The Skinny October 2018 by The Skinny

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October 2018 Scotland Issue 157

MUSIC Make-That-A-Take Records Swearin' Marie Davidson Stephen Malkmus Alternative Peers Ball John Carpenter Jane Weaver Scottish Alternative Music Awards FILM Rachel Maclean Filmhouse at 40 Panos Cosmatos Africa in Motion Scotland Loves Anime ART Grassroots Art in Dundee Graphic Design Festival Scotland THEATRE Cora Bissett Edinburgh Horror Festival CLUBS The Black Madonna Richie Hawtin BOOKS Hanif Abdurraqib COMEDY Dane Baptiste Mental Health Podcasts

DIY PUNK, GRASSROOTS ART, CRAFT BEER AND POLITICAL THEATRE IN DUNDEE

October 2018

Issue 157, October 2018 © 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. Get in touch to find out more.

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Contents

Editorial Acting Editor Art Editor Books Editor Clubs Editor Comedy Editor Events Editor Film & DVD Editor Food Editor Intersections Editor Music Editor Theatre Editor Travel Editor

Peter Simpson Adam Benmakhlouf Heather McDaid Claire Francis Ben Venables Nadia Younes Jamie Dunn Peter Simpson Katie Goh Tallah Brash Amy Taylor Paul Mitchell

Production Production Manager Designer

Sarah Donley Fiona Hunter

Sales Sales Manager Sales Executives

Sandy Park George Sully Keith Allan David Hammond

Online Acting Digital Editor Online Journalist Web Developer

Nimita Bhatt Jamie Dunn Stuart Spencer

Editor-in-Chief Bookkeeping & Accounts Publisher

Rosamund West Aaron Tuveri Sophie Kyle

THE SKINNY

Photo: Nat Wood

Photo: Hufton Crow

P.44 Richie Hawtin

Photo: AJR Photography

P.25 Make Me Up

P.18 Fucked Up

Photo: Rachel Maclean

P.11 V&A Dundee

Contents Chat & Opinion: We look back on the 06 life of The Amazing Snakeheads frontman Dale Barclay, who passed away last month. Plus, an intro to this month’s magazine, details of what’s to be found on the website and much more besides. Heads Up: A day-by-day guide to this 08 wacky month they call October. DUNDEE

10 Derrick Johnston of Dundee DIY main-

stays Make-That-A-Take Records talks punk and progress, and we highlight some of the city’s most exciting new musicians.

lright, the V&A’s open, but what will A it mean for Dundee’s grassroots art scene? We talk to educators, artists and curators to find out. ora Bissett heads the all-female team C behind a new revival of seminal Fifebased communist heist thriller Gagarin Way to the Dundee Rep.

We hit the streets in a thunderstorm 15 to investigate Dundee’s food and drink scene, and drop in on 71 Brewing and Verdant Spirits.

16 NEoN Digital Arts Festival brings clock-

inspired installations and GM plants to the City of Discovery; Dundee native Jim Gellatly gets us hyped for the Scottish Alternative Music Awards.

FEATURES

28 Nicolas Cage’s new film Mandy fea-

tures tigers, chainsaw fights and lots of blood; director Panos Cosmatos talks us through one of the year’s wildest features.

29 Two of our favourite film festivals re-

turn this month – Africa in Motion and Scotland Loves Anime.

30 With his G.O.D. tour heading our way

this month, we catch up with comedian Dane Baptiste.

LIFESTYLE

32 Showcase: Graphic Design Festival

Scotland marks its fifth birthday with a pair of poster competitions – here’s a glimpse of the runners and riders.

34 Intersections: The emergence of ecosexual self-care, a look at tackling misogyny through modern covens and an ode to fandom from a big-time lover of Call Me By Your Name.

37 Food & Drink: A guide to making the most of Edinburgh Cocktail Week; a round-up of the month’s tastiest food and drink events.

REVIEW

39 Music: Jane Weaver fills us in on her ambitious new solo tour, her first in five years; a look at the Alternative Peers Ball line-up (we helped pick it, so you know it’s good); the albums and gigs to listen and go to this month.

18 Canadian punks Fucked Up are back

44 Clubs: Richie Hawtin primes us for his

19 Marie Davidson’s new record is an

48 Books: A poetry and spoken word round-

with their most ambitious record to date; we catch up with guitarist Mike Haliechuk. intelligent, political and bone-rattling collection of dance music; she talks us through its creation.

he brings the latest record from The 20 As Jicks to Glasgow, we talk to the one and only Stephen Malkmus.

21 We chat to The Black Madonna ahead of her headline slot at Nightvision's Terminal V Festival, and catch up with Noncompliant, returning to Glasgow for Slam's Maximum Pressure Halloween night. 22 Three years ago, Swearin’ swore off

playing together; now they’re back with a new album. Allison Crutchfield and Kyle Gilbride explain what’s changed.

CLOSE tour; Jun Kamoda picks out some of his favourite recent remixes; the dancefloors to get yourself on to in October. up, and reviews of October’s shelf-fresh new releases.

49 Art: A recap of the Berwick Film and

Media Arts Festival, and the exhibitions and opportunities to be aware of.

50 Film & TV: Reviews for your nights out

and nights in, including our takes on Netflix’s American Vandal and the BBC’s Killing Eve (both dead good).

52 Theatre: Edinburgh Horror Festival

discuss this year’s spooky plans; the rest of the month’s theatre (horror-filled and otherwise).

53 Comedy: A quartet of comedy podcasts that tackle the issue of mental health.

24 Poet and writer Hanif Abdurraqib intro-

54 Competitions: Win tickets to things!

25 Rachel Maclean channels 60s art telly

55 Listings: All the stuff that’s worth both-

duces his lyrical and touching new collection of writing on music.

and modern-day surveillance terror in her razor-sharp debut feature film Make Me Up.

26 The Filmhouse is 40! We look back on

four decades of the Edinburgh cinema; features actual royalty, medical emergencies and troublemaking Hungarian filmmakers.

October 2018

Specifically, Illuminight and Edinburgh Art Fair!

ering with this month, in a series of extremely detailed lists.

63 Master of horror and unlikely synth dynamo, John Carpenter gives this month’s mag a spooky sign-off ahead of his show at the Barrowlands.

Contents

The Skinny on Tour

Editorial O

ne of the most important lessons a person can learn is that things are never as simple as they seem. Move a dish from the cupboard, all your pans come crashing down; save a wounded bee, it pollinates a plant which sparks your hay fever and next thing you know you and your bike are lying sniffling upside down in a ditch. Life, it turns out, is pretty complicated. So when we wanted to shine a light on Dundee, we aimed to acknowledge that complexity while also joining the welcome chorus of people saying things like ‘Isn’t Dundee nice?’ and ‘I feel bad now for having given Dundee the brushoff a bit in the past but I promise not to do so in the future’. The catalyst for this, of course, is the V&A Dundee – a thick slab of neo-Brutalist architecture that somehow manages to hide from view until you get up close. Now, the V&A is, by all accounts, a lovely building filled with nice artistic things (your editor tried to go, but wind got in the way; more on that later). But for this month’s cover spot, we take something of a sidestep around Kengo Kuma’s house of design to explore some of the other things that make Dundee great. We talk to DIY punk promoters Make-That-ATake about their shows, which combine grassroots music with an activist edge, an edge that’s also on display in Cora Bissett’s revival of Gregory Burke’s Gagarin Way along at the Rep. There’s a look at the exciting Dundee food and drink scene and some inspiring words from craft brewers 71 Brewing; we also talk to the artists, educators and curators on the ground in the city’s art scene about provision and opportunity. One of those interviewees – Tin Roof Studios founder, Joanna Helfer. The business

that took over Tin Roof ’s former home – 71 Brewing. Like we said, complicated. Elsewhere, Film brings us chats with two purveyors of starkly-coloured and solidly terrifying cinematic treats – Panos Costamos, who pairs a vengeful Nic Cage with a tiger in Mandy, and Rachel Maclean, artist, filmmaker and long-time Friend of the Mag who discusses her debut feature Make Me Up. Music talks to Fucked Up and Marie Davidson (both Canadian, both cheesed-off, both making some of the best music of their careers) as well as catching up with Pavement frontman and everyone’s favourite cool indie uncle Stephen Malkmus. We’re also pleased to announce our involvement with the Alternative Peers’ Ball in Edinburgh next month, with a line-up co-curated by this very publication. 3 Nov, two stages, nine bands, all of the fun – come and join us! The musical theme continues in Books, where we chat to the incredible poet and writer Hanif Abdurraqib about his new collection of writing on music, while Richie Hawtin shares his feelings on tech in music (and the power of a good glass of sake) back in Clubs. Festival season’s autumn redux continues apace with Scotland Loves Anime, Africa in Motion, Graphic Design Festival Scotland and Edinburgh Horror Festival, so naturally we wrote about them all. Oh, and it’s happy birthday to the Filmhouse – the venerable Edinburgh institution hits the big 4-0 this month. We’d bring a cake, but we’ve been around long enough – and seen enough Laurel and Hardy films – to know that a plan like that only ever ends one way. [Peter Simpson]

Photo: Silvia Chiclana Chaves

By Jock Mooney

nother month, another Skinny holiday. When we’ve not been catching the last of the summer sun, we’ve been watching some flamenco, eating the tastiest oranges known to humanity, gorging on jamon serrano and taking a tour of the third biggest church in the world. What we haven’t been doing is watching the local sport, simply because we’re massive fans of the bulls – and not the ones from Chicago.

If you reckon you know where the Skinny’s been on tour, head to theskinny.co.uk/competitions and tell us where you think we’ve been and you could win Breaking News by Alan Rusbridger on hardback from our pals at Canongate.

Shot of the Month Mitski, Saint Luke's, Glasgow, 20 Sep by Brendan Waters

COVER ARTIST Berlin-based illustrator Xenia Latii, a city lover through and through, can’t imagine life without the quiet of the great outdoors. Hiking trips help her recharge after the hustle and bustle of the big city. Whether in her studio or on a beautiful mountain trail, Latii is always on the lookout for fresh colour palettes, interesting visual details and new ideas for drawings. See more of Xenia's work at xenialatii.com

Chat

THE SKINNY

The Amazing Dale Barclay With the devastating news that Dale Barclay has lost his battle with brain cancer, we take a look back at the musical life of The Amazing Snakeheads’ charismatic frontman ale Barclay was the charismatic frontman and creative driving force behind one of the most electrifying bands to emerge from the Glasgow scene this century. Fired by a love of performance and primal rock’n’roll, he steered The Amazing Snakeheads from the ranks of enthusiastic amateurs to become, for a brief but dazzling moment, one of the hottest groups in the UK. They released one incredible album, Amphetamine Ballads, before splitting as they stood on the cusp of fame in 2015. Barclay’s untimely death from cancer is a tragedy first and foremost for his friends and family. But anyone who had the good fortune to watch him on stage or spend some time in his company will be struck by just how cruel a blow this is. How can someone who sounded so powerful on record be struck down at such a young age? To the numerous musicians in Glasgow and beyond who benefited from his support and friendship it must seem scarcely believable that he will no longer be around. He was among the crowd at Stereo back in June when Sweaty Palms – just one of the bands he helped champion – launched their debut album, Quit Now. His illness was no secret by then, but he was as sharply dressed as ever. A few weeks later an online fundraiser and a couple of benefit shows in London and Glasgow were arranged on his behalf, with Fat White Family among the groups pledging their support by performing. The gigs would help pay for a course of private specialist treatment after Dale completed a six-month NHS

Photo: Jassy Earl

clinical trial. He was characteristically matter-of-fact about it all. “The NHS have been stellar, true heroes,” he wrote just last month. “They have done everything in their power for me, but my treatment from here on out is going to cost money.” He added, defiantly: “I do not stand alone and it gives me tremendous strength.” My mind skips back to April 2015 when I first encountered Dale. I met him and the two

other Snakeheads for a memorable interview at Glasgow’s esteemed Laurieston Bar, a short distance from their rehearsal space. William Coombe, Dale’s pal since school, was the group’s bass player – and every bit as striking as the frontman he stood next to on stage. Jordan Hutchison, a Kiwi living in Scotland, played drums and appeared to be the band’s calming influence. Barclay neatly summed up the Snakeheads ethos when questioned about their live perfor-

mances, which by then had already attracted breathless reviews in national newspapers. “There’s nowhere we’d rather be than on the stage,” he told me. “When it works – when everything clicks – and you get that feeling, it’s fucking powerful. That’s what music can do. What other people make of it, who fucking knows. If you dig it, great, if you don’t, that’s fine as well because we’re having a fucking whale of a time anyway.” Here was a Glasgow band far removed from the twee indie-pop or introspective college rock that often defines guitar bands in the city. The Amazing Snakeheads were loud, boisterous, and intense, just like their hometown. The title of their only album was a knowing reference to an alleged enthusiasm for dabbling in speed before gigs – a drug used by The Beatles in their Hamburg days, and countless other performers since. Barclay’s career continued beyond the Snakeheads’ sudden split in 2015. He went on to form And Yet It Moves with his future wife and fellow songwriter Laura St Jude, and won a whole new set of fans in the process. He was seemingly ever-present at small shows across Glasgow, usually the best dressed man in the room and the one everyone wanted to talk to. He leaves us with a collection of thrilling songs to enjoy, and a reminder that bands in the second decade of the 21st century still have the capacity to both excite and terrify in equal measure. [Chris McCall]

Online Only Matteo Garrone on Dogman Gomorrah director Matteo Garrone returns with Dogman, the story of a friendly dog-groomer who's drawn into violence by a local gangster “All elements of my work are linked to fairy tales,” Garrone says. “Dogman is very much a modern fairy tale, but all my films try to talk about these archetypes of human beings.”

Having voices in the background might even give the illusion that you are not alone at all. “Some, I think, are using radio as the company itself, as the friendship if you like,” says radio presenter Claudia Hammond. Read more at theskinny.co.uk/music

John Niven on his new book Kill 'Em All A decade on, John Niven has returned to Steven Stelfox. Ahead of his UK book tour, we caught up with him to chat about how his protagonist copes in the age of Trump "There have always been lots of very thick people out there," says Niven, "but it’s never been so easy to deliver information to them."

Dealing with Depression While Travelling Does travelling help or hinder mental ill health? One writer shares their experience of travelling the world, only to have Depression come along for the ride I know now that travelling can do wonders for Depression, but that I should also stop looking at it as a cure. Lots of old sayings should be debunked, but after over 2000 years, Confucius still hits the nail on its head when he says: “No matter where you go, there you are.”

Read the piece in full at theskinny.co.uk/books

Read more at theskinny.co.uk/travel

The Power of Sound: How the radio can combat loneliness As we look for solutions to what some are calling a loneliness epidemic, it could be time to re-evaluate the importance of older technologies A quiet house becomes deafening when you only have your internal voice for company, and the chatter of radio presenters makes it seem less empty by filling its rooms with sound.

Also on the website… Head online for an interview with Black Sabbath’s Toni Iommi ahead of his upcoming tour; track-bytrack guides and first listens to the new records from Spare Snare and Carla J. Easton; a chat with Garth Marenghi’s Darkplace creator Matthew Holness about his terrifying new film Possum and coverage from London Film Festival; and a round-up of last month’s Resisting Whiteness anti-racism conference in Edinburgh.

Read the full interview at theskinny.co.uk/film

Dogman

Find more at theskinny.co.uk

October 2018

Chat

Mean Girls

Wed 3 Oct Now infamously known as Mean Girls Day, today marks the day Aaron Samuels asked Cady Heron what day it was, and she replied “It’s October 3rd.” The stuff great romance is made of. To commemorate the glorious occasion, go and watch/rewatch/recite every word to Tina Fey’s high school classic, Mean Girls at the Grosvenor (or undoubtedly another cinema near you) tonight. Grosvenor Cinema, Glasgow, 9pm, £7-15

Queercore: How to Punk a Revolution

Tue 9 Oct

Wed 10 Oct

A comedy festival in Aberdeen? It’ll never work. Well, it has, and there’s plenty to choose from tonight at the Aberdeen Comedy Festival, from character comedian Lubna Kerr, to musical impressionist Christina Bianco, to comedy royalty Phill Jupitus, to a screening of the Ben Stiller and Cameron Diaz-starring clusterfuck of a rom-com, There’s Something About Mary. Various venues, Aberdeen, times & prices vary

For this year’s Futureproof Festival, The National Theatre of Scotland mark Scotland’s Year of Young People with a nationwide programme of theatre and performance created by young people. A collaboration with Glas(s) Performance, MOTION sees them working in residence with young men in custody over three days in a Young Offenders Institute to find out what affects young men in Scotland today. HMP & YOI Polmont, Nr Falkirk, 2pm, £1

It’s a busy month for Scottish funnyman Kevin Bridges, who will be spending just about every night in October performing his, let’s be honest, slightly lazily-titled Brand New Tour at the Hydro. Bridges will perform an insane 19 shows at the venue throughout the month, following a fiveday residency at The Edinburgh Playhouse at the end of September. SSE Hydro, Glasgow, 8pm, £32.50

Phill Jupitus

Photo: Andy Hollingworth

Mon 8 Oct

Futureproof Festival

Tue 16 Oct

French singer-songwriter and multi-instrumentalist (aren’t they all these days?) Halo Maud previously played with friends Melody’s Echo Chamber and Moodoïd before breaking free and releasing her glorious debut solo album Je Suis Une Île in May this year. Francophile with a penchant for ethereal, proggy, psychedelic dream-pop? You should definitely go to this show. Bonjour Maud. Très bon. Broadcast, Glasgow, 7pm, £8

Rachel Maclean is one of the most exciting young artists working in the UK right now, and her latest work looks set to push her to even greater heights. Taking the visual shape of a Barbie video game, Make Me Up tackles the unrealistic beauty ideals and pressures on women today in Maclean’s signature darkly comic, satirical style. Filmhouse, Edinburgh, 5.55pm, £4.50-10

Halo Maud

Photo: Lola Pertsowsky

Mon 15 Oct

Kevin Bridges

Make Me Up

Sat 20 Oct

Sun 21 Oct

Mon 22 Oct

Before going on to perform the full work at Contact in Manchester later in the month, Glasgow via Berlin artist Nima Séne presents a preview sharing of an extract of her work, Beige B*tch. Blending live art, movement and film, Séne tells the story of a black woman’s quest for cultural and aesthetic belonging through her TV show alter-ego. Platform, Glasgow, 2pm, £4

Everybody loves cake right? Apart from those weirdos who claim they’re “not a dessert person.” They are obviously lying and are not to be trusted. Join a more trustworthy lot at Treat Fest instead, which celebrates some of Edinburgh’s best treat makers and brings them together in one place. Your search for your next sugar rush has never been so easy. The Hub, Edinburgh, 11am, £3

National treasure and King of the chat show, Graham Norton made the move into writing in 2016 with his debut novel, Holding. Now, two years on, he’s back with his second, A Keeper, which he will be discussing at An Evening with Graham Norton tonight, as part of the book’s promotional tour. Usher Hall, Edinburgh, 7pm, £25

Beige B*tch

Doughnuts from Considerit

Thu 25 Oct

Fri 26 Oct

For nine years, all aspects of Scottish music have been celebrated and awarded at the Scottish Alternative Music Awards, more commonly known as the SAMAs. This year’s ceremony will be hosted by Jim Gellatly and Laura Boyd, and will feature live performances from Blanck Mass, The Vegan Leather and more, with all the usual awards given out on the night. St Luke's, Glasgow, 6.30pm, £8-20

It’s been 25 years since The Rock Trust organised their first Sleep Out outside Edinburgh's St Andrew's and St George's West Church, all the way back in 1993. Since then, over 2,000 participants have helped raise over £500,000 towards services for local teenagers and young adults enduring, or who are threatened by, homelessness. St Andrew Square, Edinburgh, 8pm, £15-25

Chat

Graham Norton

Sleep Out

Blanck Mass

The Macbeths

THE SKINNY

Photo: Alex Brady

Citizens Theatre Artistic Director Dominic Hill’s reimagining of Shakespeare’s play Macbeth will feature an all-female cast, led by Charlene Boyd as Lady Macbeth and Lucianne McEvoy as Macbeth. Part of the first season of work from the Citizens Theatre while the building undergoes renovations, The Macbeths tour will begin in Dundee and continue across Scotland, concluding on 27 October. Dundee Rep, Dundee, 2.30pm & 7.30pm, £9-16

Photo: Kevin Bridges

Take a break from planning your Halloween outfit and panicking about how it’s NEARLY THE END OF ANOTHER YEAR (we’re chill) by packing in as many of these fine events as possible this month...

Following the overwhelming interest in their first organised screening of Yony Leyser’s 2017 documentary Queercore: How to Punk a Revolution, Pity Party Film Club are bringing it back for round two. The film documents the Queercore movement, which began in the mid80s as an offshoot of punk, and features appearances from John Waters, Kim Gordon, Beth Ditto and Kathleen Hanna, among others. Nice 'n' Sleazy, Glasgow, 8pm, £5

Photo: Rachel Maclean

Compiled by: Nadia Younes

Thu 4 Oct

Photo: Sophia Spring

Heads Up

Tue 2 Oct

Sat 6 Oct

Sun 7 Oct

For their latest party, STORYTIME are handing over the reigns to Dekmantel regular and Safe Trip label boss Young Marco all night. Known for his eclectic selections and intricate productions, Marco Sterk’s genredefying DJ sets are worldrenowned. This is one of two Scottish dates this month for the Amsterdambased DJ, who will be returning for Melting Pot at Glasgow’s SWG3 on 26 October. La Belle Angele, Edinburgh, 11pm, £13

People still love coffee, would you believe it?! Back for its fourth year, the Edinburgh Coffee Festival will bring together over 40 exhibitors, from roasters to suppliers and everything in between. As well as being able to taste the beans, you can also hear talks from experts and participate in a series of interactive workshops and demonstrations throughout the day. Corn Exchange, Edinburgh, 10am, £7-9

Manchester-based duo Virginia Wing combine 60s-esque pop melodies with textured synths and layered percussion on their third album Ecstatic Arrow, undeniably one of the year’s best. In a recent support slot for Hookworms, irked by the male-heavy crowds, the duo performed several dates with the words “END RAPE CULTURE” projected behind them. Let’s hope it won’t have to come to that again. Sneaky Pete's, Edinburgh, 7pm, £7

Edinburgh Coffee Festival

Virginia Wing

Sun 14 Oct

After taking a break from the Edinburgh Fringe this year, Dane Baptiste is reprising his 2017 Fringe show G.O.D. (Gold. Oil. Drugs) and taking it out for another spin, embarking on a tour of the UK and Ireland. Baptiste will dissect the three topics in the show’s title and explore their impact on our world and society. Òran Mór, Glasgow, 7pm, £12

Politicians, historians, writers and more will be invited to discuss topics ranging from Suffrage and the #MeToo movement to the impact and repercussions of Brexit at this year’s Festival of Politics. Tonight, Orwell Prizewinning rapper, writer and activist Darren McGarvey, aka Loki, will discuss the “industry of deprivation” in conversation with the Presiding Officer. The Scottish Parliament, Edinburgh, 8pm, £6-8

Annual anime fest, Scotland Loves Anime returns this month, taking place in both Edinburgh and Glasgow. You may as well spend the whole day in anime heaven at Glasgow Film Theatre today and enjoy back to back screenings of Fate/stay Night: Heaven's Feel Movie 1: Presage Flower, Mirai and, the delightfully-titled, I Want to Eat Your Pancreas. GFT, Glasgow, times & prices vary

Chris Davids and Liam Ivory took the plunge and made the move to the big smoke before beginning work on their second album as Maribou State, Kingdoms in Colour. The electronic duo took inspiration from the two years they spent touring around the world, travelling as far as India and Morocco, and filtered these influences throughout the album – clever, huh? QMU, Glasgow, 7pm, £15

Thu 18 Oct

Fri 19 Oct

Not content with serving up exclusive, discounted cocktails in some of the city’s best bars, Edinburgh Cocktail Week have introduced some new elements to the celebration of all things mixology this year. A cocktail village will be erected in Festival Square and there will be a Secret Masterclass Hub & Bar on Queen Street, where a programme of events, parties and masterclasses will take place. Various venues, Edinburgh, 15-21 Oct, times & prices vary

In Black Flag, Spanish artist Santiago Sierra exhibits one of his most ambitious undertakings to date. This solo exhibition marks the UK premiere of the new work, taking the form of an immersive photographic and sound installation. It documents the artist’s journey to the two most extreme points on Earth, the North and South poles, to plant the black flag, the universal symbol of the anarchist movement. DCA, Dundee, until 25 Nov

The phrase ‘good things come to those who wait’ has never felt so true than with Jon Hopkins. The English producer made a welcome return back in May with a stunning new collection of blissful ambient techno tracks on his fifth album and his first in five years, Singularity. Do everything in your power to be at this show. SWG3 Galvanizers, Glasgow, 7pm, £15

Edinburgh Cocktail Week

Black Flag

Photo: Santiago Sierra

Wed 17 Oct

Wed 24 Oct

Lindsey Jordan’s debut album as Snail Mail proved her to be wise beyond her years; Lush is an accomplished record full of clever lyrics and polished indie rock hits. They’ve been touring pretty much constantly this year, supporting both Lomelda and Ought in the States earlier in the year before heading out on their own solo headline tour. SWG3, Glasgow, 7pm, £10

The Graphic Design Festival Scotland celebrates its 5th birthday this year, with a week-long programme of events from 19-25 October and two exhibitions – International Poster Exhibition and Young & Powerful Exhibition – running until 25 November. Today, you can take part in a live project, working with mentorship and guidance from Scotland’s leading design agencies. The Lighthouse, Glasgow, 10am, £66

Sat 27 Oct With Halloween falling on a Wednesday this year, it appears to have been widely decided that today is the day to celebrate for all those unable to party on a weekday. In Edinburgh, Terminal V play host to some of electronic music’s finest in the likes of The Black Madonna, Moodymann, Optimo and more over four stages at their 11-hour party. Royal Highland Centre, Edinburgh, 12pm, £49.95-64.95

October 2018

Jon Hopkins

Graphic Design Festival Scotland

Sun 28 Oct

Mon 29 Oct

Taking place over two days at Tramway, in collaboration with LUX Scotland, the annual Artists' Moving Image Festival returns for its seventh edition, programmed this year by artist Mark Briggs and writer Naomi Pearce. Over the weekend, you can take in a selection of film, video and sound works selected through an open call earlier this year. Tramway, Glasgow, 12pm, £5-10

Africa in Motion continues to open our eyes to Africa’s vibrant film scene, screening new and old films from African cinema. Today, you can catch two films included in this year’s Decolonising the Speculative strand – Annetta Laufer’s Afro Punk Girl and C.J. Obasi’s Hello, Rain – both creating separate visions of the future. Various venues across Edinburgh and Glasgow, times & prices vary

Artists' Moving Image Festival

Credit: Karolina Bachanek

The Black Madonna

Photo: Nicolas Joubard

Snail Mail

Photo: Michael Lavine

Tue 23 Oct

I Want to Eat Your Pancreas

Photo: Sam Huddleston

Loki

Sat 13 Oct Photo: Vito Andreoni

Dane Baptiste

Maribou State

Photo: AlexandraWaespi

Fri 12 Oct

Photo: Yoshitaka Kono

Thu 11 Oct

Photo: Stephen Hughes

Young Marco

Photo: Stuart Moulding

Fri 5 Oct

Hello, Rain

Chat

A Positive Force Make-That-A-Take Records co-founder, Derrick Johnston takes time out of his busy schedule to tell us about the philosophy and philanthropy behind the prolific Dundee label

Interview: Amy Kenyon

“ We just try to create a space where people feel comfortable enough to express themselves whether that’s on stage or in the crowd” Derrick Johnston

Part of the appeal of running an independent record label is that you don’t have to abide by anyone else’s rules or conform to a set way of working. This was an attractive prospect for the Perthshire punks who wanted the freedom to express themselves outside of the constraints of

Feature

Lipstick Homicide at Book Yer Ane Fest VIII

Johnston evokes the Greek mythological figure of Sisyphus, who pushes a heavy rock to the top of a hill and is doomed to repeat this action for all of eternity. Although running an independent record label comes with its challenges, Johnston recognises the importance of pausing to acknowledge all that Make-That-A-Take Records has achieved. “For a long time it felt like pushing a rock up a hill. I’m not a nostalgic person and I don’t like to look back. We’ve done all of this really cool shit but I’m always interested in what comes next. This is the life we chose and if ever I become complacent about that then I know I have become disconnected and that it might be time to pause and reflect on what we are doing. I feel like I give part of myself but that’s nothing in comparison to what I get back.” Book Yer Ane Fest XII takes place at Abertay Student Centre and Conroy's Basement, Dundee, 30 Nov-2 Dec makethatatakerecords.com

Our Dundee Ones to Watch

Murderburgers at Book Yer Ane Fest VI

the music industry. “We were vehement about being punks when we first started,” Johnston tells us. “The music industry is kind of a cesspit at times – fuck the music industry by design. The music industry didn’t want us and we didn’t want it. A lot of people think that punk rock is about gobbing or the Sex Pistols, but that’s not what it’s about for me.” MTAT challenges this popular misconception by using the term ‘punk’ pretty loosely to describe a broad range of artists encompassing multiple sub-genres, acknowledging their folk roots as well as indie, pop, metal and electronic. MTAT as a collective has really grown over the years, becoming a community of like-minded music lovers who support the view of punk rock as a way of making positive contributions to the world around them. “There’s lots of people involved now, making music, art, zines and cooking,” Johnston explains, going on to tell us about organisations such as “Food Not Bombs, Refugee Support and Leftfest... all of these things that are a real positive force. It comes from a naive notion of trying to build a better world and pouring love into all that we do, your community and the people,” adding that “all you need to get involved is a willingness to do so.” MTAT wanted to create a space that truly reflects the society of acceptance they wish to live in. They were able to achieve this after they secured the venue in Conroy’s Basement, which has become a real home for the collective. In reference to the ‘Be Radical Spread Joy’ sign that hangs above the stage, Johnston talks about how the house rules are not intended as rules but as general principles to live by: “We try to reflect reality as it presents itself to us. It’s unfortunate that

Photo: Capacitor Photography

tarting out life in co-founder Derrick Johnston’s bedroom through sheer grit and determination, east coast DIY punks Make-That-ATake Records now run their independent label from Conroy’s Basement in Dundee. Easily at the fore of Dundee’s burgeoning punk scene, this year the label celebrates 12 years of being in business; MTAT are proud to have put on over 500 shows, as well as releasing a multitude of records across all formats. We catch up with Johnston towards the end of August ahead of the label’s Tins for Tunes matinee show – in partnership with Dundee’s local foodbank – at Conroy’s Basement, which opens its doors just in time to set up. Johnston’s band Uniforms are playing tonight; the band’s bassist arranges MTAT’s extensive travelling discography and merch, as the drummer tests the sound and anyone who’s free to lend a hand helps offload gear from the van. Johnston tells us that the band had arrived back home late the night before, after playing a show in Inverness, adding that “you wouldn’t do this kind of shit unless you really love it.” As we sit in the back of the tour van in the venue car park, Johnston describes how MTAT started. “We grew up in the country in Alyth [which] had a supportive traditional folk music community. Once they realised that we were interested in music, and that we genuinely cared, they were quite nurturing. I guess there’s a prehistory to Make-That-A-Take. You could say that we’ve been doing this for almost 20 years in some way, shape, or form but it was really formalised in 2006 when we started doing things as MTAT.” In the absence of any real scene that reflected their own experiences of growing up and listening to punk records, Johnston began writing music, performing in bands such as The Try Hards (2005-2007), Joey Terrifying (2008-2010) and Uniforms (2011-current). In the true spirit of DIY, the MTAT collective was formed out of necessity and they began playing house shows and gigs as a way of putting out their own music, as well as the music of their friends. “There was no master plan,” says Johnston, “it was a case of nobody is going to sign us so let’s just make our own label and make music together.”

Photo: Capacitor Photography

people think this is a radical idea. I think it’s wrong to be a bigot, a sexist and a racist – violence is unacceptable in our space. [The house rules] are not just something cute to put up on the wall, it’s because in the past there have been instances of violence, sexism and transphobia. The punk scene can be a gnarly shitty place full of gnarly shitty people. We just try to create a space where people feel comfortable enough to express themselves, whether that’s on stage or in the crowd.” With the opening of the V&A and other key developments within the city there has been more of a recognition of what Dundee has to offer culturally. “The fact that there seems to be a recognition from people is kind of lovely,” Johnston says, “but also a little weird and absurd because we are just doing the same thing that we’ve been doing the whole time.” Johnston considers the real turning point for MTAT to be around 2011 when they hosted their 5th annual Book Yer Ane Fest, a three-day festival putting on bands from all over the world to raise funds for local charities. For Johnston and the MTAT collective, lots of planning goes into curating BYAF. He explains that they’ve already sold tickets to people in “The Netherlands, Germany, there’s people coming from America, people coming from Spain. We have a bunch of international bands touring this year.” Putting on shows, writing and touring music is a key to staying well: “I’m not very good at doing nothing. I like to keep busy creatively, as my friend Chris Snelgrove said, ‘motion is the cure for grief.’ For me, the primary function of songwriting and music is just to get it all out there. [This motivates me] to stay well and to try and keep my mind together.”

Music

ST. MARTiiNS ST. MARTiiNS is the stylish and confident DIY duo of Katie Lynch and Mark Johnston. Lynch’s trippy yet laid-back vocals are reminiscent of Cocteau Twins’ Liz Fraser while Johnston’s lo-fi guitar riffs are punchy and unpredictable. ST.MARTiiNS’ are one of the most interesting prospects to emerge from Dundee in recent years. Be Charlotte Singer-songwriter Be Charlotte is an expert in her craft, as she creates straight to the point pop songs. With an inherent authenticity to her lyrics, her powerful yet understated vocals are sung through the prism of her hometown dialect. Be Charlotte recently performed alongside Primal Scream at the V&A’s official opening 3D Festival. SHHE As SHHE (FKA as Panda Su), Su Shaw creates electronic soundscapes with vocals that are minimalist yet spellbindingly powerful. SHHE performed her debut single Eyes Shut for Vic Galloway’s BBC Introducing event, recorded live in Perth earlier this year. The song also appeared on a playlist curated by Kathryn Joseph for BBC Radio 6 Music. Echo Machine Echo Machine is the new synth-pop project from three members of The Mirror Trap. Specialising in new wave and genre-bending futuristic sounds, the band made their headline debut at Conroy’s Basement in July, going on to support The View’s Kyle Falconer at his Dundee homecoming show the following month. Drainpipe Indie-shoegaze band Drainpipe made their live debut as one of the local supports at a Conroy’s Basement show in August. Originally the solo project of SAHARA’s Matthew Tonner, after he began making lo-fi multitrack recordings on his phone, alongside Michael Caswell, Lewis Campbell and SAHARA bandmate Adam Campbell, they plan to continue performing under the name Drainpipe as a band.

THE SKINNY

Landmark Moments While the V&A Dundee heralds change for the city, we talk to some of those at the grassroots of Dundee’s art scene, keeping a close eye on the direction of the museum’s momentum

Interview: Adam Benmakhlouf

Going forward, it’s important to keep in mind that, says Machache: “The city is primed for a huge socio-economic shift that could be detrimental to those people who have been really ignored for a long time.”

or Dundee residents, the opening of the V&A comes after years of expectation and watching the dramatic new building slowly emerge from the waterfront. Within the international coverage of the opening, less attention was given to the protests that accompanied the celebrations; mostly, it was the local Dundee Courier that covered the anti-austerity actions by Unite. In the midst of the complicated economy of cultural funding and the social aspirations of the V&A Dundee, The Skinny is checking in with the art community of Dundee to see what kind of impact the new museum has had so far, and what hopes there are for this new landmark. “We’ve been waiting with baited breath,” says Charis Edwards, a recent graduate from the Master of Fine Art at Duncan of Jordanstone College of Art and Design and member of the GENERATORProjects Committee. “We’ve been waiting to see what impact this will have not just for design but the other arts and culture sectors for Dundee. We do see that there’s a large cultural institution that’s representing the whole of the cultural landscape for Dundee. In organisations like GENERATOR, that have been going for 22 years, we’re excited to see footfall increase for us, for people to come our way and explore the West End of Dundee and see what else it has to offer alongside a large scale cultural institution. And that’ll have a big impact for arts graduates and emerging artists.” As well as raising the footfall for the surrounding cultural organisations, the V&A has already formed a part of the experience for participants in the Art Angel project. The Dundee-based organisation is itself a “unique and inspired arts project run by and for people with experience of mental health difficulties in Dundee.” Arts and Mental Health Manager Rosalie Summerton describes Art Angel photography groups extensively documenting the construction process of the V&A over the previous years. “It’s been a huge fascination for them, especially as it’s right next to the Discovery. It’s such a good contrast of the old and the new.” Summerton also observes the importance of

October 2018

the V&A as a large, publicly accessible building in counteracting the kinds of social isolation within the groups with whom she routinely works. “We’ve created a community of people who are getting more and more excited about art from when they first arrive here, when they might feel like, ‘Why am I here?’ or ‘Help’.” At that point, Summerton describes that it’s a major step for some of the participants just to be able to get out of bed and make it to the Art Angel activities. “Over time, once people feel more confident, they begin to recognise that places like the V&A are for them and they aren’t excluded. I know that the V&A will be doing everything they can so they can attract a wide range of people, so it’s not just the usual suspects.” For Summerton, she describes that it’s not that the V&A has come to Dundee. For her, Dundee is coming to the V&A. “Dundee has so much character of its own that’s really different from all the other cities in Scotland and such a brilliant sense of humour, it’ll really rub off on the V&A. We are going to have a big influence on what happens in that building.” Summerton’s idea of Dundee shaping the building is already recognisable in some of the engagement of new visitors, and the operation of the architecture in leaving an open sense of expectation of what to find or do in a museum space. “A lot of the time, people are thinking, ‘What do I look at?’” says Dundee-based artist Emma McCarthy, describing the open education spaces and artist-in-residence areas that audiences encounter on entering. “It doesn’t look like a standard museum and that causes people to ask, “What is it?” McCarthy has noticed a certain kind of reflective conversation happening in relation to the building and its architecture, and adds that this kind of awareness and questioning of the built environment is in itself unusual. Also living and working in Dundee throughout her professional life, Sekai Machache recognises the kinds of opportunities that the V&A will bring to Dundee, while being careful to track the kinds of challenging social and economic trends of the city to which the V&A will also contribute. Machache describes the V&A Dundee’s freelance

programme, and the excitement of people she knows to apply and gain experience in working in outreach and community programmes. “I remember the day they had their first meeting for the freelance intake, the room was packed to the hilt with creatives hoping to get the spot.” At the same time, Machache contextualises the opening of the museum as huge numbers of people in Dundee are having their unemployment and disability allowances removed as the Job Centre operates a quota system on benefits sanctions, and at a time when the city population is heavily reliant on food banks. Machache goes on to say, “I have faith in the staff of the V&A that will try to engage with the general population of Dundee.” However, she emphasises that it’s important to consider closely the likelihood and the concrete ways “that the V&A will bring wealth to the people that are struggling.” Acknowledging this might be a pessimistic note to sound, but Machache nevertheless cautions against the easy attitude that “the V&A is going to make everyone in the city better off. It’s going to make a lot of creatives better off. But if you’re not creative or academic, if you’re not in that class, then you’re going to be left out.” Machache draws parallels between these bifurcated experiences of prosperity and deprivation, and the often-separate populations of the university students of the city and its settled residents.

ART

Rosalie Summerton, Art Angel

Machache is herself one of the important population of Dundee graduates who have chosen to settle and live in the city after studying there. Similarly, Joanna Helfer has spent the last 14 years living and working as an artist in Dundee. In a bid to alleviate the years-long waits for studio space in the city, she founded the Tin Roof Studios, which was featured prominently in parts of the V&A bid. Nevertheless, it was shut down after being “deemed unsafe”, then renovated with a grant from the council to become a craft brewery. Thinking about her recent work in high schools where Heads of Departments shared their dramatically-cut budgets, she worries: “The kids that are in school at the moment, the resources they have to learn any kind of art skills are being cut drastically. They’re the people that should be getting more resources, the amazing artists from Dundee that we want to be celebrating in 10 years’ time. Instead it feels like, in order to be an amazing artist from Dundee you have to get out Dundee, then they can claim you as one of their own later, once you’ve done well somewhere else.” In the very next thought, Helfer sums up some of the opportunity that comes with the international attention that has come with the V&A Dundee. Taking a step back from the interview conversation, Helfer reflects: “It’s good to have these critiques, and [the opening of the V&A] is giving us a platform to have these conversations. When the limelight’s on the city, we can shout about it a bit louder and be heard by people.” theskinny.co.uk/art

V&A Dundee

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Photo: Hufton Crow

GENERATORProjects

Photo: Cathy MacLeod

“ Over time, once people feel more confident, they begin to recognise that places like the V&A are for them and they aren’t excluded”

The Wayback Machine Following her success at this year’s Edinburgh Festival Fringe, we chat to Cora Bissett about her Dundee Rep revival of Gregory Burke’s sensational debut play, Gagarin Way

It’s hard to put into words the effect that Gagarin Way, the first play from a then-unknown Fife playwright called Gregory Burke, had on Scottish theatre after its debut at the Traverse Theatre during the Fringe in 2001. Set in the immediate aftermath of an illadvised and poorly-thought-out heist, which sees two disillusioned workers kidnap a middle class executive, the play delved deep into the psychological and political aftermath of the loss of industry in Fife. Burke’s characters were simultaneously familiar and empathetic; proud, hardworking communist men, driven to extremes from years of working hard and following the dream, only to find themselves in poorly paid and dead-end jobs, living in towns decimated by the end of various industries. The BBC dubbed it “the most talked about show at the Edinburgh Festival Fringe,” and Burke became the coveted ‘overnight sensation’ of the year. Other rave reviews and sell-out shows followed, a transfer to the National Theatre in London was arranged and, during its Edinburgh run, one teenage theatre fangirl (yours truly) was even allowed to skive school for the day to see it. The play is an enduring portrait of men under siege, a scathing edict on the irreversible effects of globalism, the failures of capitalism and also of communism. A rich tapestry of rage and regret, dripping with machismo, it is – at first glance – an odd choice for Cora Bissett to direct. Fresh from her own hit at the Fringe (her autobiographical gig theatre piece, What Girls Are Made Of, which was also performed at the Traverse), Burke’s play is an unlikely follow-up project for the award-winning director. Approached by Dundee Rep’s Andrew Panton, who went to the same youth theatre as Bissett, she admits that the play is an unusual choice for her, but Panton wanted to see the play revived by a female team. “[Panton] was very keen to have a female director, and we’ve made it an all-female creative team as well, not [to] be gender fascist about it, just to give it a different energy, just to bring very different perspectives and creative ways in to approaching that text. So, it was a really good idea, and I’m very happy that he did.” But just underneath the surface of the play, according to Bissett, is a story about a group of men in very big trouble. “Scratch the surface and all of those characters are men in crisis really,” Bissett explains. “So, you’ve got two very diametrically opposed people involved in this big act together, for very different reasons. I think one man is doing it for a noble purpose, if misplaced, and the other guy just wants a kick, and then there’s the young student character. There’s men at various stages of their life, who really haven’t found purpose in any of the places they’ve been looking and that’s very distressing. For me, it’s a very fragile play, despite the machismo; just beneath the surface [are] four people who really haven’t found much of anything.” Named after a real street in Lumphinnans in West Fife, which was once well-known for its communist population. Gagarin Way was originally written in 1997 while the UK was in the death throes of a Tory government under John Major. While two decades have passed since then, and we’ve gone from New Labour to a coalition government, back to a Conservative majority, the

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similarities between our past and our present are clear. As a result, the play maintains an eerie similarity to the late 1990s, from characters working zero-hour contracts, to trickle-down economics. What, if anything has changed since it was staged? “I think it’s striking that the play made such an impact 18 years ago,” says Bissett. “I did toy with the idea of perhaps placing it in the now, but really, we have to reflect on that this was written 18 years ago, and for the people that lived in these small towns, and industry has left them behind, not a hell of a lot has changed. Working conditions for people and the transient-ness of contracts has, if anything, just worsened, so I think it’s actually more prescient.” Although the play was undoubtedly a success, eventually being translated in 20 languages, it has rarely reappeared on the Scottish stage save for two separate revivals; one by the Comedians’ Theatre Company during the 2009 Edinburgh Festival Fringe, and another, betterknown revival by Rapture Theatre Company in 2011. The burden of restaging such a well-regarded play is heavy, but luckily for Bissett, she has two tricks up her sleeve. The first is that she is from Fife, so she knows the area and its people well. The second is, despite having given Burke work before Gagarin Way was produced (she paid him £150 to write a piece for her Citizone project a few months before the Fringe), she’s never actually seen the play staged before. She explains: “I remember Gagarin Way being on, I think I’d maybe just moved to London,

or for some reason I wasn’t around. But I remember hearing news of this piece, and what an impact it was making and what a new voice Gregory was, so I’m really coming to it as a blank canvas, which is maybe good in a way.”

“ This was written 18 years ago, and for the people that lived in these small towns that industry has left behind, not a hell of a lot has changed” Cora Bissett

Bissett’s unfamiliarity with the play seems to have proven to be helpful, as with no memory of previous productions she is free to do as she likes with this one. But what does Burke think of her reviving his breakout work? “I was about to contact

THEATRE

Interview: Amy Taylor

him, just to touch base, because we know each other from way back,” says Bissett. “But he contacted me! Which was lovely. He said, ‘I’m delighted you’re taking it on’, and he said, ‘Look, I’m not precious at all, change what you want, mess it around,’ which was incredibly generous of him, but slightly unnecessary because the play is brilliantly tightly structured. It works so brilliantly well.” One of the reasons why the play works just as well now as it did in 2001 is what’s happening in Scotland right now. With industries collapsing and the high street changing rapidly, communities have struggled to adapt to the changes, which is something that Bissett has witnessed, particularly in the small towns of Fife, where Gagarin Way’s characters are from. “I’m from Glenrothes and my parents only moved out of there two years ago, and they said that the town is feeling quite ghostly, and the same in Kirkcaldy. Just so much of the shops in the high street have shut down, industries have collapsed. There’s lots of different reasons; people have moved on and not settled down and brought up families there, you just don’t have that regeneration and fresh blood going into the town. “And then, of course, industries move and are sold to others and they can have people working more cheaply, and that just decimates a town in one swoop. So, I think the play is not a historic piece, it speaks to right now, particularly those small towns in Fife.” Gagarin Way, Dundee Rep, 16 Oct–3 Nov, various times dundeerep.co.uk/event/gagarin-way

THE SKINNY

October 2018

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THE SKINNY

Culinary Discoveries We defy Storm Ali and hit the streets of Dundee to talk craft beer, big cakes and breathing delicious life into the city’s industrial past

Interview: Peter Simpson

71 Brewing

ple of that on steroids, where it gives an entire city the confidence to go out there and do that, but we’re probably a small localised example. We only use a fraction of this building at the moment; there’s another 20,000 square feet of space above us.”

“ What we want is to pull people back into living in the centre of town, taking pride in stuff that’s produced locally” Duncan Alexander, 71 Brewing

That space, by the way, makes for exciting viewing – it’s an enormous warehouse spot ideal for gigs and exhibitions, and one that property developers in Glasgow or Edinburgh would have earmarked for luxury apartments before the end of this sentence. If the sight of 71 is something to behold, five minutes around the corner, you can smell Verdant Spirits’ home before you see it. Rounding an unassuming industrial estate ramp, you’re punched in the face with the smell of Christmassy botanicals. Inside, the distillery (currently focussed on gin, with rum to follow shortly) is all shiny metal, concrete and lovely pale wood. Next door is a late-1800s mill engine house that, thanks to a somewhat protracted

planning discussion, currently doubles as a comically-oversized office. “There were two ways to go,” Verdant’s Andrew Mackenzie says from a chair in that office, which will shortly double as visitor space for tours. “One was find something like this that has got some heritage, some room to open it up as a tourist place and a visitor centre, which is the preferred route but you’ve got to find the right place to do it. The other option is a square box on the edge of the city somewhere that no-one ever sees, but you just make gin and sell it. It was finding this place that really triggered that off.” Mackenzie’s route into spirits has been circuitous, to say the least – he was an illustrator, worked at a creative agency, took on a role at supercar company McLaren, moved to Dundee in 2000, worked with Dundee College, then “spent a couple of years in France learning to cook, basically.” His idea for hydroponic salad crops got him a place on Abertay’s then-brand-new Food and Drink Innovation masters course, where he happened upon an intriguing lecture in what was then a somewhat alien concept – craft gin. He says: “It was really new back then; I think that year HMRC issued five new [distillery] licences.” Given that we’re now tripping over the juniperfilled fuckers, it’s safe to say that times have changed, but it’s a positive change, and that’s always welcome as 71’s Duncan Alexander explains: “Where you have coffee shops, craft breweries, artisan bakers; some people love seeing them, for other people there’s a sort of stigma attached to them, saying that they ruin the character of a neighbourhood, but I think it’s what we need around here. What we want is to pull people back into living in the centre of town... taking pride in stuff that’s produced locally.” Those local producers are out there, and everyone we speak to acknowledges the importance of the V&A in shining a light on Dundee, but also for the food and drink scene to throw itself

71 Brewing

October 2018

FOOD AND DRINK

Photo: Grant Anderson

ou can invite as many people as you like to your party, but if you aren’t able to keep them fed and watered they’re only going to stay for so long. That’s true of a Friday night rager, and it’s true if you’ve built an £80 million venue for that party, so Dundee’s food and drink scene has a key role to play. On an autumnal Wednesday in ‘Scotland’s Sunniest City’, we land in a rainstorm so powerful that it basically destroys our shoes. We were hoping to dive into the city’s culinary scene and see what we could come up with; we didn’t think we’d need an actual snorkel. Still, it’s ideal weather for comfort food, which means the seminal Dundee institution that is Clark’s. Students, workies, school children (including this writer, back in the good old days); have all been through the doors of the 24-hour bakery and come out the other side covered in pastry. We smash a bacon roll into our faces and save a steak pie – a dead ringer for the Desperate Dan classic cow pie – for later. From there it’s a short hop around the corner to one of the new guard of Dundee’s food and drink scene, 71 Brewing. The beer from the city’s leading craft brewery can be found in bars across Dundee and beyond, with an impressive range for visitors and local beer-lovers alike to work their way through. Personally, we have a soft spot for their Raspberry and Lychee Berliner. That beer, and the others that make up the 71 range are great examples of modern Scottish craft brewing but borne from a piece of Dundee’s industrial past. 71’s home is on the site of the former Blackness Ironworks, and the building itself is an impressively hefty chunk of that past, all brownstone and vintage murals. It’s just five minutes from the Perth Road – home to Dundee Uni, Duncan of Jordanstone art college and a host of indie shops and cafes – but it feels a bit further, the long arm of big-budget art projects taking its time to work its way out from the city centre. “The building’s been part and parcel of the project since the early days, in good and bad ways,” 71’s Duncan Alexander tells us over a coffee in the brewery’s taproom as the rain thunders down outside. “It would have been a lot easier for us to pitch up in a modern industrial unit and start brewing there. It was costly and difficult to convert this to be useful for a brewing space, but we do love the building and its history. From what was an enormous industrial enterprise that spread over many many acres around here, this is the last piece of it left.” Alexander’s a Dundee native who left the city in the early 1990s. He’d been brewing for a number of years by the time the opportunity came to return home and bring an impressive vision to the city’s food and drink scene. “Every time somebody puts their money where their mouth is,” he says, “it gives other people the confidence to jump in there. The V&A is an exam-

Photo: Grant Anderson

into that spotlight and jump up and down grabbing people’s attention. And there’s plenty to be excited by. On the coffee front, we hit up a number of great places for a flat white – Pacamara down on the Perth Road; New Zealand-inspired cafe The Bach’s bright and airy new location around the back of the McManus Galleries; and the fantastic cafe-meets-clothes shop Daily Grind, just off the main waterfront strip facing onto the V&A. Many of those places are also serving up local coffee, with Sacred Grounds roasters up in Arbroath providing fresh, zesty and chocolatey beans to many of the city’s best coffee places. Then there are the stalwart Dundee classics like Clark’s that frankly deserve all of your attention and money and Fisher and Donaldson with their incredible fudge doughnuts. You’ve had disappointing filled cakes in the past, right? Filling all off to one side, or hidden away right in the middle? Not here; this thing is like a bowl of amazingly smooth custard that someone has baked a cake around, then covered the whole lot in fudge. Probably terribly bad for you, and originally from Fife and not Dundee, but who cares yum custard nom nom nom. Turning away from our dessert for a second, Andrew Mackenzie is eager to get Verdant up and running as a food and drink attraction as soon as possible – “We’ve got people daily turning up saying ‘oh have you got a distillery, can we come and have a look?’ and we’re not even open” – and both he and Alexander recognise the importance of Dundee’s food scene in giving people a spot of local flavour when they hit town. In our chat, Alexander notes that Americans in particular “expect” to hit a local craft brewery and taproom for a few pints on their travels; at the very least, they expect there to be one in the first place. “It was probably a big surprise to people coming [here] that Dundee didn’t have a brewery – as far as we could see it was the last city in the UK not to have one.” Mackenzie describes Verdant’s future as “exciting” and “terrifying” in the same breath, a sentiment that pretty well matches the city’s near-future and the day’s weather. As it happens, we never do see the V&A; it’s closed because 100 mile-an-hour winds are literally knocking people off their feet outside the front door. But no three-digit wind can stop us from grabbing a tasty local coffee and another doughnut for the road before cracking into that pie from earlier. Follow our lead; we suggest you bring a napkin. Leave the umbrella at home though... 71brewing.com / verdantspirits.co.uk Pacamara, 302 Perth Rd; The Bach, 31 Meadowside; The Daily Grind, 18b Exchange St; Fisher and Donaldson, 300 Perth Rd; Clark’s Bakery, 3 Annfield St

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Shining Bright

ow in its tenth year, North East of North – or NEoN to its pals – is a festival that shines a light on the world of digital and technological art, showcasing work from around the globe in an ever-changing array of formats. Yet, as we improve and advance our technology, we run up against one big mushy bag of problems – human mortality. Handily, Heather Dewey-Hagborg and Phillip Andrew Lewis’ new work Spirit Molecule I (from 5 Oct) combines botany with biotechnology, considering the possibility of geneticallymodified plants acting as living memorials to relatives who have passed away. Dewey-Hagborg explains the project: “We’re talking about how this is one more step; so you could have a plant of your grandmother and live with that and just have a physical interaction and know that that plant has that genetic make-up. But you could also potentially consume it and go into this other state of consciousness.”

This year’s festival theme is lifespans, and a pair of art exhibitions offer (slightly less literal) perspectives on the subject. Grassroots gallery GENERATOR hosts a group exhibition inspired by the ‘posthuman condition’, including sculptural works by Alicia Fidler and Caitlyn Main (27 Oct-11 Nov), while Forever and Ever pulls together a series of artists using digital technology, video gaming and computer-aided design to look at our ever-expanding and seemingly-endless digital lives (6-18 Nov). Tega Brain’s Being Radiotropic looks at one specific aspect of our modern condition – the endless search for a full signal. Brain’s work for NEoN is a series of “eccentric wireless routers,” posing the question of how society might bend itself in order to face more directly at the waveforms that let us receive our Facebook messages (6-11 Nov). The motivation behind many of our technological innovations and inventions is the same

Words: Peter Simpson

– saving time. Y’know, because of that whole ‘limited lifespan’ thing. Down The Rabbit Hole (6-18 Nov), a new work by Al Holmes and Al Taylor (aka AL and AL), is a site-specific installation at the much-loved Nursery Rhyme clock in the Wellgate shopping centre. AL and AL say: “This clock has inspired Dundee to watch time, mark time. Inspired by this magical timekeeper our installation will take Dundee into our new evolving conception of time.” The musical element of the NEoN programme also heads in some interesting directions. Error System is an exploration of Irish avant-garde composer David Cunningham’s 1977 work Grey Scale, a piece which calls for musicians to repeat a simple pattern until they make a mistake. That mistake then becomes the basis of their playing until they make another, at which point that becomes their new pattern to work with; curator Cicely Farrer’s new project looks at how the system mirrors the recurring feedback and error loops at the heart of modern technology (10 Nov, 11am). Elsewhere, the Tinderbox youth orchestra join forces with the Big Noise Douglas project to improvise a new collaborative score inspired by the music from video games (8 Nov, 5.30pm), and a closing party at the Reading Rooms (10 Nov, from 9pm) that brings together house and disco sounds with the glitchy, sprite-filled visuals of Californiabased video game artist Cassie McQuater should make for an ideal conclusion to the week. NEoN, 6-11 Nov, venues across Dundee northeastofnorth.com

Spirit Molecule I

Credit: Heather Dewey-Hagborg and Phillip Andrew Lewis

Black Room

Credit: Cassie McQuater

North East of North returns next month to fill Dundee with cutting-edge digital art – here's a guide to the GM plants, avant-garde music and computer game-assisted parties in store

It’s a Celebration Ahead of the 2018 Scottish Alternative Music Awards on 25 October, radio presenter and DJ Jim Gellatly – who will host the ceremony – explains why the SAMAs are so important to him he Scottish Alternative Music Awards have become one of my favourite events in the Scottish music calendar since I was invited along to help hand out the gongs in the first year. Stand-up comedian Billy Kirkwood, who these days hosts the Breakfast Show on Ayrshire radio station West FM, was the host for the first few years so it was a delight to be asked back myself to present an award each year. When Billy wasn’t available in 2015 I took over the reins and this year I’m looking forward to co-hosting with STV’s Laura Boyd. What I love about the SAMAs is that it isn’t some sort of backslapping formal event, but in essence a gig night with a bunch of awards being handed out. It’s about celebrating what’s out there rather than one act being “better” than another. The SAMAs are an amazing platform for emerging acts with the focus very much on the grassroots scene. While many of its past winners have gone onto bigger things, that’s not really the point – it’s an incredible showcase of the talent we have right on our doorsteps. Many of the acts on the scene in Scotland don’t get the credit they deserve and the SAMAs go some way to resolve that. A spread of judges across the country selecting the shortlisted acts before they go to the public vote have also ensured that the SAMAs haven’t become too Glasgow-centric. I’ve got so many great memories over the years. Going right back to 2010 when The LaFontaines picked up Best Live Act, frontman and

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rapper Kerr Okan gave a wonderfully unorthodox acceptance. He just read out the “thank yous” from a Jay-Z CD; fellow rapper Louie from Hector Bizerk did his 2014 Best Hip Hop acceptance speech in rhyme, and in 2015 Dundee outfit Model Aeroplanes arrived all suited and booted like they’d come to the Brits or the Grammys as they picked up the Best Newcomer award.

