Scotland, this is Scotland’s very first exhibition of works by Caravaggio and his followers (the so-called ‘Caravaggesque painters’).

Scottish National Gallery of Modern Art 20TH CENTURY: MASTERPIECES OF SCOTTISH AND EUROPEAN ART 1 JUL-18 FEB 18, 10:00AM – 5:00PM, FREE

An exhibition of works offering a historical overview of some of the most significant artistic contributions made during the last century. The exhibition also aims to place Scottish modern art within an international context.

NOW

1 JUL-24 SEP, 10:00AM – 5:00PM, FREE

A programme of contemporary art exhibitions celebrating the diversity of contemporary artistic practice, and the unique role of artists in society. Features Nathan Coley, Mona Hatoum, Louise Hopkins, Pete Horobin, Tessa Lynch, Jock McFadyen, Rivane Neuenschwander, Tony Swain and more.

PLACES REAL AND IMAGINED

1-9 JUL, 10:00AM – 5:00PM, FREE

A display of works centred around the theme of place and which engage directly with environments. Features work

by Richard Long and Hamish Fulton, Charles Avery and Oskar Kokoschka.

SURREALISM AND THE MARVELLOUS

1 JUL-31 AUG, 10:00AM – 5:00PM, FREE

Focusing on artworks by Dalí, Ernst, Magritte and many other Surrealist artists, this exhibtion uncovers the unconscious, the irrational, the absurd and the marvellous within surrealism. There are also African and Oceanic sculptures on display alongside a cabinet of curiosities.

ARTIST ROOMS: MUSIC FROM THE BALCONIES - ED RUSCHA AND LOS ANGELES

1 JUL-29 APR 18, 10:00AM – 5:00PM, FREE

A display highlighting the ways in which Ed Ruscha (b.1937, Nebraska, USA) draws upon urban landscape and architecture, cinema, brands, car culture and language that refer and relate to LA and Hollywood to create works about the American Dream.

TRUE TO LIFE

1 JUL-29 OCT, 10:00AM – 5:00PM, £8 - £10

Comprising more than 80 paintings, this exhibition recognises an almost forgotten generation of artists and explores British realist painting in the 1920s and 1930s.

ACADEMICIANS’ PRINTS

1-2 JUL, TIMES VARY, FREE

The RSA showcases a selection of prints in a group exhibition featuring Ian Mcculloch, Frances Pelly, Andrew Cranston, Ronald Forbes, Doug Cocker, Joyce W. Cairns, Sam Ainsley, Fiona Dean and more.

Find full listings at theskinny.co.uk/whats-on

Scottish National Portrait Gallery SCOTS IN ITALY

1 JUL-5 MAR 19, TIMES VARY, FREE

A showcase of the Scottish experience of Italy in the eighteenth century, a time when artistic, entrepreneurial and aristocratic fascination with the country was reaching boiling point.

THE MODERN PORTRAIT

1 JUL-27 OCT 19, TIMES VARY, FREE

A display collating paintings, sculptures and works from the Portrait Gallery’s twentiethcentury collection, ft. a variety of well-known faces, from Ramsay Macdonald to Alan Cumming, Tilda Swinton to Danny McGrain.

REFORMATION TO REVOLUTION

1 JUL-1 APR 19, TIMES VARY, FREE

An exhibition examining the cultural consequences of the national religion becoming Protestantism in sixteenth century Scotland.

A PERFECT CHEMISTRY

1 JUL-1 OCT, TIMES VARY, £9 - £10

A showcase of photographs by two Scots, Octavius Hill (18021870) and Robert Adamson (1821-1848) who mastered the medium four short years after its invention. The images featured have been said to be among the first examples of social documentary in the history of photography.

THE SLAVE’S LAMENT

1 JUL-29 OCT, TIMES VARY, FREE

Graham Fagen presents a ‘soundclash’ in which Robert Burns’ The Slave’s Lament is performed by the Scottish Ensemble and Reggae singer Ghetto Priest, and produced by legendary On-USound founder Adrian Sherwood.

