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Month: May 2015

Preview: Gigantic Indie All Dayer, Vol. 2

23rd May

Academy 1/Academy 2/Club Academy

£29

Following the success of last year’s inaugural event—which featured the likes of The Wedding Present, Cud and The Chameleons—the Gigantic Indie All Dayer returns to Manchester Academy on 23rd May, with this year’s edition set to dwarf the original in both in terms of scale and the eye-watering roster of seminal indie bands on the bill.

Headlining the Academy 1 main stage are Liverpool alt rock legends Echo & The Bunnymen, whose set comes hot on the heels of their 30th anniversary shows for their landmark album Ocean Rain. Fronted by the enigmatic Ian McCulloch, the indie elder statesmen are sure to deliver a spectacular performance filled with classic (and hugely influential tracks) such as ‘Lips Like Sugar’, ‘The Killing Moon’, and ‘Bring on the Dancing Horses’, as well as cuts from 2014’s critically lauded Meteorites.

Manchester’s own Inspiral Carpets will also bring their unique brand of trippy, psychedelic tunes to the main stage, after releasing their comeback self-titled album last year—their first in two decades. Armed with timeless Madchester grooves and soaring choruses, the Inspirals are sure to take Academy 1 back to the second summer of love with the likes of ‘This Is How It Feels’ and ‘Caravan’.

Industrial rockers Pop Will Eat Itself will be performing an exclusive greatest hits set which will have you digging them all over again, whilst Leeds post-punk originators Gang of Four are set grace the stage with their danceable blend of aggressive punk that effortlessly tread the line between anthemic and experimental. This all to come, after reformed Britpop outfit Hurricane #1 and cult jangle poppers The Primitives (best known for their irresistible 1988 single ‘Crash’) start off the proceedings in inimitable style.

And that’s just the main stage—with another full day’s worth of performances each two other stages, there’s something for everyone’s old school indie tastes on offer this year. Amongst the other highlights are Diesel Park West, performing their much loved Shakespeare Alabama record in full in Academy 2, before a headline performance from reformed baggy stalwarts The High. Club Academy, meanwhile, will host appearances from such big names as BOB, Mark Morris and Echobelly.

With all this and more—including special guest DJs for each of the three stages—the second Gigantic Indie All Dayer is the only place you’ll get to see such a mix of legendary acts together in one place, and is the ideal way for any indie music fan to start off their summer festival season.

Occupation begins in Harold Hankins building

A group of around 30 protesters representing the Free Education Mcr campaign have begun an occupation of the Harold Hankins building in Manchester Business School, to protest fees and cuts, and what they refer to as the university’s “encroaching neoliberal attitudes.”

The occupation began at 3pm yesterday, with campaigners claiming the fifth floor of the building, which is part of the Manchester Business School.

In a statement released on their Facebook page at around midnight, the occupiers said: “The University of Manchester is in occupation. We are occupying because we know what five more years of a Tory government means. It means the hopes of millions of young people and workers shattered by cuts and privatisation. There is talk of another rise in tuition fees, funding apprenticeships through 24% cuts to further education, and scrapping the disabled students allowance once and for all.

“We know what the market does to education, and we know we need to fight it. We are occupying to reclaim space from the university’s corporate projects—and to use it to educate ourselves freely. The area we are in is being redeveloped into a £50m hotel and ‘executive education centre’. We are occupying to begin to create a space where we are more than customers, and education is more than a business.”

Earlier, they claimed that university security was preventing any more students joining the protest, and that no food was being allowed into the occupation either. “We condemn the university attempting to starve us out of the occupation rather than let us use what is supposed to be our own space for our own education,” reads the statement.

They have plans to remain in occupation indefinitely, and are claiming on social media that locksmiths, police, fire services and workmen have been called to attempt to bring the occupation to an end.

A spokesperson for the University of Manchester said: “The university supports the right of anyone to demonstrate peacefully within the law; however, the occupation of university buildings disrupts the daily running of the institution.

“A number of students are occupying a room in the Harold Hankins Building and are free to leave anytime they wish.

“The university has made an offer to the Students’ Union that members of its executive will be allowed to deliver food to the protesters and check on their wellbeing; the students already have access to fresh water.