“ The SAMAs are about celebrating what’s out there rather than one act being “better” than another” Jim Gellatly

It’s been fantastic to see the event grow over the years. It could have been a short-lived project, starting life as part of founder Richy Muirhead’s BA Commercial Music course at the University of the West of Scotland. All credit to Richy for keeping it going and becoming a huge

The Van T's performing at the 2016 SAMAs

ambassador for new music in Scotland. Not only with the awards themselves, but with a series of spin-off events under the SAMAs umbrella. From its humble beginnings in the small room at the Classic Grand in Glasgow, it upscaled to the main hall before finding its home at The Garage for the third year. After five years at The Garage this year’s SAMAs move to one of Glasgow’s finest new venues, Saint Luke’s. As a celebration of emerging talent, and the

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chance to discover and expose under the radar acts, the SAMAs have become an important cog in the development of new music in Scotland and I’m incredibly honoured to have played a small part in the event’s progress. The Scottish Alternative Music Awards take place at Saint Luke’s, Glasgow, 25 Oct The Public Vote will take place from 15-19 Oct via officialsama.co.uk

THE SKINNY

Photo: Cameron Brisbane

Words: Jim Gellatly

October 2018

Raise Your Voice We speak to Mike Haliechuk, guitarist and lead songwriter for Canadian prog-punks Fucked Up about their most ambitious record yet, Dose Your Dreams

Interview: Adam Turner-Heffer

or over a decade there has been no one else like Fucked Up. The Toronto-based punks, comprising of vocalist Damian Abraham, guitarists Mike Haliechuk, Josh Zucker and later Ben Cook, bassist Sandy Miranda and drummer Jonah Falco, have, since their inception in 2001, pushed the idea not just of what being a punk band is but what a music group of any capacity and genre can be. Though they had humble beginnings as a straight-up, run-of-the-mill hardcore punk band in Canada’s most well-known scene at the turn of the century, there was a mischievousness and inventiveness that can be heard even in their earliest days, on the Black Flag-aping hit Police or the first sign of their real ambition, Baiting the Public. The latter would go on to form the centrepoint of their debut full-length record, 2006’s Hidden World. It remains an underrated landmark of the punk genre, an album where Fucked Up announced themselves as the ambitious act they would become famous for in the decade that followed with long, experimental tracks that perhaps have more in common with Düsseldorf in the early 70s than what would traditionally be found in the sweaty basements the band and their peers often frequented. Jump ahead to 2009 and Fucked Up inexplicably won the Polaris Prize (Canada’s equivalent to the Mercury Prize or SAY Award) for their follow-up The Chemistry of Common Life, breaking them into mainstream consciousness (as far as such an abrasive name and sound as theirs would allow). Never resting on their laurels, Fucked Up used the vote of confidence given to them on their award win, and newfound critical plaudits, and wrote an ode to The Who’s Tommy with their 2011 rock opera David Comes to Life. Telling the story of the titular David, who experiences love, loss, heartbreak and metaphysical wisdom over a thrilling just-short-of-80-minute epic, it somehow manages to sustain itself under its massively weighty subjects and remains considered one of the best records of this current decade. But if David Comes to Life is Fucked Up’s Tommy, then their latest album, Dose Your Dreams, is their Quadrophenia. In a seemingly impossible feat, Fucked Up – led primarily by Haliechuk in a similar manner that Quadrophenia was almost entirely created by Pete Townshend – have managed to create a record that goes even further than David Comes to Life by creating an equally epic, but much more diverse sounding and wide-reaching record, again without succumbing to the weight of its own ideas. Dose Your Dreams picks up the story of David once more, this time as he goes on a psychedelic journey from losing his monotonous office job to opening his mind to another, higher way of living with the help of sorceress Joyce Tops, which ultimately leads to him finding peace in love with himself, as well as in a romantic and physical sense. At least that’s what seems to be the case, as unlike David Comes to Life, Dose Your Dreams has a much looser narrative, fitting with the album’s eclectic sound but also due to how it was written and recorded. “The record magically enough took exactly two years to create,” Haliechuk explains. “We started writing and recording in the studio on 15 June 2016 and completed it on the exact same date two years later. It was probably the most fun we’ve had creating a record, but it was scattered due to Jonah living in London, England. As I don’t like the process of sending bits and pieces online

Photo: John Londono

I had plenty of time to think about the lyrics and how the music would accompany it, and then record with Jonah when he was in Toronto, which probably explains why it doesn’t sound as streamlined as our previous records.” However, Dose Your Dreams does manage to sound streamlined, despite jumping from genre to genre on a track-by-track basis. The band’s secret ace in the hole, Owen Pallet (Final Fantasy, Arcade Fire), who has been contributing string parts for the band since Hidden World, has described Fucked Up’s latest as “their Screamadelica.” On a couple of tracks, such as the title track (which Pallet plays on) and Talking Pictures, it certainly seems like a fair comparison. Haliechuk is quick to distance himself from any obvious reference points however, suggesting “the idea was more about asking ourselves, ‘What haven’t we done before?’ Our last Zodiac single, Year of the Snake was one of the longest tracks we’ve ever written, so I feel we got that desire out our system so we could just concentrate on writing as many straight-up anthems as possible. There was lots of equipment in the studio we hadn’t used before such as synths, which drove much of the more electronic or danceable tracks on here simply because it seemed like a fun challenge.” It’s not an understatement to say that Dose Your Dreams bangs. On tracks such as I Don’t Wanna Live in This World Anymore for instance, the band have seemingly reworked LCD Soundsystem’s Call the Police into a punk song and it’s one of the most uplifting things you’re likely to hear this year. Part of the album’s diversity is that, for the first time, Abraham is no longer the singular lead voice on this record with both Haliechuk and Falco now taking on some lead roles, plus there’s a whole host of guest vocalists. “For the past ten years I’ve been the only member of the band without a microphone in

front of me when we play live, so it was largely me thinking ‘Fuck it, it’s time I stepped up,’” Haliechuk admits. “I was putting down guide vocals on the title track and The One I Want Will Come for Me and pretty much made the snap decision there that I was going to turn them into real takes, even though I don’t consider myself a frontperson at all, so I’m a little nervous about performing them live,” he laughs. While this is the first time in which Abraham had no part in the writing process Haliechuk does concede that it was his idea to “pick up David’s story again on this, and to have a whole host of vocals on this one, though I think that was partly to cover the fact he’s been away making a TV show about wrestling for VICE TV.”

“ We feel strongly about giving women an equal platform to perform, so we hope it’s inspirational in some way” Mike Haliechuk

Whatever the reason, an important factor of Dose Your Dreams’ success is the number of female vocalists who appear here. Sometimes in the lead role (Alice Hansen, Jennifer Castle, Miya Folick) or to complement Abraham’s voice in the case of Sauna Youth’s Jen Calleja on Raise Your Voice Joyce and Tell Me What You See. “I gravitate towards female vocals quite naturally and I think

they sound great next to Damian’s so that was an obvious choice, plus it was nice to introduce our friends to a wider audience,” Haliechuk considers. “Jen happened as a result of Jonah recording Sauna Youth’s most recent album, which then inspired the accompanying Raise Your Voice Joyce compilation, which is entirely female-fronted and serves both as a backdrop to Joyce’s character but also a celebration of important political female figures. We feel strongly about giving women an equal platform to perform, so we hope it’s inspirational in some way.” In places, Dose Your Dreams features some of the band’s densest work, harking back to their breakout album Hidden World, which they toured in celebration of its 10th anniversary while writing and recording their latest. While Haliechuk remembers that most of the album had been written by that point, there’s a spiritual connection to their debut in that “our main ambition was to write something really confident and hard, which I feel happened with Hidden World as our statement of intent out of our origins. Our last record, Glass Boys, was not us at our most confident so it was important to shake that off here.” Lyrically too, Dose Your Dreams can be an exceedingly heavy piece of work, but the looseness of the central themes keep it grounded as something relatable and digestible, which as it turns out was always Haliechuk’s main ambition. “I wanted to make a record that will help people and [that they will] find useful beyond music. It is about the revolution of everyday life, taking a look at [what] life is like now and reflecting on issues that affect all of us, such as being lonely and confused in a mass of people. We are just a group of normal people individually, but as a band we transcend that into something meaningful for others and this record is us reflecting upon that.” Dose Your Dreams is released on 5 Oct via Merge Fucked Up play King Tut's, Glasgow, 22 Jan 2019 fuckedup.cc/home

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Almost Famous We chat to Marie Davidson about her love of psychology, living in Berlin and finding herself on her fourth solo album, Working Class Woman

arie Davidson is just about the nicest interviewee you could hope to converse with. Softly-spoken but candid, she’s articulate, funny, very self-aware, and as equally happy discussing her cat Bolu and her Scottish heritage (“I like the idea of going to play in Scotland because my name Davidson is from Scottish heritage. My great, great grandfather was a Scottish immigrant,”) as she is her forthcoming album, Working Class Woman. Perhaps the ease with which she discusses her upcoming release is due to the fact that, as Davidson puts it, “I’m very excited, because I love this album.” Working Class Woman will be the French-Canadian artist’s fourth solo record (Davidson is also half of the Montreal-based minimal wave duo Essaie Pas with her husband Pierre Guerineau; the duo released their fifth LP New Path earlier in 2018) and she describes it unashamedly as “an egotistical album – and I’m okay with that. “I really like the music, for myself on a personal level, you know,” she states firmly. “I’m not trying to convince anybody – if they don’t like it, it’s none of my business, but on a personal level I’m very happy about the album. I feel like I’ve finally reached what I was trying to do with those previous ones, you know, I was still finding my way. I feel like it’s the fruit of six years of experimenting and finding my own language and finding my own sound.” Composed “half in Montreal and half in Berlin,” Working Class Woman is more self-reflective and more darkly humourous than any of her previous albums. Accordingly, the sound of Working Class Woman is also more direct – in parts, even agressively confrontational. Take, for instance, the track Work It, where Davidson spits in her self-described ‘spoken text’ over a skittish industrial beat: ‘You wanna know how I get away with everything? / I work / All the fucking time.’ Building on the more straightforward dancefloor appeal of 2016’s Adieux au Dancefloor, her new release explores a tougher electro soundscape as Davidson delves deep into her own psyche, examining her workaholic tendencies and the psychological strain brought about by a career immersed in dance music and club culture. Davidson laughingly describes Berlin as “kind of like the Disneyland of clubbers.” She says: “You can basically go out on a Thursday night and go back home on a Monday afternoon. You can do that without any problems. You can not stop if you want to. I’ve never done that, four days for me is too much. The first time I went to Berlin I did a three-day thing, it was amazing... I’ll never do it again,” she laughs. “Once was enough! “Unfortunately my body doesn’t allow me to do that, some people can; I feel like people that are a bit more disconnected from their bodies, they can afford that, but I can’t. I get really sick or... I get fucked up. I get fucked up in the head also. I get very depressive and I can get suicidal,” she admits frankly with a slight, wry laugh. “So I stopped doing that.” One thing Davidson is keen to stress though is that “the album doesn’t [specifically] address the club culture in Berlin. I think that a lot of people have been asking me a lot about that so I want to clarify, I happened to live in Berlin at that time, but I think in any city you can really lose yourself in going out. For me, it was also living in Berlin, but touring Europe all the time, playing festivals, club gigs. [The album] talks a lot about also travelling, airports, that schizoprenia of like,

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you know, you go from centre stage and a lot of attention when you’re performing to basically nothing. You go back to the airport and you’re lost in a mass of people. Airports can be very hostile. And then you go back home and you’re just on your own.” The physical and mental repercussions of touring are also examined at length on Working Class Woman. Opening track Your Biggest Fan sets an ominous tone with fizzing synths as Davidson adopts the persona of a faux-fan, drawling obsequious platitudes: ‘I loooooove your music / Are you in a band?’ For someone so acutely self-aware, how does Davidson reconcile a career that brings with it an inevitable element of fame? “I find it hilarious. I’m a musician. I make music... that could lead to fame, I could be a

rockstar. But I’m not,” she laughs “I’m a performer, I’m a little bit of an actress too I like to perform and play and dance and sing, but I’m not famous, you know what I mean? I’m really not famous. I’m very happy that people care about what I do. I take it very seriously. I feel lucky and I feel like I have to honour this attention that I get – I treat all of my fans with a lot of respect. When I can, I always take the time to talk to people who come up to me... but to be honest, I’m not famous. I’m almost famous,” she laughs. “I like the freedom that I have, that I can do whatever I want with my art.” This artistic freedom has allowed Davidson to craft a record that satisfies her own creativity and also opens the door for her to incorporate the subjects she feels most passionate about. It’s a piece of work that she is “very enthusiastic

about,” as she puts it. “I’m sure some people won’t like it,” she laughs, “but that’s great also. I don’t make art that is ‘even’, I’m not that kind of person. And I feel that with this album even more, it’s like some people will love it and some people won’t. And I know I’ll probably lose some of my fans because it goes a bit into another direction but that’s totally fine.

“ I like the freedom that I have, that I can do whatever I want with my art” Marie Davidson

Photo: Etienne Saint Denis

Interview: Claire Francis

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“I’m happy because I made the music for myself. I’m very pleased with the music. I find it fun, I find it heavy, I find it deep – it questions a lot of things and it addresses a lot of things. And I’m happy that I managed to introduce a little bit of psychology into it because psychology is my other passion in life.” Listening to tracks like The Psychologist, Workaholic Paranoid Bitch and So Right (the latter of which has been released as a single with a remix by John Talabot, who Davidson describes as “an amazing DJ, a really, really good DJ. One of the best,”), we suggest it would seem fair to describe Davidson’s new album as ‘intellectual dance music’. “You’re totally right!” Davidson says. “The album is mostly inspired by my life and my touring but also by films and books, a lot. I was influenced a lot by the movies of John Cassavetes... and writers, especially Carl Jung. I was reading a lot of Carl Jung when I was in Berlin a year and a half ago. [Also] Gabor Maté, a Canadian doctor who dedicated his life to understanding addicts, people really in need of help. I was also inspired by Alejandro Jodorowsky who wrote an amazing book called Psychomagic, which is kind of like my bible,” she admits. If all this psychological analysis seems at odds with the concept of a working-class woman, rest assured that in Davidson’s eyes the two are most certainly not mutually exclusive. “I really don’t like classes,” she states ardently. “I really don’t have the ambition to rise into society, you know? I’m not trying to social climb. I’m just happy to do what I do and to make music for a living. The whole album is about working, so I wanted to make a play on words with the woman that is working, you know? But also, I am a working-class woman. I’ve worked all my life. “Fortunately, or unfortunately, I didn’t go to school. I stopped after college to pursue my musical career. So I had to work, you know? I had a waitress job for nine, ten years. I had my share [of shit] from people. I always thought it was funny, I never took it personally. Well, maybe a few times I took it personally! But I always knew I was more than a waitress, you know?” She pauses and then continues, “And even if I was ‘just a waitress’, what’s wrong with that? I have much respect for working-class people. No one is better than another, I really believe that.” Working Class Woman is released on 5 Oct via Ninja Tune facebook.com/mariedavidson.official

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Still Sparkling The Skinny catches up with Stephen Malkmus of Pavement and ‘Jicks’ fame ahead of his welcome return to Scotland in October and finds him ‘laying low’ in Indiana

his month sees Stephen Malkmus and his band The Jicks make a welcome return to Scotland – a territory seemingly close to the former Pavement frontman’s heart – with a show at Glasgow’s favourite party warehouse, SWG3. “I have a long musical history with Scotland,” Malkmus recalls with fondness. “People were always really sweet and were really into Pavement.” When pushed to remember the band’s earliest trip over, he gets foggy, chuckling with moderate despair – “Oh fuck…” – but soon geeks out over some of the country’s finest exports: “We played one of Mogwai’s first shows,” he remembers. “They came down to London to play and they opened for Pavement. They just had these hilarious smiles on their faces, playing this big, giant room. They were just ‘havin’ it’ or whatever. There was just this youthful glee at making this big pile of noise. I’ll never forget that. “I remember I gave them a leg up in the NME or something too,” he smirks. “Yeah, Mogwai’s gonna be the future’ or whatever. It helped them, I think, although it’s not exactly why they were popular or anything. But when you’re a young group, it’s always nice to get a tip from somebody bigger; a commendation. Sonic Youth did that for Pavement.” When Malkmus chats to The Skinny from a hotel room in Indiana, “laying low” before a flight back to Portland, Oregon that afternoon, the now 52-year-old father of two sounds pretty much the same as he always has: laid-back to a fault and funny with a sort of youthful, carefree tone to his conversation. Kind of like he’s just out of bed, but he’s happy you woke him. Or at least, he’s cool with it. From waxing about his fun time playing Middle Waves Music Festival the night before and kicking it with the “really sweet dudes” in IDLES, to schooling us on Indiana and its storied rock history – from garage punk upstarts CCTV (“you gotta check them out on YouTube, they’re great”) and late-70s art punks MX-80 to state sons John Cougar Mellencamp and Axl Rose – The Skinny finds him in fine fettle. Or as he puts it: “just chillin’.” Malkmus’ seemingly effortless cool and permanent state of chill was, and perhaps still is, often clumsily interpreted as ‘slacker’ – although it’s a weird label to apply now to a legit adult with a family. Still, it was a label gratuitously applied to Pavement and others like them as a way of lending context to a combination of music and style that didn’t seem to care much about anything at all, least of all meeting expectations of fitting other people’s idea of what the band was. But that sort of tossed-off stream of consciousness sound and almost gleeful indifference often belied the effort that went into crafting some of the finest contemporary rock records ever made – headed up by easily one of the greatest and most criminally overlooked guitar players of his generation. Now 30 years deep into his career, Malkmus’ evolution from weirdo noise rock into the welloiled melody machine, responsible for songs such as Cut Your Hair, Gold Soundz and Range Life, continues on with his totally-not-new band The Jicks, close to celebrating 20 years together in their own right and now on their seventh album together, Sparkle Hard. Arguably the best Jicks album to date and riddled with some of the

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smartest songs he’s ever churned out, Sparkle Hard sees Malkmus’ past musical meanderings and sonic diversions converge into his fullest and most consistent piece of work for years. From tongue-in-cheek country (Refute – featuring guest vocals from Sonic Youth’s Kim Gordon) to heavy duty guitar workouts (Shiggy) and the delightful, very Pavement-y Middle America, the album taps into what Malkmus and crew have always done best, but ventures far enough into the wild to still feel new and exciting; peppering this collection along the way with a surprisingly tolerable use of autotune, mellotron, strings and piano among other unlikely flourishes.

stake in this and that however free-flowing his music may sound, historically right up to the day, there’s always been an intention, a push and heart to it. And while many artists would be quick to assume their own importance, it’s heartening to have a relative veteran like Malkmus be honest about wanting people to like what he does, even at this stage in the game. “I want people to hear it,” he says simply. “I want people to want to listen to it and to be part of people’s lives, so that’s the kind of participation I try to get with the music.” It’s probably safe to say it’s a job well done on that front, too. Sparkle Hard’s unanimous critical thumbs up makes it Malkmus’ best received

effort since debuting as a solo artist in 2001. And while we’re a good couple of decades on from the rabid fervour once recklessly levied at four guys and their guitars or whatever, it would appear that armed with a new sack of tunes about as good as anything else he’s hammered out and the anticipation for his upcoming tour already palpable – in millenials and younger too, not just grunge nostalgists and Generation X-ers – Malkmus is still as relevant as you want him to be. Stephen Malkmus and the Jicks play SWG3, Glasgow, 18 Oct Sparkle Hard is out now via Domino stephenmalkmus.com

“ I want people to want to listen to it and to be part of people’s lives, so that’s the kind of participation I try to get with the music” Stephen Malkmus

The stomping and indignant Bike Lane is also notable for making an unusually direct lyrical reference to Freddie Gray, a young man killed by police in Baltimore in 2015 – a catalyst in the eruption of the Black Lives Matter movement. As part of a wider indictment of petty, privileged concerns in one part of the country – like fussing over the titular new beautiful ‘bike lane’ in one’s city – while horrible things are happening in others, the song is particularly moving in a way it might not have been if the name was changed or the reference was buried under clever word play. While Malkmus has often maintained in interviews that the onus when interpreting a song and its meaning lies firmly on the listener, more than unpicking or unpacking it or pinning his colours to the mast, he pretty much just wants you to like it. “It’s a whole package thing, [the music and the lyrics],” he says. “It all holds each other together. There’s not one without the other. I mean, sometimes I find myself just sort of reciting lyrics at shows every night to the point they’re devoid of meaning because they just become sounds, like the guitar. But early when you’re writing them and deciding what they mean on paper you try to get emotional resonance.” When asked if he would care if the lyrics were lost on someone, despite his best efforts to communicate something – especially something poignant or serious – it seems to not be much of a concern, as long as you can take something from it. Or, as he puts it better himself: “I want people to like it for whatever reason... I want to be liked!” he laughs. As he continues, it becomes clear he’s got a

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Photo: Giovanni Duca

Interview: Ryan Drever

THE SKINNY

Get Into The Groove Ahead of playing Terminal V’s massive Halloween party, we chat to The Black Madonna about her friendship with Optimo, her sterling work with gender parity in music and the good and bad aspects of being “a dinosaur internet raver” The Skinny: You seem to have a real affinity with Scotland. You’ve especially spoken fondly about Optimo; your b2b with them at the Optimo 20 gig last year was seriously one of the best club nights we’ve ever been to. Do you have good memories of that night? The Black Madonna: “I love those guys. The first time I went b2b with Optimo was back at the Sub Club. It was such a huge moment for me. A b2b is kind of like going on an internet date, you know. You sit down to eat and you know within a few minutes whether it’s going to be great. I mean, they’re just such great people and I have such a tender place in my heart for them. And not just musically; I just liked them. Sometimes you meet people that you have admired from afar and they’re enormous assholes, but I was very lucky that these guys were just exactly as I hoped they would be. They’re both super fucking weird and funny and that’s why I like them.” You’re a big part of Smirnoff ’s Equalizing Music initiative, which aims to bring electronic music closer to gender parity. How was that experience? “It’s been awesome. Let’s be honest here: there are all kinds of these Spice Girls, girl power, feminism initiatives happening in marketing, and it doesn’t have anything to do with affecting actual change. But Equalizing Music had a very serious agenda: they said ‘we want to double the number of women headliners and for your first date we want you to go to Uganda and meet all of these women and go learn all these alternative leadership styles.’ And I

The Black Madonna

stayed close with all of the women I met and later brought DJ Rachael back to Chicago, and she came and stayed with me in London. “It didn’t seem that confusing to me that a systematic problem would probably benefit from a systematic solution. It’s been nice to see, and we’re one of many programs like this that are going on. I think the idea of gender equality in music has entered the zeitgeist and there are many people doing work in their own ways. Every-

one has a role to play; this is mine, but there are a million other pieces. But what a nice thing, to have been a part of that zeitgeist. And hopefully we see permanent changes, which will resist an otherwise somewhat hostile environment.” A big part of making this issue part of the zeitgeist is voices like you on social media. There are obviously many toxic aspects to the internet too. Do you feel it’s a force for good?

Photo: Aldo Paredes

Interview: Claire Francis “I come from the beginning of the internet. I was a person that was on the rave chat rooms and all that stuff; I’m like a dinosaur internet raver. I have been an extremely online person for a long time, so on one hand I have loved it because I’m connected, in the truest kind of utopian vision of the internet. I truly have connected with so many people because of it and it’s been a big part of my life in a wonderful way. But then, you know, that rape threat in the inbox just never gets old. I’m like, come on, buddy? I mean, that doesn’t happen all that often with me, but people are just such fucking assholes. “The worst thing is, when you crossover in any kind of way into the popular imagination, you start to see even people you know talking about you like you are an idea and not a person that’s, like, 40 years old and staring at their phone in the airport. Even with people I know casually, some of them I’m like, ‘We’re friends on Facebook! Why are you talking about me like this?’ There was a period of a year where I really was not handling that bit of [fame] well. I mean, I put up a cheerful face, as one does, but I didn’t like it. It was right when I really started to break through and I had a lot of long discussions with my husband, my friends and my therapist, God help her – it was very difficult. People would do all kinds of wackadoodle stuff. But then there’s the other side. Once you get through it to the degree that anyone does, it’s very freeing.” The Black Madonna plays Terminal V, Royal Highland Centre, Edinburgh, 27 Oct facebook.com/theblackmadonnachi

Let’s Push Things Forward Midwest rave veteran and outspoken activist, Lisa Smith is finally getting the international recognition she deserves. Ahead of her slot at Maximum Pressure, we catch up with Noncompliant

isa Smith made her Scottish debut at La Cheetah Club back in March, a performance that still stands as one of the most powerful and impressive we’ve seen all year. Hailing from small-town Indiana, Smith, who also DJs under the moniker DJ Shiva, has been described by friend and fellow artist The Black Madonna as ‘one of the most exciting producers in techno’. And yet Smith’s reputation internationally has been, until now, inexplicably understated. Ahead of Maximum Pressure, we asked her to share her thoughts on everything from feminism and politics, to techno and cats. The Skinny: Firstly, we’re really looking forward to seeing you play again. What are you most looking forward to about Maximum Pressure? Noncompliant: “My first gig in Glasgow was for Missing Persons Club and it was a sweaty, fun, good time after a horrific travel experience. The people were absolutely lovely and really put me in a great mood after dealing with a highly stressful 24 hours. I am really looking forward to seeing some of my old school techno heroes, notably Slam and Dave Clarke, as well as newer favourites like Blawan and Nightwave (please Universe, let me have gotten some sleep so I can catch them all playing). And of course, personally giving the soundsystem a good workout.” You’ve been DJing for years but have only

October 2018

recently become widely recognised internationally. You must be pleased to finally be experiencing this long overdue breakthrough? “It’s nice that more folks are finally digging what I’m doing, for sure. I’ve always known that it would be hard being from a place (Indiana) not known for techno (even though a fair number of techno folks whose names you might know are from here), but I am very persistent and my love for techno kept me going – and now here we are. And yes, the industry may be fickle, but I have no control over that so it’s a waste of energy to worry about it. My theory is just “be more awesome” and if success happens, it happens.” Your new DJ name Noncompliant references the feminist comic book Bitch Planet. What does feminism in 2018 mean to you? “Women speaking out, stepping up and not putting up with shit from anyone.” What are the biggest obstacles and challenges for women in the dance music industry, in your eyes? “The same ones women face in ANY industry, to be honest: people listening and respecting us when we speak about our own experiences or our abilities. The constant infantilisation of women means so many are treated like we have no idea what we’re talking about when the subject is our lives or our expertise in our field. We’re not

stupid, we understand how things work, and we’re capable of learning and doing things as much as any other person. “I mean, I once had a guy express wide-eyed incredulity at the fact that I, a grown woman, could plug turntables into a mixer. If I can plug in a lamp, I can plug things into a mixer, for fuck’s sake. That’s a shockingly ridiculous mentality, but it persists, despite all evidence to the contrary, because it makes it easier to rationalise the absence of women in professional spaces, while simultaneously making them feel like they don’t belong. If you think women are incapable and that’s why they don’t succeed, you never have to face that they’ve been set up to fail by people who don’t want to have to compete with them.” Do you think politics is inseparable from the dance floor? “I do think it’s inseparable, because politics affects all of our lives whether we realise it or not. It affects us in the obvious ways (especially women, queer people, people of color, poor people and all the usual folks for whom laws tend to work differently). “As far as an obligation, I think that’s always a very personal thing. I was a feminist and an activist long before I was ever a DJ. That’s just who I am... We always have to work (and sometimes fight) to make things better. Progress is neither the simple product of time moving forward nor is it

CLUBS

Interview: Claire Francis accidental. It is always the product of the hard work of good people who want a better world for everyone in it. And of course, some people do the work in other, quieter ways too. There’s no one perfect way to positively affect the world. It’s important to remember that.”

“ I am very persistent and my love for techno kept me going – and now here we are” Noncompliant

Finally, what makes you happy, and what makes you laugh? “Cats, because they are funny, furry, lovable weirdos.” Noncompliant plays Maximum Pressure Halloween 2018, SWG3, Glasgow, 27 Oct Read the full-length version of these Q&As at theskinny. co.uk/clubs noncompliantmusic.com

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Unfinished Business Back from the dead and stronger for it, Allison Crutchfield and Kyle Gilbride talk the unlikely resurrection of Philadelphia’s premier purveyors of lo-fi, Swearin’

Interview: Joe Goggins

to look too far beyond the next tour. With the departure of bassist Keith Spencer, who contributed vocals to Surfing Strange, the remaining trio struck a deal; they would aim for a dozen songs, with Crutchfield and Gilbride writing and singing on six each. That’s how it turned out too, although Gilbride made the late decision to cut one of his that dated back to 2015. “Kyle and I had a few conversations on the phone about the themes and the lyrics,” says Crutchfield, who worked on her tracks remotely in Los Angeles before sending them over. “We wanted to make sure that the songs intertwined, that they sat comfortably next to each other.” Crucially she’d already worked through their break-up on Tourist in This Town, freeing her up to return to the universality of her past work with Swearin’.

“ I definitely jumped the gun on saying so adamantly that the band couldn’t exist any more” Photo: Ali Donahue

Allison Crutchfield

ighteen months is a long time in indie rock. At the start of last year Allison Crutchfield released her first solo record Tourist in This Town which marked a series of departures for her. Geographically, she was about to leave the Philadelphia scene that nurtured her as a DIY artist for a new life in Los Angeles. Musically, she swapped the rough and ready guitar that had been her calling card for so long and jumped feetfirst into electronic experimentation. Thematically, she was writing less about the universality of her experiences, instead tapping into a deeply personal lyrical well. Tourist in This Town was a break-up record; in 2015 she split from her Swearin’ bandmate Kyle Gilbride. In interviews last January around the time of the album’s release she confirmed the grimly inevitable – that the pair’s creative relationship had collapsed under the weight of the failure of its romantic counterpart. Swearin’ had been sworn off. “I felt like we had unfinished business,” says Gildbride of the prospect of a third album, one that appeared dashed when he reluctantly agreed to call time on the group nearly three years ago. “I always thought that the third one was going to be the moment when we truly represented ourselves. That was going to be when we got it together, where our musical personalities felt fully formed, where we’d get to make a bit of a statement. I already had some songs for it. And then the opportunity was gone.” The band had continued to play shows for six months after Crutchfield and Gilbride broke up; by that point they had been touring and recording pretty relentlessly for four years. Both were beginning to sense that an amicable relationship was not going to be sustainable amid the rigours and claustrophobia of the road, and also

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that whatever music was to spill out of them next was likely to be sharply informed by mutual heartbreak. The decision to park Swearin’, we suspect, was made out of self-preservation, out of an instinctive need to avoid environments in which these fresh emotional wounds would be unable to heal. “We had to give it a rest,” recalls Gilbride. “I think that if we’d carried on we wouldn’t have been too far away from the point where we’d be totally zapped, where we’d end up hating each other. It wasn’t going to be a good vessel to be expressing things through at that moment in time.” And yet, less than two years since Crutchfield had apparently consigned the band to the painful pantheon of groups that stand as a testament to the wisdom of keeping personal and professional lives separate, Swearin’ are back, and Gilbride’s hopes for a third LP weren’t forlorn after all. Not only that, but Fall Into the Sun genuinely does feel like precisely the kind of record he’d been envisioning before the band hit the buffers first time around; if 2012’s Swearin’ was the sound of them finding their feet and its 2013 follow-up Surfing Strange had them giddily throwing noisy ideas at the wall and seeing which of them stuck, then Fall Into the Sun is their grown-up album, scored through with assurance and the deft touch of lo-fi indie rock old hands. It’s still irresistibly hooky and consistently fun, but the boisterousness of old is now presented coolly with a new-found poise and aplomb. “I definitely jumped the gun on saying so adamantly that the band couldn’t exist any more,” says Crutchfield, reflecting on the press cycle for Tourist in This Town. “In the end all it really took was for us to re-examine the policies we had set in place to begin with and look at the band

through a different lens. We had a series of jokey conversations and then one serious one, and now here we are with a new record.” Crutchfield has spent much of the last year-and-a-half on the road with her twin sister Katie as a member of her touring band Waxahatchee – often opening the shows with her own solo sets. It seems improbable, everything else aside, that she would have found the time to work on a new Swearin’ record, but her position as a “hired gun,” as she puts it, in Katie’s outfit was what led to her being back in the same room with Gilbride and drummer Jeff Bolt. “We were backstage at the release party for Out in the Storm,” Crutchfield explains, referring to last year’s fourth full-length from Waxahatchee. “We were in the dressing room after the show, the three of us, and we managed to get together in the corner of the room and talk – albeit drunkenly – about whether it would feel good to start working together again. It was a really funny, really nice conversation. We all agreed that we missed it, and the plan was hatched there, I guess.” Gilbride remembers the episode slightly differently. “Allison twisted my arm a little bit,” he laughs. “She suggested that maybe we should play some shows and I wasn’t sure about that. But then she said, ‘Maybe we should try to make that third album,’ and that’s how she got me – she knew I’d been wanting to do that. It got me excited about our dynamic again.” Resurrecting the band involved some fairly meticulous planning and an openness of communication about what each of the three players wanted out of its future; as Crutchfield and Gilbride readily admit, this is not something that would have come naturally to them last time out, with their younger selves both predisposed not

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“The solo album felt like I was ripping off the Band-Aid,” she says. “It was super cathartic and it helped me deal with a lot of very personal stuff. Not just the break-up with Kyle, but the break-up of the band too, which affected me very deeply – almost as much, to be honest. There was a lot of sadness and anger and resentment about having to press pause on Swearin’, and now that it’s out of my system it opened me up to writing again about things that are sort of personally political instead. You know, growing up, getting older, being this punk ageing within a scene, and falling in love again.” It’s an incredible turnaround, but speaking to both Crutchfield and Gilbride, there’s a strong sense that they feel as if Swearin’ is better for the break they had, and better for the circumstances of it. The youthful abandon of their first iteration was probably never going to be viable in the long-term, but the difficult emotional truths that the break-up forced them to tell each other has allowed them to carve a new path for the group with their eyes wide open. As they head out on an extensive tour behind Fall Into the Sun, it’s as if Swearin’ are only now, for the first time, really getting going. “When we first started touring we were so DIY and so frugal, and so ‘We Jam Econo,’ you know?” laughs Crutchfield. “We never got hotels, we’d cram ourselves into the smallest cars, we’d find the cheapest possible gas. We partied a lot; we loved to drink and stay up late. We’ve had to reckon with the fact that we’re all a bit older and that we don’t necessarily want that all the time any more. I think we’re stronger for that compromise. There’s still a little bit of the old feral energy – we’ll always be kind of rough around the edges – but we’re more mindful of the future now, too. We’ve turned a positive corner.” Fall Into the Sun is released on 5 Oct via Merge Swearin’ play Nice ‘n’ Sleazy, Glasgow, 1 Feb 2019 facebook.com/swearinband

THE SKINNY

October 2018

Human Performance They Can’t Kill Us Until They Kill Us uses music and culture as a lens through which to view the world. As the book publishes in the UK, we talk to Hanif Abdurraqib about his incredible collection of essays

t’s fitting that we talk to Hanif Abdurraqib on World Suicide Prevention Day. Threads of tweets, stories and messages on social media echo the strands that run tightly throughout his latest book of essays, They Can’t Kill Us Until They Kill Us. It’s tough to write about music at all without the concept of the ‘tragic artist’ coming up again and again. Indeed, it’s been just three days since Mac Miller passed away – a man who was open about addiction and mental illness – and the front pages are full of overdue talk about male mental health, particularly in the music industry. In They Can’t Kill Us Until They Kill Us, there’s one sentence in a short essay titled Brief Notes On Staying // No One is Making Their Best Work When They Want To Die that states: ‘I’d rather have average art and survival than miracles that come at the cost of someone’s life.’ Of course everyone, creative or otherwise, has moments of despair, of grief, and of hopelessness. But what Abdurraqib is most interested in, and what has to start changing, is the celebration of pain and the glamorisation of tragedy that encourages those producing these kinds of work to stay in that dark place, with no imperative to climb out. However, to a certain extent, it’s all supply and demand. “People like to see themselves in someone else’s demons to try to make sense of their own,” says Abdurraqib. “It’s a way to make themselves feel less alone. That is essentially why the tragic artist still has such currency.” While a lot of attaching oneself to the notion of a troubled artist or a tragic persona is rooted in this idea that we’re all aching to not feel as alone as we might normally, there is also the sense of performativity in pain: nihilism on social media is favoured by millenials and Gen Z as a way to approach awkward and difficult topics. “Performing a desire to not want to exist is a way to not have to discuss the very real implications of what that means for a person,” he says. “I think it’s where we are: we’re at a place via social media where we’re performing versions of ourselves that are often heightened and more extreme versions of who we really are.”

“ People like to see themselves in someone else’s demons to try to make sense of their own” Hanif Abdurraqib

What this has to do with Abdurraqib’s book is the number of times ideations of death, grief and suicide have appeared throughout his life. Months after he saw the Notorious B.I.G.’s body being carried through Brooklyn, his mother passed away from complications due to medication she was taking to fight bipolar disorder. He didn’t see the missed call from his friend Tyler until 5.30am, when it was too late and wonders,

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in words woven through memories of Fall Out Boy gigs, about the what ifs. He talks of Trayvon Martin, of Sandra Bland, of Michael Brown Jr, all victims of police brutality, and whether – despite brief moments during Obama’s time at the White House where musicians of colour were welcomed, however superficially, into politics – it will ever be safe to be black in America. His essays punch through music to reveal what’s behind the songs. “When I was a young kid, I had a strong interest in music and wanting to articulate the stories underneath it,” he notes. “So I spent a lot of time journaling about music, and writing concepts and ideas about the songs I was listening to, trying to give them a longer and more interesting life.” And he achieves this, thanks to a combination of his lyrical writing and an intimidating knowledge of music. It’s clear he’s a poet from the way he brushes words across the page into raw, evocative scenes. The black kid passed out in a pit at a Brand New show demonstrates the spaces in which people of colour are ignored and stepped over. An obsession with sneakers ties in with Foxx, Lil Boosie and Webbie’s Wipe Me Down and the importance of stunting, and he turns Nina Simone’s Pirate Jenny into a wild history of black oppression, being ‘out of control’, and riding through the storm. It’s not as if They Can’t Kill Us Until They Kill Us is a depressing read; far from it. Expressions of joy, love and – in particular – touch run alongside their more sobering counterparts. At a Carly Rae Jepsen concert, Abdurraqib notes unapologetic acts of emotion and love from the people around him; this is juxtaposed somewhat, two essays down, where The Weeknd proves that touch without love is just as important. But with each glimmer of joy, there’s a nearinstant tempering of excitement – joy in itself is not enough. Joy without activism is not enough. If you allow yourself to have a good day, to watch TV, to eat well and to have good sex, then all you’ve achieved is a day where you watched TV, ate well and had sex. “I’m a little cynical, perhaps,” Abdurraqib admits. “I don’t think this can ever be resolved, but I do think that honesty around the complex notions of the things we feel is as close to a resolution I’m willing to get. Joy is great, but it’s something that has to be learned, and not something people have access to in equal measure.” Without wanting to speak for everyone, what Abdurraqib is aiming for in the book, and in life in general, is the perpetuation of joy. “Not how can everyone get to the same level and the same type of joy,” he says, “but how can people prolong it and hold onto it for as long as they can in their lives. And how can people keep their eyes trained towards smaller moments of joy and appreciate those.” Overall, the most important things for Abdurraqib are what readers take away from They Can’t Kill Us Until They Kill Us. First, there’s the underlying ribbons of mental health, and how important it is to share your struggles, if you’re in a position where you’re able to. “I’m trying to make sense of my own internal messiness and attempting to find some understanding of my own tortured interior,” says Abdurraqib. “Now, what comes along the way with that is I get to have a dialogue with people who share whatever struggles I have. I’m glad I get to have that conversation as a by-product of my

writing and by being a public figure.” There’s no denying though that it’s an intense love of music and writing about music that drives Abdurraqib. The most important thing, at least in terms of this collection, is that it could be used as a conduit for people to find a part of themselves within the pages, and find that there are others with whom they can discuss their most intimate thoughts and feelings about music. “If there’s one thing I hope that gets taken

BOOKS

Interview: Kirstyn Smith

away from the book, it’s that people see a pathway to talk about the things they love,” he says. “One of the greatest things about this book has been that I’ve been able to have conversations with people about songs. And that’s immensely important to me. I’d like for that to continue.” They Can’t Kill Us Until They Kill Us is out Oct 4 via Melville House. abdurraqib.com

THE SKINNY

Photo: Rachel Maclean

Brutalist Barbie Dreamhouse Like razor-wire wrapped in candy floss, Rachel Maclean returns with Make Me Up, which imagines St. Peter’s Seminary as a candy-coloured phantasia filled with women forced to compete against one another. She tells us more about this strange world

he work of Glasgow-based artist Rachel Maclean is a riot of colour, but then so is a coral snake. Her wild style takes its influences from children’s films and fairy tales, pop music and reality TV, social media and meme culture, using these cosy aesthetics to create caustic satires of our modern world. She’s best known for her candy-coloured video work that employs green screen to place her characters in computer-generated worlds in which the oppressively cheery visuals clash with the films’ troubling narratives. Take her most recent film, Spite Your Face, which represented Scotland at the Venice Biennale last year. A 37-minute loop, it took the form of a disturbing riff on Pinocchio to explore consumer culture and the rise of the far right and populism across Europe and the States. The surface of the film shimmers gold, but beneath the kitsch there’s cruelty and darkness: it’s razor-wire wrapped in candyfloss. Maclean is poised to send another bright but spiky project into the world this month with her first feature length film, which makes its bow at London Film Festival ahead of a nationwide tour and television broadcast on BBC Four. Titled Make Me Up, Maclean was invited to make the feature by Scottish production company Hopscotch Films and Glasgow-based arts company NVA, which sadly closed before Maclean finished the film. The brief was a curious one. “NVA and Hopscotch came to me and asked me to make a film about civilisation, kind of in relation to the Civilisation series from the BBC, but also in relation to St Peter’s Seminary,” Maclean tells us by phone from London, where she’s preparing for her solo exhibition at the Zabludowicz Collection, which includes Maclean’s first virtual reality work, I’m Terribly Sorry. If you’ve seen Maclean’s films you’ll know that the thought of entering one of them using a VR headset is terrifying. Her starting point for Make Me Up was to look back at the seminal BBC series. “I thought that there was quite a lot of mileage in using Kenneth Clark’s voice,” Maclean explains. “I thought there was a humorous way that I could use it to explore his canonised vision of art history, where women don’t really factor in unless they’re naked sculptures or paintings. So I’ve kind of taken a feminist angle on his vision of art history, but then fitted that in within this larger narrative.”

October 2018

This is where St. Peter’s Seminary comes in. NVA had been working towards restoring this modernist masterpiece, which has sat abandoned since 1980, but the arts company folded this summer after it failed to secure future funding, leaving St Peter’s in ruin. The extraordinary building does rise again in Make Me Up – digitally at least. Maclean has reimagined the distinctive structure as “a Brutalist Barbie Dreamhouse, which is partly a reality TV show and partly kind of like a church congregation with sermons.” The film follows a young woman named Siri who finds herself trapped in this strange building, where a group of women are being put through a series of humiliating trials by The Figurehead, who speaks entirely in sentences taken from Civilisation’s audio track. This lip-synching of found audio is a technique Maclean often turns to. She’s used political speeches, dialogue from Hollywood movies and songs from Disney musicals in previous films like Feed Me and A Whole New World. The research process is laborious, but the results are often disturbing and hilarious. “I find when you sit down and write dialogue for a plot, it’s very hard not to have the characters telling you the plot,” she explains. “How do you get them to say this thing to move the plot forward? But I quite like the odd disconnect you get when you’ve got the plot happening but the dialogue is kind of another layer on top of that.” Maclean clearly had fun repurposing Clark’s stuffy windbaggery. “Something about the way he says things gives what he says a kind of ritualistic, nonliteral quality,” she says. “And there’s always these other layers, which is sort of talking about history and art history. I trawled Civilisation with some help for weeks, just pulling things out and working out where to put them. I hope that it gives this kind of surreal tone to it.” Sometimes it doesn’t even matter what Clark says, it’s how he says it. “It’s such a particular upper-class voice of that era. It really relates to this specific western, specifically British voice of white male power, and I like the fact that that just comes across even in the sound of his voice.” Make Me Up couldn’t feel more on the pulse of today’s cultural conversation. The dreamhouse in which Siri finds herself trapped may look cute, but it’s far from benign. As well as competing

against each other for survival, the women are starved, confined to cells and watched by ogling mechanical eyes that drop from the ceiling, punishing the women if their demeanour doesn’t conform to what’s expected of a “good girl”. It feels like a direct response to the #MeToo era, but Maclean explains she’d been working on Make Me Up long before the myriad stories of abuse in Hollywood broke last summer. “I think it was kind of around about the time of the film shoot when a lot of it came out,” recalls Maclean, “But it’s been an amazing year. It feels like so much has changed in people’s perception of certain issues. It’s a very significant moment in that it feels like for a long time we’ve been pretending that feminism is no longer something that women need, that we’ve already achieved the equality that we were looking for. Whereas it seems like we’re now in this moment of reckoning where we’re like, ‘no, no, there’s still a long way to go and there’s still a lot of problems,’ and that shouldn’t be ignored.”

“ If I’m being optimistic, I’d say that we’re in a moment where we’re witnessing the death throes of the patriarchy” Rachel Maclean

Perpetuating the misogynistic ideas in Make Me Up and inflicting all this suffering on Siri and the other women is The Figurehead, played by Maclean herself. It’s certainly not unusual to see Maclean in her films; she plays all the parts herself, usually under mountains of makeup, prosthetics and elaborate costumes. What’s unusual in Make Me Up is that for the first time

FILM

Interview: Jamie Dunn

she’s sharing her candy-coloured vistas with other actors. “That part was really fun. I was so lucky that the cast were amazingly talented. And so incredibly tolerant: we had to shoot it in this very cold, massive room in the middle of January, and a lot of them were wearing costumes that were not designed for it.” Working with and directing actors did prove a learning curve, though. “I hadn’t really thought too much before about the style that I act in, I guess because I’m not an actor, I just did it.” Once Maclean got her cast on set, however, it became clear to her that her own acting style isn’t one endorsed by RADA. “I realised I was asking them to do something unusual: I wanted the actors to approach it in this kind of exaggerated, hammy acting style. They were maybe used to playing with more subtlety, but they all got on board with the themes in film and with the idea that overacting can contain loads of subtleties too.” Make Me Up ends on an ambiguous note. When it comes to gender inequality, it’s difficult to tell if Maclean sees the glass half-empty or half-full. “I don’t know quite what moment we’re in at the moment,” she admits. “I think in some ways, if I’m being optimistic, I’d say that we’re in a moment where we’re witnessing the death throes of the patriarchy. There are all these kind of alt-right reactions against feminism and there are figures like Donald Trump, who represents a very conservative idea of gender, but if I’m being optimistic, I’d say that these are just the last wee gasps of something that’s on its way out. But then I start thinking about it from the other point of view and think, no, actually what’s happened is that up until now we’ve not quite admitted to ourselves how far we’ve still got to go before there’s any feeling of equality between men and women and that there is still a lot of work to do. So I guess I’m just trying to work through ideas, and work out where we are now and how far we have to go.” Make Me Up has its world premiere on 12 Oct at London Film Festival, before a UK tour which includes GFT, Glasgow, 14 Oct and Filmhouse, Edinburgh, 16 Oct, both of which include post screening Q+As with Rachel Maclean Make Me Up will be broadcast on BBC Four in November; date tbc Rachel Maclean is currently at the Zabludowicz Collection, London until 16 Dec makemeupfilm.com

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A Home from Home With Edinburgh’s venerable Filmhouse turning 40 this month, we invited its staff and regulars to recall their favourite memories of the capital’s much-cherished arthouse cinema

through the back door, and you went into what’s now Cinema Two and the rest of the building was just abandoned. We came in with our history class; our teacher was into his movies and he brought us to see Spartacus. I remember we were given a very stern lecture about not dropping one single sweetie on the ground.” Cinema One didn’t open until 1982, and the first film to play in the mint fresh theatre might surprise you. Hickey: “That’s one thing that is probably not publicly very well known. It wasn’t a public screening, but a Saturday night screening for the architects and all the people who worked on building Cinema One: we showed them Flash Gordon. We wanted to show them the biggest and loudest picture we could get our hands on in 1982. It was a great experience and technically it was just brilliant – after all those years to suddenly see the whole thing lit up and hear that incredible sound. And the curtains we put up that night are still the same curtains; we’ve lasted.” The Filmhouse did eventually get its grand opening in 1985, and that was similarly memorable. Hickey: “We did have an odd night when the Duke of Edinburgh came to officially open the place. We showed The Emerald Forest and people near him reported that he was quite animated throughout. He was saying things like ‘What a bloody idiot! What’s he doing now?’ He was kind of muttering to himself as if he was watching it at home in Buckingham Palace.” As a student in the mid-80s, Rod White, the current Head of Filmhouse, was a regular. “I think the first film I saw there was One from the Heart, the Coppola film. That must have been around 1983. As far as I was concerned, Filmhouse had been here forever. Little did I know it couldn’t have been much more than four years old then. And I used to come to the Wednesday matinees. They were only 50p, so it sold out every week and, you know, if you arrived too late, the queue would be out the door and down the street. So, as impoverished students, me and my friends learned to get here early.” Jenny Leask, former Filmhouse programmer and legendary former host of Filmhouse’s fiendishly difficult quiz, reckons her first visit was to

1996 EIFF Team

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Jim Hickey

see The Man With Two Brains during a Steve Martin season, but her favourite memory of the place is more recent. “About eight years ago, I went to a screening of The Wizard of Oz with some friends and their kids. It was in Cinema One and was sold out, with lots of young children in the audience. When Dorothy’s house landed in Oz and she stepped out from black and white into the most glorious Technicolor, the cinema was absolutely silent. I glanced to my right and left and saw a dozen young faces, completely enthralled by a film made more than 70 years previously. Pure movie magic.” Leask’s quiz host successor, Filmhouse Programme Coordinator Raymah Tariq, reckons Filmhouse has rejuvenative powers. “One evening, a friend had asked me if I wanted to go and see Bringing Up Baby. I had a terrible cold and was feeling dreadful but I dragged myself out and ventured into the cold and the rain to get here. I think it is still probably the film I’ve laughed the most at out-loud, pretty sure it cured me!” A regular at Filmhouse and its quiz is film critic Ross Maclean, who has a less wholesome memory. “I remember sitting down to see Irreversible in Screen One during Edinburgh Film Festival in 2002. I was with school pal and not-yet Telegraph film critic Robbie Collin. Before the film started, we both noted that sat in front of us was Mark Kermode – from the radio and the telly! A few minutes into the film, a gentleman a few rows in front fainted at the first shocking acts of violence and a gallant Kermode rushed to his aid. Robbie and I possibly could have also rushed to his aid, but we were transfixed and it looked like it was in hand.” The list of master directors who’ve visited Filmhouse over the years is staggering – Martin Scorsese, Andrei Tarkovsky, Dennis Hopper, Terry Gilliam, Michael Palin, George Miller and Nic Roeg are some of the filmmakers that Hickey cites as memorable guests during his tenure. David Boyd recalls one particularly exacting filmmaker who visited. “Béla Tarr, the Hungarian director, managed

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to get into the projection booth through a locked door when we were screening The Man from London. We swear that he must have turned into a mist and come underneath the door as vapor. His films, they’re all in monochrome and very dark, so he doesn’t want any stray light coming from the projection room. But, of course, the projection room is a working space, so you need to have light to see what you’re doing. He came to tell us he didn’t want any stray light coming from the projection booth, so we were left to basically work completely in the dark. That was a bit challenging but the man was thoroughly charming, you’d do anything for him.” As well as the movies and the illustrious guests, Filmhouse’s Front of House Supervisor Andrew Naylor says the biggest perk of working at Filmhouse is its patrons. “I’ve loved working here for the people I’ve met – from the regulars who think of it as their second home, to people like Mark Cousins and I, Daniel Blake writer Paul Laverty. A woman was in recently who I hadn’t seen for six months – she’d had a hip replacement, and Filmhouse, the place she missed most, was the first stop after getting out of hospital.” Speaking of filmmaker and former EIFF Artistic Director Mark Cousins, he recalls a formative screening at Filmhouse in the late 80s. “I saw Japanese documentary The Emperor’s Naked Army Marches On there. It completely changed my filmmaking and led directly to my doc about neo-Nazis. It set me on a new course as a director. Thank you, Filmhouse.” If it isn’t clear, Filmhouse is many things to many people. Long may it reign. Filmhouse have been marking its first 40 years with a programme of films, one plucked from the programmes of each year since 1978. The Bitter Tears of Petra Von Kant (5 Oct), Cría cuervos (8 Oct), Gertrud (7 & 9 Oct) screen in Oct In addition, Filmhouse Members can attend The Apartment (9 Oct) or recent Palme d’Or winner Shoplifting (30 Oct) as part of the cinema's 40 year celebrations A longer edit of this article, with more memories, can be found at theskinny.co.uk/film filmhousecinema.com

THE SKINNY

Photo: Courtesy of Filmhouse

reat cinemas are more than just buildings in which we watch movies. They’re meeting places, where we go on dates or to catch up with friends; they’re sanctuaries, decompression chambers, places to escape your own head for a few hours. They’re places of learning, of inspiration, places to feed your soul; they’re where we go when we need a laugh or maybe just a good cry; they’re places where you can switch off but also places that get you thinking. Every city needs at least one great cinema. Glasgow has the GFT, Manchester has HOME, Bristol has Watershed and for 40 years, the people of Edinburgh have had Filmhouse. In 1978, work began on transforming this old Presbyterian Church on Lothian Road into a different kind of place of worship. But Filmhouse didn’t become the beloved cinema it is today overnight. As you can probably guess from wandering its slightly awkward corridors, the Filmhouse we know and love was put together piece-meal. Its delivering into the world was a breached birth; it opened initially from its backend, as Jim Hickey, Head of Filmhouse from its inception until 1992, explains: “There wasn’t a glamorous opening or anything. Basically we were just operating in Chuckie Pend, the back lane behind Filmhouse. Our first cinema, which we now call Cinema Two, was basically built out of what was effectively just an outhouse, a sort of old stone shed at the back of the building.” One person who recalls these early years is Edinburgh author and Filmhouse regular, Ian Rankin. “I arrived in Edinburgh as a student in 1978, and I was living round the corner in Morrison Street: Filmhouse was basically a home from home. It was accessed by going down a tiny scary alley that was right next to our flat, and you’d go in to see films like Eraserhead – imagine that as a date film? Well I took a girl there to see that! It didn’t work out…” Filmhouse’s Head of Technical, David Boyd remembers his first visit to his future place of work. “If you read the blurb about the early days,” says Boyd, “it says you had to come in through Chuckie Pend, the lane down the back, but as I recall it had a more prosaic name back then: it was simply Morrison Street Lane. You came in

Photo: Courtesy of Filmhouse

Interview: Jamie Dunn

October 2018

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Heavy Metal Lover Led by Nicolas Cage, Panos Cosmatos’ phantasmagoric Mandy is a “volcanic eruption of emotions.” We speak to the writer-director about his metal and prog-influenced revenge tale, working with the late Jóhann Jóhannsson, and... the SNL movie MacGruber

anos Cosmatos doesn’t make films that are easy to define. This may seem a bold statement concerning a filmmaker who currently has only two features to his name as a writerdirector, but those movies are so singular as aural and visual experiences, quite unlike anything else contemporary, and though they share a through line with some other media of the past, difficult to group together with much that’s come before them. And ‘experience’ is an apt description. “What I’m trying to make with these two films is an immersive audio-visual experience, more than just a traditional narrative,” Cosmatos tells us over the phone. “Every decision is weighed in a qualitative realm of creating this dream state.” The first of these films was Beyond the Black Rainbow from 2010, which skipped a British theatrical run but has developed a fervent cult following. A sci-fi and horror hybrid told through the eyes of a heavily sedated protagonist, its aesthetic saw plenty of ‘acid trip’ descriptors thrown its way by critics, both positively and negatively. If that film roved in a psychotropic territory, bigger budget follow-up feature Mandy is pure phantasmagoria. Co-written with Aaron Stewart-Ahn, Cosmatos says he “would describe it as a psychedelic rock opera.” The film sees a loving couple – Red (Nicolas Cage) and Mandy (Andrea Riseborough) – have their peaceful woodland home existence destroyed after Jeremiah Sand (Linus Roache), the leader of an unhinged religious sect, takes a shine to Mandy after a fleeting glimpse of her, enlisting both his followers and a mysterious group of bikers to abduct Mandy for his own sordid desires. What follows sees Red venture on one of the maddest trips of revenge depicted on screen, featuring chainsaws, tigers, pyramids, beheadings, copious amounts of LSD, and brawls with figures who look like new members of Clive Barker’s villain roster for a Hellraiser tale. You may struggle to remember the last film so stuffed with sadness,

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glee, humour and genuine terror, all within a few minutes of each other. As Cosmatos puts it: “I really wanted this movie to be a volcanic eruption of emotions.” Both Mandy and Beyond the Black Rainbow are set in 1983. In the case of Mandy, it’s a cute coincidence that 1983 happens to be the year in which star Cage had his first major roles in Valley Girl and Rumble Fish. Cosmatos explains, however, that the choice of year has a personal resonance: “In 1983, I was a kid and sitting down on the carpet watching He-Man playing on television. So when I was writing Black Rainbow and was essentially about to start writing Mandy, I was exploring this idea of creating an imagined film from my youth – reading the back of VHS boxes and looking at the covers of horror films I wasn’t allowed to watch at the video store. And so that started to grow and became an exploration of this idea of my imagination back then merged with now. To me, 1983 was a mythical landscape of my childhood imagination.” A lot of Cosmatos’ cinephilic education came through his father, the late George P. Cosmatos, best known for directing Tombstone, Cobra and Rambo: First Blood Part II. “I learned about films in general from him,” he tells us. “He had a giant Betamax collection that he taped off of The Z Channel, Showtime and HBO in the early 80s and obsessively added to. There was no rhyme or reason to his organisation. If you wanted to find a specific film, you could spend over an hour trying to find it. Often, growing up I would just pick a random cassette off the shelf and watch it, and I ended up watching movies from every era and every genre, every filmmaker imaginable, from this crazy, broad cross-section of cinema history.” Concerning cinema history, though 80s genre films and metal and prog music inform Mandy’s textures and pace, some attentive viewers may spot a sneaky nod to a contemporary cult comedy deep within Mandy’s final stretch. It would definitely be a spoiler to explain the homage fully

here, but one specific line from Roache’s villain in the last act would appear to be an explicit reference to, of all things, MacGruber, the 2010 feature spin-off of a Saturday Night Live skit. “Me and my wife are huge MacGruber fans,” Cosmatos tells us, sounding amused that we picked up on it. “I thought a little bit of MacGruber would be appropriate there.”