GRAHAM MACINDOE: COMING CLEAN

1 JUL-5 NOV, TIMES VARY, FREE

Since recovering from years of his life as a heroin addict, Graham MacIndie uses this body of self-portraits as a means of opening up conversations about dependency and recovery.

HEROES AND HEROINES

1 JUL-31 MAY 19, TIMES VARY, FREE

A re-examination of major Scottish figures which questions our habit of framing history around individuals and idols.

LOOKING GOOD - THE MALE GAZE FROM VAN DYCK TO LUCIAN FREUD

1 JUL-1 OCT, TIMES VARY, FREE

A selection of portraits, from the National Galleries of Scotland and National Portrait Gallery, London collections illustrating elaborate fashions and grooming of courtiers and cavaliers in the 16th and 16th centuries, the 18th century dandy, the rise of the celebrity, and representations of gender and sexuality.

DOUGLAS GORDON: BLACK BURNS

29 JUL-29 OCT, TIMES VARY, FREE

A specially commissioned installation created in response to John Flaxman’s full-length marble statue of poet Robert Burns, which stands in The Great Hall of the Scottish National Portrait Gallery.

Stills AMBIT

1-9 JUL, 11:00AM – 6:00PM, FREE

Stills and Street Level Photoworks link arms in an exhibition of Scottish photography. Stills will showcase the work of Eden Hawkins, Lorna Macintyre, Norman McBeath, Kristian Smith and Karen L Vaughan.

KATE DAVIS

28 JUL-8 OCT, 11:00AM – 6:00PM, FREE

Using moving image, photography, drawing and printmaking, Davis’s work questions how historical narratives are produced and perpetuated. Part of Edinburgh Art Festival.

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1-14 JUL, 11:00AM – 6:00PM, FREE

Scottish born artist Anneli Holmstrom’s compelling exhibition centres upon two new bodies of work (titled Levitation and Flood) which together strive for a visual experience conjuring the sense of “crossing between two distinct but interlocked psychological worlds”. These works will be accompanied by texts from poets JL Williams and Janette Ayachi, scientific researchers Alex Murphy and David Carmel, artist-researcher Dr. Louise Milne and philanthropist Fatima Ashrif.

GET CREATIVE TAKEOVER: GROW WILD

1-9 JUL, 11:00AM – 6:00PM, FREE

Grow Wild invites young people aged 12-25 to apply for funding to produce creative works of art to raise awareness about the importance of UK native wild flowers and plants. Turn up to see how successful applicants interpreted the brief through different artistic mediums from poetry to embroidery, sculpture to steel band music.

UNTURNING

1-16 JUL, 11:00AM – 6:00PM, FREE

Curated by Holly Knox Yeoman Irineu Destourelles’ Unturning is an incubator exhibition, presenting two new video works exploring the legacy of Thatcherism policies on current political discourse and personhood. The exhibition is Destourelles’ second solo-show in Scotland.

The Fruitmarket Gallery JAC LEIRNER: ADD IT UP

1 JUL-22 OCT, TIMES VARY, FREE

A Scotland debut from Brazilian artist Jac Leirner, who makes sculptures from a limited range of everyday materials which engage with notions of repetition, obsession and addiction.

The Number Shop

BITTER BALANCED SILKY SMOOTH

8-16 JUL, 12:00PM – 7:00PM, FREE

Caitlyn Main’s first solo exhibition; a culmination of works made on a variety of residencies across Scotland, undertaken since her graduation from Grays School of Art in 2015. Main primarily concerns herself with notions of intimacy, particularly romance and flirtation. Features assemblage, video and text works.

Whitespace

ANNA GLANTZ & TAM HARE: I WANT TO BE BORED

1-5 JUL, 12:00PM – 6:00PM, FREE

An exhibition about the importance of boredom and its implications as a ‘space for thought’. The works consist of painting, mixed media objects and sounds.