“In order to ensure the health and safety of everybody in the building, the university has informed the protesters that appropriate staff  may require access to the room to conduct checks and assessment.”

In response to accusations of disruption to the university, the campaigners said on their Facebook page: “This is why we’re in the Harold Hankins suite, a disused part of the shopping precint/MBS which the university is planning on converting into expensive hotels at a cost of £50000000.”

A further statement, released at lunchtime today read: “The university have plans to renovate this section of the Precinct [Shopping Centre], and turn it into a luxury hotel. This is symbolic of their encroaching neoliberal attitudes to threaten our education. And we are combating it through protest for free education—financially free, liberated and democratic.

“We intended to practise our vision of this free education with the space. But the University are making this impossible – they are prohibiting open access. We cannot get in and out of the building. Food cannot be delivered to the building. They are trying to starve us out.”

They have also encouraged supporters of the movement to contact the Vice-Chancellor of the university, pressuring her into allowing the provision of food and free movement to occupiers.

A list of demands, released at 4:30 this afternoon, can be read in full here. The demands encompass support for free education, liberation, democracy in the university, and workers’ rights. Some of the main points include no cuts to the access programmes offered by the university, a living wage to be paid to all staff, no cuts to the Manchester bursary, and no more zero-hours contracts for staff members.

This comes after occupations at other universities across the country, such as LSE, University of the Arts London, and Lancaster.

Creatures of all shapes and sizes

Over the past few months, ‘plus-size’ models, women whose dress size is over a UK size twelve, have received widespread media attention. The debate surrounding the acceptance of fat women has produced features everywhere from Hello, Grazia and Vogue to Channel Four, which recently aired a documentary following ‘plus-size’ bloggers and models and heard about their experiences surrounding the topic.

This body positivity movement is aiming to push forward the message that women of all shapes and sizes should be represented in the media, with the hope that this will lead to more women accepting their appearance and eventually widen societies perspective on what is stereotypically ‘beautiful’. In particular, it aims to erode the negativity that surrounds the word ‘fat’ and to lead women to see that beauty comes in many different shapes and sizes, proving that it is possible to be both ‘gorgeous’ and ‘fat’.

However, adjacent to the increasing representation of larger women in the media, there has also been the argument that these women are somehow endorsing obesity and bad health. Loose Women asked on Facebook: ‘TRENDY CLOTHES FOR OBESE GIRLS…A GOOD IDEA OR A WORRYING NEW TREND?’ This argument, or ‘worry’ as they phrase it, is unhelpful for an array of reasons.

We are all bombarded on a daily basis with photos, videos and adverts in which the vast majority of women featured have qualities that are unobtainable to a great amount of us: super skinny girls with big boobs, big bums, long legs, perfect skin, shiny hair, big lips and perfect cheekbones. By now, most of us are aware of the problems that have arisen within society from the use of models who have these qualities, problems ranging from anorexia and body dysmorphia to anxiety and even suicide. The 2014 British Social Attitudes survey revealed that only 63% of women aged 18-34 and 57% of women aged 35-49 are satisfied with their appearance. The media’s representation of women has a lot to do with these figures.

However, it is not the use of slim women to advertise products that is the problem. The problems have arisen because the only women we see within the media are slim models or models who only look a certain way. We must realise that in order for more women to be happy with their bodies, a wider variety of body types need to be shown more positively in the public eye and, furthermore, skinny women should not be blamed for the problem. They are not the cause, many women are naturally very slim and ‘skinny shamming’ will only do as much good as fat shamming, that is to say, no good at all.

The use of a wider array of models is something to be grateful for! Women are seeing the likes of Tess Holliday, a woman who has simultaneously taken both the modelling and social media worlds by storm. People have begun to realise that if someone of her shape and size (UK 22) can be so happy, confident and full of life, there is no reason as to why they can’t either. Seeing your body positively, regardless of size or health, is a good thing. Through learning to admire your body and appreciate it for what it is, the organism that allows you to live and enjoy life, you will be able to look after and care for it. This movement is asking women to accept their size, regardless of all the information they face on a daily basis telling them to be ashamed or embarrassed if they don’t look a particular way, and then asses whether they feel good that way or not. Acceptance of your body image is key to a positive outlook, once you have accepted the way you look then you can build on health and happiness.