“ I really wanted this movie to be a volcanic eruption of emotions” Panos Cosmatos

Speaking of Roache, while Mandy contains a great Nicolas Cage performance (and, interestingly, one of his most dialogue-light lead roles), the man playing his nemesis offers some of the film’s most surprising pleasures and skin-crawling moments. It’s a fascinating character and a chance for the British actor to go full Dennis Hopper, perhaps a necessity when playing against an eventually rampaging Cage. “We had to pull a certain portion of our cast and crew from European talent,” Cosmatos says. “After talking to Linus for a few minutes, I realised from the time he’s spent over in America that he’s encountered people like Jeremiah his whole life and had this very intimate understanding of the state of mind of somebody like that; really understood the dark humour of it and the toxic quality to this kind of person. I was so thrilled with how he fleshed out the character.” In the title role, fellow Brit Riseborough also shines: “It was a dual thing of having seen her in Birdman, and being mesmerised by her in that,

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Interview: Josh Slater-Williams

and National Treasure – not the Cage movie, but the British TV show. And being blown away by what a chameleonic transformation it was from one part to the other, and realising that I’d seen her in all these other films and not even known it was her. From a distance, I perceived her to be a buttoned-down Shakespearean actor, but after talking to and meeting her, I realised she had an almost punk, freewheeling vibe about her. Luckily, she’d seen Beyond the Black Rainbow and understood where this movie was coming from.” Regarding collaborators, we would be remiss not to mention that Mandy’s astounding soundscapes come via what’s sadly one of the final scores by the late composer Jóhann Jóhannsson, who passed away in February this year. “After talking to him,” Cosmatos says of their first meeting, “I realised that, aside from being this incredibly accomplished avant-garde composer, he grew up in Iceland as a metalhead and really had a deep emotional connection to all this stuff driving the aesthetics of this film. To see him interpret that through his incredible skills would be something really remarkable.” Speaking of metal, we wrap up by asking if Cosmatos has any favourite films that are also strongly influenced by heavy metal. “To my mind,” he says, “very few films have incorporated a heavy metal aesthetic in a way that pleases me. Not intentionally, anyway. I feel that a lot of films that are truly ‘metal’ aren’t referencing metal. And that’s one of the things I wanted as a kid. I wanted films that acknowledged and incorporated metal in a way that I felt understood it and weren’t just putting guitar riffs on top of something. For me, The Road Warrior is a metal movie.” He adds that the latest Mad Max film, Fury Road, would also count, though the classification of Beyond Thunderdome is less clear. “Maybe not,” he determines. “Parts of it, for sure, but maybe Thunderdome’s a bit more of a Bon Jovi ballad.” Mandy is released in UK cinemas 12 Oct by Park Circus and out on Blu-Ray, DVD and Digital Download 29 Oct

THE SKINNY

Rebel, Rebel Africa in Motion is back for its 13th edition and it’s in a rebellious frame of mind with a diverse programme of African cinema from 28 countries taking over Glasgow and Edinburgh

or 13 years now, Africa in Motion has been working to expand the perception of the vast continent in audiences’ imaginations. “People are often surprised that African countries make films,” Justine Atkinson, AiM’s Festival Producer tells us, “or they expect them to be wildlife or political documentaries.” With the media still largely framing Africa through the lens of poverty and violence, the festival sets itself an ongoing task to break down misconceptions through showcasing the immense variety of Africa’s film industries. “We provide the opportunity for people to gain a more nuanced view on the continent and for people from the African diaspora in Scotland to view films that relate to their home country or heritage,” Atkinson adds. With AiM now entering its teenage years, the festival team aptly chose to look at ‘rebellion’ as an overarching theme for 2018. Exploring African cinema’s resistance against dominant narratives as well as rebellion in art and political movements, the programme ranges from genre-defying South African western Five Fingers for Marseilles and female-directed gangster film Mayfair, to Kenyan lesbian love story (and festival opener) Rafiki, which Atkinson notes was “banned by the Kenya Film Classification Board for its queer focus, but has won hearts of viewers internationally.” The latter ties in to a wider Queer Africa focus at the festival, which will culminate in the closing party Kiburi (Swahili for ‘pride’), a night of performances and DJ sets curated by LGBTQ+ people of African descent. One year on from the start of the #MeToo movement, AiM this year particularly foregrounds

women in film. “We have given precedence to female filmmakers and female-led narratives within the programme in an effort to address their underrepresentation in film,” Atkinson says. Part of this focus will see a red carpet showcase of the newest Nollywood films directed by women, with filmmakers Blessing Egbe (The Women) and Tope Oshin (We Don’t Live Here Anymore) both attending the UK premieres of their newest works.

“ We have created a non-hierarchical space for a variety of voices to curate and suggest films for the festival” Justine Atkinson

This edition of AiM also celebrates the legacies of two historic South African anti-apartheid activists: Nelson Mandela and Albertina Sisulu, both of whom would have turned 100 this year. “We’re using the centenary of Sisulu to look at powerful female activists in South Africa,” Atkinson explains. She highlights Standing on

Interview: Sanne Jehoul

Their Shoulders, a documentary that traces female resistance in the country from the 1950s up until today, which will screen alongside a conversation with South African activist Firdoze Bulbulia. Another key event will be a symposium centring on the concept of pan-Africanism through Nelson Mandela’s legacy, followed by a screening and Q&A of the new documentary Nelson Mandela: A True Pan-Africanist. “Scotland took part in a number of strategic political acts during the anti-apartheid campaign, the most prominent of which was renaming the street the South African embassy was located on as Nelson Mandela Place,” Atkinson elaborates. “We have drawn on these links to curate a series of screenings and events.” Also dealing with reflections on the past is the festival’s ongoing Reviving Scotland’s Black History project, which casts a light on our country’s connections to the slave trade through walking tours. “Much remains to be done, as Scotland is built on the legacies of the Transatlantic Slave Trade and colonisation, which have seeped into contemporary societal structures,” Atkinson says. With a focus on involving BAME participants, the festival worked with four aspiring programmers who engaged in lectures, walking tours and site visits exploring black heritage, and then curated events inspired by their experiences. One of these is AYE-dentity, a collection of short films that looks at sexuality, image and belonging across different cultures, programmed by Natasha Ruwona, and followed by a discussion exploring identity within Scotland. This is only a small dent in a ten-day

programme stacked with screenings and special events, such as Make a Zine, an afternoon of short films followed by a zine-making workshop; Scratch Night Africa, which gives aspiring filmmakers, musicians and cooks a platform to try out their work on the audience; and a performance by West African percussion and dance group Ayawara, which will follow the screening of Finding Fela, a documentary about the late, great Fela Kuti. AiM is also shining a spotlight on Moroccan films in its Transnational Moroccan Cinema strand, as well as offering a free experimental documentary workshop led by Moroccan artists Ali Essafi and Touda Bouanani. Over the years Africa in Motion has reflected on its own position and practice, leading to a collaborative programming approach. As Atkinson acknowledges, the festival used to be dominated by white curators, which required rethinking their organisation and bringing in new voices. “We have created a non-hierarchical space for a variety of voices to curate and suggest films for the festival,” she explains. That space has been realised through involving community groups, BAME artists and curators, and programming traineeships targeting BAME candidates. This too ties in with 2018’s festival theme, Atkinson reflects, as it shows “rebellion against the dominant hierarchical model of curation through our participatory programming strategy. It really has infiltrated all aspects of the festival.” Africa in Motion, various venues, Glasgow & Edinburgh, 26 Oct to 4 Nov africa-in-motion.org.uk

Anime-niacs Scotland Loves Anime returns for its ninth outing. Expect tales of love, death and future dystopia, not to mention the most inventive time-travel story in recent memory

Words: Josh Slater-Williams

ar the occasional big screen outing for kids’ brands like the Teen Titans and My Little Pony, Hollywood has largely given up on releasing 2D feature animation in cinemas. And with the exception of recent European efforts like Ethel & Ernest, the best place for more traditional animation styles to thrive remains in the East, particularly in Japan. Anime on the big screen in Britain has become a big business thanks to successful limited runs via distributors Anime Limited and Manga UK, especially with 2016’s worldwide smash Your Name. The Scotland Loves Anime festival, returning for its ninth instalment at Glasgow Film Theatre and Edinburgh’s Filmhouse, is the best place for the unfamiliar and hardcore enthusiasts alike to get their biggest and most diverse dose of the medium. The potential MVP of this year’s line-up comes in the form of Mirai (14 Oct, GFT; 20 Oct, Filmhouse), which holds the honour of being the first ever anime feature to premiere at the Cannes Film Festival. From director Mamoru Hosoda (Wolf Children, Summer Wars, The Girl Who Leapt Through Time, The Boy and the Beast), it’s a tale of growing up that’s aided by one of the most inventive time-travel story hooks in recent memory. We’ve been fortunate enough to see this one early and can vouch for it as one of the year’s unmissable films. Hosoda’s other four features cited above will also screen at Filmhouse as part of a retrospective. Among the other older titles receiving

October 2018

Mirai

screenings are Jin-Roh: The Wolf Brigade (21 Oct, Filmhouse), a dystopian tale now considered a classic, and cult favourite Cyber City Oedo 808 (12 Oct, GFT; 20 Oct, Filmhouse). Recent Anime Limited release Maquia: When the Promised Flower Blooms (22 Oct, Filmhouse) will also screen, with the UK premiere of its brand new English dub ahead of its arrival on DVD and Blu-ray. CGI anime BLAME!, based on Tsutomu Nihei’s ten-volume sci-fi manga from 1998, will also show on the big screen at Filmhouse (19 Oct), followed by a Q&A with producer Jack Liang.

BLAME! is a Netflix Original, and it isn’t the only product from the streaming service in the SLA programme: the opening episodes of series B: The Beginning will receive a special screening in Glasgow (13 Oct), followed by a conversation between director Kazuto Nakazawa and renowned anime expert Jonathan Clements. On the established series front, the festival hosts a mix of European and UK premieres of new film entries in the My Hero Academia (13 Oct, GFT; 20 Oct, Filmhouse), Fate/stay night (14 Oct, GFT; 21 Oct, Filmhouse), and Haikara-san (21 Oct,

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Filmhouse) franchises. There are also two new Mobile Suit Gundam Thunderbolt films: December Sky (12 Oct, GFT; 21 Oct, Filmhouse) and Bandit Flower (23 Oct, Filmhouse). Every edition of Scotland Loves Anime is host to at least one eye-catching title that promises potential delights with just the words of its name, but this year we are blessed by three of those. Calamity of a Zombie Girl (19 Oct, Filmhouse), based on a horror novel series, concerns... well, a zombie girl, awakening after a century-long slumber to a stand-off with a group of university students. And you thought your freshers’ week was bad. Another novel adaptation, Penguin Highway (13 Oct, GFT; 20 Oct, Filmhouse), is based on a book by Tomihiko Morimi, author of The Night Is Short, Walk On Girl which also received feature film treatment last year. It’s been described in some reports as a ‘penguin coming-of-age story’, and frankly that sounds incredible. Finally, there’s I Want to Eat Your Pancreas (14 Oct, GFT; 19 Oct, Filmhouse), which is in fact a moving tale of love in the face of terminal illness and not a horror comedy. Or a film about the internal monologue of Tom Hardy’s take on Marvel Comics’ Venom. For even more surprises, and films probably better than how the Venom movie looks, get yourself along to Scotland Loves Anime. Scotland Love Anime: Glasgow, 12-14 Oct; Edinburgh, 15-21 Oct lovesanimation.com

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Great Dane As his G.O.D. tour arrives in Edinburgh and Glasgow, we catch up with Dane Baptiste about turning corporate ambition into comedy, his podcast and some not-so-fun facts

Interview: Ben Venables

“ I think we’ve been very much lulled into a state of comfort. Even our dissidence and our political discourse now is done with our thumbs” Dane Baptiste

Questioning Everything Baptiste’s capacity for curiosity is also clear in one of his latest projects. With producer Howard Cohen, and with a different guest each time, his podcast Dane Baptiste Questions Everything is as loose or focused as the title suggests. It has so far included topics ranging from the trivial to more pressing matters, from racism to the TV series Quantum Leap. Guests have included MC Bushkin, Stephen K. Amos, Reggie Yates and Mae Martin. “It can be very focused in terms of asking questions but can also allow a broad spectrum in the method in which we discuss them. It was a really good idea and it suits me to ask questions and riff off creatives, scratching the surface of the labels which we have for ourselves, from our vocation and professions, and just finding out what makes everyone tick. “I’m working with Howard Cohen, a producer

Photo: Yoshitaka Kono

t’s a surprise to learn that when Dane Baptiste was at university he studied something as seemingly boring as business. “Business came out of repressing comedy,” he says. “I was being extra corporate because I wanted to be super creative.” But as the saying goes, it is only boring people who get bored. After all, for Karl Marx reading the Financial Times meant writing Das Kapital. For someone creative, with an inquiring mind, there’s a lot to find out about the world through business. “Business is social science,” says Baptiste. “When you’re living in a free market capitalist society, to be able to follow the money, to work out the ideological and behavioural disposition of a society based on money, which makes it easy to find out how the mind of that society works, [studying business] is a very good thing. And it’s good for comedy as well.” It's a view he’s proving with G.O.D., which now comes to Glasgow and Edinburgh as part of the show’s extended tour. If you want to find out what underpins many of the world’s affairs through stand-up comedy, the acronym stands for a special kind of holy trinity: gold, oil and drugs. “G.O.D. is a lovely acronym for god,” he says, “because the mechanics of those industries, and I guess of those ideologies, and their part in guiding human society, is like a god in itself. It is like any other religion that’s responsible for wars, deprivation and suffering, as well as enlightenment and benevolence.”

who I’d previously worked with, to help with curating and collaborating with guests and I think it’s come out very well. There’s the potential for growth and to change the dynamic of the podcast.” For the second season, recording soon, Baptiste promises some more “controversial characters”. But, he adds, “the focus is always on creativity, curiosity and inspiration.” Sunny D Baptiste seems to enjoy working and riffing off others as much as he does crafting solo material. In 2015, his sitcom pilot Sunny D, for BBC3’s Comedy Feeds, was green-lit into a four part series. But it's the making of the sitcom, being part of a team, which Baptiste immediately talks about. “One of the most rewarding and endearing experiences was arriving at five or six o’clock in the morning, getting on set, and seeing every single person on or [behind] camera, and people working boom mics, and all of them working towards your creative vision. It’s very humbling to see. And having someone with the legacy, skill and talent of Don Warrington indulge your ideas was amazing, and that goes for the entire cast.” Despite Sunny D’s positive reception, the BBC felt the ratings didn’t justify a second series (although it may say more about the paucity of comedy commissioning). Yet Baptiste remains

philosophical: “For me, my ego can take the blow of the BBC saying they didn’t want to remake Sunny D, even if it was a good show,” he says, adding: “For a bunch of creatives from diverse backgrounds Sunny D acted as a springboard.” “Fun Facts” Baptiste is no shrinking violet when it comes to speaking about race. A frivolous tweet by comedy website Chortle, since rewritten in acknowledgment of the criticism, about Rose Matafeo’s Edinburgh Award – describing her being the first person of colour to win the main award as a “fun fact” – is a small example of a wider problem for Baptiste. Although, a Twitter back-and-forth does strip away all nuance: Chortle was the first publication to report the fact, it was intended with a certain level of awareness and Chortle also successfully funded two places to increase the diversity of critics at the Edinburgh Fringe this year. It isn’t about a single tweet, or making out one site to be the villain, it’s about all of us in the media opining on, or responding to, things we know little about: “It’s more when social commentary has been made about race and there’s been a low critical effort from critics who aren’t aware of race relations, or are trying to reduce it or play it down.” When Baptiste’s 2014 debut hour Citizen Dane was nominated for Best Newcomer in

Edinburgh, it made him the first solo black British artist to get a nod from the Comedy Awards panel. It’s a fact that seems unbelievable. But with the exception of US comedian Reginald D. Hunter in 2002, black comedians are conspicuous in their absence. And again, it doesn’t so much speak of the awards, which have recognised many nationalities as well as comedic styles, than it does of the homogeneity of the Festival Fringe in general. Being an open access festival doesn’t necessarily equate to being a level playing field, and in comedy it will reflect problems in the industry, how a lack of opportunities or an environment not appreciative of different voices will influence those who want to perform in Edinburgh. “Being the first black British nominee, and with the first solo person of colour winning this year in 37 years, I’d like to talk about that,” says Baptiste. “I think it’s quite bad for the British comedy industry, or the entertainment industry and society as a whole. “My [next show] will be about what makes me angry but also why we should be angry as people and take action. I think we’ve been very much lulled into a state of comfort. Even our dissidence and our political discourse now is done with our thumbs: we need to be more active.” Dane Baptiste: G.O.D. (Gold. Oil. Drugs), The Stand, Edinburgh, 10 Oct, 8.30pm, £12; Òran Mór, Glasgow, 11 Oct, 8pm, £12 danebaptiste.co.uk

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COMEDY

THE SKINNY

October 2018

Credit: Spassky Fischer

Credit: Vrints-Kolsteren & Calle Christophe Synak

Credit: Luka Lavrenci

Credit: Vrints-Kolsteren & Calle Christophe Synak Credit: Matteo Venet & Alex Dujet

Graphic Design Festival Scotland 2018 G

raphic Design Festival Scotland (GDFS) returns to Glasgow this month for a bumper fifth birthday edition. GDFS combines workshops, live projects, discussions and conferences with a pair of poster exhibitions celebrating work at both ends of the design spectrum. Young & Powerful is an exhibition of work by young designers as part of the 2018 Year of Young People programme. Designers responded to one of seven statements – Equality, Be Healthy, Get Active, Care for the Environment, Education, Young Power and Improve Scotland – with the best posters celebrated in an exhibition at The Lighthouse from 22 October to 25 November. The festival’s annual International Poster Exhibition also returns to The Lighthouse (19 Oct-

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25 Nov), acting as a showcase of some of the best in contemporary poster design from around the world. Nearly 7000 posters from designers based in 102 countries were entered into this year’s International Poster Competition; the winning posters will be announced at the opening of the exhibition. Away from the exhibitions, the GDFS programme features one-day workshops on 22 October from Scottish designers including Studio Something, Whitespace and Ciaran Glöbel, and a Q&A with Ray Gun designer David Carson and Dutch creative luminary Erik Kessels (20 Oct). Graphic Design Festival Scotland takes place 19 Oct to 25 Nov at The Lighthouse, Mitchell Library and Art School, Glasgow; full programme details at graphicdesignfestivalscotland.com

SHOWCASE

Credit: Ryan Gerald Nelson

Celebrating its fifth birthday, we look at the programme for this year’s Graphic Design Festival Scotland, featuring not one but two poster competitions

THE SKINNY

Credit: Spassky Fischer

October 2018

SHOWCASE

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LE Y ST FE LI

Good Vibrations A new abundance of ecosex toys claim to be the route to wellness but when crystal dildos and foliage floggers are priced beyond reach, is free love really free?

Words: Liv McMahon Illustration: Jasmine Floyd

he weird and wonderful world of sex toys is undergoing a revolution beneath the crowded umbrella of self-care. We’ve adapted to a world in which we’re nothing if not consumers, attempting to negotiate capitalism on our own terms; from understanding which serums best solve our combination skin to figuring out the yoga to help us transcend an increasingly erratic reality. Amid all of this, the organic concept of wellness has become less tangible with every appearance of a shiny new brand selling us the philosophy that the path to said wellness is brought within our grasp with every purchase. But how do we define “wellness” in a world continually creating new standards to reach? How do we ground ourselves outside of an online reality of targeted advertising and algorithms predicting our individual insecurities to cash in on a communal cry for help? Wellness has become warped as our consumerist tendencies are met with open arms by capitalist demand. The cult of self-care has inhibited us from determining what wellness actually means for ourselves on our own time. In particular, Western society has fallen headfirst down a rabbit hole into an increasingly dystopian world where everything is impeccably packaged into endless supplies of miniature elixirs, each with their own formula to guarantee successful skin and high self-esteem. ‘DRINK ME for a face which glows with the sheen of financial stability and carefree existence’ proclaim pastel-tone potions encased in pristine, minimalistic branding. The sheer spectrum of sex toys available online now might make us feel like we’re all Alices in a wanking Wonderland, but on a daily basis we’re inundated with products telling us they are the choice to end all choices. Ecosexuality has long sought to pioneer a literal response in our quest to ground ourselves, urging that turning back to nature might just turn us on. Its manifesto proclaims Earth is not “Mother” but “lover,” and that we need to “celebrate our E-spots,” and believe that “we are all part of, not separate from, nature.” As climatechange denial continues to be all the rage for the racist alt-right and dangerously entertained by our political leaders, great power comes in a revolutionary movement which identifies us all as “pollen-amorous.” It has also come to define the shift in the sex toy market towards the catch-all configuration of ‘sexual wellness’, applying feminist and ecosexual ethics to the tools we use to enjoy healthier and happier sex. There is no reason why we should be limiting our orgasms to the upkeep of skincare routines, or so say those creating aesthetically-pleasing products made from entirely natural materials. Cleverly-coined crystal self-pleasure brand Chakrubs intends to fill our voids, quite literally, by birthing a series of sex toys designed to reconnect us with our bodies, minds and spirits through masturbation. Offering a range of different crystals in different shapes to cater to different chakras (our bodies’ seven centres of heightened energy flow and activity), Chakrubs operates under the philosophy that those who choose to invest in their luxury products demonstrate the utmost dedication to self-care and acceptance. A rose quartz wand might help mend a broken heart by aligning directly with our heart chakra, while a black obsidian butt plug can break down blockages to your sexual enjoyment and sense of

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self. Fears that these toys might shatter inside you are far more widespread than a customer’s awareness of toxic materials and phthalates found in some of the most available and mass-produced dildos. According to Chakrubs’ website, their products are completely bodysafe, bound together by the strength of their internal molecular structures. Chakrubs’ founder Vanessa Cuccia anticipated the socio-economic demand in our mass desire for how to practice self-love, translating the historic spirituality associated with crystals into our sexuality. As someone whose childhood was spent eagerly awaiting biannual trips to Fife so I could explore the crystal haven of Psyche’s Garden in St Andrews, never did I expect to find myself in my early 20s looking back to my expansive crystal collection, wondering if I already own a special stone that could be helping me cum. Crystals have always held a folkloric and fantastical fascination, being objects of raw and powerful beauty that prompt an appreciation of such pure earthly delights. Givers of positive energy with a potential to influence the electromagnetic fields of our bodies and minds, they’ve held a historic place in the practices of psychic, Wicca and therapeutic communities, and lie at the heart of many meditation techniques. Combining masturbation and mindfulness to the manufacture of spiritual, sustainable and stylish sexual stimuli sounds like the ideal embodiment of free love. Of course, it’s inevitable that such dreamy dildos would be slightly more expensive than the online high street’s offerings. Chakrubs present their crystal wands for around the $150 bracket and the naturally dyed, Maplewood models of ‘The Forest Line’ come in at

$300 and over. We’re told that this is because there is a higher kind of spirituality or wellness to attain and so necessitates a higher quality of product. A higher price tag simply comes with the territory.

“ The cult of selfcare has inhibited us from determining what wellness actually means for ourselves on our own time” Goop, the controversial company begun by Hollywood actor turned self-help/health guru Gwyneth Paltrow, seems to favour this M.O. as if it were an indigenous mantra ripe for their co-option. A New York Times profile of Paltrow’s success with Goop located the conflict that comes when the privileged make millions from abstracting wellness as an ‘aspirational’ ideal: “Her business depended on no one ever being able to be her. Though I guess it also depended on [the public’s] ability to think they might”. Ironically, this September began with the news that Goop has agreed to pay out over some of the illegitimate, and frankly dangerous, claims it has

INTERSECTIONS

made of its expensive yoni eggs. So when did wellness turn into wanting to be rich? When the face of wellness is white, wealthy and within their means to explore their wanderlust on the smallest of whims, what does this mean for the rest of us? Eco sex toys, popularised as something to help us feel better about ourselves, are being priced beyond the reach of those who might need it the most, cementing the notion that there is a right and wrong way to negotiate wellness. Those who sought out wellness as a way to own their right to bodily, spiritual and political autonomy now risk becoming completely invisible within it. LGBTQA+ and BAME people – relentlessly labelled and treated as threats, outsiders or non-existent in supposedly woke Western societies – led the way for a revolutionary, bottom-up reclamation of their individualism and freedom as we continued to elect those who stand against it. Minority groups have long been denied an equal footing in conversations about sexual pleasure and health, faced with a predominantly white noise dictating the availability and accessibility of our sexual politics and produce. Ecosexual products showcase a sex toy industry at its most innovative, exciting and ethical, and they should be sharing the wealth of sexual wellness. If wondrous quartz wands ‘made from the earth’ must be so expensive in order to be stylish and safe enough for us to be our mostsatisfied selves, is free love really free? For those of us just trying to live our best lives as sexy, spiritual stewards of the Earth, we can only hope that the £300 Foliage Floggers and Succulent Swatters of our wildest ecofetishist fantasies will someday be as available as treehugging.

THE SKINNY

Waking the Witch Words: Rosie Priest Illustration: Kate Costigan

Fed up with society’s casual misogyny, here’s why a group of women came together to form a coven

n an early Sunday morning in August, as a slither of sun begins to warm the cold water at Portobello beach, five naked women crash into the sea. A fire keeps our clothes toasty on the beach as chants and howls fill the morning air. Early morning dog walkers steer clear of the water’s edge as we emerge from the sea and sprint for our clothes. This is the semblance of my coven. Usually, there are more of us but the results of our meetings tend to be similar: things are burned, metaphorically or literally, wounds are cleaned, spaces are cleansed and each member of the coven creates a united whole, pushing against the burdening dread, fear and day-to-day tyranny of being a modern woman. This tyranny isn’t new but the coven is. Some of us have been friends for over ten years and many of us worked together in a Glasgow bar where we saw one another degraded, eroded and dehumanised by misogynist patrons, sexually inappropriate staff members or self-identifying male feminists who were more than happy to claim they were creating equality while simultaneously belittling those of us they considered less beautiful or less educated than the women who deserved their help. As our friendship group grew and more members joined, we all moved from job to job and city to city, with some members of the coven leaving Scotland for a year or two at a time. Despite the different contexts, our experiences remained similar to what they had been in the bar, only this time we weren’t young women. We were edging closer and closer to our 30s and what seemed to lurk in the shadows when we were younger became an almost uncontrollable influence on our lives: the day-to-day tyranny women endure.

“ Each member of the coven creates a united whole, pushing against the burdening dread, fear and day-to-day tyranny of being a modern woman” In a 2015 study of Australian young people’s attitudes, one in five young men believe that women often “provoke violence” and 26% of Scots surveyed in 2007 thought that a woman bore some responsibility for being raped if she wore revealing clothing. These aren’t the hyperbolic claims of an angered feminist – these are the factual realities women have looming over them every day. It was out of these facts and our lived realities that the coven came to fruition. On an evening four years ago, I found myself burning the name of the man who had pushed me to the ground and screamed “bitch” in my face. That experience wasn’t unique. All of my friends have spoken about similar violence, from the daily slow erosion of self-confidence to the manipulated isolation from loved ones to the sudden

October 2018

vulnerability pushed upon them by sexual assault. We’ve all felt it – a complete lack of control of our own bodies, our own voices and our own mental wellbeing. It was only after six years of knowing one another that these stories started to creep out. The group of us didn’t set out to become a coven, or even identified the small rituals we had started to put in place over the years as leading towards the creation of one. These rituals were learned from one another: using sage to cleanse spaces and internal thoughts was something several of the group had been taught from their mothers, tarot reading had been handed down from a superstitious grandmother, the natural instinct a lot of us had for collecting stones or

shells from significant places or an affinity with certain flowers led to a shared knowledge of their healing properties. There was never a meeting in which we decided to form a cohesive whole; it organically grew from all of us. As one of the coven members puts it: “My coven is the only safe space I have. Work, family, relationships, none of them provide genuine sanctuary.” This is not to belittle the relationships we have outside of the coven, but rather a recognition of the strength of the relationships within it. Another said: “From the outside, I think the connection between the members is palpable and has been noted as such by those looking at the coven from outside.” Another claims, “our coven is a feminist powerhouse.”

The ceremonies which have cemented our group started small and grew over time. They were gestures to claim back some sort of control and to cleanse ourselves of wrongs done. They have turned into evenings where we no longer cleanse but put forth what we want from the world. We build a cohesive power within the group and the results can be substantial. One coven member says: “The days that followed swimming in Portobello, I felt renewed – truly reborn. I had gained an energy I hadn’t felt in some time; I felt strong, supported and empowered. I imagine it’s how some people feel every day but not me. Most days I’m running at 60%, with the remaining 40% of my energy dedicated to holding together the parts of me that have been eroded, beaten and buckled by men in my life. I want that feeling of 100% energy every day and I honestly can only get that from my coven.” The 6000 women burned, boiled or tortured to death as witches in Scotland stand before us as an example of what can happen to women under the tyranny of patriarchy. Traumas are still inflicted on women today, only this time it hides in plain sight. As one member put it: “[I] will never know the depth of pain men have caused me, rape, assault, mental and emotional abuse.” You too may be in a coven – only rather than early morning swims, rune stone casting and tarot card readings, your ceremonies are the ceremonies of the everyday, as ours often are too. Rather than casting a sacred circle or meeting inside a home anointed by sage, you may find your safe place in a corner of a café or on the sofa of a friend. You may not recognise them as rituals, but you are creating something magick within them: safety, sanctuary, a connection. The only difference between my coven and yours is that we have recognised ourselves as one; as one member puts it, “we’re in it together.” My coven would exist without the rituals, runes, tarots and sage. It would exist over coffee, watching films, drinking wine. The difference is that we’ve acknowledged the power we create as a whole. This is modern day magick in a world that feels ever expansive in its ability to undermine women.

A Fiction That Never Ends This month, a writer explores fandom obsession through her love for Call Me By Your Name Words: Claire Biddles

e’ve been walking through the Italian countryside for 45 minutes when we finally find their spot. It’s right next to the water like it is in the film, and even though the tall grass we’ve seen on screen is dried out in the heat of early spring, it still feels magical. We lay down and laugh with happiness and a hint of embarrassment. We don’t kiss like Elio and Oliver do; we’re just friends. I know that I love this mutual obsession more than I could love a real life romantic partner. This spot is one of the first places me and my friend visit on our trip to the locations of Call Me By Your Name, the 2017 film following the heady rush of first love between precocious Elio

and his father’s research assistant, Oliver. Our trip is spent walking the streets of Crema and wandering the squares of Bergamo, where we seek out a nondescript wall that the couple dance drunkenly against with the patience and precision of private detectives. For me at least, the trip is a typical expression of love. Throughout my life, I have loved bands, films and books with an intensity more often attributed to teenagers. I’ve yet to find a way for my pop cultural obsessions to coexist with my romantic relationships: real life could never live up to the intense, unflinching love I feel as a fan. There’s no cracks in these perfect,

INTERSECTIONS

polished things for mundanity to fall through. Most of my obsessions are love stories themselves. I love Call Me By Your Name because it reinforces my unrealistic vision of romantic love. It’s a prism through which to idealise my own failed relationships; to crystallise them as beautiful and tragic like they are in the film. The central romance of Call Me By Your Name works as a neat distillation of fandom: a perfect, jewellike version of love without the adverse effects of time. A fiction that never ends. Appropriately, the only location we don’t visit on our trip is the train station where the lovers say their final goodbyes. theskinny.co.uk/intersections

Lifestyle

THE SKINNY

No Rest for the Week As Edinburgh Cocktail Week returns with an expanded programme and more bars than ever, we present a survival guide to the land of cocktails and big ol’ crowds

dinburgh Cocktail Weekend’s debut run last year was… well, it was pretty busy. Long queues, bars running out of stock hilariously early, and a scene in the Skybar off Lothian Road that resembled a drinks soiree crossed with a Hollywood disaster movie – it was like The Towering Inferno but with more snazzy shoes and no actual danger of any kind. The whole event was still a great idea (cut about the city’s many bars, trying out specially-planned cocktails for low, low prices), but as it returns under the banner of Edinburgh Cocktail Week, it does necessitate something of a plan. The first thing you’re going to want to do is to take a midweek day off work. For one thing, your wristband will work out slightly cheaper (OK it’s only a £2 difference, but that’s half a cocktail in these circumstances), but it’s also much easier to enjoy sippable drinks when there aren’t hordes of people taking up all your space and knocking your drink six feet in the air before you’ve got away from the bar. Have a Wednesday off – you’ve earned it. Next, you’re going to want to plan your route. You might think ‘Ooh, if I start on George Street there are about three million bars I can head into’, but this is faulty reasoning because it’s what literally everyone is thinking. Case in point: a friend of The Skinny’s who camped out on George Street for the whole of Friday last year and hit 14 bars in the process. Fourteen. That’s what you’re up against, and frankly, you’ve got other places to be. We recommend starting down in Leith at somewhere like the Asian street food and cocktail haven of Miss Woo’s, or one of the Sofi’s/ Boda/Joseph Pearce family for a nice chill opening to your evening. Head to the outliers like

Words: Peter Simpson

The Blackbird in Tollcross, or The Voyage of Buck in the West End; get some food to go with your cocktails at Dishoom or Baba; hide from everyone in the snugs of the Voodoo Rooms or amid the chill vibes of The Fat Pony. Approach your evening with military precision (and without confronting the enemy head-on too early) and you’ll have a good time. The other thing to do to ensure you get the most out of this kind of event is to embrace its most off-beam and hard-to-come-by elements. This means making a headlong dash to Chivas Regal’s whisky-themed escape room at Nightcap; you’ll be locked inside a “labyrinth of flavour” with only your love of whisky and what we assume will be some fairly strong hints to help you along. You’ll wind up with your own personalised whisky blend for a cocktail to celebrate your escape, but you’ll also be able to say you were in a whiskyinspired maze, and that’s a pretty good story. There’s also a tour of the Sweetdram distillery to book yourself onto; tickets are £4 if you’ve got your wristband and you’ll be in prime position to ask questions such as ‘why did you make this gin-like drink instead of just making a gin?’ before being placated with some tasty rum. And there’s also a pop-up from Wemyss Malts and Darnley’s Gin that hosts a series of masterclasses on the finer points of the art of the cocktail, before turning into a showcase of some of Scotland’s best bartenders. Plus, there’s an underground snug in which you can hide from the baying hordes outside; after all, it is always a good idea to have a backup plan. Edinburgh Cocktail Week, 15-21 October, weekday wristbands £6, weekend wristbands £8 edinburghcocktailweek.co.uk

Edinburgh Cocktail Week

Chews Bulletin This month’s food events round-up has some veggie delights, a look into the future of food, and enough cake and coffee for everyone

ctober marks the one-month point in the voting in The Skinny Food and Drink Survey for this year – we’ve already heard from hundreds of you, now we want the rest of you to spill the beans about your favourite places to go. Hell, tell us about your favourite beans, those can be hard to get right. Cast your votes! Now that’s out of the way, we get things underway with a pop-up night of Mexican culinary delights courtesy of The Vegeteria. Expect three courses of meatless Mexican magic; it’s BYOB, and also a great opportunity to show your support for Kinning Park Complex, an important part of the Glasgow arts ecosystem that is currently getting back on its feet after a break-in earlier in the summer. 5 Oct, 6.30-9.30pm, 43 Cornwall St, Glasgow; tickets £15 The Edinburgh Coffee Festival returns for a fourth outing this month, with a day of talks, demos, cuppings, stalls and enough caffeine to give a headrush to anyone passing within 100 yards of the building. The talks cover everything from sustainability in coffee production to upping your latte art game. The whole event is designed to be a zero-waste affair (bring your reusable cups!) and there’s also the Scottish Aeropress

October 2018

Championships to check out while you’re at it. 6 Oct, 10am-6pm, Corn Exchange, 10 New Market Rd, Edinburgh; tickets £7-9 Over in Glasgow, things get extremely tasty at Scot-tober Fest. The day-long pour from Grunting Growler brings together six Scottish breweries, each launching brand-new beers at the event – check out the top-notch sours from Vault City, the craft takes on lager from Eyeball, and whatever latest magic Out of Town Brewery have wrangled from their “scrounged, swapped for and borrowed” brewing equipment. 6 Oct, 10am-10pm, 51 Old Dumbarton Rd, Glasgow We love it when food isn’t *just* food; when it has something to say other than ‘yum yum yum I’m so delicious’. Therefore, Word Buffet! – an intriguing mix of supper club, political discussion and educational opportunity – is right up our alley. Corn on the cob, acid house and radical politics? Sign us the hell up. 1, 8 and 15 Oct, 6pm, Glasgow Autonomous Space, 53 Kilbirnie St, Glasgow; free, donations appreciated Meanwhile in Dundee, it’s time for science! Street Food, part of Dundee’s new Festival of the Future, sees Dundee University science researchers team up with local food and drink producers

Scottish Vegan Festival

to take a peek at what our food might look like in a few years’ time. Will there be microbes, lab coats and hitherto-untapped if somewhat gnarly sources of meat on display? Only one way to find out! 18 Oct, 6-8pm, Discovery Centre, Dundee; tickets £5 Also this month is the return of the Scottish Vegan Festival. Expect animal-free stalls of all kinds as far as the eye can see, with the festival once again hitting the frankly enormous Corn Exchange for a day of veggie niceness. 20 Oct, 10.30am-5pm, 10 New Market Rd, Edinburgh. And finally, it’s time to down tools, stop

FOOD AND DRINK

everything, and fill your pockets and/or faces with cake. Treat Fest is the first event from the Edinburgh Treat Makers Collective of bakers and cake maestros, promising a host of “experimental, new, exciting and one-off bakes.” Given that one of the Collective’s members is Tasty Buns – last seen making Buffalo Chicken and Blue Cheese scones for their semi-regular Sconefest – we are both intrigued and salivating. 21 Oct, 11am-5pm, The Hub, Castlehill, Edinburgh; tickets £3. [Peter Simpson] theskinny.co.uk/food

Lifestyle

THE SKINNY

RE V IE W

Into the Unknown We speak to Jane Weaver about gender balance in music, otherworldly inspirations and about going it alone on upcoming solo tour Loops in the Secret Society, her first in over five years

Interview: Rachel Bowles

October 2018

It makes sense that Weaver is so passionate about audio visuals given that so much of her influences come from art and cinema. The Silver Globe was inspired by cult Polish filmmaker Andrzej Żuławski’s On the Silver Globe, a tribal, impressionistic sci-fi. Modern Kosmology has similarly esoteric and fascinating origins. “I came across an article on Hilma af Klint, who was a Swedish mystic painter from the late 1800s, who they now think is one of the first abstract artists. She used seances and automatic drawing in her painting. She also had a group of five women (including herself) called ‘de Fem’ and they would all sit around to contact a higher plane and use that energy in their work, which is for me not only a fascinating story but just visually her art is amazing because a lot of it is coded, as well as abstract.

“ I love the idea of being in a different environment with more visuals and just approaching the songs in a different way, as more of an art concept” Jane Weaver

Photo: Andy Votel

ailing from the fringes of the north-west indie/alt-rock scene, Jane Weaver is a prolific, resilient artist – if not a central figure, an important outlier working consistently in an industry and genre that can at times be outright hostile to women. Having fronted acts Kill Laura and Misty Dixon in the 90s and early 00s respectively, and after earning such famous fans as John Peel, Lauren Laverne and Jarvis Cocker, Weaver noticed a distinct decline in a certain subsection of her musical counterparts, “A lot of my male peers were going from strength to strength and a lot of my female peers were just dropping off and I thought, ‘What’s going on here?’ And it’s not because everybody who was female was rubbish, there just weren’t the places to go, there just weren’t the paths available.” Weaver reacted by carving out her own space in the music industry for women and others who maybe struggled with traditional paths. In 2002, she launched her own independent label, Bird Records. “I started [the label] to be open to people who wanted to release a single, like a small single, and then go on somewhere else, and it was also to release my own music. I’d had several record deals that hadn’t gone well and my manager at the time just said to me, even though I had an album to go, ‘I can’t get you arrested, it’s just boy guitar bands here.’ And I thought it was ridiculous. It’s not that I didn’t have good songs or good ideas or a good work ethic, it was just the fashion for the boy guitar bands. It’s always been the predominant thing and it still is now. It’s upsetting.” Weaver is cautiously optimistic about change in an industry that can be conservative and misogynistic. “[Festivals] have signed that Keychange pledge” in an effort to battle gender disparity in music festival bookings, “where they say by 2022 there’s going to be more of a balance. I think it will take a long time, I don’t know why, but it’s probably to do with financial issues, probably big festivals will go for the men with guitars for some reason, I don’t know!” she laughs. For those new to Weaver’s solo work, reading the critical acclaim around her solo album discography may only confuse further, with her sound being described as everything from “hallucinatory disco-folk” by The Guardian to NME declaring, “Jane Weaver is the sound of Cat Power if she’d grown up next door to Oasis.” Weaver is more direct, explaining how her sound is so expansive yet accessible through the enduring construct of the pop song structure. “I suppose, in simplistic form, my music is probably like space pop or space rock, I guess. I do love heavy rock, psychedelic music, but I’ve always been a sucker for pop music. I love all sorts of pop music so it’s important for me to have a pop melody with whatever I do, whether it be a motorik muscular backing and heavy Moog or whatever. I’m drawn to do a more melodic melody... something that’s like verse, chorus, verse, chorus.” Weaver has been touring tirelessly with her band of late, playing her most recent and perhaps best-received album yet, 2017’s Modern Kosmology. Her new Loops in the Secret Society tour, which kicks off on 17 October at Edinburgh’s Pleasance, is a solo audiovisual reworking of both Modern Kosmology and her 2014 album The Silver Globe, a record Weaver endearingly considers “a mini breakthrough” because it had her phone ringing off the hook with gig and press offers. Loops in the Secret Society is her first solo

tour in over five years and comes with its own unique set of challenges. “It just means that I’m under more pressure to play stuff live and do it on my own. I can manage everything, it’s fine, it’s just the brain pressure of knowing that you have to do it. It’s like a one man band having to do so many things at once, where I’m not just like walking about the stage and pointing and stamping on the floor and singing. It’s maybe a little more. And maybe I won’t have two drinks before I go on stage, I’ll maybe just have half of one!” And where does the idea of a solo show come from, why shed the comfort of a band? “It’s one of those things where you think ‘I wanna do something different!’ You start planning it, all high

energy, and it’s exciting but then you think ‘Oh gosh, that’s quite a lot of work for one person!’” she laughs. “But I definitely love the idea of being in a different environment with more visuals and just approaching the songs in a different way, as more of an art concept, rather than just a band show. I’ve redesigned my backing tracks to go on vinyl dubplates and changed them so I’ll be using loops and stuff like that on backing track. And then I’ll be doing live playing – I’ve got different keyboards, and also guitar and effects, and of course singing! My friend has made a film as well, so it’s going to run hopefully more like a cinematic event. Some of the venues are quite big and seated so it will be nice to have a big, visual backdrop.”

Music

“Some of it’s nature-based and some of it’s scientific-based, it’s just a combination of things which really speak to me.” Weaver continues: “And the fact that it’s also quite mystical and weird, I really tuned into that and that became my muse for Modern Kosmology. The idea of ‘Where do ideas come from?’ The theme and vision that, especially the lyrical content of some of the songs, gave me something to dig into really. I couldn’t stop because I think I’m quite obsessive when I think about things, it’s repeating and repeating in my head, and I can’t get it out of my head until I’ve done something with it!” Once Weaver’s harnessed that creative energy, she channels it into experimentation in the studio. “I am always interested in how people create. When I go into a studio for instance, I use a lot of analogue equipment in there because I’ve got a connection to growing up around that stuff, and I like the physicality of grabbing this keyboard and playing with all these buttons, holding down keys and twisting knobs and all that! I love getting hold of amusing equipment you’ve not used before, the spontaneity of getting hold of a new keyboard and just making up something new. You can guarantee anytime I buy a new instrument I will make up a new song with that. I bought a Roland Juno synth and I wrote Slow Motion on it immediately. That wouldn’t have happened if I hadn’t bought that piece of equipment. It’s just the unknown, isn’t it?” Jane Weaver plays The Pleasance, Edinburgh, 17 Oct janeweavermusic.com

Review

Renaissance Men Ahead of an exhibition at the Beacon Arts Centre celebrating their contribution to music, three Scottish DJs explain the significance of Robert Rental and Thomas Leer in the story of post-punk

Interview: Michael Lawson

“I

for a new, more youthful audience in the process, while much-revered Los Angeles DJ Silent Servant has been known to drop Rental’s tracks (chiefly Double Heart) in his sets and mixes. “I’m always surprised at how many younger electronic music fans are aware of Thomas and Robert and really hold them in very high regard,” Dell confesses. “Although they may not directly influence their music, this idea that you can do it yourself and be true to the music continues to ring true for various generations of bedroom musicians.” Ahead of the exhibition, Twitch and two other Scottish DJs profess their love for Leer and Rental’s music, while attempting to further explain the duo’s enduring legacy. JD Twitch, Optimo “Robert and Thomas were at the vanguard of DIY electronics in the UK, but beyond the fact that their records helped kick-start a musical revolution they were both simply great songwriters. Even in the depths of a noisy, experimental, unsettling Robert Rental song such as Paralysis, great songwriting is lurking. “With hardly any synths and the most lo-fi of recording setups, they showed what was possible and that great ideas, inspiration and dedication are often the most important resources for making a brilliant record. They inspired legions of enthusiasts to do it themselves no matter how meagre their equipment.”

CHILDCARE

Review

Photo: Wolf James

CHILDCARE @ Sneaky Pete’s, Edinburgh, 5 Oct Sneaky’s are off to a strong start this month with Avalanche Party and Canshaker Pi (2 Oct), Husky Loops (3 Oct), Virginia Wing (7 Oct) and London art-punks CHILDCARE gracing their diminutive stage tonight. Ed Cares, Emma Topolski, Rich Le Gate and Glyn Daniels released their debut EP as CHILDCARE, Luckyucker, in July – be sure to head along tonight to hear it in all its infectious indie-pop wonder. Good news too for those in the West as they play The Hug & Pint, Glasgow on 6 October too. Bingo.

The She Street Band

Photo: Sterling Powers

Do Not Miss

The She Street Band @ The Blue Arrow Jazz Bar, Glasgow, 9 Oct Fans of Bruce Springsteen listen up, this is not a drill. We repeat, this is not a drill. The world’s first and only all-female Bruce Springsteen cover band, The She Street Band (geddit?) are playing in Glasgow as part of their first ever tour. Formed after bassist Jody Orsborn saw The Boss in the flesh at Wembley in 2016, expect to dance your face off to this septet’s take on classics like Born to Run, Thunder Road, Dancing in the Dark and more.

“ This idea that you can do it yourself and be true to the music continues to ring true for various generations of bedroom musicians” Simon Dell

Becky Marshall, aka Ribeka, So Low “I think part of the appeal with their music is that you can really hear that they’re just figuring out and playing with these new machines, but still making very melodic and emotive music. Both of them have an incredible ability to make extremely heartfelt songs, while experimenting with the parameters of traditional pop song structure. “They’re important in the story of post-punk because they were such early adopters – even working with local university professors to build their own early modular systems – and were

From the Port to the Bridge, Beacon Arts Centre, Greenock, 2-28 Oct JD Twitch, Security, hausfrau and DJ Loraine Williams perform at Celebrating Thomas Leer & Robert Rental – Live Electronic Night, Beacon Arts Centre, Greenock, 12 Oct Different Voices For You. Different Colours For Me. is out now on Optimo Music facebook.com/leerandrentalexhibition

Spare Snare + De Rosa @ The Great Eastern, Glasgow, 12 Oct To celebrate Cassette Store Day 2018, Dundee’s Spare Snare are putting out their latest album Sounds as a limited run on, well, cassette tape, obviously. It’s fitting as the album, recorded by Steve Albini at chem19, was originally done so directly to tape. Catch them the night before its release at The Great Eastern alongside Lanarkshire’s De Rosa – fronted by Martin John Henry – whose last album, 2016’s Weem, was released via Mogwai’s Rock Action label.

Music

Spare Snare

Fergus Clark, 12th Isle “Over the past 15 years or so the ease of access to previously underground or marginalised, fringe-dwelling music that the internet has provided has been incredible. That said, I think that for many music fans there is still a fascination with the local. When I first heard Thomas and Robert’s music it was not only a way of joining the dots between industrial, new wave, postpunk and techno, it was also a strange feeling of pride, pleasure and pain hitting all at once. “There is a raw immediacy in their music that pulls at the heart; from the much-lauded single Double Heart, even through to Leer’s most saccharine, pop-focused moments like International. To hear their early tracks and see what two men from small-town, working-class backgrounds could achieve with minimal technology and limitless ambition was like a eureka moment, especially with roots so close to home. “With so much contemporary electronic music suffering the cruel fate of over-production, recycled sample packs and uninspired functionality, I think it’s only natural for younger audiences to seek out music like Leer and Rental’s – not just for the historical context but for the fact that all these decades later most of their recordings still sound fresh and honest.”

Carla J. Easton

Photo: Brian Sweeney

Robert Rental and Thomas Leer

Photo: Chris Carter

really at the forefront of experimental music in the mid-to-late 70s. “I also don’t think you can underestimate the fact that they were young, working-class men from a very deprived part of Scotland, who would have been expected to follow their fathers into the shipyards of the Clyde coast. Instead they took the brave decision to move away from home and immerse themselves in DIY culture in London. “Double Heart is one of the most heartbreaking pieces of music I’ve ever heard and yet I could listen to it endlessly and never tire of it.”

Photo: Graeme Ogston

f only he had made more music, I think he might have been a Scottish Arthur Russell. He doesn’t sound anything like Arthur, but the few pieces of music he left with us come from a similarly unique part of the soul.” Optimo’s JD Twitch is enthusing over Scottish DIY post-punk pioneer Robert Rental and his deeply moving track Double Heart. “I might have listened to it more than any other record ever made, but I still get something from it every time I hear it.” Rental and his long-time friend, collaborator and contemporary Thomas Leer will be the subject of a display at Greenock’s Beacon Arts Centre this month after local music archivist Simon Dell decided to curate an exhibition in their honour. Three years in the making, the exhibition is a combination of press material, synthesisers and drum machines used by the two artists along with an assortment of unseen photos, artwork and tapes. Accompanying the exhibition will be a film featuring interviews with a number of contemporaries, including Mute Records founder Daniel Miller and Throbbing Gristle, while some unreleased demo tapes found in the Rental family home have been released (Different Voices For You. Different Colours For Me.) via Twitch’s Optimo Music imprint. Growing up a stone’s throw from Greenock in the tired industrial town of Port Glasgow, the pair would relocate to London and play a pivotal role in the emergent post-punk movement of the late 70s. Whereas punk set the foundations with its unrelenting energy and DIY ethos, it was post-punk in the immediate aftermath that spawned some of the most boundary-pushing music of the period. Rental and Leer were quick to embrace the new technologies and electronic equipment of the time, yet the most enduring feature of their early music is its proudly DIY ethic. Using a combination of Stylophones (“just a little bit bigger than the one Rolf Harris used,” Dell jokes), primitive drum machines, some guitars and a few effects pedals, the pair would take turns recording music in each other’s flats – lugging the equipment back and forth between the two. Despite enjoying little commercial success at the time, their music has been subject to pockets of critical acclaim in the decades since. San Francisco-based reissue label Dark Entries has rereleased music from both men, repurposing it

GIRLI @ The Mash House, Edinburgh, 20 Oct; Carla J. Easton @ Leith Depot, Edinburgh, 20 Oct We’ve got two top notch ladies in Edinburgh for your enjoyment tonight; first up is London’s Milly Toomey, aka GIRLI, who’s bringing her neon brand of pop, punk, rap and electro to The Mash House. Meanwhile, down at Leith Depot, Carla J. Easton is celebrating her debut solo album Impossible Stuff, produced by former Arcade Fire member Howard Bilerman. Easton will be ably supported by Broken Records frontman Jamie Sutherland – expect to hear songs from his upcoming debut solo record, Bruise.

THE SKINNY

Having a Ball Fatherson, The Xcerts, Bossy Love, The Spook School, Kobi Onyame and Babe have been announced for the second outing of Edinburgh’s Alternative Peers Ball

October 2018

Clap Your Hands Say Yeah @ The Caves, Edinburgh, 22 Oct While it may not include The Skin of My Yellow Country Teeth in its tracklist, Clap Your Hands Say Yeah’s landmark second album Some Loud Thunder still bangs. To celebrate its 10th anniversary reissue, Alec Ounsworth and co are out on the road this month and touch down at The Caves tonight for the only Scottish date on their rescheduled tour, where they’ll perform Some Loud Thunder in its entirety.

Clap Your Hands Say Yeah

projections, live art and top notch installations. We’re continuously encouraged and inspired by the spirit of collaboration that is growing throughout the creative industries in Edinburgh and couldn’t be more chuffed to be partnering with The Skinny, who are a perfect compadre on Alt Peers. See you all in November.”

Bruce, City of Edinburgh Council’s Cultural Venues Programme Development Manager. “We’re delighted to announce our own little part by unveiling this year’s Alt Peers’ Ball line-up,” Bruce adds. “It’s an honour to be able to invite such a talented bunch of Scottish artists to our big party in a building that’s been a big part of Edinburgh’s infrastructure for over 230 years. “If you didn’t make it along last year, expect an indoor festival with some of Scotland’s best talent playing back-to-back across our two stages accompanied by amazing visuals and large scales

The Alternative Peers Ball takes place at Assembly Rooms, Edinburgh, 3 Nov, 5pm-1am

Best Girl Athlete

The KVB

The KVB @ The Hug & Pint, Glasgow, 24 Oct After impressing us at La Route du Rock in Saint Malo, France, we can’t wait to catch The KVB on home turf. The Berlin-based duo recently played Robert Smith’s Meltdown Festival, and this month they’re set to release their sixth album Only Now Forever via Geoff Barrow of BEAK> and Portishead’s Invada Records label. If the singles released from the album so far (On My Skin and Above Us) are anything to go by, then you’d be daft not to get yourself along to The Hug for this one.

Music

Photo: Gaelle Beri

Tickets available via usherhall.co.uk, 0131 228 1155, Tickets Scotland and Ticketmaster

Lucy Dacus @ Mono, Glasgow, 26 Oct On her sophomore album Historian, Virginia-born Lucy Dacus bears her soul across its ten songs; from the brutal honesty of a failing relationship on album opener Night Shift (‘You got a nine to five, so I’ll take the night shift / I’ll never see you again if I can help it’), to its heart-wrenching closing title track (‘Then one day, the motorcade… Will come to take one of us away’), it’s a sheer delight and easy to get obsessed with. Her boygenius EP, from her band of the same name alongside Julien Baker and Phoebe Bridgers, is also out next month, so there's lots to celebrate.

Lucy Dascus

Review

Photo: Dustin Condren

Our Girl @ Garage Attic, Glasgow, 20 Oct The Brighton-formed trio Our Girl – made up of singer and guitarist Soph Nathan, bassist Josh Tyler and drummer Lauren Wilson – are fresh from releasing their Bill Ryder-Jones-produced debut album Stranger Today in August. As we type this, Our Girl have just wrapped up a string of tour support slots with Ryder-Jones himself, who proclaimed them as his “favourite band in the world right now,” and are back out on the road this month for a headline tour stopping at Glasgow’s Garage Attic tonight. Oh, and if you’re heading to Superorganism at SWG3 tonight, be sure to get down early for CHAI.

than a little help from Ollie Cox – are also set to play the festival. One of the most exciting and promising bands to come out of Scotland in recent years, Bossy Love will definitely bring the party in a big way to The Assembly Rooms. Baillie Jr’s other band, Babe are also gearing up for the Alternative Peers Ball this year with their unique brand of off-kilter pop and electronica. Their latest album, Kiss & Tell, produced by Baillie Jr, was recently shortlisted for the 2018 SAY Award. Other artists confirmed to play that were featured on the prestigious award’s shortlist are rising stars Kobi Onyame, who’s sure to bring a bit of sunshine to a cold November night with his infectious vim and highlife grooves, and Katie Buchan’s Best Girl Athlete, who was nominated for her introspective eponymous sophomore album she wrote before the age of 18. Linda McCartney vegetarian sausage-loving Edinburgh four-piece The Spook School are also bringing their queer indie-pop bangers to the party – get listening to their SAY-longlisted nominated album Could it Be Different? to get yourself in the mood. After seeing these champs, you’ll be bellowing ‘Fuck you I’m still alive’ at the top of your lungs for days, that we guarantee. Martha Ffion, who was also longlisted for this year’s SAY Award for her debut album Sunday Best, which we described as “a confident debut chock-full of understated pleasures,” will also be filling The Assembly Rooms with her beautiful, sun-drenched, country-tinged sounds. And completing the live line-up is up-and-comer Zoe Graham, who impressed at Wide Days’ showcase event back in April. The evening will be rounded off by a DJ set from EH-FM, Edinburgh’s new independent community radio station, and once again the whole event will be elevated by illustrator and artist Ursula Cheng, with visuals from the Edinburgh Projector Club and a live mural created by The Too Much Fun Club throughout the night. “It’s been an immense year for music in Edinburgh, with Hidden Door going from strength to strength; the return of the EIF to Leith Theatre, Princes Street Gardens Summer Sessions, Castle Concerts, Fly Music continuing to expand and Wide Days bringing some of the top music industry talent in the UK to our city,” says James

Photo: Liqiao Zhu

Our Girl

Photo: Charlotte Patmore

ollowing on from the success of the inaugural Alternative Peers Ball last year, the indoor multi-arts festival is returning to the Assembly Rooms on 3 November. Taking its cue from the original Peers’ Ball, organised by Sir Walter Scott in 1822 to celebrate King George IV’s visit to Edinburgh, the Alternative Peers Ball is a modern take on the 19th century shindig, featuring visuals from the Edinburgh Projector Club and live music from some of the country’s most exciting bands. The Skinny are delighted to be working on the Alternative Peers Ball, alongside broadcaster and journalist Vic Galloway. This year’s edition features a headline slot from Kilmarnock-formed trio Fatherson, whose latest album Sum of All Our Parts we recently awarded five stars, describing it as “raw and immersive, leaving soft but long-lasting impressions that intensify with every listen.” “We’re super honoured to be headlining this year’s Alternative Peers Ball alongside an absolute belter of a line-up!” Fatherson frontman Ross Leighton tells us. “It’s a really exciting time for Scottish music and we can’t wait to celebrate on 3 November in the capital!” The Xcerts, who released their fourth long player, Hold On to Your Heart, back in January with a brand new EP out this month, are also set to perform. “It’s been way too long since we’ve played a show in the capital so we cannot wait to bring Hold On to Your Heart to Edinburgh this November,” frontman Murray Macleod says. “It’s a hell of a line-up which we are incredibly psyched to be a part of.” “Last year’s Alternative Peers Ball was a bit of an experiment,” Galloway tells us, “and thankfully a huge success! We’re all set to repeat that success with another diverse, cutting-edge line-up of new and emerging Scottish talent across genres. The Assembly Rooms is such an elegant, historic venue in the heart of Edinburgh and with the two main ballroom stages alternating throughout the evening, the audience will enjoy quality music, action-painting, art installation and stunning projections. It’ll be an audiovisual treat from start to finish, and I’m excited to be involved. See you there!” Glasgow pop and R’n’B duo Bossy Love, comprised of Amandah Wilkinson and John Baillie Jr – who perform live as a three-piece with more

Photo: Michael Regan

Interview: Tallah Brash

Album of the Month Marie Davidson

Working Class Woman [Ninja Tune, 5 Oct]

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arie Davidson is punching realism through the doors of the Berghain with her latest album Working Class Woman. She has used her skill as one of the successful practitioners of spokenword electronica to create a darkly humourous and ironic collection of songs. Following Adieux au Dancefloor, a perfect marriage of electronic bangers with a questioning voiceover to the whole process of clubbing, this latest release provides further commentary. The entire album is a mix of successful, feminist personas commenting over relentless drums and chaotic synths. The album comments on a variety of topics. For instance, Davidson incorporates elements of Adieux au Dancefloor on So Right which pumps out club-happy beats while her flat vocal tone mocks those euphoric rollercoaster feelings. The Psychologist's persona is taken on by a male voice in what is a commentary on the (hopefully dying) sexist phenomena of men calling emotional women crazy. Later, The Tunnel has a go at the general difficulty of life with a rather unsympathetic mantra of ‘We all have to deal with it.’