Dundee Art DCA: Dundee Contemporary Arts CLARE WOODS: VICTIM OF GEOGRAPHY

1 JUL-10 SEP, TIMES VARY, FREE

DCA exhibits a selection of vast oil-paintings by Clare Woods, in which found images of people at their most vulnerable are painted on large aluminium sheets.

The McManus

A SENSE OF PLACE: TWENTIETH CENTURY SCOTTISH PAINTING

1 JUL-1 SEP, TIMES VARY, FREE

An exhibition of primarily landscape paintings, including work from the Glasgow Boys, the Scottish Colourists, James McIntosh Patrick and Joan Eardley.

FIRE AND STONE

1 JUL-8 OCT, TIMES VARY, FREE

An continuation of the NMS and British Museum’s Reflections on Celts spotlight tour, featuring a replica of the Monifieth II Pictish stone which has been commissioned from stone carver David McGovern.

FEVER DREAMS

1-9 JUL, 11:00AM – 6:00PM, FREE

An exhibition of new works

by Edinburgh artists Thomas Anderson, Matthew Bainbridge, Fiona Beveridge and Morwenna Potter in association with Embassy Gallery’s Annuale 2017.

RETINA SCOTTISH PHOTOGRAPHY FESTIVAL

1-15 JUL, 11:00AM – 6:00PM, FREE

Retina Scottish Photography Festival celebrates the very best of photography. It is an inclusive festival which aims to encourage more people to take an active interest in the art form and be inspired by a varied range of different types of photography from around the world. Each year Retina presents a programme of high quality exhibitions, which are always free to attend.

POSTCARD ART EXHIBITION

1-16 JUL, 11:00AM – 6:00PM, FREE

An exhibition and auction of exclusive pieces of postcard-sized art work. These original pieces have been donated by a variety of well-kent and up-and-coming artists and will be sold to raise money for the Rock Trust, helping support some of the most vulnerable and disadvantaged young people in our society.

Talbot Rice Gallery

STEPHEN SUTCLIFFE: SEX SYMBOLS IN SANDWICH SIGNS

28 JUL-30 SEP, TIMES VARY, FREE

An exhibition named after a damming review of David Storey’s novel ‘Radcliffe’, investigating notions of self-doubt, obsession, cultural constructs and class conflict. Central to the exhibition are two new video works, plus a collection of notes and images from Sutcliffe’s personal archive associated with previous video works, placing emphasis on the central role of collage within his creative thought.

JACOB KERRAY: LOOKY LOOKY

28 JUL-30 SEP, TIMES VARY, FREE

A TRG3 commission in which Jacob Kerray explores and respond to the Edinburgh University’s vast art collection to create new work(s). His own work tends to draw on the visual cultures peripheral to his central interests – football, wresting and historical painting.

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How Comedy Captured the Edinburgh Fringe: Part 3 In the third part of our Fringe history, two long-forgotten venues put comedy before theatre with the help of Austin Powers and a Wonder Dog

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ehind the Lyceum was a place known as The Hole in the Ground, for a hole in the ground is what it was. Not that this stopped anyone from considering it as a Fringe venue. In 1982, a company called Circuit erected a 700-seater marquee at this disused site. It was all very Fringe – when told a tent was no place to stage an opera, Circuit ignored all advice and put one on.

It was here that the late Malcolm Hardee made his first Fringe appearance. He was part of The Greatest Show on Legs, a comedy group known for its naked balloon dance finale. A year later, Circuit opted for several smaller tents. An unfortunate arrangement which led to a noisebleed between neighbouring shows. On finding the din from next door unbearable, Hardee took the action most obvious to him: he drove straight through actor Eric Bogosian’s show on a tractor.

Naturally, the famously big-bollocked Hardee was bollock-naked at the wheel.

Thespians still outnumbered comedians at the Fringe. But, as such a larger-than-life tale suggests, comedy needed spaces of its own.