The Xcerts

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After appearing on Scottish pop music documentary Rip It Up, KT Tunstall described how she didn’t feel in complete control of her own sound when she first started making music. Despite achieving great commercial success, which has spanned almost two decades, her sixth studio album WAX comes as something of a reinvention. With the help of producer Nick McCarthy (formerly of Franz Ferdinand), WAX is an unapologetic return which manages to retain some elements of her original pop sound. In a confusing attempt at experimentation, the genre-shifting album features synths, acoustic guitar and brass, sadly at times bordering on easy listening. Despite playing it a bit safe, it’s clear that Tunstall is very much in charge here. On tracks like Dark Side the lyrics look at self-image and what it means to be a woman: ‘Physical and feminine / These are just the words that we use.’ Regardless of what genre Tunstall uses to express herself, there’s a confidence and self-ownership in her lyrics which wasn’t there before. The album is a blend of attitude-fuelled rock’n’roll with raw and earthy vocals which really stand out. The second in a trilogy following on from 2016’s KIN, WAX sounds much more developed and technically complex, a real sign of what fans can look forward to in its last installment. [Amy Kenyon] Listen to: The Mountain, Dark Side, Poison

Review

Here, Davidson creates an effective horror movie soundtrack with crunching glass sound effects and a psychopathic voiceover which illuminates the horrific aspects of mental health issues that can be a side effect of tunnel vision in life. Album standout Work It features an off-kilter percussive set-up to accompany Davidson’s commentary – ‘You wanna know how I get away with everything? / I work / All the fucking time’ – and honest necessity: ‘Work to be a winner.’ However, this album has much more than just a spokenword commentary on work ethic and sexism. Many of its songs have very minimal or no vocals at all. Be prepared for Workaholic Paranoid Bitch, especially if you’re listening through headphones, as it attempts to rattle the wax from your ears. Finally, the most interesting facet of this album is Davidson’s ability to use all of those aggressive spoken-word commentaries and electronic effects in one song and then totally chill-out in the next. Lara, La chambre intérieure and Day Dreaming have an element of Four Tet to them with a use of chime-like synths, a

KT Tunstall

WAX [Rostrum Records, 5 Oct]

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Marie Davidson

more laid-back improvised style and very gradual crescendos and diminuendos. Altogether, Working Class Woman is an incredibly cohesive art-house album with a perfect combination of electronic music and spoken word, and if it doesn’t punch through the roof of clubs

John Grant

Late One Night EP [Raygun Records, 5 Oct]

In a justified effort to hold on to the acclaim of their fourth album Hold on to Your Heart, released at the start of the year, the Aberdonian trio return with their latest EP Late One Night. It’s a five-track collection of reworked, reimagined and redeveloped versions of some of the finest moments from that album; all stripped-down, bittersweet and generally quite beautiful. Late One Night’s more light-bite, transient and upbeat moments like opener Daydream and the truly lovely rendition of arena-worthy song Feels Like Falling in Love are a pleasant mix of lyrical positivity, touched with a gentle dab of warmth that offers a refreshing take on the originals’ jumpy, sing-your-heart-out vibe. Elsewhere, tracks like Cry and The Dark were already quite relaxed, chilled songs prior to any acoustic prodding. Yet, these versions serve almost like a Live Lounge effort – most likely thanks to the fact the entirety of this EP was recorded in the space of one night, as frontman Murray Macleod recently admitted. Late One Night is a tasteful selection of some of the band’s more recent best bits. While it’s nothing spectacularly fresh, this miniature collection of deliciously reworked songs are a gentle nod towards The Xcerts’ perhaps-underappreciated softer side. [Dylan Tuck] Listen to: Daydream, Feels Like Falling in Love, The Dark

Love is Magic [Bella Union, 12 Oct]

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John Grant’s fourth solo album veers headlong into the electronic flirtations that have come to characterise his last couple of records, and contains another ten glimpses into the alternately spiteful, joyous and reflective mind of its creator. The title track provides a burst of honest positivity and hopefulness that threads its way through the album; despite all the bullshit, love exists and it’s fucking great. For every dour and spiteful takedown (Smug Cunt’s vitriol or Diet Gum’s hilariously uncertain putdowns; ‘Did you really think you could seduce me in a leisure suit?’) there’s an

Julia Holter

Aviary [Domino, 26 Oct]

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These are strange times we’re living in, a period of political turbulence that seems to touch almost every area of our lives. An ever-sensitive artist, Julia Holter holds up a mirror to this fractured climate on Aviary, a record she describes as reflecting “the cacophony of the mind in a melting world.” A 15-song journey into dissonance, Aviary certainly lives up to its promise. The string section saws Turn the Light On into life, its foreboding arrangement masking a pure, beautiful vocal from the Los Angeles artist. Chaitius is an

RECORDS

Photo: Etienne Saint Denis

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everywhere at least Davidson will be sorted as a kick-ass life coach. [Briony Pickford] Listen to: Work It, La chambre intérieure, Day Dreaming

Is He Strange or The Common Snipe – two gorgeous ballads that speak to the inexpressible depth of feeling that love can bring on. Love is Magic is full of tender proclamations and acerbic bile, mania and zen, bouncing between emotional states with barely-contained zest. There isn’t enough time across the space of one album for the contemplation that this music requires, but the spacious arrangements do their best with a wide variety of electronic affectations. Though he may be tarred, feathered and headcaged on the album cover, Grant is full of confidence and vitality, getting closer to that generally apocryphal state of “self-realisation,” and it’s an absolute joy to be along for the ride. [Lewis Wade] Listen to: Love is Magic, He’s Got His Mother’s Hips, Is He Strange

exploratory ramble through an almost baroque landscape, while Everyday Is an Emergency is a startling, shrieked plea. By no means an easy listen, Aviary is nonetheless packed with detail, the daring musicality turning the most hackneyed of phrases into something startlingly new. Les Jeux to You moves from sparse, eerie minimalism into a glam stomper, fascinating in its fluctuation. Words I Heard finds Holter rising up on a tender string arrangement, its potent simplicity marking one of the album’s most directly beautiful achievements. A challenging but rewarding album, Aviary continually grasps towards communication, exulting in common humanity amid societal ruptures. As she puts it on I Shall Love 2: ‘I am in love / There is nothing else.’ [Robin Murray] Listen to: Turn the Light On, Les Jeux to You

THE SKINNY

Impossible Stuff [Olive Grove Records, 5 Oct]

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From her work with TeenCanteen to an appearance on Belle & Sebastian’s Best Friend and a star turn on Olive Grove Records’ brilliant 2017 Christmas compilation, Carla J. Easton has been establishing herself as one of the most talented and likeable songwriters in Scotland for some years. Impossible Stuff is her solo debut and it’s a record designed to give the lie to its title. A deft 80s pastiche like Vagabond really can rub up against the Screamadelica-infused Wanting What I Can’t Have or the classic 60s pop of Girl From Before. Nothing is impossible here. Opening with the brief, longing Dreamers On the Run followed by the peppy Meet Me in Paris, Easton seems to love songs about escape and reinvention, spinning a bouncing melody into pop

Karine Polwart

Laws of Motion [Hudson Records, 19 Oct]

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It’s been six years since Karine Polwart released Traces – but of course there’s been plenty from her in the interim. Folk supergroup Songs of Separation, a collaboration with Lau’s Martin

Fucked Up

Dose Your Dreams [Merge, 5 Oct]

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In 2011 Fucked Up released their double LP “rock opera” David Comes to Life. A gamechanger, it was difficult imagining them ever being able to top such a bold record. Almost exactly ten years on from their Polaris Prize-winning The Chemistry of Common Life, this could well be their best effort yet. Dose Your Dreams picks up on the ‘David’ story and sends it into a new psychedelic world beyond the mundanity of his office job when we meet him on opener None of Your Business Man. From there we’re taken on a journey through different genres, concepts, voices and anthems which all manage to work cohesively to create an unbelievably satisfying whole. [Adam Turner-Heffer] Listen to: None of Your Business Man, I Don’t Wanna Live in This World Anymore, Joy Stops Time

October 2018

gold with a Beatles-y bridge. Wanting What I Can’t Have unfolds from a slowburn trip-hop jam with jazzy drums into a brass-assisted finale in which multiple Eastons roar out the refrain. Elsewhere there’s life-affirming fiddles on the title track and a brief misfire on the speaksung Never Had the Words but it’s all swept away by the wonderful Milk & Honey, possibly the track of Easton’s career to date. Lyrics like ‘I’m the sugar in your tea’ could so easily be saccharine but Easton has just the right amount of wide-eyed charm to sell them, swept along by an arrangement that climbs and climbs as our heroine realises she really should have said ‘I need you.’ Easton’s voice might be an acquired taste for some but it’s expressive and vulnerable, subtly shifting between the yearning electro-pop to soaring over a Spector-esque Wall of Sound. It feels strange to call Impossible Stuff a debut record given the number of projects its creator has been involved with. Let’s just say it’s absolutely brilliant. [Max Sefton] Carla J. Easton

Listen to: Milk & Honey, Dreamers On the Run Green for his Flit project, and most notably her Pippa Murphy collaboration Wind Resistance, which admittedly did give us the SAY-nominated A Pocket of Wind Resistance at the tail end of last year. The shadow of all of this work looms on Laws of Motion which brims with new influences and new energy, and is all the better for it. The main shift on this album in comparison to previous work – and you feel that Wind Resistance has emboldened her to do this on record – is spoken word and storytelling. I Burn

CHAI

PINK [Heavenly Recordings, 12 Oct]

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The spirit of kawaii runs deeply throughout the work of CHAI, who hail from Japan’s Nagoya region. Harnessing its aesthetics and giving them a twist, their debut album PINK is a pure sugar-rush that also packs more than a fleeting punch. Combining J-pop and punk riffs, it’s instantly clear that CHAI know how to put a thoroughly infectious tune together. Alongside their exuberant vocals lie crunching and sometimes swirling riffs, made all the more irresistible through playful structures and hooks. PINK’s streamlined form – standing at only six tracks long – also means that it feels like a minialbum without a hint of filler material. CHAI may lean heavily into kawaii culture but PINK proves there’s a wealth of depth beneath the cute exterior. [Eugenie Johnson] Listen to: Fried, N.E.O.

Adrianne Lenker

But I am Not Consumed introduces us to Mary Anne MacLeod from the Isle of Lewis, how she emigrated to New York in search of a better life, and how her son – Donald Trump – returned to Scotland years later to build his golf course, literally changing the landscape which she left. Polwart’s trodden this ground before on Cover Your Eyes from Traces, and indeed that song is directly referenced in this, which after its contemplative spoken intro becomes a more energetic, angry piece told from the point of view

Death Valley Girls

abysskiss [Saddle Creek, 5 Oct]

Darkness Rains [Suicide Squeeze Records, 5 Oct]

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Big Thief’s Adrianne Lenker returns with abysskiss, ten songs deliberately presented almost as naked as they were when she decided they belonged in each other’s company. Other instruments and vocal layers subtly accentuate the emotional undercurrent of each of these acoustic meditations – which often feel as breathtakingly intimate as a phone recording you weren’t supposed to hear – but never detract from the raw magic abysskiss exudes throughout. abysskiss captures a fleeting moment in time, and tellingly the cover art is a black and white photograph. These songs have yet to be coloured in, and yet they affirm the singular talent of Lenker – always inquisitive, finding joy and wisdom in the places many wouldn’t think to look. [Fraser MacIntyre] Listen to: terminal paradise, blue and red horses, 10 miles

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Death Valley Girls are a condensed history lesson of rock through the ages, spanning rebellion, nihilism, occult and glamour behind a stonefaced moniker. Darkness Rains marches onward down their trodden path and it’s a shame that the stance they take at this crossroads of rock isn’t bold enough to make significant strides in any given direction. After two false-start tracks it finally kicks into gear with b2b cuts Disaster (Is What We’re After) and Unzip Your Forehead. Unfortunately, the aggregate ratio of tunes on offer is in favour of misfires and ultimately Darkness Rains flirts heavily with evil but it lacks the resolute conviction to be taken seriously as a serf of Satan. [James Ewen] Listen to: Disaster (Is What We’re After), Abre Camino

RECORDS

of the Isle of Lewis. Polwart’s skill is in finding the right lens through which to view the story, and indeed all stories. Lyrically profound and musically inventive, it’s good to remember that as well as a theatre performer, activist and fantastic interpreter of material both trad and contemporary, Polwart is also a songwriter and one of the best we’ve got. [Harry Harris] Listen to: Ophelia, I Burn But I am Not Consumed

How to Dress Well

Swearin’

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The Anteroom [Domino, 19 Oct]

With characteristically curatorial flair The Anteroom shines a torch into the nooks and crannies of your brain, experimenting with the strange acoustics produced in such a cavernous space, and marks a return to the introspective electronica that featured in Tom Krell’s earlier work. Co-produced by Oneohtrix Point Never collaborator Joel Ford, its tracklist feels more like a map than a plan as each song twists into a surprise. Muted in comparison to the neon colours of 2016’s Care, The Anteroom deals in shadows and ghosts, sweetness and sweat. For his fifth album using the How to Dress Well moniker as an intravenous exploration of the hold that music has over our fragile human hearts, Krell has perfected his process. [Katie Hawthorne] Listen to: July 13 No Hope No Pain, Nonkilling 3 | The Anteroom | False Skull 1

Fall Into the Sun [Merge, 5 Oct] Near the end of the first Swearin’ album in five years, the buzzing razor guitars and pop punk melodies melt away. Anyway is a plaintive and hushed lullaby about moving on. Moving on from relationships, moving on from bandmates, moving on from where you grew up. Most of this reunion record is riff-heavy, full of thunderous drumming, while this track borders on twee. But thematically it offers a wistful look at the past. Fall Into the Sun all culminates in one of the catchiest guitar-led songs of the year in Future Hell, Kyle Gilbride’s stream of consciousness and dream-like look at the shape of things to come. Let’s hope Swearin’ stick around this time. [Tony Inglis] Listen to: Future Hell, Dogpile, Grow Into a Ghost

Review

Photo: Brian Sweeney

Carla J. Easton

Man v Machine Canadian DJ and producer Richie Hawtin brings his exciting, experimental CLOSE tour to Glasgow this month – we find out what’s in store

The Skinny: We’re very excited that Glasgow is one of the two CLOSE tour shows you’ll be playing in the UK. What’s your affinity with Glasgow and why was it important for you to bring the tour here? Richie Hawtin: Scotland has supported me since day one. Whether it was the PURE gang in Edinburgh or the SLAM guys in Glasgow, I’ve been playing regularly since the early 1990s. This has given me a great foundation of fans in the area and so it’s always important for me to try and keep everyone up-to-date with what I’m working on besides the “normal” DJ shows! I really feel like I’m playing to multiple generations when I return, so this is also why it's important for me to keep bringing back new ideas and showing the people how my musical and technological ideas are developing, and try to give everyone another incredible, sweaty, intense night! You’ll be supported by Swedish artist TM404 for these shows. Can you tell us a bit about them and how this fits into the CLOSE experience? TM404 does one hell of an all-hardware live show. He carts around so many toys and basically plugs them in, presses start and takes everyone on a deep, trippy ride. I love the feeling of his shows and the sound is always filled with weird melodic lines coming out of multiple Roland TB303 machines. Anyone who knows me a little bit knows that I love the sound of the TB303, so it just felt right to invite him on the tour. Also I want people who come to the show to see two different shows that push the idea of what “live” electronic music can be. I see many live shows and DJ shows these days that seem to be more pre-programmed or planned out. I love spontaneity, the surprise and anticipation of taking the crowd and myself on a new sonic adventure every set and I believe that is also the intention of TM404! Let’s see, I’m quite sure the night will be full of surprises!

Do you find it ironic that it’s these kind of man-machine relationships and new technologies that are enabling us to bring audiences – people – closer? Electronic music has always been a bit of a mystery to many people in the audience as there’s very little direct connection to the movements you see from a regular DJ, and the sounds you hear coming out of the speakers. That’s the challenge, to find ways to connect movements and visual cues with the sounds that are developing, and try to bring people into synchronous moments. With CLOSE, we take the live feeds from several cameras placed around my equipment to help connect my movements and interactions with the

machines into part of the visual show. Zooming in and out of real-time cameras and augmented abstracted visuals, driven by my movements, brings a direct connection to all that you hear and see! In all your experience of technological innovation within electronic music, is there one particular concept or piece of equipment that you think has really redefined or shaped the trajectory of dance music? Wow, now that is a deep, tough question. I think the concept of an electronic drum machine that allows you to write in rhythm patterns, and then change/move/modify them into something that is either so rigid and direct or even completely off-kilter, [is what] gives techno its unique ‘man v machine’ sound. The way we interact with these drum machines gives a unique rhythm and groove that is as much driven by the machines as it is by the human programming it. This is really a special interaction and has given our music a very special drive and intensity! Where do you see technology taking dance music in the future? Well, technology has taken dance music from obscurity, over 25 years ago, and into the mainstream, with nearly every type of musician and producer using the tools that we have been using for decades in their productions. Technology has allowed us to twist and shape music in ways never before possible, and I believe that will continue since the technology that we use to shape our music continues to evolve and develop.

You have spoken about how CLOSE seeks to bring the performer closer to the audience, literally and figuratively. How do you feel about the ‘DJ is God’ kind of worship that can be seen in the industry and how social media etc can inflate the ego of a DJ? The singular artist on stage, the DJ, has a lot of power to tap into the emotions of a crowd, taking them through an adventure of sound that is in

CLUBS

reality a tapestry of emotions. The great DJs can really transcend time and space and move things on to a spiritual level; however, that is only done by a few who are able to bring frequencies, emotions, rhythm and many other aspects all into focus at exactly the right moment. Pumping fists into the air and high-fiving your friends surrounding you in the DJ booth are perhaps not some of these aspects I’m speaking about. What would you like your audiences to take away from the CLOSE shows? Having a sense of the intensity and spontaneity that happens on stage when in the zone of a performance, and hopefully feeling a little bit closer to the creative moment as it unfolds in front of their eyes and ears.

“ The CLOSE shows are very intense, hopefully for the audience and definitely for me as a performer” Richie Hawtin You’ve previously collaborated with artists such as Anish Kapoor and Andreas Gursky. What about contemporary art inspires you and do you envisage more of these collaborations in future? Contemporary art has been inspiring my work since the early 1990s when I shared my studio with my brother Matthew, who is a painter. He actually inspired me to learn more about art and that led me to incredible artists like Kapoor, Donald Judd, Dan Flavin and people of that style. Many of these artists, and others, have given me inspiration and sometimes a way to re-think my music more in architectural terms, which very much led to new sonic ideas. The Plastikman Consumed album was definitely inspired by Anish Kapoor and I definitely hope to collaborate more in the future with artists like this to find a fusion between art, music and technology.

Photo: Prudence Upton

The setup for CLOSE appears very complex. How long did you work on the concept of

CLOSE and how challenging is it for you, both physically and mentally, as a performer? Honestly, the show has been under development in my mind for many years, nearly as a continuation of the DE9 project – originally the idea was to call the show DE9:LIVE! However, it took a long time to get all the pieces of the puzzle to come together into something that I thought we could take on the road and which would give people a new view of how I play. The CLOSE shows are very intense, hopefully for the audience and definitely for me as a performer. The basis of the show is my modern take on DJing with computers running different songs and loops, and on top of that I have an array of analog and digital synths and drum machines that I can use to improvise over [the] top to take things onto a new level. Once I press start, it’s a blur of options ranging from what records to play, and how to use them (as main sounds or loops or sound effects), and then what to add on top – then building new songs and rhythms and allowing them to develop for a certain amount of time, finding a way to transition from that moment into something else, and then the whole thing starts again. It’s a challenge to keep everything working together and sounding cohesive, and remembering to find the right timing within each idea!

Interview: Claire Francis

In a slightly unrelated note, let’s chat about your passion for sake! How did this passion develop? And do you think sake will catch on as a drink in Scotland? Japanese sake is catching on all around the world and we’ve seen an incredible increase in awareness the last few years. Sake has a distinct pure taste and unique “buzz”, or feeling, that I think people really are surprised and excited by. One of the other things that people don’t often realise is that sake pairs well with food, and actually it pairs with nearly all of our normal western food, sometimes in more exciting ways than the traditional idea of pairing it with Japanese food. I don’t expect sake to suddenly take over everyone’s favourite beer, but if you give it a chance I know you’ll be pleasantly surprised… so if you’re open to it, ENTER. Sake is a good way to begin, hence the name! Welcome to the world of sake! Richie Hawtin CLOSE, O2 Academy, Glasgow, 11 Oct close.richiehawtin.com

THE SKINNY

October 2018

Review

THE SKINNY

Guest Selector: Jun Kamoda Japanese artist Jun Kamoda puts together a vibrant playlist of standout remixes ahead of the release of his eponymous debut LP

efore branching out into electronic music in 2016, Jun Kamoda was already known as a formidable force in Japan’s music scene. He has been making music under his hip-hop alias Ilureme for over 15 years, as well as being a member of the hip-hop trio Baleine 3000. With previous dance music EPs released on Mister Saturday Night Records, Mall Grab’s Steel City Dance Discs imprint and Bristolian label Black Acre, Kamoda returns to Black Acre for the release of his debut LP. His self-titled album is an energetic and idiosyncratic record that embraces everything from Balearic house and new-age disco, to broken beats and Japanese vocals. As with Kamoda’s previous releases on Black Acre, his wife Hisano has created the captivating album sleeve artwork and limited edition prints will be released alongside the album. Kamoda talks us through ten of his current favourite remixes. Róisín Murphy – House Of Glass (Maurice Fulton Remix) [Play It Again Sam, 2015] “There is a perfect bassline and guitar riff in this remix. Maurice Fulton always knows how mad disco music is. His latest album as Syclops is awesome mad disco too.”

Interview: Claire Francis

Catz ‘N Dogz – Good Touch (feat. Eglė Sirvydytė) (Matthew Herbert Remix) [Pets Recordings, 2016] “I think Matthew Herbert is one of the really great sound storytellers when using the technique called remix. The unstable bassline reminds me of a mysterious world, much like the movie Labyrinth (starring David Bowie).” The Chemical Brothers – Sometimes I Feel So Deserted (C2 Trigger RMX) [Virgin EMI, 2015] “I have been surprised by this Carl Craig remix. When I listened to it for the first time I thought that the remix finished at 8:34, but it never ended. Suddenly distorted bass and hi-hats proceeded to play – it was super cool.” Rhythm & Sound – Poor People Must Work (Carl Craig Remix) [Burial Mix, 2005] “This is the best remix out of all the ones I have listened to so far. The voice edit is very impressive. The structure of [Craig’s] remix is beautiful as always.” Peggy Gou – When Round, They Go (Terekke Remix) [Rekids, 2016]

“To me, Terrekke’s remix of When Round, They Go was the best in 2016. His remix has a great hazy view of the world and gorgeous layers of sound too.” Tiefschwarz – Wait and See (Alter Ego Remix) [Fine Records, 2005] “Alter Ego has chosen only one word from the original vocal. That word becomes a destructive force much like a magic spell. Likewise I can feel the breath of rock music where the remix has an extensive space between drum machine and synthesiser.” Todd Terje – Inspector Norse (Pepe Bradock remix) [Olsen Records, 2015] “In my opinion, if a parallel world could exist between an original version and a remix version, then the remix version would be right. When I work remixes I always keep that theory in mind. Todd Terje’s original and Pepe Bradock’s remix is the one-off specimen which proves that theory.” Jesse Futerman – Gem (Hidden Spheres Remix) [Church, 2016] “This remix has a great balance which has been

constructed between the original artist’s character and remixer’s character. It was really dressed up well by Hidden Spheres.” Fever Ray – Wanna Sip (Olof Dreijer Remix) [Rabid Records, 2018] “In my opinion this remix is the best remix of 2018. Olof Dreijer drew other dimensions of Fever Ray’s voice. I have played it a lot, and when I played it at a club called Dada in Beijing, this sound fitted perfectly with the local audience.” The Brand New Heavies – Saturday Night (Jay Dee remix feat. Mos Def) [Delicious Vinyl, 2000] “It is like many house music remixes; however, it is definitely hip-hop. I always hope that my music balance is like this remix. By the way, I have a memory about The Brand New Heavies: when I was at a club, I was talked to by a member of The Brand New Heavies after I rapped on stage at the club. He said to me that he was a bassist and he would like to feature my rap on their song. He gave me his email address, but I lost it. So I am not sure whether it was true or not.” Jun Kamoda is released on 5 October via Black Acre junkamoda.bandcamp.com

Clubbing Highlights Words: Claire Francis Illustration: Ailsa Johnson

It’s October, which means a month packed with Halloween parties featuring some of the best DJs around right now, from both Scotland and further afield Animal Farm: Rødhåd @ Sub Club, Glasgow, 5 Oct Everyone’s favourite techno viking stops into Subbie this month as part of Animal Farm’s 14th birthday celebrations. Expect heavy, hypnotic selections from the Berlin-based Rødhåd, with the party set banging on through to 4am, licence pending. Richie Hawtin presents CLOSE @ O2 Academy, Glasgow, 11 Oct After debuting his new show at Coachella Festival last year, techno and technology innovator Richie Hawtin brings the CLOSE live tour to Glasgow for one of only two UK headline dates. With CLOSE, Hawtin uses strategically-placed cameras to bring the audience closer to the action, challenging the distinction between DJing and live performance with this groundbreaking 75-minute audio visual show. Taikano presents ANNA @ SWG3, Glasgow, 12 Oct Brazilian producer ANNA kicked techno into another gear this year with the release of her debut EP Speicher 101 on Kompakt back in January. The daughter of a nightclub owner, it seems that DJing was always Ana Miranda’s calling, and she’s proven herself every bit worthy of her rising star status with a huge touring schedule, ticking off some of the globe’s best festivals and clubs. La Cheetah 9th Birthday Part 1: DJ Stingray & Josey Rebelle @ La Cheetah Club, Glasgow, 12 Oct

October 2018

La Cheetah kick off their ninth birthday celebrations with a formidable double billing in the form of balaclava-clad DJ Stingray and Rinse FM regular Josey Rebelle. Both artists are no stranger to the La Cheetah basement and both are known to drive the BPMs up to bone-rattling pace. This will be fun. FLY presents Yotto Hyperfall Tour @ Cabaret Voltaire, Edinburgh, 19 Oct Finnish DJ and producer Yotto stops into the capital to launch his debut album Hyperfall. His tracks have been given a spin by the likes of Sasha, Laurent Garnier, Kölsch and Adriatique, and he’s coming to Edinburgh with a stacked deck of some of the best contemporary house music about right now. Don’t Be Afraid Takeover: rRoxymore & Wheelman @ Stereo, Glasgow, 19 Oct Bristol/London-based label Don’t Be Afraid (DBA) invite rRoxymore along to headline this night that, in true DBA spirit, promises an alternative take on your everyday techno and house. Glasgow’s own Wheelman, aka Jonathan Fernandez, is also part of the DBA family and a class act behind the decks, and Moonlight resident and local rising talent LISALÖÖF will be on hand to warm up the party. Maximum Pressure Halloween 2018 @ SWG3, Glasgow, 27 Oct It’s been a year since Slam revamped their parties under the new Maximum Pressure banner, and this is yet another supercharged Halloween party from Glasgow’s best techno promoters. The last three parties have been sold out, and with a

line-up of this calibre – Slam, Blawan, Dave Clarke, Dax J, IDA, Nightwave, Jasper James, Noncompli-ant, Matrixxman and more – this one looks set to go the same way. Subculture: Ciel @ Sub Club, Glasgow, 27 Oct Cindy Li is a Toronto-based producer, DJ and promoter who goes by the alias Ciel. She dropped her debut EP Electrical Encounters via Shanti Celeste’s Peach Discs late last year, and when not touring she keeps herself busy with her Work In Progress initiative, an event series and radio show that highlights dance music made by female-identifying artists. If you fancy a night of sublime electro and progressive house over the bigger Halloween events on offer, this should be your pick.

CLUBS

Terminal V Festival – Halloween 2018 @ Royal Highland Centre, Edinburgh, 27 Oct The line-up for this mega eleven-hour Halloween marathon speaks for itself. Detroit legends Robert Hood and Moodymann. The Black Madonna. Amelie Lens. Len Faki. Sam Paganini. Krystal Klear. Optimo. Or:la. Eclair Fifi... the list goes on. You’d be mad to miss it. FLY Halloween Spooktacular @ The Liquid Room, Edinburgh, 31 Oct What would Halloween in Edinburgh be without FLY’s annual Halloween Spooktacular party? So far the line-up promises Skream, Mella Dee, Baba Stiltz and Bawrut, with more to be added. Don’t forget to don your best Halloween costume to be in the running for a £250 prize. theskinny.co.uk/clubs

Review

Rhyme Watch

XX By Angela Chadwick

Kill ‘Em All By John Niven

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This month, National Poetry Day returns with a host of events and the final collection of verse from Leonard Cohen is published Words: Beth Cochrane

nother year has been and gone, and it’s National Poetry Day (4 Oct) once again. Themed this year on change, there is a series of diverse events planned across the country. Before this, however, plan your warm-up evening at Killie Browser at Kilmarnock Railway Station. Taking place on the eve of National Poetry Day (3 Oct, 7.30-8pm), the local Poetry for Mental Health Group will be reading selections of their work. Entry to this event costs £4, but all money raised will aid activities for socially isolated members of the Ayrshire community. On 4 October, Crichton Writers will be in Dumfries Museum at 6.30pm with The Nature of Trees. This free gathering includes readings of poetry (and prose) about or relating to trees. Exploration of tree history, folklore and biology all promised, as well as refreshments on site. The Scottish Poetry Library is hosting an evening of change-themed poetry: complete with a magnetic poetry board, an open mic session, and headline set from the Forward Prize winner Vahni Capildeo. Poets will be exploring the theme from 7-8.30pm at this free event, with readings about drag queens, Dr Who, and who knows what else (such is the joy of the open mic). Attendees are invited to bring along five minutes of change-themed words. The Royal Society for the Protection of Birds (RSPB) is marking NPD with a weekend informal training session for educators near Scone in Perth and Kinross. Taking place on Saturday 6 October, 10am 12.30pm, this session is free but booking is essential. Targeted at teachers and those working in a broader learning setting, the morning will be filled with risk management (stick with us…), nature play in the woods and, most importantly, poetry. Weather permitting, there will also be a

Melmoth By Sarah Perry

rrrrr With The Essex Serpent, Sarah Perry had already proven herself a writer with a far-seeing, delicately-coloured focus in creating both settings and characters, and an eye for picking out the extraordinary factors in everyday life. Any follow-up act would have to hold its own in terms of uniqueness, and Melmoth certainly doesn’t disappoint. The base ingredients, though not all unfamiliar, make for a gripping read when

Review

provided lunch around the campfire – a great way to top off a morning spent focusing on enhancing and expanding your outdoor education. For the animal-loving poets, particularly those fond of felines, comes a new title from Serpent’s Tail. Cat Poems will be released this month, and features work from across the poetic cannon. From Baudelaire to Bishop, Williams to Yeats, each poet has been inspired by the apparently ‘most delightful and beguiling of muses’: the cat. An easy answer to the question of the stocking filler, Cat Poems certainly appeals to those of us with a special affection for the furry felines. The Flame is Leonard Cohen’s final collection of poetry, and will be released by Canongate on 2 October. Cohen received multiple awards for his lyric and song writing throughout his career, with 12 books (two of which were novels) published also. This book is exemplary of his great talent as a writer, with the selection featuring lyrics, illustrations, prose pieces and poetry. Introduced by his son, Adam Cohen, The Flame was selected and ordered by Cohen himself in the final months of his life in 2016. The final piece in an incredible literary career, this collection is certainly one of the most anticipated in the autumn calendar. And on 12 October, 6.30-8pm, Golden Hare Books in Edinburgh will be hosting the official co-launch of Alec Finlay’s Gatherings and Gerry Loose’s Night Exposures. The poets will read from their work and continue the event in conversation. Both poets work across vast ranges of media, with Loose’s poetry often found within his work as a land artist and Finlay’s considering how culture(s) relate to landscape and ecology.

Rosie really wants a baby; her partner Jules isn’t so sure. When a UK university discovers groundbreaking fertility treatment allowing two women to have a biological child of their own, they see it as a sign. As their involvement in the trial is leaked to the press, the couple is not only faced with the betrayal of those close to them, but must suffer political wrath and outrage. Angela Chadwick’s XX is so much more than the moral dilemma of ovum-to-ovum, or a consideration of family dynamics. At its core, it is a story about love, and its antithesis, hatred – an examination of what it means to be a human. The fickleness of the press, and the willingness of the general public to hate on principle is both topical and suffocating. The raw, honest portrayal of Jules and Rosie’s relationship is what makes this novel shine – their relationship is stressful and volatile, yet feels undeniably and reassuringly real, as solid and real as Jules and Rosie themselves. We travel through the intimacy of Jules’ inner thoughts, her wants and her doubts as a reluctant parent-to-be in a world that is so set on hating her child before it is even born. This is Chadwick’s true strength: the ability to distil the human experience and reproduce it in print. Topical, probing and quitely intense – XX is a phenomenal debut. [Mika Cook]

The world’s most famous pop star, Lucius Du Pre, is broke. ‘Not broke like you’re broke, you idiot, sitting there in your flat reading a fucking book like a cunt,’ says Steven Stelfox, our narrator; the abrasive, foul-mouthed, grade-A arsehole A&R man we met in Kill Your Friends. He’s come out of retirement at 47 to help the record company deal with Du Pre’s mess. There’s a crisis brewing: Du Pre’s a prolific paedophile, and the parents of one of his ‘special friends’ have just started blackmailing him. Stelfox swoops in on a jet to sort the whole lot out, alongside a team of top PRs who write some of the best fake news around. Set in 2017, Stelfox gleefully takes advantage of the opportunities thrown up by Brexit and Trump. It’s a difficult read in places: the scene in which Du Pre’s sexual abuse of young kids is described in graphic detail is grim. Elsewhere, the satirical style works hard to shock; often it just feels like being trolled. The novel raises the question of whether satire works in the world we live in. Niven exposes how awful the people at the top are, and how grotesque their world is, but we know much of this already. The monsters at the top aren’t reading; they’re grabbing the world by the pussy and buying bigger yachts. [Galen O’Hanlon]

Dialogue Books, 4 Oct, £13.99

penguin.co.uk/books

William Heinemann, 4 Oct, £16.99

littlebrown.co.uk/books

If Cats Disappeared From the World By Genki Kawamura, translated by Eric Selland

theskinny.co.uk/books

Resistance By Julian Fuks, translated by Daniel Hahn

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combined: the glossy-yet-scarred, half-shaded world of Eastern Europe; a deliberately abstemious and plain Englishwoman, who is punishing herself for committing a crime; and a supernatural menace enhanced by awareness of past events on that troubled ground. Throw in several separate plotlines through a file of ‘source texts’ as part of a case, and you have a gorgeous jumble to chew through. Although narrative elements can feel a tad contrived at times, Melmoth is nevertheless extremely tense, satisfying, and hard to put down. Unusually, Perry’s talent for weaving folklore and hearsay into the threads of her plot serves both to enrich and sharpen the events, making them more rather than less realistic. Her chosen legends often link directly to common heartaches most people could put a name to, though they might not admit it. Self-inflicted punishment is no new phenomenon to us as readers, but is brought all the more savagely to light with the figure of the lurking watcher, the unhappy Melmoth and the tormented beings, retaining a careful appearance of competence and banality. Added to that is a delicious, melancholic and complex kind of darkness which pervades throughout, and is far more interesting than your plain old sinister dark. Definitely one to read as the nights draw in. [Clare Mulley]

Soseki Natsume’s 1905 serialised satire I am a Cat critiqued Japanese society through the eyes of a philosopher’s witty cat and If Cats Disappeared from the World could be considered a contemporary successor. It’s on its way to being similarly popular, selling over a million copies in Japan. When a young man learns of a limited prognosis, he doesn’t get very far into his bucket list before the devil appears to offer a trade: get rid of one thing from the world per day for an extra day of life. Phones are the first to go, the conundrum presenting opportunity to think about how they shape relationships. For all the scrolling contacts, how many of them are close friends? “Countless people who I seemed to have had some kind of relationship, but when push came to shove, didn’t really share much with me at all… my life was over and I had no-one who mattered enough to call.” Movies come next. “Basically, all humans really need to survive is food, shelter, and water… if all movies disappeared, would it feel like part of me had gone too?” Finally it’s time to weigh up the arguable star of the book, Cabbage the cat, who sneaks out at night for bonito flakes and purrs softly. Despite occasional gimmicky inner dialogue, this brief existential enquiry into life’s priorities is gently charming. [Laura Waddell]

Serpent’s Tail, 2 Oct, £16.99

panmacmillan.com/authors/genki-kawamura

Picador, Out Now, £8.99

serpentstail.com/melmoth-hb.html

‘I visit the Museum of Memory, I walk down the ominous corridors, I allow myself to be consumed once again by the same tragic destinies, the same sad journeys.’ In Julian Fuks’ latest book, the Brazilian writer presents a pained and sombre family portrait. Against the backdrop of 1970s Argentina, a young family, fearing for their lives, flees the advances of the military dictatorship for a new life in Brazil. Resistance is told from the point of view of the family’s youngest son, reflecting on the struggles of his parents and his siblings as they attempt to fit into their new lives. A stark and dialoguefree recount, it manages the complex balancing act of presenting these troubled lives with authority while allowing for the distortions of time and memory (‘I’m giving the occasion too much weight, a weight it never had in their stories’). Resistance is slim, at just 150 pages, but in how it documents ‘the discreet echoes of time’, it swells into a deeply moving record of shattered lives. Its forensic examination of the past may prove too dark, perhaps too airless, for many readers. But for those who meet the challenge of its unwavering formality, here is a novel of considerable weight and brimming with human insight. Credit to Daniel Hahn, whose spirited translation is respectful of Fuks’ understated prose, and to emerging Edinburgh independent publisher Charco Press, whose lovingly presented edition is a thing of genuine beauty. [Gary Kaill] Charco Press, 4 Oct, £12.99 charcopress.com/bookstore/resistance

BOOKS

THE SKINNY

Tako Taal, You know it but it don’t know you

Berwick Film and Media Arts Festival rrrrr Berwick Film and Media Arts Festival (BFMAF) encompasses artist moving image, cinema, exhibitions, performances, talks and workshops. This diverse exploration of film and media arts takes places across the city, inviting visitors to explore both the geography and history of Berwick alongside the festival. The programme is divided into several strands that can provide either an introduction or a more in-depth survey of a practice. The filmmakers in focus this year were Los Otros, a film studio based in the Philippines established by John Torres and Shireen Seno. This focus on South East Asian filmmaking continued with the Screening The Forest programme. Within both

these programmes, an emphasis was placed on family life, daily interactions and our relationship to the environment. Propositions enabled a deeper engagement with four practitioners through a series of films, performances and talks. Morgan Quaintance’s film, Another Decade stood out as an exploration of the Other through bringing together longstanding research into institutional corruption and exclusion, alongside a personal reflection on growing up as a young black man in London. Within Another Decade and the following discussion, Quaintance proposed a politics of the ‘Other Centre’, meaning to inhabit and celebrate a marginal position rather than aspiring and conforming to the patriarchal and capitalist centre. Berwick New Cinema aims to present the best in new artist’s moving image and filmmaking, selected from both an open call and the pro-

grammer’s research. Tako Taal’s You Know it but it Don’t Know You is a beautifully sensitive observation of how tourism functions in Gambia, placed within a wider political context through using the words of Taal’s grandmother. Stephanie Comilang’s Come to Me, Paradise also inhabits a carefully observed community, in this case migrant Filipina domestic workers in Hong Kong. The film explores how communities can be maintained even within such tough, alienating conditions and shows how these women repudiate their exploitation through female support networks enabled by technology. The Exhibitions programme focuses on artists working with moving image and occupies many unusual spaces across the town, allowing for a more diverse audience to encounter the works. Films that felt like a response to this were Heather Phillipson’s of Violence, Kevin Jerome Everson’s Carrs Down South and Rehana Zaman

with the Liverpool Black Women Filmmakers’ How Does an Invisible Boy Disappear? Phillipson’s playfully sentimental film functions as a love letter to her dog, whilst Everson and Zaman also generated spaces of intimacy through producing close portraits of two marginalised communities: three generations of one family living in North Carolina and a group of young black women living in Liverpool. The Exhibitions programme has the potential to explore the wealth of moving image practices taking place within the visual arts currently, however this year’s selection often felt like more of a gesture towards a set of ideas rather than a full embodiment of them. Essential Cinema presents classic cinema alongside new contemporary works. Edgar Reitz and Ula Stöckl’s Tales of the Dumpster Kid is a hilariously subversive collection of 20 short films which take its female protagonist on a series of absurd, humiliating, frightening but ultimately emancipating journeys around 1970s Germany. The film was intended to be shown within pubs, where viewers could choose their own sequence of episodes, a fitting collective experience that BFMAF also provided. Morgan Quaintance’s phrase ‘Other Centre’ is one way to describe the strategies of the strongest works of the festival, by young queer, feminist artists and filmmakers of colour. Fortifying the entire BFMAF with a sense of political and social urgency, these artists – each in markedly distinctive ways – operate from and create ‘Other Centres’ in order to engage processes of transgression as a means of forming new and powerful lines of community and thought. [Hannah James] Berwick Film and Media Arts Festival took place between 20-23 September

Where Art Now? Exhibition Highlights COCO! NUTS!, the solo exhibition by painter Rabiya Choudhry, continues until 20 October in Transmission Gallery in Glasgow. COCO! NUTS! is Choudhry’s first major solo show, bringing attention to the idiosyncratic and striking paintings that she has been producing for almost two decades. Alongside the paintings, Choudhry also includes new works in sculpture, neon and textiles that draw upon a set of personal imageries and symbols that can be funny, bizarre, disturbing, mysterious, abstract, surreal – sometimes all at once. COCO! NUTS! in its title already gives away its main reference point, Choudhry’s own experience of South Asian diaspora and cultural displacement, coupled witha dark comedic Scottish humour. Through October, there is a film programme to accompany the show, including a screening of My Beautiful Laundrette (1985) on Saturday 6 October at 2.30pm, then East is East (1999) on Saturday 13 October at 2.30pm. Rhubaba opens its new show, such tender bodies cannot bear so much pressure on Friday 19 October 7-9pm, continuing until 4 November. Three artists are invited to explore the language of gestures, working across performance, film and writing, and considering the use of gesture within verbal and written languages, at work in labour processes, and the multitude of ways gesture makes and breaks meaning throughout daily interactions. Performances by exhibiting artist Claricia Parinussa take place on Friday 19 and Sunday 28 October, and Sunday 4 November. On Thursday 25 October 6-9pm at The Goethe Institut in Glasgow, The Common Guild host the launch of aritst Katinka Bock's latest publication, Radio Piombino, with a discussion

October 2018

between curator Kitty Anderson and the artist. This 16-page publication will feature photography of the brass and ceramic sculptures featured during the summer exhibition, and which combined demanding sculptural processes and materials with reference to Glaswegian and Etruscan industrial histories and legacies. Paris-based curator and art critic Anne Bonin also contributes an essay, alongside production photographs by the artist. The event is free but ticketed; see The Common Guild website for further details. From 26 October, in Dundee’s Cooper Gallery, there is Great Noises that Fill the Air, the first retrospective of the influential collective Bow Gamelan Ensemble. Since the 80s, this group of artists has been repurposing scrap and found materials (electric motors, river barges, domestic objects like glass sheets, lightbulbs and fireworks) to make experimental sound and musical instruments. Part archival, the retrospective will draw together notes, drawings, scores and objects from the group’s more than twenty-five years of “improvisation, camaraderie, provocation and antagonism.” An Event Series will transform the gallery into an open “‘jamming studio’, where artists musicians, poets and audiences will share, debate and question strategies of collaboration and antagonism in culture, society and everyday life.” There will also be a symposium to close the exhibition on Saturday 24 November from 2-6pm, considering collectivity and collaboration within current social and critical discourse. Awards and Opportunities The Dundee Women’s Festival will take place next year from 2-16 March 2019. It will bring

Words: Adam Benmakhlouf

Rabiya Choudhry, COCO!NUTS!, 2018 acrylic on paper

together a huge range of different “events, activities, debate, talks, arts and therapies providing opportunities to celebrate women’s culture, women’s stories, women’s wisdom, women’s identities and women’s lives.” The Festival is currently accepting proposals for events to be included as part of their programme. Deadline: 2 November The Dewar Arts Awards make awards to all kinds of makers and artists. Applications are invited from individuals “under 30, [who] live and work in Scotland, have talent and financial need.” More details are available on www.dewarawards.org.

ART

Photo: Courtesty of the artist

With autumn comes new exhibitions from Rhubaba in Edinburgh and Cooper Gallery in Dundee (including a “jamming studio”), and exhibition, grant and residency opportunities from Dewar Arts and Hospitalfield Trust

Deadline: 20 December, 4.30pm Hospitalfield’s Interdisciplinary Residency is currently open to applications from “writers, curators, designers, architects, composers, choreographers and other cultural practitioners and theorists.” There are several opportunities for two-week residencies during March, May, August and November 2019. These residencies can be a “test bed for [individuals or groups] developing their practice and a scenario to concentrate on a specific project. The cost is £630 for a two-week full board residency. Deadline: 12 November theskinny.co.uk/art

Review

In Cinemas Mandy

Director: Panos Cosmatos Starring: Nicolas Cage, Andrea Riseborough, Linus Roache, Bill Duke, Richard Brake, Ned Dennehy, Olwen Fouéré, Hayley Saywell

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A lumberjack seeks revenge for the slaughter of his wife in Panos Cosmatos’ Mandy, a lurid, psychosexual homage to 1980s horror that sees a wild-eyed Nicolas Cage give perhaps his most unhinged performance to date. A triptych of murder and revenge, Cosmatos’ follow-up to Beyond the Black Rainbow opens with Red (Cage) returning to the isolated cabin where he lives with Mandy (Riseborough). The intensity of their relationship is rendered in warm, vibrant colours, but the arrival of a religious cult sees the narrative descend into a hellish exploration of the occult and the devastation that hits when the foundations on which we rely on are burnt to ashes. A work of pure artifice, Mandy brings to mind the films of Dario Argento and Lucio Fulci, existing entirely within its own hermetic world of giallo

horror and 80s heavy metal. Although destined to perplex and divide audiences, Cosmatos’ latest is certain to achieve cult status among horror aficionados, even if the director’s eagerness to please results in a thoroughly masculine genre piece that contorts the misogyny of its forebears to the point that irony becomes difficult to separate from the genuine article. Unless you’re willing to immerse yourself entirely into this erotically facetious world, Mandy can feel like the work of a filmmaker indulging in his own sexual and cinematic fetishes. But anyone open to films that fearlessly twist conventions, and mine the language of cinema for its strange potential, will get a kick out of Jóhann Jóhannsson’s disorienting soundscapes and Benjamin Loeb’s bewitching cinematography. A mind-melting genre orgy, Mandy is highly pleasurable both as a hypercrafted aesthetic object and as a rare opportunity to witness Cage smelt his own battle axe and light a cigarette from the flaming head of a decapitated monster before engaging in a bloody chainsaw duel. [Patrick Gamble] Released 12 Oct by Park Circus; Certificate 18

A Star Is Born

Director: Bradley Cooper Starring: Bradley Cooper, Lady Gaga, Andrew Dice Clay, Dave Chappelle, Sam Elliott

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A Star Is Born – a musical drama soaked in a haze of tragedy – marks a staggeringly accomplished debut for first-time director Bradley Cooper. This third remake of William A. Wellman’s 1937 film pairs charming songwriting with powerhouse performances, with Cooper taking the lead as Jackson Maine, a troubled singersongwriter lost in the loneliness of fame and nursing a severe drug and alcohol dependency. On a post-gig hunt for a fix, he stumbles into a drag bar to find young singer Ally (Lady Gaga) on stage, singing Édith Piaf’s La Vie En Rose to an enthralled audience. It is love at first sound for Jackson, and soon Ally’s voice and presence become his sanctuary. The first hour of A Star Is Born is near-perfect, a blur of colour, music and romance that

lights up the chemistry between Cooper and Gaga and makes their voices soar. Gaga is immense, delivering a wonderfully grounded and subtle performance with bursts of that electricity that has so invigoratingly defined her pop career. Cooper is also compelling, spinning in a slurred daze that we feel in the cinematography as much as his acting. Lights dance across the screen and fans in the crowd blend into one in the often beautiful chaos of Jackson’s life. The story grows baggier and more muddled in the second half, but it has many interesting things to say: on the sadness of addiction, on the joys of music and on the bonds we share with those we love that can at least try to repair anything. Ally and Jackson’s lives are tangled together, and they must fight to protect each other in the toxic waters of a music industry that looks set on destroying them. A Star Is Born has its flaws but it glows with a poignant beauty throughout. [Caitlin Quinlan] Released 3 Oct by Warner Bros; Certificate 15

Mandy

Touch Me Not

First Man

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Director: Adina Pintilie Starring: Laura Benson, Tómas Lemarquis, Christian Bayerlein, Grit Uhlemann, Adina Pintilie, Hanna Hofmann, Seani Love, Irmena Chichikova, Rainer Steffen

Director: Damien Chazelle Starring: Ryan Gosling, Claire Foy, Jason Clarke, Kyle Chandler, Patrick Fugit, Ciarán Hinds, Ethan Embry, Shea Whigham, Corey Stoll, Pablo Schreiber

A Star Is Born

Columbus

Halloween

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Director: Kogonada Starring: John Cho, Haley Lu Richardson, Parker Posey, Michelle Forbes, Rory Culkin

Director: David Gordon Green Starring: Jamie Lee Curtis, Judy Greer, Nick Castle, Andi Matichak, Will Patton, Virginia Gardner

Adina Pintilie’s Touch Me Not opens with a slow pan up a hairy limb to a flaccid penis and onwards. The opening shot sums up the jarring juxtaposition of Pintilie’s film: there’s confrontation yet, at the same time, a forced casualness. The film follows Laura (Benson), a middleaged woman with intimacy issues. Unable to get close to anyone, she embarks on an odyssey of sexual healing, conducting interviews with people considered outside the sexual norm. There’s a touch therapist, a transgender sex workeR and a man with spinal muscular atrophy. Touch Me Not raised eyebrows when it won 2018’s Berlinale, but for a film about intimacy, there’s nothing particularly shocking here. Interviews are conducted forensically, as if Pintilie is a scientist using Laura as her guinea pig. The film’s lack of warmth for its subjects is echoed stylistically with art-house blues-greys and coldly composed frames. Pintilie’s film has nothing but good intentions – to hold up all sex as normal sex – but Touch Me Not’s coldness ironically blocks any intimacy between film and audience. [Katie Goh]

Based on the Neil Armstrong biography of the same name, Damien Chazelle’s First Man is set during the ten years leading up to 20 July 1969, the day that changed the world. Much of the film takes place in spaceships. Unlike on his last film La La Land, Chazelle isn’t interested in a glossy finish. Instead we see every nut and bolt of the flimsy craft. Gritty but uninspired hand-held shots are nausea-inducing as the audience is given the same limited visuals as the astronauts. It’s a claustrophobic approach until we reach the moon, where wide panning shots replace shaky cam, and these sequences are truly stunning as both Armstrong and the film are finally allowed to breathe. There’s potential here to dig into issues of masculinity, domesticity and nationality, but Chazelle instead chooses a romanticised quest of man’s endeavour for more. Musical cues from composer Justin Hurwitz, Chazelle’s long-time musical collaborator, offer little more than emotional manipulation. With solid performances and a heavy grit to the cinematography, it’s a shame First Man never gets off the ground. [Katie Goh]

Columbus is a film heavily focused on architecture, with formalism at the forefront of its aesthetic. By no means though is this a cold exercise. Instead it calls to mind two of cinema’s great humanists, Richard Linklater and Yasujirō Ozu. A string of conversation-heavy encounters between a man and a woman prove life-altering (à la Linklater), particularly when it comes to their notions of familial relationships and whether or not to keep their lives on hold for their commitments to their parents (à la Ozu). The aforementioned man and woman are Casey (Richardson), a recent high school graduate and architecture nut who’s trying to decide her next life step and Jin (Cho), who’s visiting the eponymous Indiana city to attend to his father, a Korean architecture scholar who collapsed on the college grounds and is in a coma. While everyone in Columbus does fine work, including Parker Posey as Jin’s father’s colleague, Richardson is a revelation, conveying an ocean of burning passion. She’s the beating heart of this warm, quietly devastating drama that has plenty to offer for those open to something subtle. [Josh Slater-Williams]

The Halloween franchise isn’t overflowing with horror gems, but David Gordon Green’s latest sequel has an elegant solution to its substandard predecessors – they’re cast aside. This Halloween is a direct continuation of Carpenter’s masterful 1978 original, and opens with two podcasters visiting Michael Myers in prison, undoubtedly after a hit along the lines of Serial. Jamie Lee Curtis’ Laurie Strode, meanwhile, is still in Haddonfield and suffering from PTSD. Her trauma manifests through an obsession with Myers and has transformed her into a Sarah Connor-esque action woman. She was right to be prepared: Myers escapes during a prison transfer and begins a bloody path through town to complete what he started four decades ago. Halloween is no PG sequel. There are gory kills, including one particularly nasty encounter in a bathroom, but it has lost the B-movie grunge. The biggest change is that Myers isn’t the scariest thing in town anymore; it’s Laurie’s paranoia and alienation that’s the real horror. It’s a mature development and worthy final chapter of the franchise. Let’s hope the Myers saga ends on Halloween’s joyride high. [Katie Goh]

Released 19 Oct by MUBI; Certificate 18

Released 12 Oct by Universal; Certificate 12A

Released 5 Oct by Network; Certificate 12A

Released 19 Oct by Universal; Certificate TBC

Review

FILM & TV

THE SKINNY

At Home Killing Eve

Paris Nous Appartient

American Vandal: Season 2

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Created by: Phoebe Waller-Bridge Starring: Sandra Oh, Jodie Comer, Fiona Shaw, Darren Boyd, Owen McDonnell, Sean Delaney, David Haig

Director: Jacques Rivette Starring: Betty Schneider, Giani Esposito, Françoise Prévost, Daniel Crohem, François Maistre, Jean-Claude Brialy

Created by: Dan Perrault, Tony Yacenda Starring: Tyler Alvarez, Griffin Gluck, Travis Tope, Melvin Gregg, Taylor Dearden, DeRon Horton, Adam Ray

It’s two years since Fleabag turned Phoebe Waller-Bridge into a critical darling and marked her out as one of Britain’s most exciting and singular young writers. As much as she seemed to have the world at her feet in the immediate aftermath, it’s hard to imagine too many people would have predicted her next move would be to turn in a darkly comic spy thriller (via an appearance as a feminist droid in Solo). That’s precisely what she’s done though: Killing Eve, based on a series of novellas by Luke Jennings, is a deliciously cool and consistently engaging eight-parter that, through a pair of electrifying central performances, wears its various stylistic masks lightly. Jodie Comer is the mouse to Sandra Oh’s cat, the former excelling as Villanelle, a psychopathic assassin who’s equal parts icy and endearing. Oh is the increasingly obsessive title character, an MI5 agent who’s on the assassin’s trail as she dispatches targets across the continent with consummate ease and obvious enjoyment. The plotting is sharp, the pace brisk and there is a blackly funny crackle to Waller-Bridge’s dialogue that, even in a context as far removed as this, anybody who saw Fleabag could identify at a thousand yards. Comer’s character, in particular, is effectively the series in microcosm; throughout, you feel as if she’s performing the same juggling act on the screen as Waller-Bridge is on the page, with Villanelle’s stark remorselessness offset by a kind of campy weirdness that deliberately leaves the viewer conflicted. Much has been made about Killing Eve’s feminist credentials in the #MeToo era and that’s understandable at a surface level, both in the increasing complexity of the relationship between the two leads and the fact that we’re watching unsuspecting misogynists routinely offed by a female contract killer. Ultimately though, the triumph lies in Waller-Bridge’s deft ability to realise two genuinely transgressive and multifaceted roles for women. [Joe Goggins]

Although not released until 1961, by which time Claude Chabrol, Jean-Luc Godard and François Truffaut had all stepped on to the stage with their brilliant debuts, Jacques Rivette began his film in 1957, making it (arguably) the first of the French New Wave. Its reputation as one of the movement’s totemic works doesn’t rely on that fact, but it certainly helps. Paris Nous Appartient turns on the death of a character we never meet – guitarist Juan, an exile from Franco’s Spain – and the efforts made by young student Anne (Schneider) to uncover the reasons for his death and the manner of it: did he die by his own hand or was he murdered as part of some shady political plot? She also wants to find a recording he made so it can be used by theatre director Gérard (Esposito) in a production of Shakespeare’s Pericles – theatre rehearsals are a favoured motif for Rivette: see Out 1, L’Amour Fou and Love on the Ground. Mostly Anne’s quest involves her walking around Paris in the company of Gérard, her brother Pierre (Maistre), childhood friend Jean-Marc (Brialy) or Philip (Crohem), a hard-drinking American exile from McCarthyism. Everyone smokes and, Anne aside, everyone displays paranoia, cynicism and nihilism, albeit in differing proportions. In other words, Rivette’s Parisians are typical of the Left Bank intellectuals of the time and it’s that scene and that worldview that he immortalises so brilliantly in Paris Nous Appertient. The fact that Godard, Chabrol and Jacques Demy all have cameos is just the icing on the cake. Extras There’s an illuminating (but old) interview with critic Jonathan Romney, a new commentary from fellow critic Adrian Martin and Rivette’s 1957 short Le Coup du Berger, co-written with Chabrol and featuring him, Godard and Truffaut in cameos. [Barry Didcock]

Season one of American Vandal had three chief virtues. First, and most simply, it’s hilarious. Taking the form of a true-crime doc, it followed teen AV enthusiasts Peter (Alvarez) and Sam (Gluck) as they endeavoured to discover who spray painted penises on to the cars in their school’s teachers’ car park. Second, it’s a wicked parody of the storytelling beats and the visual clichés of truecrime shows like The Jinx and Making of a Murderer. And third, it’s a proper whodunnit – we really had to know “who drew the dicks?” We’re pleased to report all three qualities are present and correct in this witty, ambitious sequel. During the meta opening episode we discover that Peter and Sam’s school project was such a viral success that Netflix has bought the show and commissioned a follow-up. When they hear of another puerile crime, in this case everyone at an exclusive Catholic school given explosive diarrhoea thanks to laxative-tainted lemonade, the game is afoot for our fresh-faced Holmes and Watson. A pretentious doofus with a passion for exotic teas (Tope) has confessed to the crime, which the kids refer to as “The Brown-Out,” but something stinks about this case – and it’s not just that several more faeces-related pranks have been perpetrated by someone calling themselves “The Turd Burglar.” The joy of American Vandal remains the earnest ways in which Peter and Sam document the juvenile crime, which grows funnier and more psychologically troubling as the investigation goes on. We learn about the various characters at the school and the myriad motives they may have for turning their place of learning into a scatological war zone. The shit-stained premise may put off some, but there’s nothing crude about American Vandal’s pin-sharp exploration of the cruelty of high school or the myriad pressures placed on young people. Come for the poo jokes; stay for the sociological insight. [Jamie Dunn]

Killing Eve is available on BBC iPlayer

Out now from BFI; certificate 12

American Vandal seasons 1 and 2 are streaming on Netflix

October 2018

FILM & TV

Review

Real Horror Show The Skinny chats to Alex Staniforth, one of the co-founders of the Edinburgh Horror Festival, about their third year, why there’s not enough horror theatre and what makes horror so unique

“I

can’t remember a time when I wasn’t interested in the supernatural and horror,” says Edinburgh Horror Festival co-founder Alex Staniforth as we begin our chat over the phone. Staniforth’s love of the genre has had an undeniable affect on his life and also his career, and no matter what he did, horror was the genre that remained a constant. “I’ve always been drawn to the aesthetic of horror,” he says as we discuss what horror means to him as a fan but a performer too, “the castle on the hill and the place out of time. “That’s really what attracts me to horror stories; you can take the familiar and make it unfamiliar. That ability to make the familiar into something just off-kilter, seeing something in the mirror out of the corner of your eye, that’s something that only happens in horror. That’s what draws me to it, that’s what’s unique about horror.” This passion for all things horror-related, with the exception of what he describes as gorefests (horror that uses a lot of blood and guts to get scares, such as torture porn, although he makes an exception for The Evil Dead trilogy), led to him starting the Edinburgh Horror Festival with two fellow enthusiasts – the magician Ash Pryce and actor Oliver Giggins. Now into its third year, the festival was created to fill a void in the capital’s cultural calendar and celebrate the best of contemporary horror. “Our interests all centred around horror,”

Interview: Amy Taylor

nd the country, save for the fairly regular revivals of The Woman in Black, he says: “It’s not a common element of theatre, and yet stuff is out there. “We [the festival] get people from across the country wanting to put on their horror theatre shows and I do think theatre lends itself to horror in a way; it’s got that personal feeling that you can’t get from film. So, I really don’t know why there isn’t more horror theatre, people are endlessly putting on their own theatrical versions of Dracula, but there doesn’t seem to be much else! “There are a few things that dominate and the rest goes by the wayside, but there is some excellent horror theatre out there and we hope to showcase a lot of it this horror fest.” This year’s programme, which features nine theatre productions from companies such as Nevermore Theatre and Nightmare Productions, a show on a boat, comedy, storytelling and Staniforth’s own shows Edinburgh Ghost Stories at Lauriston Castle and Stand Up Horror, Staniforth’s only concern is, funnily enough, the date of Halloween itself this year. “Halloween falling on a Wednesday is a little bit awkward,” he admits. “It’s always easier for us if it’s on a weekend, but we think we’ve handled it quite well, and we should have excitement for people from the Friday right up until the Wednesday.”

he explains. “We were all performers, and our interests were very much based in horror. So, we decided that a horror festival in late October would be ideal; people will have recovered from the Fringe by then and looking to put on their shows again.”

“ That’s really what attracts me to horror stories; you can take the familiar and make it unfamiliar” Alex Staniforth

And, as he says, the festival has gone from strength to strength. Its programme features a plethora of talks, events, film screenings and an impressive amount of horror theatre – a genre not often performed on the UK stage. When we ask whether Staniforth has noticed the lack of horror productions being staged or toured arou-

Edinburgh Horror Festival, 26–31 Oct, various venues Adam Cuerden in Music Hath Power to Soothe the Savage Beasts

edhorrorfest.co.uk

Stage Directions All the leaves are brown and Scottish theatre is a luminous shade of red, thanks to the many exciting shows on offer this month, which just so happens to be our theatre editor’s favourite time of year

Government’s Year of Young People). OK, so Futureproof started at the end of September but it runs until the end of this month, and there is a lot to see and do during the festival. Co-curated by Lucy Gaizely of 21Common, the festival will see ten daring national and international companies working with local young people to create ten exciting new productions in ten locations across Scotland until 28 October. Tours Beginning on 6 October at the Lochgelly Centre, Fuora Dance Project’s first childrens’ show W-hat About? aims to respond to the international uncertainty surrounding Brexit, based on their own uncertainty following the referendum. The tour moves to Dundee Rep on 12 October, before touring to Platform in Glasgow, Adam Smith Theatre in Kirkcaldy and Musselburgh’s Brunton Theatre, before ending its current run at Arran High School Theatre on 6 November. W-hat About

t’s finally autumn, and that means that a whole host of productions are about to begin touring across the country. But which shows are going where and what does Scottish theatre have to offer this month? Read on and find out, because you are in for a massive treat.

Review

Festivals It would be remiss to write a whole guide to Scottish theatre in October and not mention The National Theatre of Scotland’s Futureproof, their upcoming, nationwide festival of radical new work created with Scotland’s young people (which just so happens to be part of the Scottish

Shows Another show created with young people is This Way Up, a new promenade style dance-theatre show. A new production by Lyra's Young Company in collaboration with Lyra’s Artistic Director Jo Timmins and composer Caitlin Mulgrew, this piece runs from 5-6 October at Artspace. This Way Up was made with young performers from Craigmillar and Niddrie, and

THEATRE

Words: Amy Taylor

weaves together real life stories, feelings and wildly differing definitions of home. Cumbernauld Theatre present the comingof-age tale Mancub from 3-13 October. Adapted by one of Scotland’s most admired playwrights Douglas Maxwell (Decky Does a Bronco, Our Bad Magnet, Charlie Sonata), from the book The Flight of the Cassowary by John Levert, Mancub is a magically comic and thoroughly compelling play. It explores the intensity of emotions in family life and the tribulations of growing up as a teenager in a contemporary Scottish town. After completing their Dragon trilogy with last year’s Dragons of Drummohr, Vision Mechanics are turning their attention to one of the most beloved stories of all time, transforming the grounds of Drummohr House into the Land of Oz. Their new piece, Quest for Oz runs from 4-28 October and is their most ambitious project yet, combining storytelling, huge light installations and innovative augmented reality. Sylvian Productions’ Stuff, a new show about hoarding of memories, emotions and things, begins at the Eastgate Theatre in Peebles on 19 October, before touring around Scotland until 7 November, with stops in Hawick, Galashiels and Livingston. Written by Sylvia Dow, directed by Muriel Romanes and designed by John Byrne, the show begins on the day the Council is coming to clear a hoarder’s house. theskinny.co.uk/theatre

THE SKINNY

The Best Medicine When it comes to good mental health, comedians really can help. Discover four of our favourite comedy podcasts navigating everything from grief to obsessive thoughts, including a brand new pod from Juliette Burton

Susan Calman’s Mrs Brightside Following her well-received account of her own battle with depression, and a profile-boosting run on Strictly Come Dancing, Susan Calman fronts a BBC podcast aiming to take a lighter look at mental illness. Initially commissioned for eight episodes, at the time of writing four have been released. Calman leads the discussions with each guest comedian on their own experience of mental health conditions with warmth and assuredness, suggesting this could become a much longer running enterprise. In the inaugural episode, Jordan Brookes discusses with frankness his struggle with ‘pure OCD’, a term for a variant of the condition

October 2018

consisting of rumination on disturbing and intrusive thoughts, which are sometimes violent or sexual in nature but which can feel alien to the person experiencing the condition. Though it is less well known than the more compulsive cases of the disorder, it’s no less debilitating and summed up here in suitably amusing but devastatingly accurate detail.

Boys Don’t Cry In each episode of Boy’s Don’t Cry Russell Kane hosts a panel of comedic speakers to tackle an issue which, according to the blurb, ‘men spend their lives avoiding’. With male suicides at such high levels, it’s a noble and timely venture. It’s also one that doesn’t shirk from awkward topics, is peppered with moments of unexpected sensitivity, and amuses as much as it provokes. Episodes to date consider anger, infidelity, the concept of the alpha male, and the dialogue between men and women in the wake of the #MeToo movement. Juliette Burton’s Positive Mental Attitude Another stalwart Fringe performer known for turning her personal mental health struggles into heartfelt comedy, Juliette Burton – in conjunction with the charity Rethink (for whom Burton is an ambassador) – is due to front an initial run of five episodes of this podcast, in which she aims to highlight the positive aspects of living well with a mental illness. Guests include speaker and author Jonny Benjamin, who famously launched a social media campaign to locate and

Juliette Burton

thank the passerby whose intervention saved him from taking his own life, as well as author and advocate for mood boosting nutritional health Rachel Kelly. Following a candid discussion with each individual guest about their own exper-

COMEDY

Photo: Steve Ullathorne

Griefcast Now in its third series, Cariad Lloyd’s Griefcast is exactly as billed: ‘comedians talking about death’. Yet it is also so much more. Recurring themes of connection, therapy, forgiveness, enduring love and the central acknowledgement that loss is a universal experience make this a valuable listen even for those with no real interest in comedy. Although, humour is never far away during the conversations and there’s plenty of laughter on offer here. Of particular note is Michael Legge’s discussion of losing his dog Jerk in 2017. It’s a kind of bereavement often overlooked and rarely discussed, but familiar to anyone who has lost a beloved animal companion.

Words: Emma O’Brien

ience, the second segment focuses on exploring something the guest feels has been of significant help to them in managing their condition. Positive Mental Attitude launches on 10 Oct; Griefcast, Boys Don’t Cry and Mrs Brightside are available to stream and download now

Review

Competitions Win tickets to Illuminight Back for 2018 after a fantastic first year in 2017, with nearly 40,000 visitors, Illuminight will return to Dean Castle Country Park to present more stunning lights, sounds and installations from Wednesday 24 October until Sunday 18 November. The festival returns with new and exciting effects, dazzling lights and enchanting sounds to fill the park with wonderment and awe. Handson activities and games throughout the trail will keep all ages, young and old, entertained. A mouth-watering selection of food and drink, lots of delicious snacks, bites and sweets will be available alongside seasonal tipples and warm drinks to keep you cosy during your wander through Illuminight. Don't worry, they haven’t forgotten about the marshmallows for toasting! We have five pairs of Illuminight tickets to

give away. For your chance to win one of these pairs, simply head to theskinny.co.uk/competitions and correctly answer this question: Where does Illuminight take place? a) Dean Castle Country Park b) Edinburgh Castle c) Dalkeith Country Park Competition closes midnight Sun 21 Oct. Entrants must be aged 18 or over. Limited to one entry per household. No third party or bulk entries will be accepted. Winners will be notified via email within two working days of closing and 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 Edinburgh Art Fair

For more information, head to illuminight.co.uk

Win a pair of tickets to Edinburgh Art Fair

Illuminight

Scotland’s premier art fair returns to the Edinburgh Corn Exchange this November with 60+ galleries and thousands of artworks from over 500 artists. Sponsored by BTO Solicitors, The Edinburgh Art Fair has established itself as a key date in Edinburgh’s cultural calendar and has galleries from South Korea and China joining exhibitors from the UK and Europe this year to bring a truly international flavour to this three-day art buying extravaganza. Original artworks in all mediums will be offered for sale from £100 to £50,000, meaning there will be something to suit all penchants and pockets. The EAF is a family friendly event that lives by its slogan – “Art for Everyone!” We’ve ten pairs of tickets to Edinburgh Art

COMPETITIONS

Fair to give away. For your chance to win one of these pairs, simply head to theskinny.co.uk/competitions and correctly answer this question: Who sponsors The Edinburgh Art Fair? a) BTO Solicitors b) BTO Doctors c) BTO Architects Competition closes midnight Sun 28 Oct. Winners will be notified via email within two working days of closing and 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 Private View: 22 Nov, 6.30-9.30pm Public Opening: 23-25 Nov, 11am-6pm (5pm on Sunday) For more information, head to artedinburgh.com

THE SKINNY

Glasgow Music

GLASGOW AMERICANA FESTIVAL: BENNETT WILSON POOLE THE GLAD CAFE, FROM 20:00, £13

Trio made up of Danny Wilson, Robin Bennett and Tony Poole. CHILDCARE

Mon 01 Oct

BABY FACE AND THE BELTIN’ BOYS

BLOC+, FROM 21:00, FREE

Jazz and gospel mixed with some southern charm. ACOUSTIC OPEN MIC NIGHT W/ GERRY LYONS

NICE ‘N’ SLEAZY, FROM 20:00, FREE

Come and see some of the best unsigned artists in the country for free. TOM CLARKE

THE GARAGE GLASGOW, FROM 19:00, £17

Frontman of The Enemy giving the solo life a bash. BRANDON REILLY

THE GARAGE GLASGOW, FROM 19:00, £8

Musician best known as the lead singer and guitarist of the band Nightmare of You. CONNER YOUNGBLOOD

STEREO, FROM 19:00, £8

Ambient folk electronica, with considered lyrics sung exquisitely by the Texan musician.

THE BRIGHT SKIES (THE CAPOLLOS + THE SHOUTOUTS)

THE HUG AND PINT, FROM 20:00, £7

Indie band for fans of NME style acts.

Tue 02 Oct DEAD BY MONDAY

BLOC+, FROM 21:00, FREE

The intensity of Gallows, the DIY approach of NOFX, the unpredictability of The Dillinger Escape Plan and the fury of Rage Against The Machine. PALAYE ROYALE (THE HAUNT)

KING TUT’S, FROM 20:00, £14.30

Ever heard of a fashion-art rock band? Well, that’s what Palaye Royale claim to be and they’ve built up quite the following on it.

ALIAN PIZZA VAN

NEW MODEL ARMY

BLOC+, FROM 21:00, FREE

THE GARAGE GLASGOW, FROM 19:00, £20

‘Psychedelic party punk’ duo Alian Pizza Van are the first pizza van to make pizza exclusively for your ears.

THE DANIEL WAKEFORD EXPERIENCE (THE SINSHEIMERS + THE BANTER THIEFS) O2 ACADEMY GLASGOW, FROM 19:00, £13.50

Brighton-based singer-songwriter from the UK’s burgeoning disabled music scene. CLOVES

KING TUT’S, FROM 20:30, £11

The musical guise of Australian singer-songwriter Kaity Dunstan.

SCOTT CANDLISH (CHLOE MARIE + HUGH KELLY)

THE OLD HAIRDRESSERS, FROM 19:30, £5

Singer/songwriter Scott Candlish blends folk fingerstyle with alternative rock in his unique craft. DAVE GILES

THE HUG AND PINT, FROM 19:30, FREE

The proudly DIY Essex singer songwriter hits the road.

Wed 03 Oct

HOGJAW (HALF LOADED + ALL SUNS BLAZING)

KING TUT’S, FROM 20:30, £11

Southern rockers from the deserts of Arizona. KEVIN P. GILDAY & THE GLASGOW CROSS (THE MAP DEPT. + PETER CAT)

NICE ‘N’ SLEAZY, FROM 19:30, £5

Award-winning spoken word artist and multi-instrumentalist Ralph Hector, aka Kevin P. Gilday and band. WARGIRL

SWG3 GLASGOW, FROM 19:00, £8

Three women and three men, each with colourful biographies, playing music from all over the world.

AVALANCHE PARTY VS CANSHAKER PI

BROADCAST, FROM 19:00, £9

Dual headline tour from the two bands. THE RIFLES

ST LUKE’S, FROM 19:00, £19.25

Four-piece indie rock band all the way from Chingford.

JEFF LYNNE’S ELO (BILLY LOCKETT)

THE SSE HYDRO, FROM 18:30, £56.75 £130.55

A reincarnation of Electric Light Orchestra play through their hits.

Thu 04 Oct

THE CLASSIC ACOUSTIC SONGBOOK WITH RONNIE & OLIVIA

ORAN MOR, FROM 17:00, FREE

Ronnie and Olivia play tunes from their Classic Acoustic Songbook in the cosy bar. GLASGOW AMERICANA FESTIVAL: EMILY BARKER

ORAN MOR, FROM 19:00, £15

Emily Barker is a Bafta and Ivor Novello award-winning singersongwriter who blends classical, rock, country and folk influences to stunning effect.

October 2018

TOPLOADER

ST LUKE’S, FROM 19:00, £16.20

Weird name? Must be a punk band. And it is!

IO PAN (JER REID AND RAYMOND MACDONALD + VERBODEN BOYS (BELFAST CHAPTER)) NICE ‘N’ SLEAZY, FROM 19:30, £5

JEFF ROSENSTOCK (CHRIS FARREN)

The LA ska dude plays Glasgow as part of a sprawling international tour. GLASGOW AMERICANA FESTIVAL: ANTHONY D’AMATOR (MABEL & HUCK)

THE GLAD CAFE, FROM 19:30, £13

THE HUG AND PINT, FROM 19:30, £8

STRANGE BONES

Strange Bones have a reputation for explosive punk shows and have been nominated for UMA Best Live Band 2018.

BOX, FROM 20:00, FREE

GLASGOW AMERICANA FESTIVAL: THE HELLFIRE CLUB

The Hellfire Club includes members from a number of Glasgow seminal indie groups from the 1990s. PETE WESTWATER

PIE & BREW, FROM 20:00, FREE

With his soulful voice and professional guitar playing, Pete Westwater’s musical repertoire spans a range of popular music, from old to new.

Sat 06 Oct

GLASGOW AMERICANA FESTIVAL: STARRY SKIES

ORAN MOR, FROM 19:00, £12

ST LUKE’S, FROM 19:00, £11

Pop Americana, rollicking garage rock and tender balladry from Glasgow-based singer/songwriter Warren McIntyre.

ASTROID BOYS

Queen tribute act.

THE NIGHT CAFE

Liverpudlian quartet out on their UK tour. AUDIO, FROM 19:00, £12

Hip-hop, metal, dubstep collective from Cardiff, mashing up their combined influences with MCs Benji and Traxx leading the way.

HARRY BIRD & THE RUBBER WELLIES

THE GLAD CAFE, FROM 19:30, £8

A travelling folk outfit like few others; original, entertaining and thought-provoking.

MIKAELA DAVIS (JARED CELOSSE + JO MANGO)

THE HUG AND PINT, FROM 19:30, £8

New York singer/songwriter whose instrument of choice is the slightly unconventional harp. HYPNOTIC BRASS ENSEMBLE

THE BLUE ARROW, FROM 19:30, £17.50

HBE are seven brothers from the south side of Chicago who come from an extraordinarily musical family.

Fri 05 Oct DARWIN DEEZ

ORAN MOR, FROM 19:00, £13.50

US-of-A indie-popsters fronted by curly-locked frontman Darwin Smith. SEA GIRLS (THE PALE WHITE)

KING TUT’S, FROM 20:00, £10.45

BBC Radio 1’s Huw Stephens picked this band in his Ones To Watch For 2018 and here’s a chance to watch them. No actual girls in the band though. GROAK (SEDITION + DROVES + BRAIN FLUID)

NICE ‘N’ SLEAZY, FROM 19:30, £5

Groak is a slow DIY band based in Leeds.

THE AMITY AFFLICTION (THE PLOT IN YOU + DREAM STATE)

QUEEN MARGARET UNION, FROM 18:30, £18

Fast-rising Australian rabblerousers with a hard touring ethic and an original sound. VOIVOD

CATHOUSE, FROM 19:00, £17.50

Heavy metal band from Canada, with an interesting selection of nicknames including ‘Chewy’ and ‘Away’.

THE BOHEMIANS – A NIGHT OF QUEEN

O2 ACADEMY GLASGOW, FROM 19:00, £20.75

REMO DRIVE (FIELD MEDIC)

KING TUT’S, FROM 20:30, £8.80

Minnesota pop punk trio, signed to Epitaph Records. SUMMIT (SINGLE LAUNCH)

NICE ‘N’ SLEAZY, FROM 19:30, TBC

Four-piece rock band based in Paisley/Glasgow, launching their new single. NOSOWSKA

SWG3 GLASGOW, FROM 20:00, £29.50

Katarzyna Nosowska is the lead singer of the Polish rock band Hey, who also has a successful solo career.

CARLA J. EASTON ALBUM LAUNCH (JAMIE SUTHERLAND) BROADCAST, FROM 19:00, £9

TeenCanteen’s Carla J. Easton launches her new album, Impossible Stuff. OKKERVIL RIVER

STEREO, FROM 19:00, £20

Will Sheff-fronted Texan indierock ensemble who more than know how to hook a crowd, so expect the odd tearjerker, acoustic interludes and plenty off-kilter elucidation. LUXURY STRANGER (TIGER FACE)

13TH NOTE, FROM 20:00, £3

Continuing to promote their third album, Darkness Falls Upon The Light, Luxury Stranger finally return to play in Glasgow. THE WEDDING PRESENT

ST LUKE’S, FROM 19:00, £19.80

British indie rock group originally formed in 1985 in Leeds, from the ashes of Lost Pandas. PETER AND THE TEST TUBE BABIES

AUDIO, FROM 19:00, £12

Street punk classics from the 70s formed rascals, who came to life in frontman Peter Bywaters’ dad’s garage. GLASGOW AMERICANA FESTIVAL: MARTHA L HEALY ALBUM LAUNCH WITH DAVID LATTO

THE GLAD CAFE, FROM 15:30, £9

Glasgow singer-songwriter Martha L. Healy launches her new album Keep The Flame Alight with a full band show.

Tyneside punk/jazz/chaos maestros now splitting their time between Newcastle, Manchester and Edinburgh. KNUCKLE PUCK (TINY MOVING PARTS + MOVEMENTS)

SWG3 GLASGOW, FROM 18:00, £12

Pop-punk from Chicago’s southern suburbs. YBN NAHMIR

SWG3 GLASGOW, FROM 19:00, £22

Sun 07 Oct

Nicholas Simmons, known professionally as YBN Nahmir, is an American rapper and songwriter from Birmingham, Alabama.

ORAN MOR, FROM 16:00, £15

BROADCAST, FROM 19:00, £6

BROADWAY IN THE BAR

O2 ACADEMY GLASGOW, FROM 19:00, £20.20

DIDIRRI

THE GARAGE GLASGOW, FROM 19:00, £11

STEREO, FROM 19:00, £8

PIE & BREW, FROM 20:00, FREE

Chris Clark is one of the country’s premier jazz entertainers with an unrivalled knowledge and execution of the American Songbook.

THE OLD HAIRDRESSERS, FROM 19:00, £8.80

Hailed by Rolling Stone for his exhilarating brand of “folk music raised on New Jersey grit.”

Australian-born Stu Larsen teams up with Japanese harmonica player Natsuki Kurai on a new album and worldwide tour.

CHRIS CLARK JAZZ

A first class professional cast sing songs from all your favourite musicals.

Dark electronics, minimalism and spoken word from members of Black Sun Drum Corps, Kaspar Hauser and The Downs. STU LARSEN AND NATSUKI KURAI

Real high end indie pop with quirk, swagger and charm.

The British rockers (of Dancing In The Moonlight fame) reform after a five year break.

AUDIO, FROM 18:30, £10

S. CAREY

Justin Vernon’s Bon Iver collaborator and fellow Wisconsinite, Sean Carey, trying his hand at the solo game.

Madlib-inspired Camden-born indie rock artist.

KING TUT’S, FROM 19:00, £7.70

Metal fundraiser in aid of Cancer Research UK.

STEREO, FROM 19:00, £14

THE GARAGE GLASGOW, FROM 19:00, £8

Australian singer/songwriter on his headline UK & EU tour.

SWG3 GLASGOW, FROM 19:00, £14.30

Finnish singer, who came second in the first season of The Voice, Finland.

BAKAR

BLACK CLYDE & THE TUBE DISASTERS (HEAVY SMOKE + SHOT BALOWSKI)

ROCK IT! FOR CHARITY: STICK TWO FINGERS TO CANCER (APATHY’S EDGE + EVIL BLOOD + BEEF MONK + THROUGH THE SCATTERED LIGHTS)

SAARA ALTO

Post-punk five-piece from Bradford, named after the English revolutionary army of Oliver Cromwell.

THE HUG AND PINT, FROM 19:30, £7

TAUPE (KABOBO) NICE ‘N’ SLEAZY, FROM 19:30, £5

LUKE COMBS (ASHLEY MCBRYDE)

Another country singer from Nashville.

GET CAPE. WEAR CAPE. FLY (TOM VEVERS)

KING TUT’S, FROM 20:00, £13.75

THE MOMS (THE RUN UP)

The Moms identify as a power trio, whose long history of making music together has nurtured a powerful, exciting sound. TOM GRENNAN

BARROWLANDS, FROM 19:00, £17.60

Bedford singer and Chase & Status collaborator. YOB (WIEGEDOOD)

STEREO, FROM 19:00, £16

IMPERIAL LEISURE 10 YEAR ANNIVERSARY

PAUL YOUNG – 35 YEARS OF NO PARLEZ

NICE ‘N’ SLEAZY, FROM 19:30, £6

O2 ACADEMY GLASGOW, FROM 19:00, £34.25

The ska, punk and rap straddling Londoners take to a live setting, celebrating their ten year anniversary. TOOTS AND THE MAYTALS

SWG3 GLASGOW, FROM 19:00, £32.95

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. ANNABEL ALLUM

BARROWLANDS, FROM 19:00, £29

STEREO, FROM 19:30, £7

CATHOUSE, FROM 19:00, £15

SUE ZUKI (BARRY BURNS & OLIVER PITT + ISIK KURAL + KLAYSSTARR)

Foo Fighters tribute act. 90s revivalist trio from Brighton.

CORTNË

DANIEL BLUMBERG

MONSTERS OF INDIEPOP

STEREO, FROM 16:00, £7

To celebrate the launch of their new album, the Hector Collectors have curated a very special extended lineup of the finest indie pop imaginable. SAMMY’S OPEN MIC NIGHT

THE GLAD CAFE, FROM 19:30, FREE

Ever popular open mic night hosted by house band The Bucks.

THE SHE STREET BAND

THE GREAT EASTERN, FROM 20:00, £16.50

The world’s first (probably) Bruce Springsteen covers band. That’s right.

Wed 10 Oct

STOLEN WINGS (LOVERS TURN TO MONSTERS)

BLOC+, FROM 21:00, FREE

Slacker rock meets emotional acoustic punk.

JESS WILLIAMSON (MOLLY LINEN)

MONO, FROM 20:00, £8 - £10

BLOC+ JAM OPEN MIC

Weekly Open Mic with host Jamie Stuart and friends. THE HUG AND PINT, FROM 19:30, £9

After nearly a decade spent living in Austin, Texas, Jess Williamson made the move to LA in 2016 and with it came a whole new wave of inspiration.

Mon 08 Oct THE BLAS COLLECTIVE

BLOC+, FROM 21:00, FREE

Celtic Connections glitterati perform a night of inspiring covers, originals and classics. JORJA SMITH

O2 ACADEMY GLASGOW, FROM 19:00, £20.85

Bright young talent from Walsall, drawing on influences including Mos Def, The Streets and Lauryn Hill, with a rich, soulful voice. G FLIP

KING TUT’S, FROM 20:30, £8.80

Surprisingly, not a rapper. Instead, it’s Australian solo artist Georgia Flipo, former drummer for the Melbourne band EMPRA.

KATE BUSH DANCE PARTY (BABY BUSHKA)

Filled with four-part vocal harmonies and epic choreographed dancing, this is the Kate Bush cover band you’ve all been waiting for. TOM WALKER (MAISIE PETERS + SODY)

QUEEN MARGARET UNION, FROM 19:00, £14

The American hard rock powerhouse return to the live arena. THE STORY SO FAR

THE GARAGE GLASGOW, FROM 19:00, £17

Five-piece pop punk group. LITE (VASQUEZ)

STEREO, FROM 19:00, £12

Math rockin’ Tokyo instrumental foursome big on the emotionallycharged cinematic compositions. JOAN SHELLEY (MAIDEN RADIO)

THE GLAD CAFE, FROM 19:30, £10 - £13

DRYGATE BREWING CO., FROM 19:30, £15

ÍMAR

BROADCAST, FROM 19:00, £13.20

Glasgow’s hottest new folk property, five-piece Ímar have created more than a bit of a stir in little over a year since their formation.

ART SCHOOL GIRLFRIEND

THE HUG AND PINT, FROM 19:30, £8

HI REZ (LUNAR C + NICK BREWER)

Florida via LA hip-hop.

THE HUG AND PINT, FROM 19:30, £8

Atmospheric pop, exploring themes of lust, queer identity, infatuation and disillusionment.

Tue 09 Oct STRATA

BLOC+, FROM 21:00, FREE

Enter a world blending minimalism, groove and unhinged free improvisation.

DAN OWEN (AUSTIN MILLER + CODY FEECHAN)

KING TUT’S, FROM 20:30, £11

After Dan Owen’s dreams of becoming a guitar maker were tragically interrupted due to an accident in his workshop he became a singer-songwriter and prolific performer.

Find full listings at theskinny.co.uk/whats-on

Award-winning songwriter and guitarist, performing songs from his acclaimed albums.

Fri 12 Oct

GLENN HUGHES PERFORMS CLASSIC DEEP PURPLE (LAURENCE JONES)

O2 ACADEMY GLASGOW, FROM 18:30, £31.45

Pretty much what it says on the tin, the former Deep Purple bassist plays some of the band’s classics. O’CONNELL & LOVE

KING TUT’S, FROM 20:30, £13.75

Alabama 3 frontman Larry Love’s new venture, in collaboration with songwriting partner Brendan O’Connell. VIRGINIA WING (KÜBLER-ROSS + COMFORT)

NICE ‘N’ SLEAZY, FROM 19:30, TBC

Manchester-based duo, made up of Alice Merida Richards and Sam Pillay, making stunning electronic pop music. FLING

SWG3 GLASGOW, FROM 19:00, £8.50

THE GARAGE GLASGOW, FROM 19:00, £18.50

THE GARAGE GLASGOW, FROM 19:00, £10

Band of four chucking out indie rock intelligence.

BLAIR DUNLOP

THE HUG AND PINT, FROM 19:30, £8.50

SWG3 GLASGOW, FROM 18:00, £25

Improvised open mic with Jer Reid. THE ACADEMIC

AUDIO, FROM 19:00, £17

One for the metal heads.

Bradford’s resident psychedelic madmen. Their sound screams self-confidence, modern, unusual and very, very fun.

Kentucky singer/songwriter using modest observations as the basis for big and bold arrangements.

GIODYNAMICS

NICE ‘N’ SLEAZY, FROM 20:00, FREE

Indie pop band from Glasgow raising money for their debut EP.

Tom combines hip-hop beats, traditional songwriting and electronic elements with a voice that has soulful grit. COHEED AND CAMBRIA

YOU TELL ME

The new musical venture of Admiral Fallow’s Sarah Hayes and Field Music’s Peter Brewis.

Thu 11 Oct TAYNE

BLOC+, FROM 21:00, FREE

London-based experimental noise pop outfit by Matthew Sutton. RICHIE HAWTIN

O2 ACADEMY GLASGOW, FROM 19:00, £28.65

The techno maestro performs his award-winning audio-visual show, CLOSE.

BOY AZOOGA (THE TWISTED MELONS + CONOR HEAFEY) KING TUT’S, FROM 20:30, £8.80

The musical mission of Cardiffbased Davey Newington, drawing multifarious influence from Ty Segall, Sly & The Family Stone and Black Sabbath. HAIRBAND

MONO, FROM 20:00, £5 - £8

All-female band from Glasgow, launching their debut album.

UK FOO FIGHTERS

Special performances for surround sound.

SWG3 GLASGOW, FROM 19:00, £15

THE GLAD CAFE, FROM 19:30, £8 - £10

MARIBOU STATE

Tropical house duo Maribou State bring their live album tour to Glasgow.

DIAMOND HEAD

Artist and musician from London who has released an extensive catalogue of music under different names over the past decade.

NICE ‘N’ SLEAZY, FROM 19:30, £7

Australian roots and jam band led by guitarist and vocalist John Butler.

THE OLD HAIRDRESSERS, FROM 19:30, £4 - £6

Synthy, ambient electronica from The Dillinger Escape Plan and Nine Inch Nails alumni.

Come and see some of the best unsigned artists in the country for free.

QUEEN MARGARET UNION, FROM 19:00, £16.50

13TH NOTE, FROM 19:30, £6 - £7

THE BLACK QUEEN

KATEE KROSS & THE AMBERJAX

JOHN BUTLER TRIO

Folk-style storytelling and fuzzy indie, praised across the board.

POETS OF THE FALL

Finnish alt-rock band from Helsinki. PHUM VIPHURIT (EASY)

BROADCAST, FROM 19:00, £12.10

22-year-old Thai-born, New Zealand-raised singer/songwriter based in Bangkok, Thailand. TOM ODELL

BARROWLANDS, FROM 19:00, £29

SICK JOY

THE GARAGE GLASGOW, FROM 19:00, £8

STOP THE RAIN

BROADCAST, FROM 19:00, £7

Alternative alt-rock five-piece. EDITORS

BARROWLANDS, FROM 19:00, £29

Headline show from the Glasgow four-piece. THE GEORGE MICHAEL STORY

ST LUKE’S, FROM 19:30, £15 - £20

The only touring show to perform George Michael’s hits in chronological order. RICKY WARWICK & DAMON JOHNSON

THE OLD HAIRDRESSERS, FROM 19:00, £4

A night of surrealist pop from Tara Clerkin Trio and more. GUS HARROWER

THE HUG AND PINT, FROM 20:00, £6

TELEMAN

ORAN MOR, FROM 19:00, £15

Indie pop band Teleman embark on a tour of the UK.

SPILT MILK SOCIETY (SNACK VILLAIN)

THE HUG AND PINT, FROM 19:30, £7

Tue 16 Oct

DRAWS CREATURE (MASK + LUTHIA)

BLOC+, FROM 21:00, FREE

RUDIMENTAL (RAY BLK)

The Hackney-based quartet hit the road armed with their newest LP, blending drum and bass with souldrenched lyrics along the way. PRETTY VICIOUS (TH13VES)

KING TUT’S, FROM 20:30, £8.80

Welsh four-piece rock group from Merthyr Tydfil.

BLOC+, FROM 21:00, FREE

NICE ‘N’ SLEAZY, FROM 19:30, £7

BLOC+ JAM OPEN MIC

Weekly Open Mic with host Jamie Stuart and friends. NIGEL CLARK PIE & BREW, FROM 20:00, FREE

Russian virtuoso guitarist incorporating flamenco, jazz standards, Latin and gypsy into his mighty mix.

Sun 14 Oct

THE STEVENSON RANCH DAVIDIANS

Post-psych, folk and Americana group. HEAVY PETTIN

CATHOUSE, FROM 19:00, £15

Legendary Glasgow rockers, who made it big in the 80s. PAUL CHERRY (FAIIDES & THE LAWNMOWER)

BROADCAST, FROM 19:00, £8

ORAN MOR, FROM 19:30, £12.50

Paul Cherewick, monikered Paul Cherry, came up during Chicago’s garage rock golden age of 2014 and is still rocking.

BLACK PEAKS (BOSSK + GOLD KEY)

THE OLD HAIRDRESSERS, FROM 19:30, £5

LUCA STRICAGNOLI (MEG PFEIFFER)

Italian-born acoustic guitarist, known for his unique style and innovative playing techniques.

GRAVELLE (QUOTES OF THE DEAD)

KING TUT’S, FROM 20:00, £13.20

Gravelle celebrate the release of their debut EP, Liquid Skin.

DISCHORD (THE RED LITE DISTRICT + KRINGER AND THE BATTLE KATZ + BRATAKUS)

THE GLAD CAFE, FROM 19:30, £12.50

The Brighton-based tech-rockers take a trip up North.

NICE ‘N’ SLEAZY, FROM 19:00, £3

ELVIS TRIBUTE ARTIST WORLD TOUR

The world’s greatest touring Elvis show. GODSTICKS

ETHAN JOHNS W/ THE BLACK EYED DOGS (JARROD DICKENSON)

The acclaimed English record producer, engineer, mixer, songwriter, multi-instrumentalist and all-round talented chappie – and son of legendary producer Glyn Johns – performs with the Black Eyed Dogs. GAZ BROOKFIELD

THE HUG AND PINT, FROM 19:30, £8

Alternative rock trio from Wales.

The solo acoustic Bristol singer/ songwriter does his gentle folk thing.

BROADCAST, FROM 19:00, £7.70

Wed 17 Oct

THE GARAGE GLASGOW, FROM 19:30, £7

THE VELVETEERS (EMME WOODS + FREAKWAVE)

American rock outfit from Boulder, Colorado that is the epiphany of punk with the aggressive sound and grungy wisdom. SAINT AGNES

STEREO, FROM 19:00, £8

Psychedelic rock’n’roll from East London.

WE ARE NOT DEVO

Sat 13 Oct

Little Lucy Spraggan, of X Factor fame, now a fully fledged touring musician making ‘flop’ - that’s folk meets hip-hop for the uninitiated.

Gus Harrower takes his infectious sound to The Hug and Pint, with his band.

Ripping Ramones worship from Philadelphia.

THE HUG AND PINT, FROM 19:30, £10

LUCY SPRAGGAN

BARROWLANDS, FROM 19:00, £19.80

O2 ACADEMY GLASGOW, FROM 19:00, £33.70

DARK THOUGHTS (CURRENT AFFAIRS + OVERWHELMED + ASBESTOS BEACH)

The UK’s only Devo tribute.

Electronicore from Osaka, Japan.

TARA CLERKIN TRIO

AUDIO, FROM 19:00, £15

Over two hours of career-spanning material, stories and much more.

CROSSFAITH

THE GARAGE GLASGOW, FROM 19:00, £15

STEREO, FROM 19:00, £9

Fundraiser gig for Alzheimer Scotland.

SEC, FROM 18:30, £32.35 - £48.80

13TH NOTE, FROM 20:00, £4

Kentucky-born singer/songwriter currently residing in Brooklyn doing a mixed up folk meets rock meets pop thing.

Perth quintet combining indie-rock and folk with added classical gusto.

FUNDRAISER FOR ALZHEIMER SCOTLAND (ANTON AND THE COLTS + THE SPYRES + FACENDO COSE + JAMES EDWYN & THE BORROWED BAND)

STEREO, FROM 19:00, £12.50

ORDINARY HERO (TAPED LIVE + PART TIME HEROES + AIR DRAWN DAGGER)

DAWN LANDES

SWG3 GLASGOW, FROM 19:00, £11

Five-piece band, originally from Birmingham and now based in Liverpool, making indie rock music.

Hardcore punk band with strong political and social themes.

Japanese four-piece acid punk band consisting of Taigen Kawabe, Yuki Tsujii, Kohhei Matsuda and Monchan Monna.

ACOUSTIC OPEN MIC W/ GERRY LYONS

NICE ‘N’ SLEAZY, FROM 20:00, FREE

The Tom Smith-led ensemble cut the anthemic romanticism deep, playing a set of new tracks and old favourites.

Chichester-born singer/songwriter who studied at the Brighton Institute of Modern Music. BO NINGEN

ANTEROS

KING TUT’S, FROM 20:00, £8.80

Dream-pop group named after the god of unrequited love, Anteros. Aww.

Graham Fellows created the character of Jilted John back in the 70s and now he’s reprising it for 40th anniversary tour of the UK. The Irish and Manx five-piece stir up a lil folky goodness.

Thunderous US doom trio.

A gig fundraiser for Greenpeace Glasgow’s Antarctic Sanctuary campaign.

JILTED JOHN (JOHN OTWAY)

DAUGHTRY

O2 ACADEMY GLASGOW, FROM 19:00, £31.45

American rockers formed and fronted by Chris Daughtry, a finalist on the fifth season of American Idol.

KING TUT’S, FROM 20:30, £20.90

THE GARAGE GLASGOW, FROM 19:00, £8

Sam Duckworth hasn’t yet reached what would be the most impressive step of his three-step moniker, but until he does become airborne he continues to bring his candid tales to the stage.

MUSIC FOR THE ANTARCTIC

The former frontman of Kat Kool and The Kool Cats, Streetband and Q-Tips performs his much-loved album ‘No Parlez’ to celebrate its 35th anniversary.

Mon 15 Oct

13TH NOTE, FROM 20:00, £6

WILLIWAW

THE OLD HAIRDRESSERS, FROM 18:00, TBC

Williwaw’s monthly residency at the Old Hairdressers continues. Expect only the finest in amp’d uke histrionics, silent reels to tantalise the optic nerves and even some snacks. MEURSAULT (MI MYE)

THE GLAD CAFE, FROM 19:30, £8 - £10

Neil Pennycook and his Meursault cohorts take to The Glad Cafe.

REVULSION (THE SINKING FEELING)

BLOC+, FROM 21:00, FREE

Progressive hardcore metal.

THE VRYLL SOCIETY (PEACH FUZZ)

KING TUT’S, FROM 20:30, £11

Liverpool-based five-piece mixing in everything from Funkadelic to Aphrodites Child and krautrock. OUTBLINKER (AIMING FOR ENRIKE)

NICE ‘N’ SLEAZY, FROM 19:30, £5

Members of Young Philadelphia, Hey Enemy, Dead or American and Kabobo unite for forays into electro krautrock. MICHAEL BOLTON

SEC, FROM 18:30, £28.40 - £266.75

The pop-rock balladmonger performs his greatest hits and a selection of classic songs. ASH

THE GARAGE GLASGOW, FROM 19:00, £22.50

The Irish Britpopsters play all the hits and live favourites of a 20+ year career. LOST IN VANCOUVER

BROADCAST, FROM 19:00, £6.60

Indie rock from local turf.

Listings

THE BRIAN JONESTOWN MASSACRE

JON HOPKINS

GREEN VELVET

BARROWLANDS, FROM 19:00, £19.25

SWG3 GLASGOW, FROM 19:00, £16.50

SWG3 GLASGOW, FROM 20:00, £13 - £19.50

Psychedelia and rock from BJM, a San Fran band formed in the 90s. NOVO AMOR

ST LUKE’S, FROM 19:00, £13.20

Contemporary folk from Novo Amor, aka multi-instrumentalist, songwriter and producer Ali Lacey. SAM EVIAN

THE OLD HAIRDRESSERS, FROM 19:30, £9.35

The project of New York-based musician, songwriter and producer, Sam Owens. CATFISH KEITH

THE GLAD CAFE, FROM 19:30, TBC

Cutting-edge blues singer, songwriter and slide guitarist Catfish Keith makes a welcome return to Edinburgh on his global tour. NADINE KHOURI

THE HUG AND PINT, FROM 19:30, £7

Musician and singer, influenced by alt-folk, film soundtracks and spoken word.

Expect a night of blissful ambient techno from English producer Jon Hopkins. HARDY CAPRIO

SWG3 GLASGOW, FROM 19:00, £13.50

Croydon rapper with a first-class degree. Yes, rappers can be educated too!! HANDS LIKE HOUSES

CATHOUSE, FROM 19:00, £13

Australian six-piece utilising an array of tecnhical effects, post-hardcore charm and lively stage antics. EVIL SCARECROW

THE GARAGE GLASGOW, FROM 19:00, £12

Parody metal band from Nottingham, monstrous in appearance and captivating in performance. STICK IN THE WHEEL (BURD ELLEN)

BROADCAST, FROM 19:00, £11

Thu 18 Oct

East London folk band Stick in the Wheel are headed by singer Nicola Kearey and guitarist/producer Ian Carter.

BLOC+, FROM 21:00, FREE

BARROWLANDS, FROM 19:00, £38.50

DOC ROTTEN

High energy punk rock band from Trenton, New Jersey. TOM ROBINSON

KING TUT’S, FROM 20:30, £24.40

Long-time LGBT rights activist and BBC6 Music radio host, famous for hits including Glad to Be Gay and 2-4-6-8 Motorway. MOBIUS LOOP

MONO, FROM 19:30, £7 - £9

Gypsy folk stories fusing world music and conscious rap with free form dance. GARDEN GANG (GENERATOR + RAZORBLADE SMILE)

NICE ‘N’ SLEAZY, FROM 19:30, £7

JOHN CARPENTER

Renowned composer of horror soundtracks, John Carpenter brings a tour of his greatest hits to the UK. WILL VARLEY

STEREO, FROM 19:00, £15

SWG3 GLASGOW, FROM 19:00, £22.50

BAD TOUCH

CATHOUSE, FROM 19:00, £16

All new alt-sleaze Edinburgh fivepiece, with greasy baritone vocals over emphatic beats. A torrid symphony of guitar, bass, organ and drums. ERIC MARTIN

THE GARAGE GLASGOW, FROM 19:00, £15

The Mr. Big singer/songwriter plays an unplugged and up-close set. L.A. SALAMI

BROADCAST, FROM 19:00, £8

L.A. Salami (Lookman Adekunle Salami) is a singer/songwriter from London, known for crafting magnetic blues-rock songs with a postmodern twist. SAXON

BARROWLANDS, FROM 19:00, £30.94

Power metal five-piece riding along on frontman Biff Byford’s howlin’ squawk of a vocal. DRAKE WHITE & THE BIG FIRE

ST LUKE’S, FROM 19:00, £17.45

American country musician and his accompanying band. HAWTHORNE HEIGHTS (SHVPES + MARK ROSE)

AUDIO, FROM 19:00, £12

Screamo quartet Hawthorne Heights return to Scotland. GLAMOUR & THE BAYBES

THE HUG AND PINT, FROM 19:30, £8

Jazz rock powered by screaming frontman Angus Munro and drummer Jordie Gilmour. BEATS & PIECES BIG BAND

THE BLUE ARROW, FROM 19:30, £8

Award-winning jazz group present their big energy sound, built up on influences as wide ranging as Ellington and Radiohead.

Fri 19 Oct THE BLOCKHEADS

ORAN MOR, FROM 19:00, £25

The Blockheads (once known as Ian Dury And The Blockheads) are now fronted by one of Ian Dury’s best friends, Derek ‘The Draw’, the band’s vocalist and wordsmith.

FIND ME A CIRCUS (DROP THE BABY + SOBRIETY + GAZ WILLIAMS (ACOUSTIC)) NICE ‘N’ SLEAZY, FROM 19:30, £7

A mix of punk, rock, alternative and grunge.

Listings

THE GARAGE GLASGOW, FROM 19:00, £8

Garage-rock trio from Brighton, signed to Cannibal Hymns.

ANCIENT SHAPES (CUTTY’S GYM + THE REVERSE COWGIRLS)

BROADCAST, FROM 19:00, £11

Daniel Romano’s Ancient Shapes is the sound of punk rock, power pop, and psychedelic garage. BICEP (HAMMER)

BARROWLANDS, FROM 19:30, £20 - £25

Following on from the release of their hotly anticipated debut LP, beloved Irish duo Bicep are back in town to perform their renowned live show. BLACK HONEY

STEREO, FROM 19:00, £11

Great British songwriting with a band that has real character and charm, fronted by the unique vocals of Izzy Baxter. Tipped for big things.

13TH NOTE, FROM 19:00, £5

An evening of loud shoegaze goodness. THE SNUTS

ST LUKE’S, FROM 19:00, £11

Prepare for an eclectic mix of Smiths classics and fan favourites, courtesy of this highly acclaimed tribute act.

The Pavement mainman tours on the back of a new album with his band The Jicks.

OUR GIRL

Otto Willberg and Sam Andreae are a double bass and sax duo.

VELVETEEN RIOT & LAKE PLEASANT (BLACK TILES + PILLOW TALK)

SWG3 GLASGOW, FROM 18:00, £17 - £20

STEPHEN MALKMUS & THE JICKS

THE GARAGE GLASGOW, FROM 19:00, £14

They supported Eric Clapton once, which is perhaps the most remarkable thing about this industrious folk-rock four-piece.

WILLBERG/ANDREAE DUO (FARMER/LACEY DUO + AILBHE NIC OIREACHTAIGH + ALI ROBERTSON)

The Snuts bring raspy, fuzzy indie rock.

Guns N’ Roses tribute act.

HUNTER & THE BEAR

British folk singer and co-founder of arts collective Smugglers Records.

The Bavarian ensemble bring the high energy glam punk-rock fest, as per. RECKLESS ROSES (IE/DC)

House and techno legend Green Velvet (aka Cajmere) takes to SWG3.

FRANKLY, THE SMITHS

THE OLD HAIRDRESSERS, FROM 19:30, £10

LIZANNE KNOT (JESSE TERRY + MICHAEL LOGEN)

THE GLAD CAFE, FROM 19:30, £12.50

Award-winning Philadelphian songstress infused with a delicate soulful sensibility. LANKUM

DRYGATE BREWING CO., FROM 19:00, £17.50

Irish four-piece traditional folk group formerly known as Lynched. SHE MAKES WAR (ELIZA RICKMAN)

THE HUG AND PINT, FROM 19:30, £8

Gloomy pop music from Laura Kidd. PATRICK BULLEN

PIE & BREW, FROM 20:00, FREE

Patrick Bullen has toured the world, playing and singing with more than a few bands over the years.

Sat 20 Oct

THE SOLID GOLD 70S SHOW

ORAN MOR, FROM 19:00, £25.74

The world’s grooviest theatre spectacular features an incredible 40+ hit songs from the 70s.

A NIGHT OF INTENSE SCOTTISH METAL & SWISS PUNK (DISPOSABLE + KILLJOY + SLIOCH + DOMINICIDE + BHÀS) CLASSIC GRAND, FROM 19:00, £5 - £7

As part of their Scottish tour, thrashers Disposable and the brutal Slioch will be layin’ waste to the Classic Grand. CARBON LEAF (REDWOOD RIDGE)

THE OLD HAIRDRESSERS, FROM 20:00, £5

ROBIN ADAMS

THE GLAD CAFE, FROM 19:30, £6 - £8

Robin has a strong following and his songwriting has won him multiple awards. BLOC+ JAM OPEN MIC

BLOC+, FROM 21:00, FREE

Weekly Open Mic with host Jamie Stuart and friends. LISA O’NEILL

THE HUG AND PINT, FROM 19:30, £10

Young Irish singer and songwriter. EMMA MURDOCH

PIE & BREW, FROM 20:00, FREE

Emma is a singer/songwriter based in Glasgow.

Sun 21 Oct

THE CLASSIC ACOUSTIC SONGBOOK WITH RONNIE & OLIVIA

QUEEN MARGARET UNION, FROM 19:00, £18.10

Bristol’s savage post-punk lot, with their socially-aware and politically-potent lyrics setting the pace for thunderous drums and growling guitars. Expect equal measures of swears and sweats. THE CHATS

SWG3 GLASGOW, FROM 19:00, £10

An electronic dance music and painting collaboration between The Harbourmasters and Lee Robertson.

KING TUT’S, FROM 20:30, £11

KING TUT’S, FROM 20:00, £12.10

American rapper, real name Joe Mulherin. Explains the pretentious moniker. JIGS & REELZY

NICE ‘N’ SLEAZY, FROM 20:00, FREE

Trad/folk open floor with Neil McDermott. DREAM WIFE (QUEEN ZEE)

SWG3 GLASGOW, FROM 19:00, £13.75

London-based trio peddling poolside pop with a bite. HELENA DELAND

SWG3 GLASGOW, FROM 19:00, £7.70

Self-dubbed ‘sincere pop’ from the Montreal singer/songwriter. JACK MAYNARD

SWG3 GLASGOW, FROM 19:00, £17.80

Brother of Conor Maynard and one of those ‘social influencers’ people keep going on about. Basically, good at looking cool on social media. EMMA BLACKERY

THE GARAGE GLASGOW, FROM 19:00, £12

YouTuber with over a million subscribers who’s managed to release a good handful of EPs and records at such a young age. GREAT NEWS

THE GARAGE GLASGOW, FROM 19:00, £9

Norwegian daze-pop trio.

MENACE BEACH (CRUEL WORLD + TONGUE TRAP)

BROADCAST, FROM 19:00, £9.50

Five-piece indie rock band from Leeds. SPEEDY ORTIZ

STEREO, FROM 19:00, £12

US-of-A-hailing indie rock quartet, built on the lo-fi output of singer Sadie Dupois. FREYA RIDINGS

ST LUKE’S, FROM 19:00, £13.50

23-year-old singer-songwriter from London. DAVID BYRNE (BENJAMIN CLEMENTINE)

THE SSE HYDRO, FROM 18:30, £39.75 £124.85

EMILY MAE WINTERS

Tue 23 Oct

British DJ and producer from Norfolk, known less glamorously as Bruce Fielder. Hey, Bruce! Bruce! THE POSIES (TAILOR + MARSHALL CHIPPED)

KING TUT’S, FROM 20:30, £22

The American alt-rockers head off on a UK tour. ELLIOTT SMITH: A CELEBRATION, 15 YEARS ON

NICE ‘N’ SLEAZY, FROM 19:30, £5

A night of celebration and music, remembering Elliott Smith 15 years after his death in 2003. THE RASMUS

THE GARAGE GLASGOW, FROM 19:00, £16

COASTS

Pop hooks, rocky riffs and big choruses from the five-piece on their farewell tour.

SHHH (YESSICA WOAHNEIL + LUNA DELIRIOUS)

THE OLD HAIRDRESSERS, FROM 19:30, TBC

As Shhh, Megan Arnold translates her life into loop-based bedroom pop music. MONÉT X CHANGE

AUDIO, FROM 18:00, £20 - £35

THE HUG AND PINT, FROM 19:30, £9.50 - £15

SWG3 GLASGOW, FROM 19:00, £5

PLATFORM, FROM 18:00, FREE

O2 ACADEMY GLASGOW, FROM 19:00, £18

SIGALA

SWG3 GLASGOW, FROM 19:00, £14.85

SPACES BETWEEN SPACES

THE HUG AND PINT, FROM 20:00, £11

NOTHING,NOWHERE. (LONTALIUS + SULLII)

Emily Mae Winters’ haunting folk songs are quickly permeating the folk and song writing scene. See ‘em live tonight.

SLAY! presents Monét X Change, fresh from the tenth season of RuPaul’s Drag Race.

An eight-piece, multinational collective with fans in Frank Ocean and Ezra Koenig.

Celebrating the double decade anniversary of one of the defining emo records of all time, from one of the defining emo bands.

Celtic Connections glitterati perform a night of inspiring covers, originals and classics.

Australian punk rock band from the Sunshine Coast, Queensland. Sounds like a nice place. SUPERORGANISM (CHAI)

Fuzzy-punk hooks, beats ripe for joyful jigging and insightful comments on sexuality and gender delivered with radical bite. Go see The Spook School.

BLOC+, FROM 21:00, FREE

THE BLAS COLLECTIVE

ST LUKE’S, FROM 19:00, £13

IDLES (HEAVY LUNGS)

He can be your hero, baby; he can kiss away the pain; or he can just sing you all his hits, from a distance, with security between you.

THE HUG AND PINT, FROM 19:30, £8

ORAN MOR, FROM 17:00, FREE

NICE ‘N’ SLEAZY, FROM 19:30, FREE

Alternative/dark electronica.

BLOC+, FROM 21:00, FREE

Manchester-based four-piece boasting a distinctive sound influenced as much by the continuum of contemporary electronic music as it is by jazz and minimalism.

Ronnie and Olivia play tunes from their Classic Acoustic Songbook in the cosy bar.

Alt-country, Celtic and folk-infused indie rock from the Virginia quintet.

KROW (MADBH & THE HARLOTS + EBB)

ENRIQUE IGLESIAS (BEVERLEY KNIGHT)

PLUME

The Talking Heads frontman performs a selection of new songs, as well as classics from his solo career and his days with Talking Heads.

Yes, the Finnish rockers are still going stronger and no longer in the shadows.

KING TUT’S, FROM 20:30, £22

Mon 22 Oct

SARABETH TRIO

Individual artists in their own right, SaraBeth, Glen Mitchell and Vickie Vaughn have come together to form this harmony powerhouse.

BADBAD (EXTERIOR)

BLOC+, FROM 21:00, FREE

THE SSE HYDRO, FROM 18:30, £44.85 - £141.90

START TO END: DEFTONES – WHITE PONY

A live band’s interpretation of Deftones’ career-defining third album ‘White Pony’, originally released in June 2000.

Wed 24 Oct 5 SECONDS OF SUMMER

O2 ACADEMY GLASGOW, FROM 19:00, £35 - £39.90

THE SPOOK SCHOOL (PAWS + THE JUST JONES + CHARMPIT) NICE ‘N’ SLEAZY, FROM 19:30, £10

SWITCH 2018

A day-long experimental music event for people interested in music, noise, digital technologies and Doing It Yourself from Platform and KOR! Records.

GIANT PARTY (BAD HOMBRES + TWO TONE TELEVISION)

BROADCAST, FROM 19:00, £8

Aussie pop-meets-rock boy band who formed in Sydney back in 2011. They’re inexplicably massive.

Soul-splashed indie’ band Giant Party have been making a name for themselves with support across the board.

THE GARAGE GLASGOW, FROM 19:00, £12

BARROWLANDS, FROM 19:30, £46.75

FICKLE FRIENDS

80s synth-infused indie pop from Brighton, with frontwoman Natassja Shiner.

INTERNATIONAL TEACHERS OF POP (WOMANSAID + SHOTGUN HOPE) BROADCAST, FROM 19:00, £8.50

New disco project from The Moonlandingz founders. THE FEELING

ST LUKE’S, FROM 19:00, £29

Aw, remember those skinny-jeaned lovelies who spent 2006 telling us we fill their little worlds right up (right up)? Well, they’re back! THE KVB

THE HUG AND PINT, FROM 19:30, £11.50

Experimental electronica and shoegazey minimalism straight from the Berlin based bedrooms of KVB’s Nicholas Wood and Kat Day.

Thu 25 Oct

CASSIA (DANCING ON TABLES + VELVET)

KING TUT’S, FROM 20:00, £11

Lads marrying the likeable Northern charm of Little Comets and the sunny pop vibrancy of Saint Raymond. DEAD MEADOW

MONO, FROM 19:30, £15 - £18

Influential Washington DC stoner/ psych lot, formed in 1998 from the remnants of two young indie DC bands – The Impossible Five and its immediate follow-up, Colour. GRACE CARTER (AERIS ROVES)

NICE ‘N’ SLEAZY, FROM 19:30, £9.90

Piano-pop starlet being tipped for big things. RICK ASTLEY (GABRIELLE)

SEC, FROM 18:30, £31.20 - £53.90

Multi-million-selling singer, who once promised never to give you up (or let you down, run around and desert you, make you cry, say good bye or tell a lie and hurt you, while we’re on the subject), out touring his new album. POLY-MATH (GREATER THE DIVIDE + FES + FRANTIC)

BROADCAST, FROM 19:00, £8

RICHARD ASHCROFT

Former frontman of The Verve, continuing to ride the solo wave. What a lucky man. GOAT GIRL

STEREO, FROM 19:00, £11

Rough Trade-signed female four-piece boasting guttural guitar sounds. RED RUM CLUB (PRIMES + DIAMOND BLUE AND THE ELECTRIC LIBIDOS + ERIC PONSONBY)

13TH NOTE, FROM 19:00, £6 - £7

Sextet from Liverpool, combing sounds of old and new channeling Tarantino-esque wild western vibes with the help of a solitary trumpet. LONG-DISTANCE (TACADO + AMY LOU)

THE HUG AND PINT, FROM 19:30, £6

Haunting, ambient, emotional pop.

JONAH MATRANGA: ‘WATER AND SOLUTIONS’ 25TH ANNIVERSARY TOUR BLOC+, FROM 21:00, FREE

Cherished and celebrated alt-rock band who formed in Bellshill in 1989.

PALACE WINTER (BESSIE TURNER)

Iconic UK Underground artist Richard Youngs launches his new album.

Duo comprising Aussie singersongwriter Carl Coleman and Danish producer Caspar Hesselager. DUANE EDDY

THE KING’S THEATRE, FROM 19:30, £40.15 - £70.15

American guitar hero back on the road to cherrypick tunes from his rather huge back catalogue. SOFT KILL (KASPAR HAUSER + MOTHERS LOVE)

THE SENSATIONAL DAVID BOWIE TRIBUTE BAND

ORAN MOR, FROM 19:00, £15

David Bowie tribute act. SNACK FAMILY

BLOC+, FROM 21:00, FREE

Alternative-styled London trio imbued with an unapologetic and relentlessly driving sound. TWIN HEART (CRASHES + REMIND ME OF HOME)

KING TUT’S, FROM 20:30, £8.80

Emo band from Ayrshire. You probably wouldn’t understand. THE COSMIC DEAD

MONO, FROM 20:00, £8 - £10

Glasgow’s premier psych and space rockers.

The Swedish folk sister duo, whose music is joyously steeped in their trademark American woodsy folk and blues. THE MARCUS KING BAND

STEREO, FROM 19:00, £20

The son of bluesman Marvin King peddles his soul-infused psychedelic Southern rock alongside his band. HANDS OFF GRETEL

AUDIO, FROM 20:00, £8

For fans of L7, Babes In Toyland and Hole. Lauren blows away audiences with her vocal dexterity. CHUCK JOHNSON & FLETCHER TUCKER

THE GLAD CAFE, FROM 19:30, £8 - £10

JON SPENCER (THE BUCKY RAGE)

ANY OTHER

Adele Nigro writes songs about growing up, breaking up, learning to cope and much more under her Any Other moniker. HEELS OF HELL 2018

O2 ACADEMY GLASGOW, FROM 18:00, £34.25 - £39.90

The Heels of Hell tour is back by popular demand, starring the inimitable Sharon Needles and Alaska.

MURRAY A. LIGHTBURN (GRAEME QUINN)

KING TUT’S, FROM 20:30, £14.30

Former lead vocalist and principal songwriter for The Dears, often referred to as “the black Morrissey.” ACOUSTIC OPEN MIC NIGHT W/ GERRY LYONS

NICE ‘N’ SLEAZY, FROM 20:00, FREE

Come and see some of the best unsigned artists in the country for free.

Instrumental prog-math unit from Brighton, all glitchy, off-kilter guitars and shifting time signatures.