Before the Balloon Close to Haymarket station, 6 Palmerston Place is a handsome townhouse. When last on the market, estate agents pushed both its recent refurbishment and Victorian radiators. Its place in comedy history didn’t make the sales bumf. In February 1985, it opened as a restaurant and club called McNally’s. Mr McNally himself had drafted in a young grafter to run a casino in the upstairs room. But she had other ideas.

Karen Koren was juggling several part-time jobs, everything from working at the Norwegian Consulate to selling showhomes. She had observed comedy grow in Edinburgh each summer. She was also well-connected to the Comedy Store crowd down in London, although Koren knew alternative comedy wasn’t confined to the M25.

When the casino licence was rejected, Koren swooped into action. She ensured the room became a year-round space for comedy, especially Scottish acts. Speaking to The Skinny, she says: “The Tron in Glasgow was doing a Gong Show, and there were lots of people emerging there. I had Craig Ferguson come to McNally’s when he was starting, and Jerry Sadowitz. He was very shy off-stage then, although still a maniac on it. Then there was Alan Cumming and Forbes Masson.”

This duo’s later achievements eclipsed their

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The Last Word

success as glam double-act Victor and Barry.

At McNally’s, they took part in the late-night cabaret, but were not the only future stars there.

Dave Cohen is a founding member of the Comedy Store Players. Writing a column for Chortle in 2010, he recalled the troupe’s “existence hinged on the tiny coincidence of two shows playing backto-back at McNally’s.” Along with Kit Hollerbach and Paul Martin, Cohen was “in time to catch the back-end of the previous show, starring the brilliant double act of Neil Mullarkey and Mike Myers.”

He adds: “During the gig handover, we established over several 10-minute stints at the bar that American-born Kit and Canadian Mike were experienced comedy improvisers... this being Edinburgh, five relative strangers were persuaded to try a comedy improv show.”

With a mixture of original, longstanding and guest members, the Players continue 32 years later. Many became familiar faces through Whose Line is it Anyway? And Paul Martin, of course, is now much better known as Paul Merton. It is curious to contemplate, but Karen Koren could have quit here and still left a comedy legacy. Instead, her one year at McNally’s is a mere prequel to over three decades at the helm of the Gilded Balloon, which she started on Cowgate the next year.

The Gilded Balloon had once been a silk merchant’s warehouse. With its twelve arches and a gentle curve on its South Bridge side, the building became a distinctive comedy nerve centre.

With a 3am late-licence it also changed the social scene. And, with Late‘n’Live it produced a show as raucous as any at The Tunnel Club in London (a stand-up bear-pit run by a certain Malcolm Hardee).

Koren had given comedians a natural home.

Comedy goes Boom The junction of Broughton Street and Picardy Place is now flanked by a chip shop and cafe-bar.

Once, there was a pub on this corner named the Abercraig Lounge. In the same year as McNally’s, its basement moonlighted as the first venue exclusive to stand-up at the Fringe. After five summers, its co-founders took divergent comedy paths. As such, its story has become obscured.

If the ‘stand-up only’ ethos seems purist, keep in mind what loose criteria the label implies.

The five line-ups show how the art-form emerged from myriad alternative scenes. It hosted poets such as John Hegley and Roy Hutchins, and the aforementioned maniac magician Jerry Sadowitz.

Words: Ben Venables Illustration: Tom Saffill Then there’s John Dowie, the overlooked one-man origin story of UK stand-up. There was also Linda Smith, a much missed comedian who later channelled her wit to great effect on radio. And let us not forget that stand-up was dog friendly too. Fanny the Wonder Dog and her stage partner Julian Clary were better known then as The Joan Collins’ Fanclub. They performed as part of this venue’s first two festivals.

As the co-founder Ivor Dembina tells us: “There was no dancing, no drama, nobody with puppets. We wanted it to be part of the stand-up zeitgeist. That’s why we called it the Comedy Boom.”