O2 ACADEMY GLASGOW, FROM 19:00, £35 - £39.90

ST LUKE’S, FROM 18:30, £8 - £10

The legendary garage rocker behind the Jon Spencer Blues Explosion, Heavy Trash, Pussy Galore, Boss Hog and other bands goes solo.

AJA (GOD SPEED YOU! PETER ANDRE + STABLE)

Punk electronics and spoken word hip-hop fusion from the Nottingham-hailing duo.

Cherished and celebrated alt-rock band who formed in Bellshill in 1989.

THE OLD HAIRDRESSERS, FROM 19:30, £10

STEREO, FROM 19:30, £14

5 SECONDS OF SUMMER

Aussie pop-meets-rock boy band who formed in Sydney back in 2011. They’re inexplicably massive.

CULTURE ABUSE (GOUGE AWAY + FREDDIE QUELL + SUFFER/ WALLOW) KING TUT’S, FROM 20:30, £11

Punk five-piece, fronted by David Kelling, who have previously opened for Green Day. CURRENT JOYS

NICE ‘N’ SLEAZY, FROM 19:30, £8

SCOTTISH ALTERNATIVE MUSIC AWARDS 2018

Annual music awards bash, this year hosted by Jim Gellatly and Laura Boyd.

THE OLD HAIRDRESSERS, FROM 20:00, £8 - £10

Industrial beats and distorted drone, combined with a psychovisceral, intense performance.

KING GOAT (OUTSHINE GLASGOW)

AUDIO, FROM 18:30, £7

Some lovely doom metal.

The enigmatic solo project of 25-year-old Henderson, Nevadaborn songwriter, Nicholas Rattigan.

ABY VULLIAMY ALBUM LAUNCH (JO BURKE)

SWG3 GLASGOW, FROM 18:00, £16

Singer and multi-instrumentalist launching her debut album, Spin Cycle.

STATE CHAMPS

The pop punk revivalists – a chilling phrase if ever there was – head out on another major headline tour. SNAIL MAIL

SWG3 GLASGOW, FROM 19:00, £10

Lush indie rock from clever young thing Lindsey Jordan and co. BAMBARA

BROADCAST, FROM 19:00, £8

Frontman Reid Bateh, drummer Blaze Bateh and bassist William Brookshire have always been adept students of noise rock and post-punk. LUKE JACKSON

THE GLAD CAFE, FROM 19:30, £6

Young gun roots singer-songwriter hailing from Canterbury, Radio 2 Young Folk award nominated n’all.

THE GLAD CAFE, FROM 19:30, £8 - £10

DED RABBIT (CALUM MACKENZIE JONES)

THE HUG AND PINT, FROM 19:30, £3

A band of brothers playing an eclectic mix of indie and sax funk.

Fri 26 Oct GG JAZZ DUO

ORAN MOR, FROM 19:00, FREE

Sunday Jazz in the main bar with saxophonist Gordon Dickson and guitarist Graham Mackintosh. ALEJANDRO ESCOVEDO

ORAN MOR, FROM 19:00, £16

Texan singer/songwriter, and onetime member of alternative punk group The Nuns, presents another slice of solid rock.

SLEAFORD MODS

BARROWLANDS, FROM 19:00, £22.50

HENRI HERBERT & THE FURY

DAMIEN ESCOBAR

ORAN MOR, FROM 19:00, £22

VIDEO GAMES LIVE

Video game touring concert created by composer Tommy Tallarico in 2002, taking in a series of video game music performed by a live orchestra and choir. SAM FENDER (A FESTIVAL, A PARADE)

KING TUT’S, FROM 20:00, £8.80

Singer/songwriter and one of BBC’s Sound of 2018. GIFT HORSE HALLOWEEN LAUNCH PARTY (ORDER OF THE TOAD)

NICE ‘N’ SLEAZY, FROM 19:30, £5

Glasgow duo combining the breathy chanson-pop vocals of Frenchborn guitarist Audrey Bizouerne with the darkly comic Scottish storytelling of drummer David Maxwell. TEENAGE FANCLUB

BARROWLANDS, FROM 19:00, £67.40

Cherished and celebrated alt-rock band who formed in Bellshill in 1989. BRNS

THE HUG AND PINT, FROM 19:30, £7

Anthemic Brussels outfit experimenting with dusky dance sounds.

Mon 29 Oct

Heavily bass-driven grooves, slappy snares and noise elements blend together into a dark techno outfit.

BROADCAST, FROM 19:00, £20.35

Wed 31 Oct

O2 ACADEMY GLASGOW, FROM 19:00, £37.10

FIRST AID KIT

THE HUG AND PINT, FROM 19:30, £7.50

Sat 27 Oct

AUDIO, FROM 18:30, £16

Anarcho-punk outfit formed in Warminster way back when (aka 1986) by Dirk Lucas, formerly of the Subhumans.

BARROWLANDS, FROM 19:00, £28.50

PIE & BREW, FROM 20:00, FREE

Young rock-meets-pop singer/ songwriter hailing from Milton of Campsie.

CULTURE SHOCK (RADICAL DANCE FACTORY + BACK TO THE PLANET)

Portland Oregon’s Soft Kill are a band inspired by the Chameleons, Wire and The Sound.

Weekly Open Mic with host Jamie Stuart and friends. GORDON AIRLIE

RICHARD YOUNGS ALBUM LAUNCH

THE OLD HAIRDRESSERS, FROM 19:00, £5

World-renowned violinist, author, entrepreneur and philanthropist, hailing from Jamaica, Queens, New York.

BROADCAST, FROM 19:00, £9

Composer and musician residing in Oakland, CA, with a focus on guitar, experimental electronics, minimalism and soundtrack composition.

BLOC+ JAM OPEN MIC

BLOC+, FROM 23:00, FREE

TEENAGE FANCLUB BARROWLANDS, FROM 19:00, £67.40

HUNDRED REASONS (ACOUSTIC)

CATHOUSE, FROM 19:00, £15

The post-hardcore lot perform an acoustic set. TEENAGE FANCLUB

BARROWLANDS, FROM 19:00, £67.40

IAN FELICE

Mon 01 Oct

ALICE HOWE AND FREEBO

TRAVERSE THEATRE, FROM 20:00, £11

Having toured together in the States to great acclaim, Freebo will join Alice Howe on her UK tour dates. ALEXIS KINGS

SNEAKY PETE’S, FROM 19:00, £7

Alexis Kings’ delivery is that of classic dark rock’n’roll with a sincere rhythm and blues undertone. THE PEARL HARTS

THE MASH HOUSE, FROM 19:00, £7 - £9

DIY rock duo who have supported Garbage and Skunk Anansie. ME FOR QUEEN (FIRST TIGER)

LEITH DEPOT, FROM 19:00, £10

Me for Queen, the piano based project of Mary Erskine is inspired by people and their stories, and the result of years of classical training and blues experience.

Tue 02 Oct

PRESSURE VALVE UNPLUGGED

BANNERMANS, FROM 17:00, FREE

Local artists play stripped back sets, before the public get to be the stars at karaoke. JORDAN MACKAMPA

Henri Herbert is a piano-playing phenomenon, and unquestionably one of the best and most sought after boogie woogie blues piano men in the world.

Ian Felice, lead singer and songwriter of The Felice Brothers, tours solo.

Kinshasa-born, London-bred singer-songwriter.

Tue 30 Oct

SNEAKY PETE’S, FROM 19:00, £8

THE HUG AND PINT, FROM 19:30, £5

ORAN MOR, FROM 19:00, £15

LAFAYETTE REGENCY (ATLAS RUN)

Self-deprecating French trio, who describe themselves as a “rock’n’roll accident.” Come on now, boys. KITTY

PIE & BREW, FROM 20:00, FREE

TOM BAXTER

Suffolk-born, London-based singer/songwriter building his sound on his masterful guitar-playing and raw, confessional lyrics. SHINEDOWN (STARSET + PRESS TO MECO)

O2 ACADEMY GLASGOW, FROM 19:00, £32.56

20-year-old songwriter from Glasgow mixing jazz and funk sounds with her soulful voice and lyrics beyond her years.

Florida quartet in possession of fine rock riffs and long, flowing locks.

Sun 28 Oct

NICE ‘N’ SLEAZY, FROM 19:30, £7.70

BACKBEAT: NON-STOP 60S POP

ORAN MOR, FROM 17:00, FREE

Journey back to the swingin’ sixties with an evening of nothing but beat-boom, mod music and dripping psychedelia. MARIO BIONDI

ORAN MOR, FROM 19:00, £35

Italian soul and jazz singer who first came to worldwide attention in 2004 with This Is What You Are.

THE WOOD BURNING SAVAGES

Fast-paced punk rock band from Derry. MT. JOY

SWG3 GLASGOW, FROM 19:00, £8.80

Infectious, Philly-bred indie folk. CLUB KURU (NEKKURO HANA)

THE VOODOO ROOMS, FROM 19:30, £8

AVALANCHE PARTY VS CANSHAKER PI

Dual headline tour from the two bands.

Wed 03 Oct

LAURA COX BAND (GORILLA RIOT)

BANNERMANS, FROM 19:30, £10 - £12

France’s ultimate Southern Rock sensation, from YouTube to the stage. THE THROWAWAYS (CAEZIUM + VICIOUS)

HENRY’S CELLAR BAR, FROM 19:30, £5

Four-piece indie rock band from Edinburgh

STU LARSEN AND NATSUKI KURAI

THE CAVES, FROM 19:00, £11 - £12.50

Australian-born Stu Larsen teams up with Japanese harmonica player Natsuki Kurai on a new album and worldwide tour.

BROADCAST, FROM 19:00, £8

Club Kuru enter their new phase as a five-piece, still peddling some solid retro psychedelia.

THE SKINNY

Edinburgh Music KAYA THE VOODOO ROOMS, FROM 19:00, FREE

The dynamic Polish singer will be performing with her incredible band, returning to Edinburgh after popular demand. HUSKY LOOPS

SNEAKY PETE’S, FROM 19:00, £8

Husky Loops are a band set on breaking the rules, bending genre boundaries and stepping boldly into the unknown. YVES

THE MASH HOUSE, FROM 19:00, £7 - £9

High octane three-piece rock band producing arena-sized rock tunes, where soaring vocal melodies are met by a muscle of bass and drums.

Thu 04 Oct HOGJAW

BANNERMANS, FROM 19:30, £10 - £12

Southern rockers from the deserts of Arizona. THE PINEAPPLE THIEF (LIZZARD)

THE LIQUID ROOM, FROM 19:00, £18 £19.80

Progressive indie rockers formed by mainman Bruce Soord back in 1999.

FRESH PRODUCE (BETTY & THE BASS + CHUCHOTER + VISA BABY) SNEAKY PETE’S, FROM 19:00, £6

Killer lineup of Edinburgh rising talent, presented by Fresh Produce. NEHH PRESENTS… JON BODEN

SUMMERHALL, FROM 20:00, £15

Lead singer and principal arranger of the multi award-winning Bellowhead, now doing his own thang.

Fri 05 Oct

ROSS THE BOSS (UPROAR)

BANNERMANS, FROM 19:30, £15 - £18

The founding member of Manowar is back to shake us to our foundations. AN EVENING WITH THEY MIGHT BE GIANTS

THE QUEEN’S HALL, FROM 19:00, £22.50 - £25

This new set from the Brooklyn band will include all-time favourites, fresh rarities spanning their epic career and spur-of-themoment improvisations. EDINBURGH BLUES CLUB (COREY HARRIS + COVERDALE FRASER)

THE VOODOO ROOMS, FROM 19:30, £15

Edinburgh Blues Club is a Social Enterprise established to harness popular support for regular blues events in Edinburgh to ensure that the city and surrounding areas do not miss out on quality touring blues acts. PALMIROS (THE FENCES + MARK SHARP & THE BICYCLE THIEVES)

WEE RED BAR, FROM 19:00, £8

Three-piece rock’n’roll madness with a 21st century edge.

CHILDCARE (LAZY DAY & THE MINK STOLES)

SNEAKY PETE’S, FROM 19:00, £7

Real high end indie pop with quirk, swagger and charm. LAKYOTO

THE MASH HOUSE, FROM 19:00, £5 - £6

Four-piece electronic pop band from Edinburgh, formerly known as SHVLLOWS. MCCANN (THE OTHER TWO SIDES)

LEITH DEPOT, FROM 19:00, TBC

Eclectic rock’n’roll four piece, built on a diet of old school original rock and vintage blues.

Sat 06 Oct WHITESNAKE UK

BANNERMANS, FROM 19:30, £10 - £12

A great tribute to the classic rock legends.

KROW & THE ELECTRIC TEMPLE (SPLINTED HALO)

HENRY’S CELLAR BAR, FROM 19:00, FREE

Dark EDM band based in Edinburgh. JOHN LEES’ BARCLAY JAMES HARVEST

THE QUEEN’S HALL, FROM 19:00, £30 - £35

English singer/songwriter John Lees tours with his band of rockers, the Barclay James Harvest. YOUNG GUN SILVER FOX

THE VOODOO ROOMS, FROM 19:30, £15

Classic melodic pop with a funk ‘n’ soul twist, drenched in sunshine. GLASSFACE (TWISTED NERVE)

WEE RED BAR, FROM 19:00, £5

THE BRITANYS THE MASH HOUSE, FROM 19:00, £8 - £10

Thrilling New York four-piece; effortlessly cool, no thrills indie.

INDIEPOP IN THE AFTERNOON (KRISS FOSTER AND THE TRIPLE WORD SCORES + LITTLE LOVE AND THE FRIENDLY VIBES + THE HECTOR COLLECTORS) LEITH DEPOT, FROM 14:00, £5

Three indie pop acts playing in the afternoon in Leith.

Sun 07 Oct OPEN MIC

BANNERMANS, FROM 15:00, FREE

RYAN HAMILTON AND THE HARLEQUIN GHOSTS THE VOODOO ROOMS, FROM 19:30, £12

Texas-based singer/songwriter Ryan Hamilton says, “This tour is gonna feel like a celebration of hard work paying off, and dreams coming true.” COCO AND THE BUTTERFIELDS

THE VOODOO ROOMS, FROM 19:30, £10

CoCo and the Butterfields are an English indie-pop band from Canterbury, Kent. ROZALEN

THE MASH HOUSE, FROM 19:00, £20

TWELFTH DAY

L.A. SALAMI

TRAVERSE THEATRE, FROM 20:00, £11

SNEAKY PETE’S, FROM 19:00, £8

Collaborative musical project of fiddle player Catriona Price and harpist Esther Swift.

NEHH PRESENTS… MARK KOZELEK

SUMMERHALL, FROM 20:00, £20

Over the last 20 years, Mark Kozelek has been ploughing his own unique furrow through his work in the Red House Painters and the moniker Sun Kil Moon.

THE REZILLOS (DEPARTMENT S)

ASSEMBLY ROXY, FROM 19:30, £15

Sat 20 Oct

SONGBIRD: ELLYN OLIVER SINGS EVA CASSIDY

Ellyn Oliver and a live band perform Eva Cassidy’s best-loved tracks.

Mon 15 Oct

PUNKY MEADOWS & FRANK DIMINO’S ANGEL (HEAVY PETTIN)

BANNERMANS, FROM 19:30, £17 - £20

Captivating Spanish social activist and songwriter.

A rare chance to see these two great classic rock outfits together.

JED POTTS & THE HILLMAN HUNTERS

Fri 12 Oct

TRAVERSE THEATRE, FROM 20:00, £11

BANNERMANS, FROM 21:15, FREE

BANNERMANS, FROM 19:30, £16 - £18

Free music all day from acoustic to blues and rock.

More intimate and electric blues from Potts and his merry band. HYPNOTIC BRASS ENSEMBLE (YASIIN BEY + TALIB KWELI)

THE CAVES, FROM 19:00, £13 - £14.55

HBE are seven brothers from the south side of Chicago who come from an extraordinarily musical family. UNDERCOVER HIPPY

THE VOODOO ROOMS, FROM 19:30, £10

Former drum ‘n’ bass DJ and MC Billy Rowan takes his five-piece, interactive live project on tour. VIRGINIA WING

SNEAKY PETE’S, FROM 19:00, £7

Manchester-based duo, made up of Alice Merida Richards and Sam Pillay, making stunning electronic pop music. KATE BUSH DANCE PARTY (BABY BUSHKA)

THE MASH HOUSE, FROM 19:00, £10 - £12

Filled with four-part vocal harmonies and epic choreographed dancing, this is the Kate Bush cover band you’ve all been waiting for.

Mon 08 Oct PORT ERIN

BANNERMANS, FROM 20:00, £6

Port Erin have near-cult status as purveyors of original genrebending music. Their musicality is jazzy with Krautrock undertones; magnetic with tightly wound dives, grooves. DAN OWEN

THE MASH HOUSE, FROM 19:00, £10 - £12

SPACE (ROCKETFLAIRE)

The 90s indie group return.

ALTSASU: SOLIDARITY CONCERT

HENRY’S CELLAR BAR, FROM 21:00, TBC

Solidarity gig for the youths from Altsasu, imprisoned for a bar brawl with a pair of off duty policemen. THE POLIS

THE VOODOO ROOMS, FROM 19:00, £10

Fantastic tribute to the music of The Police. EUGENE RIPPER

WEE RED BAR, FROM 19:00, FREE

After cutting his rock and roll teeth as a founding guitar slinger for Canada’s seminal surf punkabilly rockers Stark Naked & The Fleshtones, Ripper launched into a solo career showcasing his unique synthesis of punk, folk, rock and lyrical touch. BLAENAVON

THE MASH HOUSE, FROM 19:00, £11 - £13

THE LOVELY EGGS

Champions of the UK underground scene, The Lovely Eggs hit the road again for another round of punk rock good times. THE SMITHS LTD

THE VOODOO ROOMS, FROM 20:00, £12

The Smiths tribute act.

UNICEF CONCERT: KEITH JAMES THE MUSIC OF CAT STEVENS

THE VOODOO ROOMS, FROM 20:00, £13

Dutch singer/songwriter specialising in lyrical tales of romance set over a blend of Samba, jazz, bossa nova, mambo and crackling vinyl.

MILKD EP LAUNCH

SNEAKY PETE’S, FROM 19:00, £5

Celebrate the release of Little EP from Edinburgh indie duo milkd.

Wed 10 Oct TAYNE

BANNERMANS, FROM 20:00, £8

London-based experimental noise pop outfit by Matthew Sutton. OKILLY DOKILLY

CARO EMERALD

USHER HALL, FROM 19:00, £27.50 - £54.45

THE GOLD ROLLERS (ROMARSZ + STILL VIOLET)

WEE RED BAR, FROM 19:00, £5

Edinburghian rock’n’roll band. HEART OF GLASS

WEE RED BAR, FROM 23:00, £4 - £6

Glamourous, glittery, flamboyant, feathery, ostentatious and rock ‘n’ roll, Heart of Glass plays only the best music from the 70s and beyond. THE ELECTRIC 80S SHOW

THE LIQUID ROOM, FROM 19:00, £7 - £8

The world’s only Nedal band, hailing from Phoenix, Arizona.

Don your leotard and relive the golden days, as you boogie along to the Electric 80s tribute show.

SNEAKY PETE’S, FROM 19:00, £7

CABARET VOLTAIRE, FROM 19:00, £16

ART SCHOOL GIRLFRIEND (STILLHOUND + SUPER INUIT)

Atmospheric pop, exploring themes of lust, queer identity, infatuation and disillusionment. VANIVES

THE MASH HOUSE, FROM 19:00, £8 - £10

Rising duo fusing electronica, R&B and folk. They have left music lovers and critics floored at every turn.

Thu 11 Oct BIGFOOT

BANNERMANS, FROM 19:30, £10 - £12

The ever-rising UK rockers return with a new singer and fresh material.

SNEAKY PETE’S, FROM 19:00, £5

Gravelle celebrate the release of their debut EP, Liquid Skin.

Tue 16 Oct ERIC MARTIN

BANNERMANS, FROM 19:30, £15 - £18

The Mr. Big singer/songwriter plays an unplugged and up-close set. SAM EVIAN

SNEAKY PETE’S, FROM 19:00, £8

The project of New York-based musician, songwriter and producer, Sam Owens.

Wed 17 Oct

GAZ BROOKFIELD (JAKE MARTIN)

BANNERMANS, FROM 19:30, £8 - £10

Monthly Live Jam Session with some of Scotland’s leading musicians playing lounge grooves from many genres.

Tue 09 Oct

Local artists play stripped back sets, before the public get to be the stars at karaoke.

GRAVELLE (MIDDLE CLASS GUILT + QUOTES OF THE DEAD)

Sat 13 Oct

Keith James presents an honest and loving reflection of the timeless and insightful music of Yusuf - Cat Stevens.

PRESSURE VALVE UNPLUGGED

Nathan Bell gets back on the road following glowing reviews for his latest album, I Don’t Do This for Love, I Do This for Love.

The solo acoustic Bristol singer/ songwriter does his gentle folk thing.

After Dan Owen’s dreams of becoming a guitar maker were tragically interrupted due to an accident in his workshop he became a singer-songwriter and prolific performer.

BANNERMANS, FROM 19:30, £12 - £15

NATHAN BELL (MARTHA HEALY)

Fledgling Hampshire trio built on soaring choruses and the manic energy of yoof.

THE BONGO CLUB, FROM 19:00, £12

THE VELVETEERS (EMME WOODS + THE MOTION POETS)

JAMMIN’ AT VOODOO

THE VOODOO ROOMS, FROM 21:00, FREE

JANE WEAVER: LOOPS IN THE SECRET SOCIETY

PLEASANCE THEATRE, FROM 19:30, £17.50

Jane Weaver presents an evening of unique atmospheric audio/visual segments, performing solo variations of songs from her critically acclaimed albums.

Thu 18 Oct

SNAKECHARMER (SIN DOGS)

THE CAVES, FROM 19:00, £18 - £20

Blues rock six piece, made up of members of various rock band heavyweights, including Whitesnake, Thunder and Heartland. CATFISH KEITH

THE VOODOO ROOMS, FROM 19:30, £15

Cutting-edge blues singer, songwriter and slide guitarist Catfish Keith makes a welcome return to Edinburgh on his global tour. TOM ODELL

USHER HALL, FROM 19:00, £27.50

Chichester-born singer/songwriter who studied at the Brighton Institute of Modern Music. COSMO CALLING (CHUCHOTER + MOTION)

SNEAKY PETE’S, FROM 19:00, £7

High energy, instant and powerful hooks setting the bar for male and female-fronted guitar bands. THE LEISURE SOCIETY

THE MASH HOUSE, FROM 19:00, £12.50 - £14.50

LA BELLE ANGELE, FROM 19:00, £19

Edinburgh-formed punk/new wave outfit active since 1976, running on high octane, guitar driven, melodic anti-mope rock. BAD TOUCH (AARON BUCHANON & THE CULT CLASSICS + DAXX & ROXXANE) BANNERMANS, FROM 19:00, £15 - £18

All new alt-sleaze Edinburgh fivepiece, with greasy baritone vocals over emphatic beats. A torrid symphony of guitar, bass, organ and drums. DANCING MICE

HENRY’S CELLAR BAR, FROM 19:00, £0 - £5

Edinburgh’s quirky, indie-prog, electro-pop quartet celebrate a big anniversary. Expect songs from all seven superb albums. NIRVANA UNPLUGGED EXPERIENCE

THE PLEASANCE, FROM 19:30, £13 - £14.50

Relive Nirvana’s legendary 1993 performance as Edinburgh-based singer Ewan Mackenna and a talented band pay homage to MTV Unplugged’s most famous concert. THE ROBERT CRAY BAND (THE MIKE ELDRED TRIO)

USHER HALL, FROM 19:00, £32.45 - £43.45

The American blues guitarist and singer returns to the UK with full band in tow, celebrating track after track of good-time blues. SHHH (YESSICA WOAHNEIL)

WEE RED BAR, FROM 19:00, £5

As Shhh, Megan Arnold translates her life into loop-based bedroom pop music. DERMOT KENNEDY

THE LIQUID ROOM, FROM 19:00, £12

An evening of live music from singer-songwriter Dermot Kennedy.

The Blockheads (once known as Ian Dury And The Blockheads) are now fronted by one of Ian Dury’s best friends, Derek ‘The Draw’, the band’s vocalist and wordsmith. GIRLI

THE MASH HOUSE, FROM 19:00, £8 - £10

Pop artist and rapper who specialises in hooky bars of a feminist persuasion. Not a sassy songstress, nor a pop princess.

Sun 21 Oct OPEN MIC

BANNERMANS, FROM 19:30, £12 - £15

Free music all day from acoustic to blues and rock. WARNER E.HODGES

BANNERMANS, FROM 19:30, FREE

The Nashville guitar rock legend is back with his solo outfit. NEW URBAN FRONTIER

HENRY’S CELLAR BAR, FROM 20:00, TBC

Edinburgh-based politicised punk/dub/soul/ska seven-piece celebrate their 10 year anniversary and sadly call it a day with this farewell gig. ROBYN HITCHCOCK

THE VOODOO ROOMS, FROM 19:00, £16

Robyn Hitchcock is one of England’s most enduring contemporary singer-songwriters and live performers. A surrealist poet, talented guitarist, cult artist and musician’s musician, Hitchcock is among alternative rock’s father figures. The former White Stripes member continues doing his solo thing.

Sun 14 Oct

BANNERMANS, FROM 19:30, £5

SNEAKY PETE’S, FROM 19:00, £8

RICKY WARWICK & DAMEN JOHNSON (GILL MONTGOMERY(THE AMORETTES))

BANNERMANS, FROM 19:30, £15 - £18

Acoustic set from two legends of the rock ‘n’ roll world. STEVE RODGERS

THE VOODOO ROOMS, FROM 19:15, £10

Thrash metal from some hometown heroes. STILLMARILLION

THE VOODOO ROOMS, FROM 19:30, FREE

Glasgow band who’ve been together for more than 30 years and still going strong.

Steve Rodgers’ songs reflect his passion for life’s depth, mystery and wonder.

Find full listings at theskinny.co.uk/whats-on

CLAP YOUR HANDS SAY YEAH: SOME LOUD THUNDER 10TH ANNIVERSARY

THE CAVES, FROM 19:00, £16.50 - £18.15

The Brooklyn quartet return to the UK to celebrate the 10th anniversary of their second album, Some Loud Thunder. TALISK

TRAVERSE THEATRE, FROM 20:00, £11

Barely four years since their formation, Talisk have already stacked up several major awards for their pyrotechnic yet artfully woven sound. IGLOOGHOST

SNEAKY PETE’S, FROM 19:00, £11.50

UK-based, electronic producer of hyperspeed booms, fizzes, squeezes and stretches. SIXTIES ON A SUNDAY (FAYE AND THE CRUISERS)

THE BASEMENT THEATRE, FROM 14:00, £7.50 - £10

A Sunday afternoon to drink, dance and sing along to simply the most authentic 60s band you will ever hear.

JACK WHITE

USHER HALL, FROM 19:00, £44 - £55

INDIGO VELVET

Tropical-pop quartet from Edinburgh.

JINKX MONSOON IS CURSED

LA BELLE ANGELE, FROM 19:00, £20 - £35

Jinkx Monsoon is the stage name name of Jerick Hoffer, a drag performer, actor and the winner of the fifth season of RuPaul’s Drag Race.

THE PLEASANCE, FROM 19:00, £16

EDINBURGH BLUES CLUB (LIGHTNIN’ WILLIE & THE POOR BOYS + WOLFTRAIN)

THE VOODOO ROOMS, FROM 19:30, £14

USHER HALL, FROM 19:00, £31.35

The Swedish folk sister duo, whose music is joyously steeped in their trademark American woodsy folk and blues. TURIN BRAKES

THE LIQUID ROOM, FROM 19:00, £19.50

Yes, though many of your fondly remembered millennium musicians are somewhat frozen in time, Turin Breaks continue to pave their path, over a decade under their belts. See ‘em live this month.

ANTIDOTE BOOKING SHOWCASE (CRYSTAL + LAFAYETTE REGENCY + ATLAS RUN)

GRACE PETRIE THE VOODOO ROOMS, FROM 19:30, £12

A charming and engaging performer, Petrie is foremost a protest singer but she has also earned her stripes in the folk, comedy and alternative scenes. CUA

TRAVERSE THEATRE, FROM 20:00, £11

Irish trio, cua embark on their first ever Scottish tour. SAM FENDER

THE MASH HOUSE, FROM 19:00, £8 - £10

Singer/songwriter and one of BBC’s Sound of 2018.

Tue 30 Oct

PRESSURE VALVE UNPLUGGED

BANNERMANS, FROM 19:30, FREE

Local artists play stripped back sets, before the public get to be the stars at karaoke. ALISON KRAUSS

THE EDINBURGH PLAYHOUSE, FROM 19:00, £45.15 - £65.15

More honey-toned bluegrass offerings from US country singer/ songwriter. QUEEN EXTRAVAGANZA

USHER HALL, FROM 20:00, £31.35 - £51.15

Queen tribute act.

ELEANOR FRIEDBERGER

SNEAKY PETE’S, FROM 19:00, £11

BOY JUMPS SHIP

NYC’s Eleanor Friedberger returns to Sneaks with her new album ‘Rebound’ – a little fizzier, synthier, more meditative and DIY than her previous work.

Local artists play stripped back sets, before the public get to be the stars at karaoke.

THE MASH HOUSE, FROM 19:00, £6.50 - £8.50

Newcastle punk-rock quartet big on the thundering choruses.

THE MASH HOUSE, FROM 19:00, £16 - £18

Exquisitely arranged baroque folk pop from Boston.

THE CAVES, FROM 19:00, £16.50

Sat 27 Oct

Wed 31 Oct

Tue 23 Oct

PRESSURE VALVE UNPLUGGED

BANNERMANS, FROM 19:30, FREE

ARCANE ROOTS

Perfect combination of pop and rock that creates an awesome sound; hear it live. GAZ COOMBES

THE LIQUID ROOM, FROM 19:00, £12.50 - £13.75

The Supergrass frontman (and his impressive sideburns) continue to go it alone.

PLASTIC HOUSE (SPYNN + THE PHASE)

SNEAKY PETE’S, FROM 19:00, £7

Wed 24 Oct

LA BELLE ANGELE, FROM 19:00, £25

Fri 19 Oct

One for the metal heads.

The Scottish debut for the power pop-punk outfit.

THE BLOCKHEADS

Tropical-pop quartet from Edinburgh.

LA BELLE ANGELE, FROM 19:00, £12

DISPOSABLE (SLIOCH + KILLJOY + HAMMER)

BANNERMANS, FROM 19:30, £7 - £10

The two Scots team up for music and good times.

SNEAKY PETE’S, FROM 19:00, £8

American rock outfit from Boulder, Colorado that is the epiphany of punk with the aggressive sound and grungy wisdom. DIAMOND HEAD (KILLIT)

AIDAN MOFFAT & RM HUBBERT (SIOBHAN WILSON)

THE CAPITALIST KIDS (ARIEL SALAD + KIMBERLY STEAKS + THE LEMONAIDS)

A blaze of high-energy thumping rhythms and solemn, fuzzierthan-an-ewok guitar riffs.

INDIGO VELVET

Lovely folk-pop lot lead by Nick Hemming – of early 90s indie fame with former group She Talks To Angels – drawing comparisons to the Fleet Foxes, which is hardly a bad thing.

Five-piece band from the capital.

October 2018

L.A. Salami (Lookman Adekunle Salami) is a singer/songwriter from London, known for crafting magnetic blues-rock songs with a postmodern twist.

Mon 22 Oct

RACHEL SERMANNI (COURTNEY HARTMAN)

THE CAVES, FROM 19:30, £14 - £15.75

The music of Folk-Noir Balladeer, Rachel Sermanni, has the flesh of folk but, if you were to cut the skin, you’d find it pumped with contemporary, genre blended blood. 10CC

USHER HALL, FROM 19:00, £35.75 - £38.50

The 70s hitmakers, who’ve enjoyed over 40 years in the business, keep ploughing on. DED RABBIT (CHRIS GRIEG + CALUM MACKENZIE JONES)

SNEAKY PETE’S, FROM 19:00, £5

A band of brothers playing an eclectic mix of indie and sax funk. LUKE JACKSON

LEITH DEPOT, FROM 21:00, £7 - £7.70

Young gun roots singer-songwriter hailing from Canterbury, Radio 2 Young Folk award nominated n’all.

Thu 25 Oct

THE HERETIC ORDER (GRAND ELDER)

BANNERMANS, FROM 22:00, TBC

A classic metal band for the modern age. YAK (SONS OF RAPHAEL)

SNEAKY PETE’S, FROM 19:00, £11

A nervy, magnetic and photogenic English noise rock/garage punk trio from London.

RIP IT UP - REMIXED (BARBE ROUSSE + GUS HARROWER + GLASS SHIPS) SUMMERHALL, FROM 19:30, £7 - £10

A night of Scottish pop music from the last 50 years with a twist. HAIKU HANDS

THE MASH HOUSE, FROM 19:00, £8 - £10

An unlikely but brilliant mix of dance party and performance art.

Fri 26 Oct

GRADE 2 (PANIC ATTAK + MURDABALL + HALF CHARGE + BLACKLIST )

BANNERMANS, FROM 15:00, £7.50 - £10

Oi! style punk band.

ADRENA ADRENA (MNDMTH + JOE COGHILL + DILJEET BHACHU)

HENRY’S CELLAR BAR, FROM 19:00, TBC

Adrena Adrena is a collaboration between visual artist Daisy Dickinson and drummer E-Da Kazuhisa, blending drums, noise and organic visual work.

SNEAKY PETE’S, FROM 19:00, £5

Antidote agency present a roster showcase from Scotland and beyond.

CERTAIN DEATH

BANNERMANS, FROM 20:00, TBC

Annual Halloween bash from the mad lot. SAM AMIDON

THE PLEASANCE, FROM 19:30, £14

Experimental folk artist, singer and multi-instrumentalist Sam Amidon tours the UK. BLACK CAT BONE

THE VOODOO ROOMS, FROM 19:30, £8

Black Cat Bone are a rock blues band with a lot of soul, hailing from Edinburgh. HANDS OFF GRETEL

WEE RED BAR, FROM 19:00, £5

For fans of L7, Babes In Toyland and Hole. Lauren blows away audiences with her vocal dexterity. BOMBSKARE

THE LIQUID ROOM, FROM 19:00, £10 - £11.25

Scotland’s best part-time band bring a ska cavalcade.

DARLINGSIDE

JIZZY PEARL LOVE/HATE (RICHIE NEILL & THE REINFORCEMENTS + DEAD MAN’S WHISKEY)

BANNERMANS, FROM 19:30, £14 - £16

The legendary frontman brings his band back for a round of new and classic numbers. GLAMOUR & THE BAYBES’ FUNKOWEEN 2018 (THE HOISTEY BOYS)

SNEAKY PETE’S, FROM 19:00, £4 - £8

Glamour & The Baybes are bringing the funk to Edinburgh with ripping horns, massive vocals and the hottest Halloween party to end all parties.

Dundee Music

THIS FEELING (THE VANITIES)

SNEAKY PETE’S, FROM 19:00, £6

The indie club night returns. THE DUNTS

THE MASH HOUSE, FROM 19:00, £6.50 - £8.50

Four-piece council punk band from Glasgow.

Sun 28 Oct OPEN MIC

Thu 04 Oct

ORANGE CLAW HAMMER PLAY CAPTAIN BEEFHEART

CLARKS ON LINDSAY STREET, FROM 19:00, £10

Orange Claw Hammer pay tribute to avant-garde weirdo rocker, Captain Beefheart.

BANNERMANS, FROM 15:00, FREE

Fri 05 Oct

CRANACHAN

CHURCH, FROM 19:00, £10

Free music all day from acoustic to blues and rock. BANNERMANS, FROM 21:00, FREE

Classic rock covers from the 60s to present day. TOM BAXTER (RORY BUTLER)

THE CAVES, FROM 19:00, £15

Suffolk-born, London-based singer/songwriter building his sound on his masterful guitar-playing and raw, confessional lyrics. BANGERS ‘N’ MASH PRESENTS POSABLE ACTION FIGURES SINGLE LAUNCH

SNEAKY PETE’S, FROM 19:00, £5

Edinburgh duo Posable Action Figures launch their new single, Inhaler. THE SONS OF PITCHES

PLEASANCE THEATRE, FROM 19:00, £27 - £50

One of the UK’s premiere vocal groups.

Mon 29 Oct

CULTURE SHOCK (RADICAL DANCE FACTORY + BACK TO THE PLANET + TRIPWIRE DC)

BANNERMANS, FROM 20:00, £15 - £20

Anarcho-punk outfit formed in Warminster way back when (aka 1986) by Dirk Lucas, formerly of the Subhumans. MARIO BIONDI

THE VOODOO ROOMS, FROM 19:30, FREE

Italian soul and jazz singer who first came to worldwide attention in 2004 with This Is What You Are.

PETER AND THE TEST TUBE BABIES

Street punk classics from the 70s formed rascals, who came to life in frontman Peter Bywaters’ dad’s garage. THE GARY INNES BAND

THE GARDYNE THEATRE, FROM 19:30, £17.75

Highland-born accordionist and one of the founding members of award-winning Scottish super group Mànran.

BRAINGLUE (BENEDICTUS + SAINT LOUIE + NEIL MORRISON + DRAINPIPE)

CONROY’S BASEMENT, FROM 19:00, £5

Fuzz and reverb-infused garagerock.

Sat 06 Oct THE CHRISTIANS

CHURCH, FROM 19:00, £22.50

After forming in Liverpool in 1986, The Christians went on to gather a pretty huge following with their blend of soul, gospel and heartfelt acoustic pop. ANTI NOWHERE LEAGUE

BEAT GENERATOR LIVE!, FROM 18:00, £12

Long-standing punk rockers, on the go since 1980.

Thu 11 Oct THE LOVELY EGGS

BEAT GENERATOR LIVE!, FROM 19:30, £12

Champions of the UK underground scene, The Lovely Eggs hit the road again for another round of punk rock good times.

Listings

LTTM (STOLEN WINGS + EUGENE RIPPER + STRANGERS ALMANAC) CONROY’S BASEMENT, FROM 19:30, £5

The never-ending solo project of the Glasgow-based musician Kyle Wood. RAB NOAKES & JILL JACKSON

CLARKS ON LINDSAY STREET, FROM 19:00, £12

This collaboration, spanning the generations, features a wide range of songs, self-penned and interpretations.

Fri 12 Oct THE SMITHS LTD

Wed 24 Oct

ANDY FAIRWEATHER LOW AND THE LOW RIDERS

THE GARDYNE THEATRE, FROM 19:30, £27.50

The Amen Corner bloke heads out to perform a selection of hits at the Gardyne. SEAN MCGOWAN

CLARKS ON LINDSAY STREET, FROM 19:30, £5

24-year-old Southampton-born musician raised on a diet of The Clash, The Jam, Specials, Billy Bragg and other such politicallycharged, punk-ignited British pop.

BEAT GENERATOR LIVE!, FROM 20:00, £10

Thu 25 Oct

Sat 13 Oct

CHURCH, FROM 19:00, £6

The Smiths tribute act. DANIEL O’DONNELL

CAIRD HALL, FROM 19:30, £38.50 - £48

The most successful easylistening-country star tours his back catalogue of hits.

RICKY WARWICK & DAMON JOHNSON

CHURCH, FROM 19:00, £15

Over two hours of career-spanning material, stories and much more. WE ARE NOT DEVO

BEAT GENERATOR LIVE!, FROM 20:00, £8

The UK’s only Devo tribute.

Sun 14 Oct ECHOIC

CHURCH, FROM 19:00, £5

Quartet from Reading who bonded over their love for indie and altrock music with soulful pop, and create a new sound infused with electronic elements.

Thu 18 Oct

THE BILLY JOEL SONGBOOK PERFORMED BY ELIO PACE

THE GARDYNE THEATRE, FROM 19:30, £26.50

Elio Pace delivers this sensational and critically-acclaimed tour celebrating the phenomenal music of Billy Joel. BROWNBEAR (DED RABBIT + THIEVES)

BEAT GENERATOR LIVE!, FROM 19:30, £5

Musical collective led by singer/ songwriter Matt Hickman, whose debut single Dead or Alive gained them national radio exposure and high profile gigs.

THE DUNTS

Four-piece council punk band from Glasgow.

Fri 26 Oct

SUPA & DA KRYPTONITES

CHURCH, FROM 19:00, £6

Nine-piece funk, ska, reggae, soul, hip-hop, swing and grime band. GUNS 2 ROSES

Rhythmic, harmony-based collective, seasoned with warmth, love and sprinkled with a fat guitar sound.

Fri 19 Oct

NIRVANA UNPLUGGED EXPERIENCE

CHURCH, FROM 19:30, £11

Relive Nirvana’s legendary 1993 performance as Edinburgh-based singer Ewan Mackenna and a talented band pay homage to MTV Unplugged’s most famous concert. THE BILLY JOEL SONGBOOK PERFORMED BY ELIO PACE

THE GARDYNE THEATRE, FROM 19:30, £26.50

Elio Pace delivers this sensational and critically-acclaimed tour celebrating the phenomenal music of Billy Joel. PUNKTOBERFEST

BEAT GENERATOR LIVE!, FROM 18:00, £10

A punk fest, during October, in Dundee; in case the name hadn’t already given that away.

CONROY’S BASEMENT, FROM 19:30, £6 - £7

The indie club night returns.

Sat 27 Oct 5IVE

CHURCH, FROM 22:00, £15

Three of the original five bad boys with the power to rock you return to a live setting. Maybe time for a name change? MONSTERZ OF ROCK

BEAT GENERATOR LIVE!, FROM 20:00, £5

Rock night with Djs and a live band. GLOOMFEST

CONROY’S BASEMENT, FROM 19:30, £5 - £7

A night of riff laden music trapped in a basement; a sonic offering to the old gods of gloom.

Sun 28 Oct

KUROKUMA (SOMEASTHESIA + INDICA + KURNEL FIST)

CONROY’S BASEMENT, FROM 19:00, TBC

Fresh funky doomy deluxe tunage all the way from Sheffield.

Mon 01 Oct BARE MONDAYS

THE GARAGE GLASGOW, FROM 23:00, £3 - £4

Lasers, bouncy castles and DJ Gav Somerville spinning out teasers and pleasers. Nice way to kick off the week, no?

Tue 02 Oct CRATER COVE

NICE ‘N’ SLEAZY, FROM 23:30, FREE

Funk, disco, boogie and house. #TAG TUESDAYS

THE GARAGE GLASGOW, FROM 23:00, £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

SUB CLUB, FROM 23:00, TBC

Resident young guns Beta & Kappa play the usual fine mix of electronica and bass, with a special guest or two oft in tow. BUCKFAST SUPERNOVA

Pop bangers from Happy Spendy.

Sat 20 Oct

CATHOUSE, FROM 23:00, £4

BEAT GENERATOR LIVE!, FROM 13:00, £12

WHITEHILL GROVE

CONROY’S BASEMENT, FROM 19:30, £5

Anthemic indie rock from Edinburgh.

Sun 21 Oct

A HERO NAMED COWARD (SONOROUS) CONROY’S BASEMENT, FROM 19:00, £6

Italian metalcore band making their Dundee debut.

Listings

Cathouse’s Thursday night rock, metal and punk mash-up. ELEMENT

THE GARAGE GLASGOW, FROM 23:00, TBC

Ross McMillan plays chart, house and anthems with giveaways, bouncy castles and, most importantly, air hockey.

FOUNDRY (RUSH + LOVEJOY (LIVE))

LA CHEETAH CLUB, FROM 23:00, £5

Foundry invite Glasgow outfit Rush (Cammy De Felice and Mr Naga), as well as a live set from Missing Persons Club’s Lovejoy. THE BERKELEY SUITE, FROM 23:00, £3 - £5

Fri 05 Oct FRESH! FRIDAYS

ORAN MOR, FROM 23:00, £0 - £6

Resident DJ John McLean brings you the biggest tunes and best deals to make your weekend one to remember. SISTERS IN DISTRESS

BLOC+, FROM 23:00, FREE

80s buzz, non-binary, hedonistic queer fun shit. HARSH TUG

NICE ‘N’ SLEAZY, FROM 23:30, £3

OG Kush + hip-hop bangers with Notorious B.A.G.

SWG3 PRESENTS IBIZA CLASSICS

SWG3 GLASGOW, FROM 22:00, £6 - £10

A night of seminal tunes, straight from the Balearic Isle. TRAX

CATHOUSE, FROM 22:30, £5 - £6

DJ Daryl kicks off the first weekend of the month, spinning hip-hop, grunge, trap and dance tunes. FRESH BEAT

Spectral electronics and dancefloor beats with a distinct Celtic vibe.

A punk fest, during October, in Dundee; in case the name hadn’t already given that away.

UNHOLY

CATHOUSE, FROM 23:00, £2 - £4

THE GARAGE GLASGOW, FROM 23:00, £3 - £6

NICE ‘N’ SLEAZY, FROM 23:30, FREE

PUNKTOBERFEST

Highly accessible hits from heaven.

A weekly club night focused on reggae, dancehall and bass music.

CONROY’S BASEMENT, FROM 19:00, £5

Jinkx Monsoon is the stage name name of Jerick Hoffer, a drag performer, actor and the winner of the fifth season of RuPaul’s Drag Race.

NICE ‘N’ SLEAZY, FROM 23:30, FREE

THIS FEELING (THE VANITIES + PLASMAS + NOVELLA)

Guns N’ Roses tribute band.

Wed 03 Oct

JINKX MONSOON IS CURSED

DJ NICK(ERS)

BEAT GENERATOR LIVE!, FROM 20:00, £8

YOKO PWNO (NEON MGM + QUEEQUEGS)

CHURCH, FROM 19:00, £20 - £35

Thu 04 Oct

WALK N SKANK (EASY SKANKIN CREW)

THE LOVE AFFAIR (NOVELLA + THE MEDINAS)

CLARKS ON LINDSAY STREET, FROM 19:00, £5

Glasgow Clubs

BEAST

DJ Jonny soundtracks your Wednesday with all the best in pop-punk, metalcore, house & EDM and there’s even beer pong. WRAP-IT

THE GARAGE GLASGOW, FROM 23:00, £0 - £4

DJ Craig cures your Wednesday woes at The Garage. BRINGYOUROWNFRIENDS

STEREO, FROM 23:30, £3

A wild evening of hypnotising house and techno delights. SUNNY SIDE UP (DOMENIC CAPPELLO)

LA CHEETAH CLUB, FROM 23:00, £3

Sunny Side Up welcome the Sub Club and Glasgow legend to the La Cheetah basement for a night of fine-tuned techno and house. RARE

SUB CLUB, FROM 23:00, TBC

New Wednesday night at Subbie, following a successful residency in Aberdeen.

Dance, chart and remixes in the main hall with Craig Guild, while DJ Nicola Walker keeps things nostalgic in G2 with flashback bangers galore.

IPSO FACTO PRESENT SAN JUNIPERO

STEREO, FROM 23:00, £5

Club night playing homage to the Black Mirror episode, San Junipero.

LT (SUE ZUKI + EMAENUEL + RIBEKA)

LA CHEETAH CLUB, FROM 23:00, £5

LATE NITE TUFF GUY PRINCE TRIBUTE SWG3 GLASGOW, FROM 22:00, £13 - £21.15

King of the edit, Late Nite Tuff Guy takes a journey back to celebrate the life’s work of one of the greatest showmen, producers and songwriters to ever grace a stage. SHOOT YOUR SHOT

SWG3 GLASGOW, FROM 22:00, £6

Discotheque provocateurs SYS take you higher with a programme of Italo and synthetic house DJs, as well as live performances and surprises. CATHOUSE SATURDAYS

CATHOUSE, FROM 23:00, £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. I LOVE GARAGE

THE GARAGE GLASGOW, FROM 23:00, £5 - £7

Student-friendly Friday night party, playing (as one might expect) cheesy classics of every hue. MAGIC CITY – THE NEW WAVE

THE BERKELEY SUITE, FROM 23:00, £5 - £7

The Forji gang join Magic City this month, serving up the best new hiphop, R’n’B, trap and future sounds.

Sat 06 Oct ROYALE SATURDAYS

ORAN MOR, FROM 23:00, £4 - £8

Resident DJ Bobby Bluebell plays a mix of chart and electro. DAMMIT ALL TO HELL

BLOC+, FROM 23:00, FREE

Big chorus club extravaganza where punk meets pop hits. KINTRA DEL DÍA

NICE ‘N’ SLEAZY, FROM 12:00, TBC

Internationalist club vibes with live violin. GLITTERBANG

NICE ‘N’ SLEAZY, FROM 23:30, £3

Disco divas and Euro-pop anthems for those ready to sweat. IFYOUKNOWYOUKNOW

SWG3 GLASGOW, FROM 21:00, £15

Featuring the original DJs synonymous with the brand, Trevor Reilly, Davie Forbes and Neil Skinner will take you back.

NICE ‘N’ SLEAZY, FROM 23:30, FREE

Happy Meals’ Lewis seduces w/ Eurowave + Vaporbeat. BEAST

CATHOUSE, FROM 23:00, £4

DJ Jonny soundtracks your Wednesday with all the best in pop-punk, metalcore, house & EDM and there’s even beer pong. WRAP-IT

THE GARAGE GLASGOW, FROM 23:00, £0 - £4

DJ Craig cures your Wednesday woes at The Garage. AFLOAT

LA CHEETAH CLUB, FROM 23:00, £3 - £5

New Wednesday night at Subbie, following a successful residency in Aberdeen.

THE BERKELEY SUITE, FROM 23:00, £8 - £10

Thu 18 Oct

DABJ: THE MOVER

DABJ bring in one of dance music’s unsung hero’s, considered by some as one of the first innovators of hardcore, The Mover. SYMBIOSIS (KEEP IT ROLLING)

AUDIO, FROM 23:00, FREE

Glasgow’s longest running drum and bass club night.

Sat 13 Oct ROYALE SATURDAYS

ORAN MOR, FROM 23:00, £4 - £8

Resident DJ Bobby Bluebell plays a mix of chart and electro. MONSTER HOSPITAL

LA CHEETAH CLUB MEETS WANIA (DJ SOTOFETT + MADTEO)

LA CHEETAH CLUB, FROM 23:00, £8 - £10

DJ Sotofett continues his series of Wania parties, this time inviting NYC bossman Madteo to join him. SUBCULTURE: SKATEBÅRD

SUB CLUB, FROM 23:00, £10

Norwegian Italo enthusiast Skatebård stops by Subculture for a night of slinky grooves and sleazy synths. SUPERMAX

THE BERKELEY SUITE, FROM 23:00, £8

DJ Billy Woods, start to finish, open to close.

THIS FEELING (THE ROQUES + MOON STRANGER)

BROADCAST, FROM 22:30, £6.60

The indie club night returns.

Sun 07 Oct NULL / VOID

NICE ‘N’ SLEAZY, FROM 23:30, TBC

DRUGSTORE GLAMOUR

NICE ‘N’ SLEAZY, FROM 23:30, FREE

The Queens of the Glasgow disco scene. UNHOLY

CATHOUSE, FROM 23:00, £2 - £4

Cathouse’s Thursday night rock, metal and punk mash-up. ELEMENT

THE GARAGE GLASGOW, FROM 23:00, TBC

Ross McMillan plays chart, house and anthems with giveaways, bouncy castles and, most importantly, air hockey.

UNIT TWO PRESENTS: MARK BLAIR, DEEJAY BLOOM & J WAX

STEREO, FROM 23:00, £4

The first Unit Two party, with three bright upstarts.

ELECTRIC SALSA (SHAPEWORK + BISSET B2B KORAN JACKSON)

LA CHEETAH CLUB, FROM 23:00, £3 - £5

Recreating the fun, passion and atmosphere felt at their favourite clubs the world over.

Industrial goth rock disco.

Fri 12 Oct

CATHOUSE, FROM 23:00, TBC

ORAN MOR, FROM 23:00, £0 - £6

CLIFFHANGER

SESH

Twister, beer pong and DJ Ciar McKinley on the ones and twos, serving up chart and remixes through the night.

SUNDAYS AT LA CHEETAH (BAKE)

LA CHEETAH CLUB, FROM 23:00, FREE

New free entry Sunday nights at La Cheetah, with rotating guest Djs. DIXON

SUB CLUB, FROM 23:00, £15

The Sub Club favourite returns to the Subbie booth, after making a headline appearance at Sub Club Soundsystem in 2017.

MELTING POT PRESENTS LOUIE VEGA

HILLHEAD BOOKCLUB, FROM 16:00, £10 - £15

From Nuyorican Soul to Elements of Life, Little Louie Vega has been at the forefront of pushing dance music boundaries for decades both as a producer and DJ.

Mon 08 Oct BARE MONDAYS

THE GARAGE GLASGOW, FROM 23:00, £3 - £4

Lasers, bouncy castles and DJ Gav Somerville spinning out teasers and pleasers. Nice way to kick off the week, no?

Tue 09 Oct OBZRV MUSIC

NICE ‘N’ SLEAZY, FROM 23:30, FREE

All the electronic dance. #TAG TUESDAYS

THE GARAGE GLASGOW, FROM 23:00, £0 - £4

Indoor hot tubs, inflatables as far as the eye can see and a Twitter feed dedicated to validating your drunk-eyed existence.

FRESH! FRIDAYS

Resident DJ John McLean brings you the biggest tunes and best deals to make your weekend one to remember. DEATHKILL 4000

BLOC+, FROM 23:00, FREE

Ultra-cutting edge dark electro, hip-hop and post-punk. SHAKA LOVES YOU

NICE ‘N’ SLEAZY, FROM 23:30, £3

Hip-hop and live percussion flanked by wicked visuals. TAIKANO PRESENTS ANNA

SWG3 GLASGOW, FROM 21:00, £15

Brazil-born and Barcelona-based, ANNA is in high global demand, with recent releases on Diynamic and Turbo Recordings. DERRICK MAY

SWG3 GLASGOW, FROM 21:00, £10 - £18

Detroit techno pioneer and allround-legend. RUCKUS

CATHOUSE, FROM 22:30, £5 - £6

Sarah Legatt’s monthly hip-hop, trap and R’n’B night. FRESH BEAT

THE GARAGE GLASGOW, FROM 23:00, £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. LA CHEETAH 9TH BDAY PT.1 (DJ STINGRAY + JOSEY REBELLE )

LA CHEETAH CLUB, FROM 23:00, £10 - £12

Absolute match made in heaven for the first part of La Cheetah’s 9th birthday. Josey and Stingray are gonna make the walls shake.

RETURN TO MONO: I HATE MODELS (SLAM) SUB CLUB, FROM 23:00, £10 - £12

I Hate Models brings his unique style of techno for the first time, blending his influences of synthwave, early trance, cold-wave and industrial music.

ELEMENT

THE GARAGE GLASGOW, FROM 23:00, TBC

Ross McMillan plays chart, house and anthems with giveaways, bouncy castles and, most importantly, air hockey.

KIKABILA SOUNDS: ENTER THE JUNGLE

Rock’n’roll, garage and soul. LETS GO BACK TO THE 80S

SWG3 GLASGOW, FROM 22:00, £6 - £10

DJ’s Bosco, Rob Mason and JP have been DJ’ing since the 80s and will take you back to the sound of the dancefloors in 1980s. PATRICK TOPPING

SWG3 GLASGOW, FROM 22:00, £17 - £24.50

CATHOUSE SATURDAYS

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. I LOVE GARAGE

THE GARAGE GLASGOW, FROM 23:00, £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. LEZURE (BRIAN NOT BRIAN)

LA CHEETAH CLUB, FROM 23:00, £6

From Brixton via Belfast, Brian Not Brian is a deep digger and consummate selector. His DJ sets and imprint Going Good continue to shape the left of centre landscape of dance music. SUBCULTURE

SUB CLUB, FROM 23:00, TBC

Long-running house night with residents Harri & Domenic, oft’ joined by a carousel of super fresh guests.

Sun 14 Oct SESH

THE GARAGE GLASGOW, FROM 23:00, £3 - £4

Twister, beer pong and DJ Ciar McKinley on the ones and twos, serving up chart and remixes through the night.

Mon 15 Oct BARE MONDAYS

THE GARAGE GLASGOW, FROM 23:00, £3 - £4

Lasers, bouncy castles and DJ Gav Somerville spinning out teasers and pleasers. Nice way to kick off the week, no?

Tue 16 Oct #TAG TUESDAYS

THE GARAGE GLASGOW, FROM 23:00, £0 - £4

PALA (OOFT!)

For their latest party, Pala presents OOFT!

Fri 19 Oct FRESH! FRIDAYS

ORAN MOR, FROM 23:00, £0 - £6

Resident DJ John McLean brings you the biggest tunes and best deals to make your weekend one to remember. SUGO

BLOC+, FROM 23:00, FREE

Shake what you got to the sound of the best of the worst Italo/Euro trash from the last four decades. FESTIVAL OF THE DEAD

O2 ACADEMY GLASGOW, FROM 22:00, £22.90

Skull processions, DJs, live music and face paint all feature in this mini festival at the O2. THE LANCE VANCE DANCE

NICE ‘N’ SLEAZY, FROM 23:30, £3

Exotic dreamy disco.

THE HITS OF BEYONCE & DESTINY’S CHILD – LADIES NIGHT OUT OF A LIFETIME

SWG3 GLASGOW, FROM 22:00, £15 - £22.25

A massive production, comprising a 13-piece live band of top session musicians, paying homage to Bey and Destiny’s Child. You ready for this jelly? CATHOUSE FRIDAYS

CATHOUSE, FROM 22:30, £5 - £6

Screamy, shouty, post-hardcore madness to help you shake off a week of stress in true punk style. FRESH BEAT

THE GARAGE GLASGOW, FROM 23:00, £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. MOONLIGHT: DON’T BE AFRAID TAKEOVER (RROXYMORE + WHEELMAN)

STEREO, FROM 23:00, £5 - £8

Moonlight team up with UK label Don’t Be Afraid for a night of experimental electronic music. PARTIAL

FRIDAY NIGHTS

SHED, FROM 23:00, £4 - £6

THE YELLOW DOOR

THE BERKELEY SUITE, FROM 23:00, £0 - £5

BEAST

Sat 20 Oct

DJ Jonny soundtracks your Wednesday with all the best in pop-punk, metalcore, house & EDM and there’s even beer pong. WRAP-IT

ROYALE SATURDAYS

ORAN MOR, FROM 23:00, £4 - £8

Resident DJ Bobby Bluebell plays a mix of chart and electro. FANTASTIC MAN

BLOC+, FROM 23:00, FREE

DJ Craig cures your Wednesday woes at The Garage.

Incoherent madness for those with a death wish. The worst club night in the world.

LA CHEETAH CLUB, FROM 23:00, £3 - £5

NICE ‘N’ SLEAZY, FROM 23:30, £3

THE GARAGE GLASGOW, FROM 23:00, £0 - £4

KEEP IT ROLLING

Keep It Rolling bring UK underground flavours. From rolling UK garage to lively jungle music, this is a night to enjoy a full spectrum of vibrations.

JUNGLE TESTAMENTS: KELVIN 373 & METRAGNOME

AUDIO, FROM 23:00, £8 - £9

Jungle Testaments enlist the help of Kelvin 373 and MetraGnome for their latest party.

Sun 21 Oct CLIFFHANGER

CATHOUSE, FROM 23:00, TBC

A hearty blend of emo, drive-thru, old school and new school pop punk, to see your Sunday through to the stars. SESH

THE GARAGE GLASGOW, FROM 23:00, £3 - £4

Twister, beer pong and DJ Ciar McKinley on the ones and twos, serving up chart and remixes through the night.

Mon 22 Oct BARE MONDAYS

THE GARAGE GLASGOW, FROM 23:00, £3 - £4

Lasers, bouncy castles and DJ Gav Somerville spinning out teasers and pleasers. Nice way to kick off the week, no?