There’s something modest and eternal about Dembina. He recalls he had acquired “a reputation for generally doing some decent gigs.” He adds this “meant I had the brains to make sure there is a microphone facing the right way.” By coincidence, Stewart Lee credits him for correcting his microphone technique during the new act competition he won in 1990: “’Who is this guy?’ I thought.

Well, he was Ivor Dembina, the Obi-Wan Kenobi of comedy, and he was right.”

The Comedy Boom’s other co-founder was also likened to a Star Wars character. Albeit one from the dark side of the Force. When comedy agent Addison Cresswell died in December 2013, almost all the broadsheet obituaries said he was ‘the Darth Vader of the Fringe.’

For over two decades, Cresswell was arguably the most powerful man in UK comedy. Take the Jonathan Ross saga that started with the presenter securing a BBC contract worth some £18m. Ross was Cresswell’s client. Two years later, Ross became embroiled in the Sachsgate scandal and Live at the Apollo filled the vacated primetime spot. Apollo belonged to Cresswell’s TV production company, and this helped launch stand-up Michael McIntyre into the mainstream bosom.

McIntyre was also part of the Cresswell ‘stable’.

Even as a student at Brighton Polytechnic, Cresswell demonstrated a flair for business. He lived off the money he made as a rather entrepreneurial entertainments officer. Once out of uni, according to one of Cresswell’s rare interviews, he saw Dembina as a “great rival” promoter.

But, Dembina remembers Cresswell more as Anakin Skywalker than Lord Vader. “His template was very much the pop business. He liked the idea of being a Svengali figure, like Brian Epstein with The Beatles. He’d already been to Edinburgh, with Tony Allen [in 1982]. He was using the title

COMEDY

Off the Kerb early in his career too. But at the time, he was struggling with the venues in Edinburgh.

So, he said to me: ‘Ivor, how do you find your venues in London?’” Dembina replied: “What I do is I get my boots on and I go in places and ask if I can put a gig on.’ And he said, ‘Well, can we do that in Edinburgh?’”

They took the train from London to Waverley, only to find Edinburgh covered in thick snow. “It was like a film. We were trudging through the snow thinking, ‘What the fuck are we doing?’” They were about to give up when they reached the Abercraig Lounge. Once inside, the portents didn’t look good, with the landlord less than enthusiastic to turn his basement into a Fringe venue.

With nothing to lose, they managed to persuade him to show them the function room.

“We followed him down the stairs, walked into this room and looked at each other.” That room is now The Street’s nightclub, and with its den-like quality it is little surprise the pair knew “this was going to work. It was like El Dorado”.

Within three years, Cresswell’s ambitions took him in the direction of comedy management, his first real success being Julian Clary.

Over the next decade, Cresswell’s Off the Kerb and his rivals at Avalon dominated comedy.

Though Dembina points out Cresswell wasn’t motivated by money: “He wasn’t a greedy person.

And the thing people forget about Addison is what a brilliant designer he was. He created the most eye-catching posters.”

Meanwhile, Dembina’s aims always veered towards performance. He created and compèred a package show called Comic Abuse, which became a successful fixture at Pleasance (which had started in 1984, but was theatre-centric until the late 80s). Dembina’s show introduced acts such as Jo Brand and Jack Dee, amongst others, to Pleasance Courtyard. Incidentally, both were managed by Cresswell. It is big names, big venues and big management which informs the final part of this series, and also the counter movement that blossomed in response, swapping theatres and tickets for pubs and buckets.

With thanks to Ivor Dembina, Hampstead Comedy Club; David Dey and Karen Koren, Gilded Balloon; Alan Gordon, Edinburgh Festival Fringe; the staff at The Street, Picardy Place. Sources: Julian Clary: A Young Man’s Passage; William Cook: Ha Bloody Ha; John Connor: Comics; Julian Hall: The Rough Guide to British Cult Comedy; Stewart Lee: How I Escaped My Certain Fate; Edinburgh Fringe programmes 1982-1990. www.edfringe.com

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