Tue 23 Oct #TAG TUESDAYS

THE GARAGE GLASGOW, FROM 23:00, £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

SUB CLUB, FROM 23:00, TBC

Resident young guns Beta & Kappa play the usual fine mix of electronica and bass, with a special guest or two oft in tow.

Wed 24 Oct FREAK LIKE ME

NICE ‘N’ SLEAZY, FROM 23:30, FREE

WE SHOULD HANG OUT MORE: DETROIT SWINDLE

SUB CLUB, FROM 23:00, £12.50 - £13

NICE ‘N’ SLEAZY, FROM 23:30, FREE

CATHOUSE, FROM 23:00, £4

Long-running house night with residents Harri & Domenic, oft’ joined by a carousel of super fresh guests.

DJ Jonny soundtracks your Wednesday with all the best in pop-punk, metalcore, house & EDM and there’s even beer pong.

A night of contemporary classics, unheard of gems and well-kent belters, all for your general dancing pleasure, natch.

DON’T BE GUTTED

SUBCULTURE

SUB CLUB, FROM 23:00, TBC

Soul, hip-hop and funk.

Student-friendly Friday night party, playing (as one might expect) cheesy classics of every hue.

Nefarious beats for dangerous times.

LA CHEETAH CLUB, FROM 23:00, £10 - £12

LA CHEETAH CLUB, FROM 23:00, £3 - £5

Promoting nights to dance at between Glasgow and Edinburgh, est. 2014.

SUB CLUB, FROM 23:00, TBC

Wed 17 Oct

MAKE EMO GREAT AGAIN

STEREO, FROM 23:00, TBC

Take a trip down memory lane with some of Emo’s greatest hits.

The final part of Rubadub’s yearlong 25th birthday celebrations.

WSHOM welcome Lars Dale and Marteen Smeets, aka Detroit Swindle, along to their party.

Resident young guns Beta & Kappa play the usual fine mix of electronica and bass, with a special guest or two oft in tow.

I LOVE GARAGE

THE GARAGE GLASGOW, FROM 23:00, £5 - £7

RAD25 X TRIP NOISE (DEMDIKE STARE + JON K B2B MOTHER + SHAWLANDS ARCADE (LIVE))

Indoor hot tubs, inflatables as far as the eye can see and a Twitter feed dedicated to validating your drunk-eyed existence. I AM

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.

STEREO, FROM 23:00, £5

LA CHEETAH CLUB, FROM 23:00, £3 - £5

ANNA & HOLLY’S DANCE PARTY

CATHOUSE, FROM 23:00, £5 - £6

The first event in the Choose Life series launches with a secret guest from Berlin.

UNHOLY

CATHOUSE, FROM 23:00, £2 - £4

Cathouse’s Thursday night rock, metal and punk mash-up.

NICE ‘N’ SLEAZY, FROM 23:30, FREE

Thu 11 Oct

CHOOSE LIFE: GLASGOW

All love songs + all bangers.

Botch meets Beyonce DJ smash. A club night like no other.

STEREO, FROM 23:00, £6 - £9

RARE

SUB CLUB, FROM 23:00, TBC

PRAY 4 LOVE

NICE ‘N’ SLEAZY, FROM 23:30, FREE

Enter a tropical discotheque where the sounds will span across Afrobeat, tropical, soul and Latin funk.

BLOC+, FROM 23:00, FREE

Join Patrick Topping for a steady mix of house, tech house and tehno.

THE GARAGE GLASGOW, FROM 23:00, £3 - £4

SHED, FROM 23:00, £4 - £6

SMALL TALK W/ DJ ADIDADAS

Student-friendly Friday night party, playing (as one might expect) cheesy classics of every hue.

New Wednesday night at Subbie, following a successful residency in Aberdeen.

SUB CLUB, FROM 23:00, £15 - £23

FRIDAY NIGHTS

Wed 10 Oct

CATHOUSE SATURDAYS CATHOUSE, FROM 23:00, £5 - £6

A hearty blend of emo, drive-thru, old school and new school pop punk, to see your Sunday through to the stars.

The Techno Viking takes control of Sub Club.

Finnish trance man Otto Yliperttula drops by on his Hyperfall tour, in support of his new album of the same name.

RARE SUB CLUB, FROM 23:00, TBC

The Afloat residents cruise by once again, inviting some guests to share the booth now and again.

Debut live set from new Edinburgh based experimental musician, Emaenuel. Plus, a rare B2B from two of Glasgow’s most unusual Djs. ANIMAL FARM: RØDHÅD (QUAIL)

I AM: YOTTO SUB CLUB, FROM 23:00, £5

FRIDAY NIGHTS SHED, FROM 23:00, £4 - £6

SINGLES NIGHT

BEAST

CATHOUSE, FROM 23:00, £4

WRAP-IT

THE GARAGE GLASGOW, FROM 23:00, £0 - £4

DJ Craig cures your Wednesday woes at The Garage.

ATTENTION PLEASE (HARRISON BDP)

LA CHEETAH CLUB, FROM 23:00, £6 - £8

The Selectors Series is back, educating the floor with the best gems the fine line-up of selectors can get their hands on. SHRIEK APPEAL

BLOC+, FROM 21:00, FREE

Six decades of rock’n’roll under one roof, hosted by the ultimate DJ Trivium.

Thu 25 Oct

GONZO DONNIE DARKO SPECIAL

BLOC+, FROM 23:00, FREE

The quest to bring epic nostalgia back in the form of all things MTV2 (pre-trash) and 120 Minutes continues. The return of Indie Disco. BREAKFAST CLUB W/ GERRY LYONS

NICE ‘N’ SLEAZY, FROM 23:30, FREE

80s themed party extravaganza.

Beans + Divine explore the hits on 7” vinyl.

THE SKINNY

MILK’S POP PUNK KARAOKE

RAPID PT.4 (ÉCLAIR FIFI + TOM TRAGO)

CATHOUSE, FROM 23:00, £5

LA CHEETAH CLUB, FROM 23:00, £10 - £12

Belt yer heart out to everything from American Hi Fi to Alien Ant Farm, Blink 182 to Bowling for Soup, Catatonia to Coheed? All suggestions and all singers welcome, with lyrics projected on stage so folks can sing along all night long. ELEMENT

THE GARAGE GLASGOW, FROM 23:00, TBC

Ross McMillan plays chart, house and anthems with giveaways, bouncy castles and, most importantly, air hockey. SILVER DOLLAR CLUB

LA CHEETAH CLUB, FROM 23:00, £6 - £8

Tone Dropout label heads Dawl and Sween hold it down in the basement with their signature acid sound.

DJ MAG SESSIONS: NICOLE MOUDABER

SUB CLUB, FROM 23:00, £10

Éclair Fifi invites Dutch superstar Tom Trago to join her for the final part of her Rapid residency in the club. SUBCULTURE: CIEL

SUB CLUB, FROM 23:00, £10

Ciel is Toronto-based producer, DJ, promoter and all-around dance music powerhouse, Cindy Li. PLATFORM AT ARGYLE STREET ARCHES, FROM 19:30, £10 - £13

THE BONGO CLUB, FROM 23:00, £4 - £5

Join the Massaoke band for a super spooky singalong packed with horror hits.

Sun 28 Oct

NULL / VOID HALLOWE’EN SPECIAL

NICE ‘N’ SLEAZY, FROM 19:30, TBC

Fri 26 Oct

Classic rock through the ages from DJ Nicola Walker.

Resident DJ John McLean brings you the biggest tunes and best deals to make your weekend one to remember. DATE NIGHT

SLIDE IT IN

CATHOUSE, FROM 23:00, TBC

SESH

THE GARAGE GLASGOW, FROM 23:00, £3 - £4

Twister, beer pong and DJ Ciar McKinley on the ones and twos, serving up chart and remixes through the night.

NICE ‘N’ SLEAZY, FROM 23:30, £3

Mon 29 Oct

ACID HOUSE HALLOWEEN WAREHOUSE PARTY

NICE ‘N’ SLEAZY, FROM 23:30, TBC

A mixtape of love, lust and nostalgia. SWG3 GLASGOW, FROM 22:00, £6 - £11.25

Recreating the buzz from 30 years ago when acid house parties were happening all over the UK.

MELTING POT PRESENT YOUNG MARCO

SWG3 GLASGOW, FROM 22:00, £10

Dekmantel regular and Boiler Room favourite, Young Marco is recognised as one of the world’s finest crate diggers and party starters.

ONE NIGHT AT THE DISCO STUDIO 54 PARTY

SWG3 GLASGOW, FROM 23:00, £10 - £15

Visit an era of pure decadence, excess, glamour and music that became the blue print for modern day dance music. CATHOUSE FRIDAYS

CATHOUSE, FROM 22:30, £5 - £6

NULL / VOID HALLOWE’EN SPECIAL

The industrial goth rock disco night put on a Halloween special. BARE MONDAYS

THE GARAGE GLASGOW, FROM 23:00, £3 - £4

Lasers, bouncy castles and DJ Gav Somerville spinning out teasers and pleasers. Nice way to kick off the week, no?

Tue 30 Oct

Toronto-based DJ and producer Jacques Greene, considered to be one of dance music’s most captivating and enigmatic talents. ELISCO (CRAIG MOOG + CRAZY P SOUNDSYSTEM)

Indoor hot tubs, inflatables as far as the eye can see and a Twitter feed dedicated to validating your drunk-eyed existence. BLOOD BATH WITH BRB & HOLY TRINITY

NICE ‘N’ SLEAZY, FROM 23:30, FREE

BEAST

CATHOUSE, FROM 23:00, £4

DJ Jonny soundtracks your Wednesday with all the best in pop-punk, metalcore, house & EDM and there’s even beer pong. WRAP-IT

THE GARAGE GLASGOW, FROM 23:00, £0 - £4

DJ Craig cures your Wednesday woes at The Garage.

LA CHEETAH CLUB, FROM 23:00, £10 - £12

Craigie invites disco legends Crazy P Soundsystem to join him in the booth. FRIDAY NIGHTS

SHED, FROM 23:00, £4 - £6

Student-friendly Friday night party, playing (as one might expect) cheesy classics of every hue.

Mon 01 Oct MIXED UP

THE HIVE, FROM 22:00, FREE

Monday-brightening mix of hiphop, R’n’B and chart classics, with requests in the back room.

Sat 27 Oct

FRUITBOX: FRUIT PRESENTS JUICEBOX

ORAN MOR, FROM 23:00, £4 - £8

FRUIT is a colourful, bi-monthly celebration of fruity people in the form of interviews, articles and submissions that are sure to tickle your tastebuds.

ROYALE SATURDAYS

Resident DJ Bobby Bluebell plays a mix of chart and electro. GUNZ FOR HIRE – HALLOWEEN SPECIAL

O2 ACADEMY GLASGOW, FROM 21:00, £33.20

A night of hardstyle as Gunz For Hire bring their Halloween Special to Glasgow. SHAKA LOVES YOU

NICE ‘N’ SLEAZY, FROM 23:30, £3

Hip-hop and live percussion flanked by wicked visuals.

MAXIMUM PRESSURE HALLOWEEN EDITION

SWG3 GLASGOW, FROM 17:00, £25 - £35

A massive lineup converges for the Halloween edition of Maximum Pressure. MISBEHAVIN

CATHOUSE, FROM 23:00, £5 - £6

Retro-pop, alt, dance and electro from DJ Drewbear. I LOVE GARAGE

THE GARAGE GLASGOW, FROM 23:00, £5 - £7

October 2018

THE HIVE, FROM 22:00, FREE

All new, all fun, all cheese club night. HEATERS: AVALON EMERSON

SNEAKY PETE’S, FROM 23:00, £5 - £10

SNEAKY PETE’S, FROM 23:00, £4

Tue 02 Oct HECTOR’S HOUSE

CABARET VOLTAIRE, FROM 23:00, £5 - £6

Since May 2012, Hector’s House (known affectionately to many as Hector’s) has become Edinburgh’s stalwart midweek shindig, drawing in capacity crowds each and every Tuesday. MIDNIGHT BASS

THE BONGO CLUB, FROM 23:00, £4 - £5

Weekly Bongo night by Electrikal Sound System, dishing out drum and bass, jungle, bassline, grime and garage. TRASH

THE HIVE, FROM 22:00, FREE

Alternative Tuesday anthems cherrypicked from genres of rock, indie, punk, retro and more.

BUBBLEGUM

POPULAR MUSIC

THE HIVE, FROM 21:00, £0 - £4

SNEAKY PETE’S, FROM 23:00, £1 - £3

Saturday mix of chart and dance, with retro 80s classics thrown in for good measure. FIRECRACKER PRESENTS HEAL YOURSELF & MOVE

SNEAKY PETE’S, FROM 23:00, £5 - £7

Firecracker Recordings family present their regular therapeutic dancing session. FIESTA DO SAMEDIA (AFRIQUOI + ONIPA + MAXI ROOTS FEAT. TOM SPIRALS + SANKOFA BEATS)

LA BELLE ANGELE, FROM 23:00, £8 - £10

A line-up of hand-picked guests from the extended Samedia family covering a feast of afro-centric electronic musical styles.

Californian producer Avalon Emerson’s recent release on the constant forward thinking label Whities was a fine example of techno in its ever-evolving form, expanding on the fundamentals with some of the brightest consonance synth lines and hypnotic loops.

ELEMNT X TARGET EVENTS: MACKY GEE + BUCKFAST BOYS CLUB (MEADIE)

Thu 04 Oct

THE BONGO CLUB, FROM 23:00, £4 - £10

As always Samedia play music spanning Afrobeat, Latin, kuduru, dancehall, samba, soca, cumbia and beyond.

HI-FI REBEL

The Shapework trio move upstairs for their first residents only party for well over a year.

KITCHEN SYNC (VOL II): BANNOFEE PIES

Kitchen Sync make the journey up to Edinburgh, bringing with them the Bristol-based label bosses Banoffee Pies. THE HIVE, FROM 22:00, FREE

Your weekly dose of indie rock’n’roll. POPULAR MUSIC

SNEAKY PETE’S, FROM 23:00, £1 - £3

LA BELLE ANGELE, FROM 23:00, £10 - £13

#TAG TUESDAYS

Blade-themed club night. Get vampire-ish.

JACQUES GREENE (DJ SET)

WICKED WEDNESDAYS

THE GARAGE GLASGOW, FROM 23:00, £0 - £4

NICE ‘N’ SLEAZY, FROM 23:30, FREE

THE GARAGE GLASGOW, FROM 23:00, £3 - £6

STEREO, FROM 23:00, £12 - £13.20

Bongo Club’s new weekly Wednesday, playing funk, hip-hop, reggae, Afrobeat and more.

New wave of underground Glasgow DJ talent.

ONLY THE SUBJECT

Wed 31 Oct

Dance, chart and remixes in the main hall with Craig Guild, while DJ Nicola Walker keeps things nostalgic in G2 with flashback bangers galore.

JUNGLE FUNK

A new weekly night with a danceable mix of music made by bands, cutting across genre, age and nation.

Screamy, shouty, post-hardcore madness to help you shake off a week of stress in true punk style. FRESH BEAT

Ride back in time to a 90s rave filled with club classics and old skool belters.

Wed 03 Oct

Nicole Moudaber passionately broadcasts her inclusive yet fierce and uncensored take on techno. FRESH! FRIDAYS

WILLIAM SHAW (JESS COHEN + MICHAEL HAJ + C-SHAMAN)

THE MASH HOUSE, FROM 23:00, £3 - £5

MASSAOKE SCOTLAND: HALLOWEEN SPECIAL

The industrial goth rock disco night put on a Halloween special.

ORAN MOR, FROM 23:00, £0 - £6

Edinburgh Clubs

DISCO BISKIT W/ DETROIT SWINDLE

Detroit Swindle have gone from strength to strength in recent years, lighting up parties with their eclectic mix of records and outstanding disco-house productions.

Fri 05 Oct

FLY PRESENTS MALL GRAB (BIG MIZ + LOODS + SALARY BOY) CABARET VOLTAIRE, FROM 22:00, £15 - £25

Mall Grab brings his Looking for Trouble tour to Edinburgh, with lots of heavy-hitters joining him. ELECTRIKAL: DARKZY

THE BONGO CLUB, FROM 23:00, £8 - £11.50

Darkzy’s Dark Nightz Autumn Tour lands in Edinburgh, with support from Electrikal Sound System. FLIP

THE HIVE, FROM 22:00, £0 - £4

Yer all-new Friday at Hive. Cheap entry, inevitably danceable, and novelty-stuffed. Perrrfect. PROPAGANDA: HARRY POTTER PARTY

THE LIQUID ROOM, FROM 23:00, £4 - £5

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like.

MISS WORLD WITH FRANKIE ELYSE (GROOVERS) SNEAKY PETE’S, FROM 23:00, £5

Edinburgh’s musical beauty pagaent invites Frankie Elyse of Groovers. STORYTIME PRESENTS YOUNG MARCO (ALL NIGHT LONG)

LA BELLE ANGELE, FROM 23:00, £11 - £13

Dekmantel regular and Boiler Room favourite, Young Marco is recognised as one of the world’s finest crate diggers and party starters. CAPRI COLLECTIVE

THE MASH HOUSE, FROM 23:00, £3 - £5

The Capri Collective take over the Mash House’s Loft for a tripped out Edinburgh escapade. ARIOSE PRESENTS

THE MASH HOUSE, FROM 23:00, £3 - £5

New techno night curated by local duo Ariose, signed to German label Traum.

Sat 06 Oct

MUMBO JUMBO: YAM WHO? (THE GOGO)

THE BONGO CLUB, FROM 23:00, £3 - £7

Funk, soul, beats and bumps from the Mumbo Jumbo gang and room two residents The GoGo.

LA BELLE ANGELE, FROM 23:00, £8 - £10

The most in-demand DJ in the genre, Macky Gee will be performing alongside Bristol party kings Buckfast Boys Club. SAMEDIA SHABEEN

THE MASH HOUSE, FROM 23:00, £8 - £10

SHAPEWORK

THE MASH HOUSE, FROM 23:00, £3 - £5

JACUZZI GENERAL

PARADISE PALMS, FROM 21:00, FREE

Dip your toe into the sounds of pleasure powerhouse Jacuzzi General.

Sun 07 Oct SUNDAY CLUB

THE HIVE, FROM 22:00, FREE

Two rooms of all the chart, cheese and indie-pop you can think of/ handle on a Sunday. COALITION

SNEAKY PETE’S, FROM 23:00, FREE

Believe presents the best in bass DJs from Edinburgh at his weekly Sunday communion.

Mon 08 Oct MIXED UP

THE HIVE, FROM 22:00, FREE

Monday-brightening mix of hiphop, R’n’B and chart classics, with requests in the back room. NUTS

SNEAKY PETE’S, FROM 23:00, £3

Napier University Techno Society take over a Monday with their full crew.

Tue 09 Oct HECTOR’S HOUSE

CABARET VOLTAIRE, FROM 23:00, £5 - £6

Since May 2012, Hector’s House (known affectionately to many as Hector’s) has become Edinburgh’s stalwart midweek shindig, drawing in capacity crowds each and every Tuesday. MIDNIGHT BASS

A new weekly night with a danceable mix of music made by bands, cutting across genre, age and nation. CHURCH (SWINDLE)

THE MASH HOUSE, FROM 23:00, £6 - £12

Church mark the return to their spiritual home with the help of musical wizard and renowned party starter, Swindle.

Fri 12 Oct

RHYTHM MACHINE: GBEKE AKINKUGBE

THE BONGO CLUB, FROM 23:00, £6

Special guest artist Gbeke Akinkugbe will be presenting a new audio-visual installation at unboundaried club night Rhythm Machine. FLIP

THE HIVE, FROM 22:00, £0 - £4

Yer all-new Friday at Hive. Cheap entry, inevitably danceable, and novelty-stuffed. Perrrfect. PROPAGANDA: DOUGIE POYNTER DJ SET

THE LIQUID ROOM, FROM 23:00, £4 - £5

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like. HOT MESS

SNEAKY PETE’S, FROM 23:00, £5 - £7

Hot Mess is a hot and messy queer rave. Non-stop bangers and mash, selected and sequenced with love by Simonotron. WECHT PRESENTS ETCH

THE MASH HOUSE, FROM 23:00, £5 - £7

UK garage, breaks, grime, dubstep and hip-hop from Altered Roads and BTG man, Etch. HEADS UP: AMEN TO JUNGLE (MRS MAGOO AND THE GENERA)

THE MASH HOUSE, FROM 23:00, £7

Heads up bring a night of all things jungle and drum and bass with two of the biggest legends in the Scottish drum and bass scene. FONO (OC + CALTON TOI)

PARADISE PALMS, FROM 21:00, FREE

One year on from their very first party in Edinburgh, OC and Calton Toi are back for their fourth east coast FONO instalment.

Sat 13 Oct DR NO’S SKA CLUB

HENRY’S CELLAR BAR, FROM 23:00, £5 - £6

Baz and Dave spin out some belters under a strictly vinyl-only policy. HOTLINE

THE BONGO CLUB, FROM 23:00, £3 - £5

Smashin’ cloob, ‘run by women, for everyone’. R’n’B, disco, funk and dancing. BUBBLEGUM

THE HIVE, FROM 21:00, £0 - £4

Saturday mix of chart and dance, with retro 80s classics thrown in for good measure. TEESH

SNEAKY PETE’S, FROM 23:00, £5 - £7

DJ Cheers presents the all you can eat mind buffet.

THE BONGO CLUB, FROM 23:00, £4 - £5

ELECTRIKAL X LIQUID FUNKTION PRESENT: BREAK (SYMMETRY RECORDINGS)

TRASH

Break is one of DnB’s most prolific producers and is without a doubt one of the most notorious and respected figures within drum and bass.

Weekly Bongo night by Electrikal Sound System, dishing out drum and bass, jungle, bassline, grime and garage. THE HIVE, FROM 22:00, FREE

Alternative Tuesday anthems cherrypicked from genres of rock, indie, punk, retro and more.

Wed 10 Oct JUNGLE FUNK

THE BONGO CLUB, FROM 23:00, £4 - £5

Bongo Club’s new weekly Wednesday, playing funk, hip-hop, reggae, Afrobeat and more. WICKED WEDNESDAYS

THE HIVE, FROM 22:00, FREE

All new, all fun, all cheese club night. HEATERS: PLEASUREDOME

SNEAKY PETE’S, FROM 23:00, £1 - £3

C-Shaman invites Wee Red resident night Pleasuredome, who are all about warm, friendly, down to earth atmospheres and groovy music from all decades.

Thu 11 Oct HI-FI REBEL

THE HIVE, FROM 22:00, FREE

Your weekly dose of indie rock’n’roll.

Find full listings at theskinny.co.uk/whats-on

LA BELLE ANGELE, FROM 23:00, £10

OVERGROUND: TEXTASY

THE MASH HOUSE, FROM 23:00, £4.50 - £8

Overground are joined by Palidrone to bring Textasy through for his Scottish debut.

MIGHTY OAK REGGAE SOUNDSYSTEM

THE MASH HOUSE, FROM 23:00, £5 - £6

Mighty Oak selectors all night, playing roots reggae on their custom made soundsystem.

POWERHOUSE: HEDONISM, UNITY & FREEDOM (MECHANOID + LUCID + NEFELIBATA + DARKALI) THE MASH HOUSE, FROM 23:00, £6

Edinburgh heavyweights bringing the real underground heat to the Mash House attic. OTHER THUMPERS (DONALD DUST)

PARADISE PALMS, FROM 21:00, FREE

Enter Planet Dust. Italo heat and proto house from a man clad in studded leather.

Sun 14 Oct SUNDAY CLUB

THE HIVE, FROM 22:00, FREE

Two rooms of all the chart, cheese and indie-pop you can think of/ handle on a Sunday. COALITION

SNEAKY PETE’S, FROM 23:00, FREE

Believe presents the best in bass DJs from Edinburgh at his weekly Sunday communion. LOCOMONDO

LA BELLE ANGELE, FROM 23:00, £20

Seven-member band fronted by Markos Koumaris, fusing reggae, ska and Caribbean sounds with Greek music.

Mon 15 Oct MIXED UP

THE HIVE, FROM 22:00, FREE

Monday-brightening mix of hiphop, R’n’B and chart classics, with requests in the back room.

OSCILLATE PRESENTS: KRYWALD & FARRER SNEAKY PETE’S, FROM 23:00, £12

PROPAGANDA

TRASH

THE LIQUID ROOM, FROM 23:00, £4 - £5

THE HIVE, FROM 22:00, FREE

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like. MOXIE PRESENTS ON LOOP WITH LOUISE CHEN

SNEAKY PETE’S, FROM 23:00, £5

Moxie’s ninth appearance at the club; expect the usual absolute sellout mayhem. LETS GO BACK TO THE 80S DISCOTHEQUE

LA BELLE ANGELE, FROM 23:00, £6 - £8

DJ’s Bosco, Rob Mason and JP have been DJ’ing since the 80s and will take you back to the sound of the dancefloors in 1980s.

THE BONGO CLUB, FROM 23:00, £4 - £5

Weekly Bongo night by Electrikal Sound System, dishing out drum and bass, jungle, bassline, grime and garage. TRASH

THE HIVE, FROM 22:00, FREE

Alternative Tuesday anthems cherrypicked from genres of rock, indie, punk, retro and more. SOUL JAM 9TH BIRTHDAY WITH FYI CHRIS

SNEAKY PETE’S, FROM 23:00, £1 - £3

WICKED WEDNESDAYS

THE HIVE, FROM 22:00, FREE

All new, all fun, all cheese club night.

HEATERS: JACUZZI GENERAL (LIVE)

SNEAKY PETE’S, FROM 23:00, £1 - £3

Thu 25 Oct

PARADISE PALMS, FROM 21:00, FREE

Disco, outer-national oddities and edits, world groove, psychedelia and house.

Daytime club event featuring two rooms of tidy tunes courtesy of some of the finest DJs around.

MIDNIGHT BASS

Bongo Club’s new weekly Wednesday, playing funk, hip-hop, reggae, Afrobeat and more.

ME AND THE DEVIL (LYSIMACHOS)

A judgement-free party space with no specific genre policy.

Tue 16 Oct HECTOR’S HOUSE

JUNGLE FUNK

THE BONGO CLUB, FROM 23:00, £4 - £5

Palms man Jacuzzi General debuts his brand spanking new live show at Heaters.

ALLSORTS (TENBIT)

Sat 20 Oct

CABARET VOLTAIRE, FROM 23:00, £5 - £6

Wed 24 Oct

THE MASH HOUSE, FROM 23:00, £4 - £5

A new night bringing Percolate duo Krywald & Farrer to Sneaks on a Monday night.

Since May 2012, Hector’s House (known affectionately to many as Hector’s) has become Edinburgh’s stalwart midweek shindig, drawing in capacity crowds each and every Tuesday.

Alternative Tuesday anthems cherrypicked from genres of rock, indie, punk, retro and more.

DAYGLOW FOR WOMEN V CANCER

THE BONGO CLUB, FROM 23:00, £10 - £12

THE EGG

WEE RED BAR, FROM 23:00, £5

A salad of genres: sixties garage and soul plus 70s punk and new wave, peppered with psych and indie for good measure. SOULSVILLE

THE BONGO CLUB, FROM 14:00, £5

Residents Cameron Mason and Calum Evans spin the finest cuts of deep funk, Latin rhythms and rare groove into the early hours. BUBBLEGUM

THE HIVE, FROM 21:00, £0 - £4

Saturday mix of chart and dance, with retro 80s classics thrown in for good measure.

HI-FI REBEL

THE HIVE, FROM 22:00, FREE

Your weekly dose of indie rock’n’roll. POPULAR MUSIC

SNEAKY PETE’S, FROM 23:00, £1 - £3

A new weekly night with a danceable mix of music made by bands, cutting across genre, age and nation. KINKY DISCO

THE MASH HOUSE, FROM 23:00, £6 - £12

A night of old throwbacks; boogie to some soul, funk and disco.

Fri 26 Oct SUBSTANCE

THE BONGO CLUB, FROM 23:00, £6

Described by Resident Advisor as “one of Edinburgh’s most important outposts for house, techno and bass”, Substance brings a wide-ranging collage of classic and cutting edge underground electronic music to the Bongo. XOXO

WEE RED BAR, FROM 23:00, £5

DARKSIDE EDINBURGH

The popular queer night returns to the Wee Red.

TEVIOT UNDERGROUND, FROM 21:00, £15 - £16.75

THE HIVE, FROM 22:00, £0 - £4

FLIP

Soul Jam celebrate nine years of tough Wednesday mornings with great friends from Peckham, FYI Chris.

Darkside returns to Edinburgh for the first time in nearly ten years.

Yer all-new Friday at Hive. Cheap entry, inevitably danceable, and novelty-stuffed. Perrrfect.

Wed 17 Oct

SNEAKY PETE’S, FROM 23:00, £5

Leaked documents suggest Wasabi Disco’s 10 year mission may be coming to a conclusion. Join them for the beginning of the end.

THE LIQUID ROOM, FROM 23:00, £4 - £5

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like.

THE MASH HOUSE, FROM 23:00, £7

Edinburgh label and party people invite a very special Italian guest.

JUNGLE FUNK

THE BONGO CLUB, FROM 23:00, £4 - £5

Bongo Club’s new weekly Wednesday, playing funk, hip-hop, reggae, Afrobeat and more.

WASABI DISCO - COUNTDOWN CONTINUES

HEADS UP: R3DX

All new, all fun, all cheese club night.

The Heads up crew and R3DX bring a night of DnB jump up goodness, with neuro and all things hard thrown in for good measure.

SNEAKY PETE’S, FROM 23:00, £5

PARADISE PALMS, FROM 21:00, FREE

WICKED WEDNESDAYS

THE HIVE, FROM 22:00, FREE

HEATERS: JASON KENDIG

PMSC

Jason Kendig of SanFran ultimate DJ/label crew Honey Soundsystem comes to Sneaks for a school night of heaters.

Percy Main flings wide the doors to his social club this eveningwith melters, belters, boogies, woogies, sweat and daiquiris.

Thu 18 Oct

Sun 21 Oct

THE HIVE, FROM 22:00, FREE

HI-FI REBEL

Your weekly dose of indie rock’n’roll.

TEXTURE PRESENTS INGA MAUER

THE MASH HOUSE, FROM 23:00, £6 - £10

St Petersburg resident Inga Mauer has been turning heads with her daring DJ sets that feature anything from EBM to New Wave and everything in between. POPULAR MUSIC

SNEAKY PETE’S, FROM 23:00, £1 - £3

SUNDAY CLUB

Two rooms of all the chart, cheese and indie-pop you can think of/ handle on a Sunday. COALITION

SNEAKY PETE’S, FROM 23:00, FREE

Believe presents the best in bass DJs from Edinburgh at his weekly Sunday communion.

Mon 22 Oct MIXED UP

WEE RED BAR, FROM 23:00, £5

Funk, disco and oh-so-soulful house. HEADSET

THE BONGO CLUB, FROM 23:00, £3 - £6

Skillis and friends playing garage, techno, house and bass, with special guests often joining in. FLIP

THE HIVE, FROM 22:00, £0 - £4

Yer all-new Friday at Hive. Cheap entry, inevitably danceable, and novelty-stuffed. Perrrfect.

NIKNAK

PARADISE PALMS, FROM 21:00, FREE

NikNak are back with B2B bangers and 2018 startovers. Let’s start afresh with fresh tracks and new leaf blowers.

Sat 27 Oct

TERMINAL V FESTIVAL – HALLOWEEN 2018

ROYAL HIGHLAND CENTRE, FROM 12:00, £44.95-54.95

The Black Madonna, Moodymann, Robert Hood and Optimo all feature on the line-up for Terminal V’s mammoth Halloween all-dayer.

HWTS TAKEOVER

SNEAKY PETE’S, FROM 23:00, £3

PLEASUREDOME

THE MASH HOUSE, FROM 23:00, £7 - £9

Wee Dub kicks off the winter season with the legendary UK dubwise outfit Vibronics alongside MC Madu Messenger.

The Dead End Social Club put on a super scary Halloween special, with masked guests from Transylvania, The Razerbills.

Fri 19 Oct

Finnish trance man Otto Yliperttula drops by on his Hyperfall tour, in support of his new album of the same name.

WEE DUB PRESENTS VIBRONICS (MADU MESSENGER + NORTH FIRE SOUND)

WEREWOLF HALLOWEEN SPECIAL (THE RAZERBILLS)

Monday-brightening mix of hiphop, R’n’B and chart classics, with requests in the back room.

FLY PRESENTS YOTTO

LIONOIL

SNEAKY PETE’S, FROM 23:00, £5 - £7

THE HIVE, FROM 22:00, FREE

A new weekly night with a danceable mix of music made by bands, cutting across genre, age and nation.

CABARET VOLTAIRE, FROM 23:00, £10

PROPAGANDA

Heriot Watt Techno Society teach you about techno.

Tue 23 Oct HECTOR’S HOUSE

CABARET VOLTAIRE, FROM 23:00, £5 - £6

Since May 2012, Hector’s House (known affectionately to many as Hector’s) has become Edinburgh’s stalwart midweek shindig, drawing in capacity crowds each and every Tuesday. MIDNIGHT BASS

THE BONGO CLUB, FROM 23:00, £4 - £5

Weekly Bongo night by Electrikal Sound System, dishing out drum and bass, jungle, bassline, grime and garage.

HENRY’S CELLAR BAR, FROM 23:00, TBC

MESSENGER

THE BONGO CLUB, FROM 23:00, £5 - £7

Conscious roots and dub reggae rockin’ from the usual beefy Messenger Sound System. BUBBLEGUM

THE HIVE, FROM 21:00, £0 - £4

Saturday mix of chart and dance, with retro 80s classics thrown in for good measure. RIDE

SNEAKY PETE’S, FROM 23:00, £5

Live fast die yung, Ride gals do it well. Teacha El and CheckyerStrides play 00s rnb and 90s hip hop and put their lighters up.

Listings

GROOVERS THE MASH HOUSE, FROM 23:00, £3 - £5

Groovers nights are all about the music, focusing purely upon the tastiest groove-infused underground house music. MANY ANIMALS (DAVIE MILLER)

PARADISE PALMS, FROM 21:00, FREE

Many Animals return for their monthy residency at Palms, known for booking legends such as Justin Robertson, Timothy ‘Heretic’ Clerkin and Jon Pleased Wimmin.

Sun 28 Oct SUNDAY CLUB

THE HIVE, FROM 22:00, FREE

Two rooms of all the chart, cheese and indie-pop you can think of/ handle on a Sunday. COALITION

SNEAKY PETE’S, FROM 23:00, FREE

Believe presents the best in bass DJs from Edinburgh at his weekly Sunday communion. JACKHAMMER

LA BELLE ANGELE, FROM 23:00, £10

The Jackhammer crew serve up a dose of all things techno.

Mon 29 Oct

Fri 12 Oct

FOOLS GOLD INDIE CLUB NIGHT

CHURCH, FROM 22:00, £3 - £6

Dundee’s capacity-hitting indie night.

Sun 14 Oct

ALL GOOD PRESENTS: PATRICK TOPPING

READING ROOMS, FROM 19:00, £15 - £20

Join Patrick Topping for a steady mix of house, tech house and tehno.

Sat 20 Oct

T.N.T HALLOWEEN PARTY

CONROY’S BASEMENT, FROM 23:00, £4 - £5

A rock, metal and alternative night to fill the void left by Kage.

Fri 26 Oct

CLUBLAND CLASSIX DUNDEE

FAT SAM’S, FROM 22:30, £10 - £15

A Clubland Halloween show.

Sat 27 Oct

SPOOK CLUB (IS KILL & MARC JD)

READING ROOMS, FROM 22:00, TBC

Get your costumes ready and Thriller moves polished, it’s time for Spook Club to hit up the haunted Rooms once again.

MIXED UP

THE HIVE, FROM 22:00, FREE

Monday-brightening mix of hiphop, R’n’B and chart classics, with requests in the back room. SHLEEKIT DOSS

SNEAKY PETE’S, FROM 23:00, £1 - £3

Tunes and such from the bams, Proc Fiskal, Skillis and pals. Disco, grime, jungle, donk. Keep it Shleekit.

Tue 30 Oct HECTOR’S HOUSE

CABARET VOLTAIRE, FROM 23:00, £5 - £6

Since May 2012, Hector’s House (known affectionately to many as Hector’s) has become Edinburgh’s stalwart midweek shindig, drawing in capacity crowds each and every Tuesday. MIDNIGHT BASS

THE BONGO CLUB, FROM 23:00, £4 - £5

Weekly Bongo night by Electrikal Sound System, dishing out drum and bass, jungle, bassline, grime and garage. TRASH

THE HIVE, FROM 22:00, FREE

Alternative Tuesday anthems cherrypicked from genres of rock, indie, punk, retro and more. SOUL JAM: HALLOWEEN

SNEAKY PETE’S, FROM 23:00, £1 - £3

A spooky dose of funk, disco and definitely a run through of Thriller with Percy Main and Niknak Nik.

Wed 31 Oct JUNGLE FUNK

THE BONGO CLUB, FROM 23:00, £4 - £5

Bongo Club’s new weekly Wednesday, playing funk, hip-hop, reggae, Afrobeat and more. WICKED WEDNESDAYS

THE HIVE, FROM 22:00, FREE

All new, all fun, all cheese club night. HEATERS: BROKEN RECORDS

SNEAKY PETE’S, FROM 23:00, £1 - £3

Heaters present their Halloween special. HEADSET

THE MASH HOUSE, FROM 23:00, £3 - £5

Skillis and friends playing garage, techno, house and bass, with special guests often joining in.

Glasgow Theatre Oran Mor SIX AND A TANNER

17 OCT, 7:00PM, £8 - £10

A one many play, based on a true story, written by Rony Bridges and starring Alex Wilkie.

Platform MANPOWER

25 OCT, TIMES VARY, PRICES VARY

Two Destination Language take you on a romp through men, expectations, work and economics in the years since Britain voted to be a part of Europe. MARTHA

8 OCT, TIMES VARY, £4 - £8.50

One day, Martha has an unexpected visitor and her life will never be the same again. BEIGE B*TCH (PREVIEW)

20 OCT, 2:00PM, £4

Before going on to perform the full work at Contact in Manchester, Glasgow via Berlin artist Nima Séne presents a preview sharing of an extract of Beige B*tch. A DISAPPEARING ACT

23-24 OCT, 7:00PM, £4 - £8.50

From the creators of acclaimed hit Crazy Glue, comes an interactive, magic-filled comedy.

The King’s Theatre SHREK THE MUSICAL

Fri 05 Oct

DISCLAIMER: KAI KASPAR

READING ROOMS, FROM 22:30, £5

Bringing you the best of everything from disco to house, with some hidden gems to spice up the night. I AM A RAVER: DJ RANKIN

FAT SAM’S, FROM 23:00, £5 - £15

Back in the Mix album tour.

Sat 06 Oct

ALL GOOD PRESENTS: NYRA (VAN D + ETHAN BELL) READING ROOMS, FROM 22:30, £6 - £13.45

Sheffield don Nyra is back after a brief hiatus, with a steady stream of releases on his own Canoe imprint and a pile of forthcoming gigs.

Listings

Tramway

WEN HUI/LIVING DANCE STUDIO: RED

1 OCT, 7:30PM, £9 - £14

Beijing-based Wen Hui, described as a ‘figurehead of China’s contemporary dance scene’ by Le Monde, makes her first UK visit in ten years. NEON DANCE: PUZZLECREATURE

5-6 OCT, 7:30PM, £9 - £14

A 60-minute work inspired by artist/architect duo Arakawa and Madeline Gins, combining dance, immersive set design and a surround sound score. COLIN DUNNE: CONCERT

12-13 OCT, 7:30PM, £9 - £14

Join Shrek, Donkey and Princess Fiona in this all-singing, alldancing production of the Oscarwinning film. SATURDAY NIGHT FEVER

16-27 OCT, TIMES VARY, PRICES VARY

Brand new stage production of one of the most-loved dance stories of all time: no John Travolta, but plenty of Bee Gees hits to ease the pain. CHITTY CHITTY BANG BANG

A wacky inventor, his children and his pal Truly Scrumptious try to outwit a child-hating Baron and an evil child catcher.

Theatre Royal

THE CASE OF THE FRIGHTENED LADY

2-6 OCT, TIMES VARY, £14.90 - £42.40

The latest star-studded chapter in the classic thriller series from Edgar Wallace. SCOTTISH OPERA - RIGOLETTO

18-27 OCT, TIMES VARY, £12.50 - £82.50

Favourited Italian opera telling the story of the court jester Rigoletto and his beautiful daughter Gilda. SCOTTISH OPERA - EDGAR

28 OCT, 3:00PM, £11.50 - £28.50

Puccini’s second opera tells of Edgar, an impulsive young knight who runs off with the seductive gypsy Tigrana.

CALENDAR GIRLS THE MUSICAL

2-13 OCT, TIMES VARY, £20 - £45

Award-winning production based on the true story of the calendar girls, a group of ordinary ladies who achieved something extraordinary. NATIONAL THEATRE’S MACBETH

23-27 OCT, TIMES VARY, £10 - £35

BRAM STOKER’S DRACULA

World premiere of a brand new stage adaptation of the classic thriller. FAME

A duet between a paraplegic modern dancer, Joel Brown and principal ballerina, Eve Mutso.

New singalong production of the stage musical, based on the classic 80s film of the same name.

18 OCT, 3:00PM, FREE

1-6 OCT, TIMES VARY, £18 - £31.50

ABY WATSON: -ISH

19-20 OCT, 7:00PM, £4 - £6

A new dance performance with various bodies of air: helium balloons, a space hopper and a human being.

Tron Theatre MY FRIEND SELMA

12-13 OCT, TIMES VARY, £8.50 - £11

The remarkable real-life story of one girl’s journey from war in Bosnia to safety in the UK. THE DRIFT

6 OCT, 8:00PM, £8.50

A preview of Hannah Lavery’s beautiful story of love, loss and bereavement, as well as a searingly honest portrayal of growing up mixed-race in Scotland. BALLYTURK

Presented in classic revue format, Tipping the Hat brings the satirical songs of Michael Flanders and Donald Swann to a contemporary audience. A PLAY, A PIE AND A PINT: IT WISNAE ME

A PLAY, A PIE AND A PINT: THE LAST PICTURE SHOW

23-27 OCT, TIMES VARY, £18.50 - £33.50

A live art durational action-based work by award-winning artist Amy Rosa investigating Fibromyalgia.

A PLAY, A PIE AND A PINT: TIPPING THE HAT

2-6 OCT, TIMES VARY, £13.50

King’s Theatre Edinburgh

17-18 OCT, 7:30PM, £4 - £6

AMY ROSA: GALLANACH

Dominic Hill reimagines Shakespeare’s classic play Macbeth with an all-female cast, led by Charlene Boyd and Lucianne McEvoy.

9-13 OCT, TIMES VARY, £13.50

30 OCT-3 NOV, TIMES VARY, £18 - £31.50

JOEL BROWN AND EVE MUTSO: 111

THANK ABBA FOR THE MUSIC 25 OCT, 7:30PM, £24.50

The National Theatre bring this epic and visually daring production of Shakespeare’s most intense tragedy on a tour of the UK and Ireland.

Irish dance artist Colin Dunne takes on the ‘undanceable’ music of the virtuoso traditional Irish fiddle player Tommie Potts (1912-1988).

RAIN MAN

Bill Kenwright presents the inaugural Classic Screen to Stage Theatre Company production of Rain Man, based on the Oscarwinning film. REBUS: LONG SHADOWS

8-13 OCT, TIMES VARY, £18 - £31.50

Rona Munro adapts one of Ian Rankin’s Rebus novels for the stage.

Royal Lyceum Theatre TWELFTH NIGHT

2-6 OCT, TIMES VARY, £10 - £32

One of Shakespeare’s best-loved comedies (y’know, the one with a man playing a girl disguised as a boy) gets a reworking.

Summerhall NO SHOW

13-14 OCT, TIMES VARY, £10 - £12

It Wisnae Me is a political satire posing the question of Scotland’s complicity in colonisation. 16-20 OCT, TIMES VARY, £13.50

Between the last few months of WW1 and the immediate aftermath, a strange encounter brings Billy the hope that he may not have played his last picture show. THE UNRETURNING

24-27 OCT, 7:30PM, £9 - £17

The Unreturning explores the profound effect that war has on young lives, and asks - what does coming home really mean?

Dundee Theatre Caird Hall

WHITNEY - QUEEN OF THE NIGHT

5 OCT, 7:30PM, £24.50 - £26

A stunning celebration of the music and life of one of the greatest singers of our time. YOU WIN AGAIN

6 OCT, 7:30PM, £26 - £28

LIKE ANIMALS

The Edinburgh Playhouse

Dundee Rep

19-20 OCT, 8:00PM, £8.50

A funny and touching investigation into love and communication in human (and not so human) relationships. THE LAST WITCH

30 OCT-3 NOV, TIMES VARY, £11 - £17

A rich, poetic tale full of ambiguity and suspense, The Last Witch reimagines the true story of the alleged Witch of Dornoch.

Edinburgh Theatre Assembly Roxy TOUR DE NED

21 OCT, 7:30PM, £22.50

ITV’s cycling commentator Ned Boulting returns with an all-new production, built with wobbly precision on the edifice of the greatest bike race on Earth. DEID KIST DOLLS

30 OCT, 7:30PM, £8

You don’t know how much you owe to the DollMaker. She’s the only thing standing between Edinburgh and an army of unquiet souls.

Festival Theatre LES BALLETS TROCKADERO DE MONTE CARLO

30-31 OCT, 7:30PM, £21 - £34.50

All-male comedy ballet company Les Ballets Trockadero de Monte Carlo delight audiences with their fabulous sense of fun and their flawless dance. MATTHEW BOURNE’S SWAN LAKE

16-20 OCT, TIMES VARY, £19 - £48.50

Matthew Bourne (y’know, he who is tirelessly reimagining just about every classic in theatrical existence) presents his re-telling of the majestic Swan Lake.

LET IT BE

8-13 OCT, TIMES VARY, £17.50 - £57.50

Celebrate the legacy of The Beatles with West End production Let It Be. Squint real hard, ignore the stickon sideburns and convince yourself you’re in the real life company of John Lennon. What fun. SATURDAY NIGHT FEVER

16-27 OCT, TIMES VARY, PRICES VARY

Brand new stage production of one of the most-loved dance stories of all time: no John Travolta, but plenty of Bee Gees hits to ease the pain. SOME GUYS HAVE ALL THE LUCK – THE ROD STEWART STORY

21 OCT, 7:30PM, £20.50 - £24.50

Brand new theatrical production celebrating the career of one of rock’s greatest icons, Rod Stewart. MADAGASCAR THE MUSICAL

2-6 OCT, TIMES VARY, £14 - £49.40

This smash hit musical features all of your favourite crack-a-lackin’ friends as they escape from their home in New York’s Central Park Zoo.

The Queen’s Hall AT LAST: THE ETTA JAMES STORY

11 OCT, 8:00PM, £28.50 - £38.50

Telling the story of soul legend Etta James’ turbulent life, this evening features some of her most beloved songs including Tell Mama, Something’s Got A Hold On Me, Sugar On The Floor, and her iconic signature song At Last. WALK LIKE A MAN

12-13 OCT, 7:30PM, PRICES VARY

A musical journey through the incredible career of Frankie Valli & The Four Seasons.

Traverse Theatre ARCTIC OIL

6-20 OCT, TIMES VARY, £9 - £17

Arctic Oil grapples with how trying to save the world could end up destroying those closest to us – and even ourselves.

7 OCT, 7:30PM, £10 - £15

THE STAND GLASGOW, FROM 20:30, £10 - £12

FAR, FAR FROM YPRES

Acclaimed production of WW1 songs, poems and stories, following the terrifying journey of a Scot to “the trenches” and back. THE JOHNNY CASH ROADSHOW

5 OCT, 7:30PM, £23.50 - £24.50

The only show to be endorsed by the Cash family. CHITTY CHITTY BANG BANG

9-19 OCT, TIMES VARY, PRICES VARY

A wacky inventor, his children and his pal Truly Scrumptious try to outwit a child-hating Baron and an evil child catcher. WALK LIKE A MAN

12-13 OCT, 7:30PM, PRICES VARY

A musical journey through the incredible career of Frankie Valli & The Four Seasons. THE TINA TURNER EXPERIENCE

20 OCT, 7:30PM, £21 - £23

27 OCT, 8:00PM, £24

A night of new writing presented by incredible casts, all created and developed by Twelve Twelve members.

Celebrating the music of The Bee Gees. GAGARIN WAY

16 OCT-3 NOV, TIMES VARY, £10 - £25

MAGIC OF THE BEATLES

One of the UK’s leading Beatles tribute shows.

Glasgow Comedy Mon 01 Oct

MONDAY NIGHT IMPROV (BILLY KIRKWOOD + STU MURPHY + GARRY DOBSON)

THE STAND GLASGOW, FROM 20:30, £3

Hold on tight for this fast, frantic unpredictable showdown of improvised comedy games where the same game is never played twice. KOMEDY

YESBAR, FROM 20:30, £0 - £3

From the people who brought you CHUNKS, comes a night of actual komedy. DAVID CROSS: OH COME ON

ORAN MOR, FROM 19:00, £22

Set in Fife, Gagarin Way addresses the departure of socialist values from a region where political radicalism was once the cornerstone of the community.

The Arrested Development funnyman brings his brilliant stand-up show to UK shores.

6 OCT, 7:30PM, £9 - £25

Legendary new material night with up to ten acts.

BACK TO BACHARACH

An exciting production performing the very best of Burt Bacharach. SHACKLETON’S CARPENTER

2 OCT, 7:30PM, £10 - £15

Tue 02 Oct

RED RAW (NEIL MCFARLANE)

THE STAND GLASGOW, FROM 20:30, £3

GLASGOW HAROLD NIGHT

BLACKFRIARS BASEMENT, FROM 20:00, FREE

A play following carpenter Harry McNish, attempting to lay his ghosts to rest.

One hilarious show, completely improvised by two teams, based off an audience suggestion. Improv comedy at its finest.

3-20 OCT, TIMES VARY, PRICES VARY

Wed 03 Oct

THE MACBETHS

Dominic Hill reimagines Shakespeare’s classic play Macbeth with an all-female cast, led by Charlene Boyd and Lucianne McEvoy. THE ARRIVAL

5 OCT, 7:30PM, £8 - £10

COMEDIAN RAP BATTLES (THE WEE MAN)

THE STAND GLASGOW, FROM 20:30, £4 - £6

Comedy and rap collide.

NEW MATERIAL COMEDY NIGHT

YESBAR, FROM 20:00, £3

A funny, wildly imaginative and welcoming show, inspired by the award-winning graphic novel by Shaun Tan.

Resident host Julia Sutherland introduces a variety of stand-up comedians from the Scottish circuit delivering all new material.

12 OCT, TIMES VARY, £8

Thu 04 Oct

W-HAT ABOUT?

Fuora Dance Project’s W-hat About? fuses theatre and movement to capture the joy in reuniting and the magic that is in a memory. SWEET VENUES – SUBSIST

12 OCT, 7:30PM, £10

A classic horror with a modern twist, centering around four strangers who are the last humans on Earth.

The Gardyne Theatre TWIST AND SHOUT

4 OCT, 7:30PM, £23

Twist and Shout will transport you back to the sights and sounds of the Swinging Sixties.

Fri 05 Oct

THE FRIDAY SHOW (TOM WRIGGLESWORTH + RO CAMPBELL + NEIL MCFARLANE + KIMI LOUGHTON + BRUCE DEVLIN)

1-4 OCT, 7:30PM, £7.50 - £10

TWELVE TWELVE THEATRE: A DOUBLE BILL

Comedy

Whitehall Theatre

Wee Red Bar

No Show joyously and heartbreakingly reveals what lies hidden beneath the showmanship.

Ballyturk is Enda Walsh’s moving meditation on the brevity of our existence.

A theatre spectacular that captures all of the magic and excitement of one of pop history’s most successful and entertaining live bands.

This fully live energetic show charts the life and career of one of the world's iconic performers.

4-20 OCT, TIMES VARY, £9 - £17

2-6 OCT, TIMES VARY, £17.50 - £54

9-19 OCT, TIMES VARY, PRICES VARY

Dundee Clubs

Theatre

THE MACBETHS 3-20 OCT, TIMES VARY, PRICES VARY

THE THURSDAY SHOW (TOM WRIGGLESWORTH + RO CAMPBELL + NEIL MCFARLANE + KIMI LOUGHTON + BRUCE DEVLIN) THE STAND GLASGOW, FROM 20:30, £7 - £10

Start the weekend early with five comedians. YESBAR VIRGINS

YESBAR, FROM 20:00, £3

Graham Barrie introduces a selection of fledgling comedy talent handpicked fae Scotland. BREW HAHA!

DRYGATE BREWING CO., FROM 19:00, £5 - £7

Spend your Sunday enjoying some of Scotland’s finest comic talent. KEVIN BRIDGES - THE BRAND NEW TOUR

THE SSE HYDRO, FROM 18:30, £28.40 - £45.40

Scotland’s biggest comedy export, Kevin Bridges is back with his hotly anticipated 2018 tour: Brand New.

The big weekend show with five comedians. THE LATE SHOW

YESBAR, FROM 22:15, £10

Resident MC Viv Gee hosts a late night comedy show, with some of the best comedians on the circuit. THE EARLY SHOW

YESBAR, FROM 19:30, £10

Resident MC Viv Gee hosts a weekend comedy club with some of the best comedians on the circuit. KEVIN BRIDGES - THE BRAND NEW TOUR

THE SSE HYDRO, FROM 18:30, £28.40 - £45.40

Scotland’s biggest comedy export, Kevin Bridges is back with his hotly anticipated 2018 tour: Brand New. VISION BOARD

THE FLYING DUCK, FROM 20:00, £5

A comedy show, hosted by Gemma Flynn and John Aggasild, featuring Stephen Buchanan, Paul McDaniel, Oliver Coleman and headliner Romeo Taylor.

Sat 06 Oct

THE SATURDAY SHOW (TOM WRIGGLESWORTH + RO CAMPBELL + KIMI LOUGHTON + BRUCE DEVLIN)

THE STAND GLASGOW, FROM 21:00, £17.50

The big weekend show with five comedians. GLASGOW HAROLD NIGHT

BLACKFRIARS BASEMENT, FROM 20:00, FREE

One hilarious show, completely improvised by two teams, based off an audience suggestion. Improv comedy at its finest.

Wed 10 Oct

NEW MATERIAL COMEDY NIGHT

YESBAR, FROM 20:00, £3

Resident host Julia Sutherland introduces a variety of stand-up comedians from the Scottish circuit delivering all new material. SCOTT GIBSON: ANYWHERE BUT HERE

THE STAND GLASGOW, FROM 20:30, £12.50

A hysterical hour about hedonistic holidays, this is a story about friendship, pool parties, travel insurance and the Greek thirdchoice goalie. KEVIN BRIDGES - THE BRAND NEW TOUR

THE SSE HYDRO, FROM 18:30, £28.40 - £45.40

Scotland’s biggest comedy export, Kevin Bridges is back with his hotly anticipated 2018 tour: Brand New.

Thu 11 Oct

THE THURSDAY SHOW (STU & GARRY + JOHN SCOTT + SINDHU VEE + RAYMOND MEARNS) THE STAND GLASGOW, FROM 20:30, £7 - £10

Start the weekend early with five comedians YESBAR VIRGINS

YESBAR, FROM 20:00, £3

Graham Barrie introduces a selection of fledgling comedy talent handpicked fae Scotland. KEVIN BRIDGES - THE BRAND NEW TOUR

THE SSE HYDRO, FROM 18:30, £28.40 - £45.40

Scotland’s biggest comedy export, Kevin Bridges is back with his hotly anticipated 2018 tour: Brand New. DANE BAPTISTE – G.O.D. (GOLD. OIL. DRUGS.)

ORAN MOR, FROM 19:00, £12

YESBAR, FROM 22:15, £10

Fresh from hosting Live at the Apollo and another total sell-out run at the Edinburgh Fringe, Dane Baptiste brings his third smash hit show on tour.

THE EARLY SHOW

THE SSE HYDRO, FROM 18:30, £33.50 - £67.55

THE LATE SHOW

Resident MC Viv Gee hosts a late night comedy show, with some of the best comedians on the circuit. YESBAR, FROM 19:30, £10

Resident MC Viv Gee hosts a weekend comedy club with some of the best comedians on the circuit. KEVIN BRIDGES - THE BRAND NEW TOUR

THE SSE HYDRO, FROM 18:30, £28.40 - £45.40

Scotland’s biggest comedy export, Kevin Bridges is back with his hotly anticipated 2018 tour: Brand New.

Sun 07 Oct

GLASGOW KIDS COMEDY CLUB

THE STAND GLASGOW, FROM 15:00, £4

JOANNA LUMLEY: IT’S ALL ABOUT ME

Living legend Joanna Lumley embarks on her first ever live tour, taking audiences through her incredible career.

Fri 12 Oct

THE FRIDAY SHOW (STU & GARRY + JOHN SCOTT + SINDHU VEE + RAYMOND MEARNS) THE STAND GLASGOW, FROM 20:30, £10 - £12

The big weekend show with five comedians. THE LATE SHOW

YESBAR, FROM 22:15, £10

Let the comedians entertain the kids. Best suited to 8-12 year olds.

Resident MC Viv Gee hosts a late night comedy show, with some of the best comedians on the circuit.

YESBAR, FROM 20:00, £3

YESBAR, FROM 19:30, £10

YESBAR VIRGINS: COMEDY SUNDAY SCHOOL

A selection of five fledgling comedians do their best to win over the audience and graduate Yesbar’s Comedy Sunday School. SCOTT GIBSON: ANYWHERE BUT HERE

THE STAND GLASGOW, FROM 20:30, £12.50

A hysterical hour about hedonistic holidays, this is a story about friendship, pool parties, travel insurance and the Greek thirdchoice goalie. KEVIN BRIDGES - THE BRAND NEW TOUR

THE SSE HYDRO, FROM 18:30, £28.40 - £45.40

THE EARLY SHOW

Resident MC Viv Gee hosts a weekend comedy club with some of the best comedians on the circuit. KEVIN BRIDGES - THE BRAND NEW TOUR

THE SSE HYDRO, FROM 18:30, £28.40 - £45.40

Scotland’s biggest comedy export, Kevin Bridges is back with his hotly anticipated 2018 tour: Brand New.

Sat 13 Oct

THE SATURDAY SHOW (STU & GARRY + JOHN SCOTT + SINDHU VEE + RAYMOND MEARNS) THE STAND GLASGOW, FROM 21:00, £17.50

Scotland’s biggest comedy export, Kevin Bridges is back with his hotly anticipated 2018 tour: Brand New.

The big weekend show with five comedians.

Mon 08 Oct

Resident MC Viv Gee hosts a late night comedy show, with some of the best comedians on the circuit.

BRIGHT CLUB

THE STAND GLASGOW, FROM 20:30, £5

The freshest thing in stand-up – straight from the (research) field to funny with a new crop of comedic academics from Scotland’s universities every month.

Tue 09 Oct RED RAW

THE STAND GLASGOW, FROM 20:30, £3

THE LATE SHOW

YESBAR, FROM 22:15, £10

THE EARLY SHOW

YESBAR, FROM 19:30, £10

Resident MC Viv Gee hosts a weekend comedy club with some of the best comedians on the circuit. KEVIN BRIDGES - THE BRAND NEW TOUR

THE SSE HYDRO, FROM 18:30, £28.40 - £45.40

Legendary new material night with up to ten acts.

Scotland’s biggest comedy export, Kevin Bridges is back with his hotly anticipated 2018 tour: Brand New.

BLACKFRIARS BASEMENT, FROM 20:00, FREE

Sun 14 Oct

LIGHT BULB

An alternative comedy showcase and brand new night of stand up comedy.

MICHAEL REDMOND’S SUNDAY SERVICE

THE STAND GLASGOW, FROM 20:30, £5 - £6

Chilled Sunday night laughs to see the weekend out.

THE SKINNY

YESBAR VIRGINS: COMEDY SUNDAY SCHOOL YESBAR, FROM 20:00, £3

A selection of five fledgling comedians do their best to win over the audience and graduate Yesbar’s Comedy Sunday School. DAVE GORMAN - WITH GREAT POWERPOINT COMES GREAT RESPONSIBILITYPOINT (NICK DOODY)

THE KING’S THEATRE, FROM 20:00, £31.65

The man behind Dave TV’s hit show Modern Life Is Goodish, as well as Are You Dave Gorman? and Googlewhack Adventure, is back on the road with a brand new live show. KEVIN BRIDGES - THE BRAND NEW TOUR

THE SSE HYDRO, FROM 18:30, £28.40 - £45.40

Scotland’s biggest comedy export, Kevin Bridges is back with his hotly anticipated 2018 tour: Brand New.

Tue 16 Oct

RED RAW (MC HAMMERSMITH)

THE STAND GLASGOW, FROM 20:30, £3

Legendary new material night with up to ten acts.

Wed 17 Oct

NEW MATERIAL COMEDY NIGHT

YESBAR, FROM 20:00, £3

Resident host Julia Sutherland introduces a variety of stand-up comedians from the Scottish circuit delivering all new material. INSANE CHAMPIONSHIP WRESTLING’S: HAVE I GOT CHAIR SHOTS FOR YOU

THE STAND GLASGOW, 20:30–22:30, £6

What use, you might ask, does the world have for an ‘interactive wrestling-based comedy show’? Well, comedy punter, the simple answer is that it’s 2016 and these things just happen. Live with it

GIGGLE FOR GLEN: BENEFIT IN AID OF THE BUTTERFLY TRUST AND QUEEN ELIZABETH HOSPITAL

THE STAND GLASGOW, FROM 20:30, £10

Join a lineup of top comics as we Giggle for Victoria Glen, who made it her life’s work to help and support people living with Cystic Fibrosis and life-limiting illness. KEVIN BRIDGES - THE BRAND NEW TOUR

THE SSE HYDRO, FROM 18:30, £28.40 - £45.40

Scotland’s biggest comedy export, Kevin Bridges is back with his hotly anticipated 2018 tour: Brand New.

Thu 18 Oct

THE THURSDAY SHOW (OWEN O’NEILL + SCOTT AGNEW + JIM PARK + CHRISTOPHER KC) THE STAND GLASGOW, FROM 20:30, £7 - £10

Start the weekend early with five comedians YESBAR VIRGINS

YESBAR, FROM 20:00, £3

Graham Barrie introduces a selection of fledgling comedy talent handpicked fae Scotland. KEVIN BRIDGES - THE BRAND NEW TOUR

THE SSE HYDRO, FROM 18:30, £28.40 - £45.40

Scotland’s biggest comedy export, Kevin Bridges is back with his hotly anticipated 2018 tour: Brand New.

Fri 19 Oct

THE FRIDAY SHOW (OWEN O’NEILL + SCOTT AGNEW + JIM PARK + CHRISTOPHER KC) THE STAND GLASGOW, FROM 20:30, £10 - £12

The big weekend show with five comedians. THE LATE SHOW

YESBAR, FROM 22:15, £10

THE LATE SHOW YESBAR, FROM 22:15, £10

Resident MC Viv Gee hosts a late night comedy show, with some of the best comedians on the circuit. THE EARLY SHOW

YESBAR, FROM 19:30, £10

Resident MC Viv Gee hosts a weekend comedy club with some of the best comedians on the circuit. KEVIN BRIDGES - THE BRAND NEW TOUR

THE SSE HYDRO, FROM 18:30, £28.40 - £45.40

Scotland’s biggest comedy export, Kevin Bridges is back with his hotly anticipated 2018 tour: Brand New.

Sun 21 Oct

YESBAR VIRGINS: COMEDY SUNDAY SCHOOL

YESBAR, FROM 20:00, £3

A selection of five fledgling comedians do their best to win over the audience and graduate Yesbar’s Comedy Sunday School. IAIN CONNELL – SOME BUZZ

THE STAND GLASGOW, FROM 16:30, £16

After years in the sketch show game, Iain Connell, star and co-creator of BBC hit show Burnistoun, is throwing caution to the wind and finally succumbing to his long-suppressed desire to become a stand-up comedian. NEWS HACKS

ORAN MOR, FROM 16:00, £12

Writer of the long-running hit topical radio show Watson’s Wind Up, Rikki Brown presents a fresh take on the news and those making the news. KEVIN BRIDGES - THE BRAND NEW TOUR

THE SSE HYDRO, FROM 18:30, £28.40 - £45.40

Scotland’s biggest comedy export, Kevin Bridges is back with his hotly anticipated 2018 tour: Brand New.

Tue 23 Oct

RED RAW (JAKE HOWIE)

THE STAND GLASGOW, FROM 20:30, £3

Legendary new material night with up to ten acts.

Wed 24 Oct

NEW MATERIAL COMEDY NIGHT

YESBAR, FROM 20:00, £3

ABANDOMAN (AKA ROB BRODERICK): PIRATE RADIO

THE STAND GLASGOW, FROM 20:30, £15

Ireland’s finest hip-hop musical comedian is back on tour with his biggest show to date.

Thu 25 Oct

THE THURSDAY SHOW (JEFF INNOCENT + JOHN KEARNS + JOJO SUTHERLAND)

THE STAND GLASGOW, FROM 20:30, £7 - £10

Start the weekend early with five comedians.

Scotland’s biggest comedy export, Kevin Bridges is back with his hotly anticipated 2018 tour: Brand New.

Sat 20 Oct

THE SATURDAY SHOW (OWEN O’NEILL + SCOTT AGNEW + MC HAMMERSMITH)

THE STAND GLASGOW, FROM 21:00, £17.50

The big weekend show with five comedians.

THE GLAD CAFE, FROM 20:00, £10

THE FRIDAY SHOW (JEFF INNOCENT + JOHN KEARNS + JOJO SUTHERLAND)

The big weekend show with five comedians. THE LATE SHOW

YESBAR, FROM 22:15, £10

Resident MC Viv Gee hosts a late night comedy show, with some of the best comedians on the circuit. THE EARLY SHOW

YESBAR, FROM 19:30, £10

Resident MC Viv Gee hosts a weekend comedy club with some of the best comedians on the circuit. KEVIN BRIDGES - THE BRAND NEW TOUR

THE SSE HYDRO, FROM 18:30, £28.40 - £45.40

THE STAND EDINBURGH, FROM 20:30, £10 - £12

The big weekend show with five comedians.

YESBAR, FROM 19:30, £10

MONKEY BARREL COMEDY CLUB, FROM 19:00, £10 - £12

THE EARLY SHOW

Resident MC Viv Gee hosts a weekend comedy club with some of the best comedians on the circuit. KEVIN BRIDGES - THE BRAND NEW TOUR

THE SSE HYDRO, FROM 18:30, £28.40 - £45.40

Scotland’s biggest comedy export, Kevin Bridges is back with his hotly anticipated 2018 tour: Brand New.

Sun 28 Oct

YESBAR VIRGINS: COMEDY SUNDAY SCHOOL

YESBAR, FROM 20:00, £3

A selection of five fledgling comedians do their best to win over the audience and graduate Yesbar’s Comedy Sunday School. KEVIN BRIDGES - THE BRAND NEW TOUR

THE SSE HYDRO, FROM 18:30, £28.40 - £45.40

Scotland’s biggest comedy export, Kevin Bridges is back with his hotly anticipated 2018 tour: Brand New. STAND KIDS COMEDY CLUB AND POISENED APPLE PRESENTS: WHO STOLE FRANKENSTEIN’S BRAIN?

THE STAND GLASGOW, FROM 15:00, £4

A live interactive old school radio play that goes haywire, as weird and wonderful characters need your help to figure out who stole Frankenstein’s brain?

Mon 29 Oct

GAVIN WEBSTER WORLD TOUR 2018

THE STAND GLASGOW, FROM 20:30, £10

Tue 30 Oct RED RAW

Legendary new material night with up to ten acts.

Wed 31 Oct

NEW MATERIAL COMEDY NIGHT

YESBAR, FROM 20:00, £3

Resident host Julia Sutherland introduces a variety of stand-up comedians from the Scottish circuit delivering all new material. SCRAM!

THE STAND GLASGOW, FROM 20:30, £4 - £5

SCRAM! is the brand new sketch and ensemble night from some of Scotland’s finest new comedians. Stand-up, sketches and improv.

Mon 01 Oct

Scotland’s biggest comedy export, Kevin Bridges is back with his hotly anticipated 2018 tour: Brand New.

THE FRIDAY SHOW (MIKE WILMOT + FERN BRADY + MC HAMMERSMITH + JOE HEENAN)

An evening of stand-up comedy featuring a hand-picked selection of local up and coming comics.

THE SSE HYDRO, FROM 18:30, £28.40 - £45.40

KEVIN BRIDGES - THE BRAND NEW TOUR

Scotland’s biggest comedy export, Kevin Bridges is back with his hotly anticipated 2018 tour: Brand New.

October 2018

CROSSMYLAFF COMEDY

Edinburgh Comedy

THE STAND GLASGOW, FROM 20:30, £10 - £12

THE SSE HYDRO, FROM 18:30, £28.40 - £45.40

Resident MC Viv Gee hosts a late night comedy show, with some of the best comedians on the circuit.

Graham Barrie introduces a selection of fledgling comedy talent handpicked fae Scotland.

YESBAR, FROM 19:30, £10

KEVIN BRIDGES - THE BRAND NEW TOUR

Fri 05 Oct

THE LATE SHOW

YESBAR VIRGINS

YESBAR, FROM 20:00, £3

MONKEY BARREL COMEDY CLUB, FROM 19:00, £5

YESBAR, FROM 22:15, £10

THE STAND GLASGOW, FROM 20:30, £3

Scotland’s biggest comedy export, Kevin Bridges is back with his hotly anticipated 2018 tour: Brand New.

SPONTANEOUS POTTER

The big weekend show with five comedians.

THE SSE HYDRO, FROM 18:30, £28.40 - £45.40

KEVIN BRIDGES - THE BRAND NEW TOUR

Thu 04 Oct A brand new Harry Potter play from some of Edinburgh’s most top notch improv wizards.

THE STAND GLASGOW, FROM 21:00, £17.50

Described by Ross Noble as “Like a cross between Bill Hicks and Geoff from Byker Grove.”

Fri 26 Oct

Resident MC Viv Gee hosts a weekend comedy club with some of the best comedians on the circuit.

THE SATURDAY SHOW (JEFF INNOCENT + JOHN KEARNS + JOJO SUTHERLAND)

Resident host Julia Sutherland introduces a variety of stand-up comedians from the Scottish circuit delivering all new material.

Resident MC Viv Gee hosts a late night comedy show, with some of the best comedians on the circuit. THE EARLY SHOW

Sat 27 Oct

RED RAW (NEIL MCFARLANE)

THE STAND EDINBURGH, FROM 20:30, £3

Legendary new material night with up to ten acts.

Tue 02 Oct PROJECT X

MONKEY BARREL COMEDY CLUB, FROM 19:00, £0 - £3

All-new student night themed around the film of the same name, Project X.

GAVIN WEBSTER WORLD TOUR 2018

THE STAND EDINBURGH, FROM 20:30, £10

Described by Ross Noble as “Like a cross between Bill Hicks and Geoff from Byker Grove.”

Wed 03 Oct VIVA LA SHAMBLES

THE STAND EDINBURGH, FROM 20:30, £4 - £5

Anarchic comedy mayhem from Scotland’s finest young acts. TOP BANANA

MONKEY BARREL COMEDY CLUB, FROM 19:00, £0 - £3

Monkey Barrel’s comedy competition for new folk on the scene.

MONKEY BARREL COMEDY’S BIG FRIDAY SHOW

EDINBURGH REVUE MONKEY BARREL COMEDY CLUB, FROM 19:00, TBC

The University of Edinburgh’s stand-up and sketch comedy show.

Wed 10 Oct TOP BANANA

MONKEY BARREL COMEDY CLUB, FROM 19:00, £0 - £3

Monkey Barrel’s comedy competition for new folk on the scene. DANE BAPTISTE – G.O.D. (GOLD. OIL. DRUGS.)

THE STAND EDINBURGH, FROM 20:30, £12

Fresh from hosting Live at the Apollo and another total sell-out run at the Edinburgh Fringe, Dane Baptiste brings his third smash hit show on tour.

Monkey Barrel’s flagship night of premier stand-up comedy.

Thu 11 Oct

THE MERLIN, FROM 19:30, £10

THE STAND EDINBURGH, FROM 20:30, £7 - £10

BEARFOOT COMEDY CLUB (JAMIE MACDONALD + BEN VERTH + ROSCO MCCLELLAND + SMOKY MONKEYS)

Bearfoot Comedy Club brings you a fabulous comedy extravaganza of stand-up, sketch and musical comedy. THE PORTOBELLO COMEDY NIGHT

DALRIADA BAR, FROM 20:30, £12

A night of comedy in Porty. NEW SH*T

THE BASEMENT THEATRE, FROM 20:00, FREE

The ultimate comedy test-ground for new acts and old pros.

Sat 06 Oct

THE SATURDAY SHOW (MIKE WILMOT + FERN BRADY + STUART MURPHY)

THE STAND EDINBURGH, FROM 20:30, £17.50

The big weekend show with five comedians. MONKEY BARREL COMEDY’S BIG SATURDAY SHOW

MONKEY BARREL COMEDY CLUB, FROM 19:00, £14

Monkey Barrel’s flagship night of premier stand-up comedy.

THE COMEDY SHOW (LOU CONRAN + GARETH WAUGH + MICHAEL REDMOND + MATT REED) THE BASEMENT THEATRE, FROM 20:00, £10 - £12

Weekly comedy show at the Basement every Friday and Saturday night, with a different line-up and headliner each week, combining up-and-coming talent with Fringe favourites.

Sun 07 Oct

STU & GARRY’S FREE IMPROV SHOW

THE STAND EDINBURGH, FROM 13:30, FREE

Legendary free Sunday afternoon improv show. PROGRESS!

MONKEY BARREL COMEDY CLUB, FROM 19:00, £5

Monkey Barrel’s rising comedy star showcase; swing by and catch the stars of tomorrow. SUSIE MCCABE – DOMESTIC DISASTER

THE STAND EDINBURGH, FROM 20:30, £10 - £12

This year, Susie looks at why she is generally rubbish and a disaster at all things domestic and more.

THE COMEDY SHOW (LOU CONRAN + GARETH WAUGH + MICHAEL REDMOND + MATT REED) THE BASEMENT THEATRE, FROM 21:00, £10 - £12

THE THURSDAY SHOW (STEVE GRIBBIN + SILKY + SUSAN MORRISON)

Start the weekend early with five comedians SPONTANEOUS SHERLOCK

MONKEY BARREL COMEDY CLUB, FROM 19:00, £5

An entirely improvised Sherlock Holmes comedy play from Scotland’s hottest improv troupe.

Fri 12 Oct

THE FRIDAY SHOW (STEVE GRIBBIN + SILKY + SUSAN MORRISON) THE STAND EDINBURGH, FROM 20:30, £10 - £12

The big weekend show with five comedians. MONKEY BARREL COMEDY’S BIG FRIDAY SHOW

MONKEY BARREL COMEDY CLUB, FROM 19:00, £10 - £12

Monkey Barrel’s flagship night of premier stand-up comedy. LOUD COMEDY (GARETH MUTCH)

THE BASEMENT THEATRE, FROM 20:00, £0 - £6

Bringing you the best and brightest of the comedy scene, showcasing brand new work alongside tried and tested material.

Sat 13 Oct

THE SATURDAY SHOW (STEVE GRIBBIN + SILKY + SUSAN MORRISON)

THE STAND EDINBURGH, FROM 20:30, £17.50

The big weekend show with five comedians. MONKEY BARREL COMEDY’S BIG SATURDAY SHOW

MONKEY BARREL COMEDY CLUB, FROM 19:00, £14

Monkey Barrel’s flagship night of premier stand-up comedy. THE COMEDY SHOW (KATIE MULGREW + ROSCO MCLELLAND + MORGAN REES + IAN COPPINGER)

THE BASEMENT THEATRE, FROM 20:00, £10 - £12

Weekly comedy show at the Basement every Friday and Saturday night, with a different line-up and headliner each week, combining up-and-coming talent with Fringe favourites. MR FIBBERS: OUT OF TUNE

THE STAND EDINBURGH, FROM 14:00, £4

Mr Fibbers is back with more musical comedy hijinks, lots of silliness for kids and parents alike. MUM’S THE WORD (KATIE MULGREW)

THE BASEMENT THEATRE, FROM 13:00, £9

Weekly comedy show at the Basement every Friday and Saturday night, with a different line-up and headliner each week, combining up-and-coming talent with Fringe favourites.

Mum’s the Word is a comedy gig designed for parents with babies hosted by comedian and mum, Katie Mulgrew.

MONKEY BARREL COMEDY CLUB, FROM 19:00, £5

Legendary free Sunday afternoon improv show.

TBC IMPROV COMEDY

The To Be Continued crew return with more sketches, scenes and improvised antics.

Mon 08 Oct RED RAW

THE STAND EDINBURGH, FROM 20:30, £3

Legendary new material night with up to ten acts. PETER PANCAKES’ COMEDY EXTRAVAGANZA

MONKEY BARREL COMEDY CLUB, FROM 19:00, FREE

Phil O’Shea brings a handpicked selection of riotous lols to Monkey Barrel.

Tue 09 Oct BONA FIDE

THE STAND EDINBURGH, FROM 20:30, £5 - £6

New material specially written for the night by some of the countries finest comedians.

Sun 14 Oct

STU & GARRY’S FREE IMPROV SHOW

THE STAND EDINBURGH, FROM 13:30, FREE

PROGRESS!

MONKEY BARREL COMEDY CLUB, FROM 19:00, £5

Monkey Barrel’s rising comedy star showcase; swing by and catch the stars of tomorrow. IAIN CONNELL – SOME BUZZ

THE STAND EDINBURGH, FROM 20:00, £16

THE COMEDY SHOW (KATIE MULGREW + ROSCO MCLELLAND + MORGAN REES + IAN COPPINGER) THE BASEMENT THEATRE, FROM 21:00, £10 - £12

Weekly comedy show at the Basement every Friday and Saturday night, with a different line-up and headliner each week, combining up-and-coming talent with Fringe favourites.

Mon 15 Oct

RED RAW (MC HAMMERSMITH)

THE STAND EDINBURGH, FROM 20:30, £3

Legendary new material night with up to ten acts. CABARET FROM ELSEWHERE

MONKEY BARREL COMEDY CLUB, FROM 19:00, TBC

Elsewhere is a troupe of artists, musicians and circus performers. Find them staging shows, telling stories or playing music and games anywhere people gather in celebration.

Tue 16 Oct PROJECT X

MONKEY BARREL COMEDY CLUB, FROM 19:00, £0 - £3

All-new student night themed around the film of the same name, Project X. TOM BINNS: EVERYMAN

THE STAND EDINBURGH, FROM 20:30, £10

Widely regarded as one of the best headline acts working on the UK comedy scene, Tom Binns is a multi-award winning and nominated international character comic.

PROGRESS! MONKEY BARREL COMEDY CLUB, FROM 19:00, £5

Monkey Barrel’s rising comedy star showcase; swing by and catch the stars of tomorrow.

THE COMEDY SHOW (CHRIS FORBES + SUSAN RIDDELL + SARAH CALLAGHAN + FERN BRADY) THE BASEMENT THEATRE, FROM 21:00, £10 - £12

Weekly comedy show at the Basement every Friday and Saturday night, with a different line-up and headliner each week, combining up-and-coming talent with Fringe favourites.

Mon 22 Oct RED RAW (JAKE HOWIE)

THE STAND EDINBURGH, FROM 20:30, £3

Legendary new material night with up to ten acts. MONKEY NUT LIVE

MONKEY BARREL COMEDY CLUB, FROM 19:00, £5

A monthly round-up featuring sketch, character, musical and stand-up comedy all from the minds of Joe McTernan, Megan Shandley and Jojo Sutherland.

Tue 23 Oct EDINBURGH REVUE

MONKEY BARREL COMEDY CLUB, FROM 19:00, TBC

The University of Edinburgh’s stand-up and sketch comedy show. ABANDOMAN (AKA ROB BRODERICK): PIRATE RADIO

THE STAND EDINBURGH, FROM 20:30, £15

Wed 17 Oct

Ireland’s finest hip-hop musical comedian is back on tour with his biggest show to date.

TOPICAL STORM (KEIR MCALLISTER + STUART MURPHY + VLADIMIR MCTAVISH)

BENEFIT IN AID OF MARIE CURIE (VLADIMIR MCTAVISH)

THE STAND EDINBURGH, FROM 20:30, £5 - £7

Satirical comedy at its best. TOP BANANA

MONKEY BARREL COMEDY CLUB, FROM 19:00, £0 - £3

Monkey Barrel’s comedy competition for new folk on the scene.

Thu 18 Oct

THE THURSDAY SHOW (KEVIN GILDEA + ANDREW DOYLE + JAY LAFFERTY)

THE STAND EDINBURGH, FROM 20:30, £7 - £10

Start the weekend early with five comedians. SPONTANEOUS POTTER

MONKEY BARREL COMEDY CLUB, FROM 19:00, £5

A brand new Harry Potter play from some of Edinburgh’s most top notch improv wizards.

Fri 19 Oct

THE FRIDAY SHOW (KEVIN GILDEA + ANDREW DOYLE + JAY LAFFERTY)

THE STAND EDINBURGH, FROM 20:30, £10 - £12

The big weekend show with five comedians. MONKEY BARREL COMEDY’S BIG FRIDAY SHOW

Wed 24 Oct

THE STAND EDINBURGH, FROM 20:30, £7 - £10

A fantastic night of comedy in support of the invaluable range of services provided by Marie Curie. TOP BANANA

MONKEY BARREL COMEDY CLUB, FROM 19:00, £0 - £3

Monkey Barrel’s comedy competition for new folk on the scene.

Thu 25 Oct

THE THURSDAY SHOW (PAUL TONKINSON + LARRY DEAN + SARAH KEYWORTH + BRUCE DEVLIN)

THE STAND EDINBURGH, FROM 20:30, £7 - £10

Start the weekend early with five comedians. SPONTANEOUS SHERLOCK

MONKEY BARREL COMEDY CLUB, FROM 19:00, £5

An entirely improvised Sherlock Holmes comedy play from Scotland’s hottest improv troupe.

Fri 26 Oct

THE FRIDAY SHOW (PAUL TONKINSON + LARRY DEAN + SARAH KEYWORTH + BRUCE DEVLIN)

THE STAND EDINBURGH, FROM 20:30, £10 - £12

MONKEY BARREL COMEDY CLUB, FROM 19:00, £10 - £12

The big weekend show with five comedians.

SCOTT GIBSON: BATTLEFIELD

MONKEY BARREL COMEDY CLUB, FROM 19:00, £10 - £12

Monkey Barrel’s flagship night of premier stand-up comedy. THE BASEMENT THEATRE, FROM 20:00, £6

MONKEY BARREL COMEDY’S BIG FRIDAY SHOW

A new material night of comedy stories direct from the coal face of the UK Comedy Circuit.

Monkey Barrel’s flagship night of premier stand-up comedy.

Sat 20 Oct

Fed up trying to conform to society’s labels, Jay Lafferty decided to turn her back on the anxiety of expectation and frolic in the fun of failure.

THE SATURDAY SHOW (KEVIN GILDEA + ANDREW DOYLE + JAY LAFFERTY)

THE STAND EDINBURGH, FROM 20:30, £17.50

The big weekend show with five comedians. MONKEY BARREL COMEDY’S BIG SATURDAY SHOW

MONKEY BARREL COMEDY CLUB, FROM 19:00, £14

Monkey Barrel’s flagship night of premier stand-up comedy.

THE COMEDY SHOW (CHRIS FORBES + SUSAN RIDDELL + SARAH CALLAGHAN + FERN BRADY) THE BASEMENT THEATRE, FROM 20:00, £10 - £12

Weekly comedy show at the Basement every Friday and Saturday night, with a different line-up and headliner each week, combining up-and-coming talent with Fringe favourites.

JAY LAFFERTY: BESOM

THE BASEMENT THEATRE, FROM 20:00, £6

Sat 27 Oct

THE SATURDAY SHOW (PAUL TONKINSON + LARRY DEAN + SARAH KEYWORTH + BRUCE DEVLIN)

THE STAND EDINBURGH, FROM 20:30, £17.50

THE COMEDY SHOW (LIAM WITHNAIL + LAUREN PATTINSON + MARK NELSON + JARLETH REGAN) THE BASEMENT THEATRE, FROM 20:00, £10 - £12

Weekly comedy show at the Basement every Friday and Saturday night, with a different line-up and headliner each week, combining up-and-coming talent with Fringe favourites.

Sun 28 Oct

STU & GARRY’S FREE IMPROV SHOW

THE STAND EDINBURGH, FROM 13:30, FREE

Legendary free Sunday afternoon improv show. PROGRESS!

MONKEY BARREL COMEDY CLUB, FROM 19:00, £5

Monkey Barrel’s rising comedy star showcase; swing by and catch the stars of tomorrow.

THE COMEDY SHOW (LIAM WITHNAIL + LAUREN PATTINSON + MARK NELSON + JARLETH REGAN) THE BASEMENT THEATRE, FROM 21:00, £10 - £12

Weekly comedy show at the Basement every Friday and Saturday night, with a different line-up and headliner each week, combining up-and-coming talent with Fringe favourites. JOJO SUTHERLAND AND SUSAN MORRISON: FANNY’S AHOY!

THE STAND EDINBURGH, FROM 17:30, £4 - £5

Set sail with the award-winning grand dames of Scottish comedy.

SAM AVERY: THE LEARNER PARENT

THE STAND EDINBURGH, FROM 20:30, £17

A million nappies, Peppa Pig episodes and a head-full of hair loss later, Sam Avery shares all the lows, highs and hilarious in-betweens of his experiences of first-time parenthood.

JARLATH REGAN: IRISHMAN ABROAD PODCAST

THE BASEMENT THEATRE, FROM 19:15, £10

Award-winning comedian, writer and broadcaster, Jarlath Regan brings his critically acclaimed podcast to Edinburgh.

Mon 29 Oct RED RAW

THE STAND EDINBURGH, FROM 20:30, £3

Legendary new material night with up to ten acts. NORTH COAST

MONKEY BARREL COMEDY CLUB, FROM 19:00, £5

The world’s leading improvised hip-hop comedy troupe comes to Edinburgh for one night only.

Tue 30 Oct BRIGHT CLUB

THE STAND EDINBURGH, FROM 20:30, £5

The freshest thing in stand-up – straight from the (research) field to funny with a new crop of comedic academics from Scotland’s universities every month. PROJECT X

MONKEY BARREL COMEDY CLUB, FROM 19:00, £0 - £3

All-new student night themed around the film of the same name, Project X.

Wed 31 Oct TOP BANANA

MONKEY BARREL COMEDY CLUB, FROM 19:00, £0 - £3

Monkey Barrel’s comedy competition for new folk on the scene. ROBERT FLORENCE AS BISCUITY BOYLE: MY BASTART LIFE

THE STAND EDINBURGH, FROM 20:30, £16

Character comedy from the co-writer and star of the hit BBC Scotland sketch show Burnistoun.

Dundee Comedy

The big weekend show with five comedians.

Sat 06 Oct

MONKEY BARREL COMEDY CLUB, FROM 19:00, £14

THE GARDYNE THEATRE, FROM 19:30, £11.50 - £13.50

MONKEY BARREL COMEDY’S BIG SATURDAY SHOW

Monkey Barrel’s flagship night of premier stand-up comedy. COMEDY KIDS

THE STAND EDINBURGH, FROM 14:00, £5

SUSIE MCCABE – DOMESTIC DISASTER

This year, Susie looks at why she is generally rubbish and a disaster at all things domestic and more.

Eight brave mini comedians from Tribe Porty Youth Theatre.

Sun 21 Oct

STU & GARRY’S FREE IMPROV SHOW

THE STAND EDINBURGH, FROM 13:30, FREE

Legendary free Sunday afternoon improv show.

Listings

Art

Glasgow Art 13th Note FANTASTIC CHAOS

1 OCT-5 NOV, 12:00PM – 12:00AM, FREE

Fantastic Chaos collects the journey of illustrator Grisel’s personal circumstances along her career through exclusive large framed prints that will be available for purchase.

Compass Gallery

ELIZABETH COPE: SEDUCED BY THE SMELL OF PAINT

6-31 OCT, TIMES VARY, FREE

Elizabeth Cope’s first Scottish solo exhibition, showing a body of paintings which are vibrant in energy and colour, inspired by her travels and based on solid draughtsmanship.

David Dale Gallery and Studios RACHEL ADAMS: NOON

4-13 OCT, 12:00PM – 5:00PM, FREE

Street Level Photoworks LIGHTWAVES

2 OCT-25 NOV, TIMES VARY, FREE

An exhibition of new work by contemporary photo-based artists made in exchange residencies between Street Level Photoworks and VU Photography Centre in Quebec City. @EVERYDAYCLIMATECHANGE 4 OCT-4 NOV, TIMES VARY, FREE

This exhibition brings the photographic work off the renowned EverydayClimateChange Instagram feed, showing work by 20 photographers from six continents, onto the gallery walls.

The Lighthouse VISAURIHELIX

1 OCT-1 JAN 19, TIMES VARY, FREE

Celebrating the 150th anniversary of Charles Rennie Mackintosh’s birth, sound and audiovisual artist Louise Harris takes inspiration from the many geometric forms found in his architecture to transform the Tower of The Lighthouse. WILLIAM CHAMBERS X CRM

1-7 OCT, TIMES VARY, FREE

As part of the celebrations around the 150th anniversary of Charles Rennie Mackintosh’s birth, this exhibition features hats by one of the UK’s leading milliners, William Chambers. JUSTIFIED

Rachel Adams’ installation, with iterations in Glasgow and Sheffield, considers the linked systems that govern both the natural and manmade world and the possibilities where the two intersect.

1-28 OCT, TIMES VARY, FREE

GoMA

1-7 OCT, TIMES VARY, FREE

CELLULAR WORLD

1-7 OCT, TIMES VARY, FREE

A group exhibition that introduces the key thematic concerns of this year’s Glasgow International Director’s Programme, including questions of identity and individual and collective consciousness at a time of prolific social change and uncertainty, when reality can often seem more like science fiction. JACK KNOX: CONCRETE BLOCK

1 OCT-13 JAN 19, TIMES VARY, FREE

One of Scotland’s most influential artists of the 20th century, Jack Knox presents an exhibition looking at a ten-year period of work, from the late 1960s onwards.

Mary Mary DESHACER

2-27 OCT, TIMES VARY, FREE

ektor garcia’s first solo exhibition in the UK and at Mary Mary. His work, both inclusive and subjective, expresses the political and personal, and the multivocal and autobiographical at once.

New Glasgow Society

ART JAPAN IN GLASGOW: JAPANESE POP & MODERN ART

2-18 OCT, 10:00AM – 5:00PM, FREE

With a total of over 50 new artworks on display for the first time in Glasgow, this exhibition introduces the talents of 30 Japanese artists. A vibrant mixture of pop and modern works from Japanese artists who currently live in Japan. ALLAN WHYTE: INSIDE/OUT (THE MATERIAL OF MACKINTOSH)

10-27 OCT, 10:00AM – 5:00PM, FREE

Inside/Out examines our relationship to the built environment through the prism of Mackintosh’s use of materials and light, and gives the public a unique opportunity to see art work created from materials salvaged from the Glasgow School of Art building.

Platform

ART FACTORY EXHIBITION

10-28 OCT, TIMES VARY, FREE

Working with artists Joanna Peace and Luke Shaw, Platform’s Art Factory Group present an exhibition of vibrant art works.

Find out more about the possibilities of “Iteration 21” in this intriguing exhibition from Cody Anderson. LADIES, WINE AND DESIGN

Inspired by Margaret MacDonald Mackintosh, Ladies, Wine and Design Glasgow present the work of more than 60 women working in the design industry. INTERNATIONAL POSTER EXHIBITION

19 OCT-25 NOV, TIMES VARY, FREE

The posters exhibited are a curated shortlist of entries to Graphic Design Festival Scotland’s 2018 International Poster Competition. STILL LIFE

2 OCT-24 MAR 19, TIMES VARY, FREE

Over the course of their sixmonth residency in Gallery 2a, Aaron Ziggy and Will Jenkinson will investigate plastics, its potential uses and shortcomings. WEAR CRM

6-7 OCT, 12:00PM – 4:00PM, FREE

Celebrating the 150th anniversary of the birth of Charles Rennie Mackintosh, designer Marie O’Connor has created an interactive installation that invites the public to participate in an exploration of his textile patterns and architectural motifs.

Tramway

SAMARA SCOTT: BELT AND ROAD

2-28 OCT, TIMES VARY, FREE

Inspired by the main gallery’s similarity to open air structures, Samara Scott will create a promenade space in which audiences are confronted by what Scott calls the ‘glitching grit’ of contemporary culture. At Tramway, Scott literally suspends these miscellaneous accumulations to create a series of translucent, putrid, and seductive sculptures. JAMIE CREWE: PASTORAL DRAMA

2-28 OCT, TIMES VARY, FREE

Over the course of a year, Jamie Crewe has worked on Pastoral Drama every day. The piece comprises two parallel videos, played simultaneously, that use allegory and animation to think about progress.

KEVIN JEROME EVERSON: TONSLER PARK

12 OCT, 7:30PM – 8:30PM, £3 - £5

Filmed during the US Presidential Election Day on 8 November 2016, this observational work captures black staff members working in the polling station at Tonsler Park, Charlottesville, Virginia on the day. JULIET ROBSON: HERTZ

18-21 OCT, TIMES VARY, FREE

An artwork by Juliet Robson in collaboration with academics from fields of astrophysics, meteorology and mathematics. ARTISTS’ MOVING IMAGE FESTIVAL VII

27-28 OCT, 12:00PM – 6:00PM, £5 - £10

Tramway’s annual Artists’ Moving Image Festival returns for its seventh edition, including an experimental series of screening programmes, listening events and artist presentations that explore relationships between moving image, sound and voice.

Transmission Gallery COCO!NUTS!

2-20 OCT, 11:00AM – 5:00PM, FREE

Rabiya Choudhry presents her first solo exhibition in Scotland, in her hometown of Glasgow. It features a selection of her trademark paintings, as well as experimentations into new forms of text-based media, textiles and painted sculptures.

iota @ Unlimited Studios

DAVID CAMPBELL: METTA

4-20 OCT, 12:00PM – 5:00PM, FREE

This new exhibition by David Campbell challenges the nature of what western media brands as “Islamic terrorism” and “Buddhist oppression.”

WEAR CRM

10 OCT-27 JAN 19, TIMES VARY, FREE

Following the two-day interactive workshops, Marie O’Connor will have an exhibition that will continue with images taken during those days and objects on display in the Mackintosh Interpretation Centre.

Edinburgh Art

The Modern Institute

1-7 OCT, TIMES VARY, FREE

KIM FISHER

1 OCT-3 NOV, TIMES VARY, FREE

LA-based artist Kim Fisher returns with a new exhibition at The Modern Institute.

The Modern Institute @ Airds Lane

HAYLEY TOMPKINS: THINK I WANNA DRIVE YOUR BENZ (I DON’T)

4 OCT-3 NOV, 12:00PM – 5:00PM, FREE

A new exhibition from Glasgowbased artist Hayley Tompkins, taking its name from J-Lo’s 2000 single Love Don’t Cost a Thing. GREGOR WRIGHT: MAGIC STUFF

4 OCT-3 NOV, 12:00PM – 5:00PM, FREE

Glasgow-based artist Gregor Wright brings a new exhibition to The Modern Institute.

Arusha Gallery

HELEN FLOCKHART: LINGER AWHILE

This new body of work will explore the legendary events and personal tragedies that marked the life of Mary, Queen of Scots, through the mesmerising brushstrokes of Helen Flockhart. BLAIR MCLAUGHLIN: TIME GOES BACKWARDS AFTER DEATH

9 OCT-23 NOV, TIMES VARY, FREE

Blair McLaughlin paints large scale, striking scenes at the intersection of violence, politics and postmodernity. The new works in this solo show focus on the performance of religion, based around the Spanish procession of Semana Santa.

City Art Centre IN FOCUS: SCOTTISH PHOTOGRAPHY

1 OCT-12 MAY 19, TIMES VARY, FREE

In Focus: Scottish Photography showcases the City Art Centre’s photographic collections, charting the development of fine art photography in Scotland from the 19th century to present day. The exhibition features work by a range of historic and contemporary artists, including Hill and Adamson, Thomas Begbie, Joseph McKenzie, David Williams, Maud Sulter, Wendy McMurdo, Calum Colvin, Christine Borland and Dalziel + Scullion.

EDWIN G. LUCAS: AN INDIVIDUAL EYE

1 OCT-10 FEB 19, TIMES VARY, FREE

The first major exhibition to focus on this unusual and enigmatic artist and one of the most unique Scottish painters of the 20th century, featuring over 60 artworks from public and private collections. TRAVELLING GALLERY AT 40

1 OCT-4 NOV, TIMES VARY, FREE

Travelling Gallery’s rich and socially important archive will be shown for the first time alongside some of the original artwork from its incredible exhibitions history.

Dovecot Studios BATHS TO BOBBINS: 10 YEARS AT INFIRMARY STREET

1 OCT-31 DEC, 10:30AM – 5:30PM, FREE

Celebrating ten years of weaving in the Infirmary Street Baths, Dovecot will share some memories on the Tapestry Studio Viewing Balcony, open from 12-3pm Mon-Fri and 10.30am-5.30pm on Saturday. LIBERTY ART FABRICS & FASHION

1 OCT-12 JAN 19, 10:30AM – 5:30PM, £4.50

Dovecot Gallery brings to Scotland a major retrospective celebrating the innovative retailer and design studio Liberty London. Featuring over 100 garments and fabrics spanning 140 years, this exhibition explores how textiles bring art into everyday life.

Edinburgh Printmakers NÀDAR / PRAKRITI

2-20 OCT, 10:00AM – 6:00PM, FREE

Nàdar / Prakriti is the first solo UK exhibition by Indian artist Ravi Agarwal, including new prints commissioned and published by Edinburgh Printmakers. SALON COLLECTION

2-6 OCT, 10:00AM – 6:00PM, FREE

Before Printmakers makes its move to Castle Mills in Fountainbridge, they’re celebrating the Victorian heritage of Union Street with a selling exhibition inspired by the French Salon Carré.

Ingleby Gallery JACOB’S LADDER

3-20 OCT, 10:00AM – 5:00PM, FREE

An exhibition celebrating mankind’s relationship with space and our enduring attempts to fathom the unfathomable. Included are rare historical works alongside contemporary artists whose work considers the imaginative territory between Earth and the heavens. ANDREW CRANSTON: BUT THE DREAM HAD NO SOUND

27 OCT-21 DEC, 10:00AM – 5:00PM, FREE

The largest exhibition of Andrew Cranston’s work to date, accompanied by a 164pp publication, available for purchase, featuring an interview between the artist and his friend and colleague, painter Peter Doig.

National Museum of Scotland

RIP IT UP: THE STORY OF SCOTTISH POP

1 OCT-25 NOV, 10:00AM – 5:00PM, £7 - £10

The first major exhibition dedicated to Scottish pop music, exploring the musical culture of the nation over more than half a century, from influential indie pioneers to global superstars.

NEW TO THE NATIONAL COLLECTION

1 OCT-24 FEB 19, 10:00AM – 5:00PM, FREE

Exhibition highlighting some of National Museums Scotland’s recent acquisitions, several of which will be on display for the first time.

Listings

Open Eye Gallery

ANNA KING: MARGINS

1-8 OCT, TIMES VARY, FREE

An exhibition of new paintings exploring the margins of landscape, highlighting King’s preoccupation with outskirts, edges and boundaries, and the incidental marks we make on our land. TOM MABON: TIME AND PLACE

1-8 OCT, TIMES VARY, FREE

An exhibition of new paintings, recording of a year on the Black Isle. Mabon’s evocative oil on linen paintings capture the shifting light and wildlife of the farming seasons on the Black Isle, where he has lived since 1985. ALFONS BYTAUTAS RSA: OTHERWORLD – RECENT WORK

1-6 OCT, TIMES VARY, FREE

Stylistically placed somewhere between abstraction and figuration, Bytautas’ works challenge our notions of ‘reality’ in art. HENRY KONDRACKI RSA: WATER, LIGHT AND AIR

12-29 OCT, TIMES VARY, FREE

An exhibition of new paintings by Edinburgh-based artist Henry Kondracki RSA, focusing primarily on the changing faces of Edinburgh and the city’s iconic sites.

DAVID MARTIN: SHIFTING PATTERNS - TRAVELS IN WEST AFRICA 12-29 OCT, TIMES VARY, FREE

This exhibition documents Scottish artist David Martin’s travels around West Africa. Martin constructs images of figures, places and half-glimpsed spaces with paint and found materials to explore the shifting and changing nature of the world. LYNNE WINDSOR: CREATURES OF THE LAND AND SKY

12-27 OCT, TIMES VARY, FREE

Painter and printmaker, Lynne Windsor’s fascination and appreciation of the land and its elements are captured within this exhibition. Landscapes, clouds, birds, butterflies, beetles and dragonflies all feature in her cabinets of curiosity.

Royal Scottish Academy RSA PAOLOZZI PROJECT

1-28 OCT, TIMES VARY, FREE

An exhibition of work by Royal Scottish Academicians created in response to Scottish-Italian artist Eduardo Paolozzi CBE RA HRSA (1924-2005).

CONVERSATIONS WITH PAOLOZZI

1-28 OCT, TIMES VARY, FREE

Scottish National Gallery of Modern Art EMIL NOLDE: COLOUR IS LIFE

1-21 OCT, 10:00AM – 5:00PM, £8 - £10

Emil Nolde (1867-1956) was one of the greatest colourists of the twentieth century. Nolde felt strongly about what he painted, identifying with his subjects in every brushstroke he made, heightening his colours and simplifying his shapes, so that we, the viewers, can also experience his emotional response to the world about him. This is what makes Nolde one of Germany’s greatest expressionist artists. RAQIB SHAW: REINVENTING THE OLD MASTERS

1-28 OCT, 10:00AM – 5:00PM, FREE

Eight works by Raqib Shaw will be shown, alongside two paintings which have long obsessed him: Joseph Noel Paton’s The Quarrel of Oberon and Titania, 1849 and Lucas Cranach’s An Allegory of Melancholy, 1528. This is the first time Shaw’s work has been exhibited in Scotland. NOW: MONSTER CHETWYND, MOYNA FLANNIGAN, HENRY COOMBES, BETYE SAAR, WAEL SHAWKY

20 OCT-28 APR 19, 10:00AM – 5:00PM, FREE

At the centre of the fourth instalment of the NOW series of contemporary art exhibitions at Modern One is a major survey of work by the Turner Prize nominated artist Monster Chetwynd.

Scottish National Portrait Gallery SCOTS IN ITALY

1 OCT-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.

PIN-UPS: TOULOUSE-LAUTREC AND THE ART OF CELEBRITY

Pin-Ups: Toulouse-Lautrec and the Art of Celebrity will be the first exhibition held at the National Galleries of Scotland devoted to the art of Henri de Toulouse-Lautrec (1864-1901). The exhibition will focus on Toulouse-Lautrec’s lithographic posters, portfolio prints and illustrations which made stars of Montmartre’s venues and their entertainers - personalities such as Yvette Guilbert, Jane Avril and Aristide Bruant.

THE DAYS NEVER SEEM THE SAME

1-28 OCT, 11:00AM – 6:00PM, FREE

Bringing together the work of photographer Gunnie Moberg and influential filmmaker, poet and writer, Margaret Tait. Both artists shared a strong connection to Orkney: the place, its people and its landscape.

Summerhall

GRAEME TODD: STREET HERMIT

6 OCT-23 DEC, 11:00AM – 6:00PM, FREE

Curated by Andrew Mummery, this exhibition is the first significant survey of Graeme Todd’s work to be presented in Scotland since his solo show at the Fruitmarket Gallery in Edinburgh in 2000. OUT OF SIGHT, OUT OF MIND

10-28 OCT, 11:00AM – 6:00PM, FREE

Opening on World Mental Health Day, this is the largest exhibition of its kind in Scotland, showcasing almost 400 artworks exploring mental health.

Talbot Rice Gallery

LUCY SKAER: THE GREEN MAN

1-6 OCT, TIMES VARY, FREE

26 OCT-26 JAN 19, TIMES VARY, FREE

REFORMATION TO REVOLUTION

An exhibition examining the cultural consequences of the national religion becoming Protestantism in 16th century Scotland. HEROES AND HEROINES

ART AND ANALYSIS: TWO NETHERLANDISH PAINTERS WORKING IN JACOBEAN SCOTLAND

6 OCT-20 JAN 19, TIMES VARY, £8 - £10

Stills

1 OCT-1 APR 19, TIMES VARY, FREE

Scottish National Gallery This exclusive new exhibition, which will only be shown in Edinburgh, reveals how the taste for Rembrandt’s work in Britain evolved over the past 400 years. From early beginnings around 1630, it grew into a mania that gripped collectors and art lovers across the country, reaching a fever pitch in the late-eighteenth century. The exhibition also reveals the profound impact of Rembrandt’s art on the British imagination, by exploring the wide range of native artists whose work has been inspired by the Dutch master, over four centuries, right up to the present day.

An exhibition exploring the lives and careers of the Scots behind the period of dramatic change between 1760 and 1860, when Scotland rapidly attained a central role in European cultural life and in Britain’s industrial and imperial expansion. It documents the material and artistic benefits of their achievements, while also confronting the darker shadows they cast.

A display collating paintings, sculptures and works from the Portrait Gallery’s twentieth-century collection, feat. a variety of well-known faces, from Ramsay Macdonald to Alan Cumming, Tilda Swinton to Danny McGrain.

THE MODERN PORTRAIT

1 OCT-27 OCT 19, TIMES VARY, FREE

1 OCT-31 MAY 19, TIMES VARY, FREE

1-14 OCT, TIMES VARY, £0 - £12

1 OCT-21 JUN 20, TIMES VARY, FREE

Lucy Skaer’s exhibition The Green Man has at its heart an exploration and reanimation of the desire to collect. Skaer will select from the collections of the University of Edinburgh and has invited fellow artists to inhabit the galleries of Talbot Rice alongside her – Fiona Conner, Will Holder, Hanneline Visnes and Nashashibi/Skaer.

This exhibition will bring together responses of Royal Scottish Academicians to the ScottishItalian artist, Sir Eduardo Paolozzi (1924-2005).

REMBRANDT: BRITAIN’S DISCOVERY OF THE MASTER

THE REMAKING OF SCOTLAND | NATION, MIGRATION, GLOBALISATION 1760-1860

A re-examination of major Scottish figures which questions our habit of framing history around individuals and idols.

1 OCT-26 JAN 20, TIMES VARY, FREE

A small exhibition focusing on two 17th century artists, Adrian Vanson and Adam de Colone, showcasing a group of paintings which have been examined by paintings conservator Dr Caroline Rae, along with the findings from her research. IN FOCUS: THE EXECUTION OF CHARLES I

1 OCT-26 JAN 20, TIMES VARY, FREE

An exhibition centred around a painting of the execution of Charles I – based on eye-witness accounts and contemporary engravings – by an unknown Dutch artist.

VICTORIA CROWE: BEYOND LIKENESS

1 OCT-18 NOV, TIMES VARY, FREE

This exhibition brings together a group of the best portraits by the distinguished artist Victoria Crowe. Crowe has developed an approach to portraiture that seeks to do more than record the outward appearance of a person. She aims to represent something of the inner life - the experiences and preoccupations of the individuals depicted - the world of ideas and dreams. PLANES, TRAINS AND AUTOMOBILES: TRANSPORTATION PHOTOGRAPHS FROM NATIONAL GALLERIES OF SCOTLAND

1 OCT-13 JAN 19, TIMES VARY, FREE

Planes, Trains & Automobiles is the third in a series of thematic exhibitions exploring the exceptional permanent collection of photography at the National Galleries of Scotland.

TREMBLE TREMBLE / AT THE GATES

Group exhibition At the Gates, which brings together artists whose voices have amplified the global struggle towards female self-empowerment, is shown alongside Jesse Jones’ performance installation Tremble Tremble.

The Fire Station

THE ART OF INTELLIGENT AGEING: PORTRAITS OF THE LOTHIAN BIRTH COHORT STUDIES BY FIONNA CARLISLE

27 OCT-24 NOV, 10:00AM – 6:00PM, FREE

This unique exhibition honours a remarkable group of people who sat intelligence tests as children and have been followed up as adults since 1999 to transform our understanding of ageing. Open 10:00-16:00, Tuesday-Saturday.

The Fruitmarket Gallery EMMA HART: BANGER

27 OCT-3 FEB 19, TIMES VARY, FREE

A major solo exhibition of the work of Emma Hart, and her first in Scotland. The exhibition will include the recent installation Mamma Mia!, made as part of the Max Mara Art Prize for Women which Hart won in 2016, and a major series of new work commissioned by and for the Fruitmarket.

Dundee Art Cooper Gallery

BOW GAMELAN ENSEMBLE: GREAT NOISES THAT FILL THE AIR

27 OCT-15 DEC, 11:00AM – 5:00PM, FREE

The first retrospective of influential artist collective Bow Gamelan Ensemble (Anne Bean, Paul Burwell, Richard Wilson).

DCA: Dundee Contemporary Arts

MIKE KELLEY: MOBILE HOMESTEAD

1 OCT-25 NOV, TIMES VARY, FREE

The Scottish premiere of Mike Kelley’s remarkable Mobile Homestead film trilogy, made between 2010 and 2011 in the artist’s hometown of Detroit. SANTIAGO SIERRA: BLACK FLAG

1 OCT-25 NOV, TIMES VARY, FREE

The UK premiere of one of the Santiago Sierra’s most ambitious undertakings to date. It takes the form of an immersive photographic and sound installation documenting the process and performance of planting the universal symbol of the anarchist movement – the black flag – at the two most extreme points on earth: the North and South Poles.

Duncan of Jordanstone College of Art and Design POLITICS OF SMALL PLACES

1-6 OCT, TIMES VARY, FREE

Offering paradoxical visions of the cornucopia of concrete, glass and steel that straddles the world, Politics of Small Places  forges a unique dialogue between preeminent contemporary artist and Turner Prize nominee Paul Noble and pioneering Scottish urban planner Patrick Geddes.

The McManus REVEALING CHARACTERS

1 OCT-31 DEC, TIMES VARY, FREE

Part of a joint exhibition of selected works from the City’s permanent collection, Revealing Characters includes an array of portraits, which examine the construction of identity. PORTRAITURE

1 OCT-31 DEC, TIMES VARY, FREE

In the history of art, ‘the portrait’ has taken on many guises, from exact likenesses to abstract collections of ideas and emotions. Selected from the City’s permanent collection, this exhibition includes an array of portraits, which examines the construction of identity. BASH STREET’S BACK AT THE MCMENACE

1-21 OCT, TIMES VARY, FREE

2018 marks the 80th Birthday of Beano and this exhibition explores the birth of the comic in Dundee, the people behind it and its enduring popularity across generations of readers.

V&A Dundee MAEVE REDMOND

1 OCT-15 SEP 20, 10:00AM–5:00PM, FREE

A compelling piece of graphic design that unpacks the wider context around a 19th century trade catalogue by cast iron manufacturers Walter MacFarlane & Co. CIARA PHILLIPS

1 OCT-15 SEP 20, 10:00AM–5:00PM, FREE

A new commission, championing the often-unseen process of making by evoking a moment suspended in time where vital decisions about materials and their composition are made. SCOTTISH DESIGN RELAY

1 OCT-15 JAN 19, 10:00AM–5:00PM, FREE

This exhibition charts the hurdles and lightbulb-moments of the design process through the research, sketches and prototypes made by the teams who took part in the Scottish Design Relay. SCOTTISH DESIGN GALLERIES

1 OCT-15 SEP 43, 10:00AM–5:00PM, FREE

Explore the everyday relevance of design and how it improves our lives, experience the processes that underpin it and discover little-known stories of Scottish design with international impact. OCEAN LINERS: SPEED AND STYLE

1 OCT-24 FEB 19, 10:00AM–5:00PM, FREE

Discover how ocean liners became one of the most powerful and admired symbols of 20th century modernity.

THE SKINNY

Still an Outlaw John Carpenter is having a late-in-life career swerve, taking a break from cinema while he dips his toe in the music business. He tells us how life as a rockstar is both joyous and terrifying

Interview: Jamie Dunn

ame a god-like carpenter with the initials JC? If you’re a movie disciple the first deity to pop into your head should be John Carpenter, the don of genre filmmaking, and with the recent deaths of George A. Romero and Tobe Hooper, undoubtedly the finest horror director on this green earth. The 70-year-old Kentuckian is of course the mind behind classics like Halloween, Starman and The Thing, but two years ago he added a new string to his bow: he became a rockstar. And no one is more surprised and delighted by this development than Carpenter himself. “It’s fabulous, fabulous,” says a bright and breezy Carpenter, who’s fresh from his morning routine of coffee and video games when we call him at his LA home and ask him about his new life as a live performer. “You know, I’m not really that used to it yet. It’s new for me because I come from the movie business where the directors do everything but no one cares about us that much, you know, I’m just sort of off screen somewhere.” Of course, Carpenter’s reinvention isn’t a complete surprise. As well as writing and directing, he also composed the darkly atmospheric music for most of his films, from his lo-fi student sci-fi Dark Star to David Gordon Green’s new Halloween sequel, released this month, for which Carpenter has thrillingly reworked his most famous compositions. He points to the experimental German band Tangerine Dream as one of his chief influences early on. “There’s one great score they did for a movie called Sorcerer,” he says. “It’s almost unbelievable; I couldn’t get enough of it.” We quickly do the maths in our head and point out Carpenter was making inventive use of synthesisers and drum machines in Hollywood long before Sorcerer’s 1977 release. “Yeah, you’re right,” he says after a pause. “I was there at the beginning. I’m an old guy.”

“ At this point in my life, playing in front of crowds is just a joy” John Carpenter

Suffice it to say, Carpenter didn’t expect to be playing these songs live to huge crowds when he initially wrote them. “God no, I never, never, never imagined it. It wouldn’t occur to me. Why would I do that? But times have changed so much. One thing you never say is, ‘I’ll never do that.’ You just don’t know.” However, it turns out getting Carpenter to take his songs on the road was pretty straightforward. “I was asked, ‘What would it take to get you out on tour?’” he recalls with a wry chuckle. “And I said, ‘Well, I don’t know, some money would help. If you pay enough money, I’ll go do it.’ So that was kind of that.” One thing’s for sure, performing live beats the slog of making movies for a living. “Well, when you are a director you work like a dog, it’s awful. I mean, you really work like a coal miner and the stress is unbelievable.” He says his love of being on stage didn’t come easy, though. “At first I was terrified, just terrified, man.” Carpenter’s first ever live show couldn’t have been more public: the debutant was squeezed between Vince

October 2018

(Right to left) John Carpenter with Cody Carpenter and Daniel Davies

Staples and LCD Soundsystem at Primavera Sound 2016. He was, shall we say, slightly bemused at the situation. “It was surreal,” he recalls. “I thought, why are all these kids out there watching this old bald guy? What the hell?” Not that you’d have spotted any of this trepidation during his performance. If you missed the set you can find much of it on YouTube, with Carpenter looking extremely nonchalant on stage as he plays his gnarly synth; a few minutes into his first track, the theme from Escape from New York, he even slips his left hand into his jeans pocket. “At this point in my life, playing in front of crowds is just joy. Plus, I’m playing with my kids. It doesn’t get better than this.” Those “kids” are Carpenter’s 34-year-old son Cody, who produces music under the name Ludrium, and his godson Daniel Davies – “I’m exploiting their youth to make myself richer,” Carpenter jokes. The three have been playing together since Cody and Davies were in their teens. “We would just spend time together improvising music for fun,” he says. This is very much the Carpenter process: approaching a song from a technical or theoretical standpoint is not his bag. “You have to understand, my whole process is I’m improvising,” he explains. “So it’s finding a sound first, or an arpeggiation or something that gets me started up. Usually it’s a bass sound, you know, and I start working from there. I just start playing and recording. It’s really not very complicated.” From this tinkering with his son and godson came Carpenter’s knockout album Lost Themes in 2015 which was quickly followed up by Lost Themes II the next year.

Following that appearance at Primavera in 2016, Carpenter played ATP Iceland and then embarked on an international tour which included a performance at Edinburgh’s Usher Hall. Of the Scottish crowd, Carpenter recalls them being “energetic” but he’s not wild about seated gigs. “Sometimes if the audience is seated they’re too polite, you know, especially in Europe. But if they’re standing up, if it’s like a standing room only deal, people go crazy. It’s great. There’s more energy. I can flirt with the audience a little bit.” With Carpenter’s upcoming Scottish date at the decidedly more raucous Barrowlands, expect to be flirted at hard in Glasgow. It’s ironic that Carpenter should find himself swapping movies for music at this moment in time, given that his stylish brand of fat-free genre filmmaking has never been more popular. Barely a month passes in cinema without a film being released that owes him a debt. Of today’s young genre filmmakers, Ti West (The House of the Devil), Adam Wingard (The Guest), David Robert Mitchell (It Follows), Jeremy Saulnier (Green Room) and Jeff Nichols (Midnight Special) are the Carpenter devotees who initially spring to mind, and his DNA is all over the Duffer brothers’ Netflix hit Stranger Things, particularly in that sci-fi show’s dreamy synth score by Michael Stein and Kyle Dixon of electronic outfit Survive. With Gordon Green’s Halloween sequel out this month, we ask Carpenter if he returned to his original Halloween in preparation for his reworked score and he’s practically aghast. “I don’t ever want to see my old movies again,” he says. “I can’t watch them. I see the mistakes. I hate

MUSIC

Photo: Sophie Gransard

them. But I had to watch Halloween a year ago or so. So that’s enough of that.” Come on, we protest. Your films are great and you clearly think the music is up to scratch; you’re touring it after all. “Well, yeah. It was fun to go back to the old music, I guess. It’s a little crude, but it’s OK. But we’re adding to it.” If we had a longer interview we’d have spent it trying to convince him he’s crazy: many of his films are masterpieces and the music may be simple but it’s full of atmosphere and emotion. It’s no wonder Carpenter is down on his own work though. For years critics and awards bodies were indifferent too. Carpenter famously summed up his lowly status in his home nation by saying, “In France, I’m an auteur. In Germany, I’m a filmmaker. In the UK, I’m a horror director. In the US, I’m a bum.” Does he still think that? “Of course, that’s absolutely true, except America is starting to come around a little bit more now.” That must feel nice, though? To be finally vindicated. “No, I think it’s great. We genre filmmakers, we’re becoming respectable...” He hesitates for a second. “It does worry me a little bit, though. I don’t want to get too respectable. We were all outlaws, man, and that’s the way I prefer it.” John Carpenter plays Barrowlands, Glasgow, 19 Oct Halloween OST is released on 19 Oct via Sacred Bones; Halloween (2018) is released on 19 Oct by Universal; John Carpenter: Master of Horror film season plays at GFT in Oct and Nov, details at: glasgowfilm.org/shows/john-carpenter-master-of-horror theofficialjohncarpenter.com

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