The recent advert produced by Protein World that depicted a slim and toned model and the phrase ‘Are You Beach Body Ready?’ next to a product designed to make the user slim down and tone up caused uproar across London last week. The advert, which appeared to tell women that you aren’t fit for the beach unless you look this particular way was attacked and vandalised, and rightly so. The irritation at the constant policing of our bodies by the media and advertisers alike shows the need and want for women like Tess and other bloggers to keep pushing the boundaries of what we are told is acceptable.

These beautiful women are putting themselves out there… out into the intimidating, fat-phobic, judgmental world that we live in and regardless of the backlash, they are happy. If these women are happy and trying their hardest to push this positivity onto the women of the world then why try and stop them? Ten million women across our country feel depressed due to the way they feel about their bodies. Women all around you, your mothers, sisters, daughters and even granddaughters are constantly worried about this issue, one that at it’s core does not affect anything or anyone bigger than that persons own mind. Supporting the body positivity trend means endorsing an outcome that will hopefully lead to better mental health across a wide spectrum of women’s lives. The inclusion of a wider array of women’s body shapes across the media is only doing good things for the women of the world. Lets keep expanding societies outlook and continue to push the boundaries of what society deems it acceptable for women to look like. In the words of Tess Holliday, to the media and society as a whole, eff your beauty standards, women of all shapes and sizes are beautiful and they’re going to make sure that you know it.

Tess Holliday, founder of the #effyourbeautystandards Instagram trend. Photo: Tabitha Kidd @Pinterest

Feature: Dice launches in Manchester

Booking fees are a scourge of music events. We’ve all been through the anguish of finding a reasonably priced gig, going to buy a ticket, then watching the cost spiral with all manner of fees. Charged to book, charged for using a card, charged for postage, even charged to print off your own ticket at home – the added costs seem endless.

It’s great news then that Dice has launched in Manchester.

Dice is an app that allows you to purchase tickets to the best gigs in the city with no booking fees. Finally, a £5 ticket will actually cost a fiver. Once purchased, all you have to do at the venue is show the ticket on your phone, so this also saves you from having to make last minute dashes to the library and means you can hang on to your valuable printing credits.

The listings contained in the app are hand selected by an editorial team headed by esteemed radio dj and journalist Jen Long, assuring quality across the board. They’ve also made it their mission to help fans find new bands to fall in love with and gigs to attend. Related events are provided alongside each listing, giving users the chance to listen to these artists within the app. This is a great way to expand your musical horizons in a tailored way, and if you like what you hear you’ll be able to purchase tickets to the upcoming gig straight away. You’ll never have to suffer the pain of finding a great new band, looking up their tour dates, and discovering they’ve just completed a three night stint at The Deaf Institute before promptly breaking up forever.

Of course, there are worse situations to be in. Like seeing your favourite band announce a tour date in town, then checking your negative bank balance with a sigh. Purchase the ticket or have the ability to purchase food for the next month? It’s an all too real dilemma. You yearn desperately for loan day, but inevitably by the time that comes around the event is sold out, and you’re stuck with only a bar of Sainsbury’s basics milk chocolate to comfort eat.

The worst part of this situation is often that a majority of the tickets were bought out by touts who are now flipping the tickets online at exorbitant prices – like parasites leeching off the passion of music fans. Dice offers a challenge to these secondary touting sites through its Waiting List feature through which you can sign up for sold out shows and have the opportunity to repurchase tickets for face value from people who can no longer attend, giving you a second chance at getting tickets without breaking the bank. That makes two scourges of live music combated in one app, not bad going.

Dice is available to download from the app store and android market now.

Live: Public Service Broadcasting

29th April

The Ritz

7/10

Why can’t we have more bands like Public Service Broadcasting? This is the question you ponder whilst watching this band. It’s not because they’ve got a particularly amazing sound (though it’s certainly not hard on the ears). It’s not even because they’ve got a particularly enigmatic front man (with the lead singer relying on a sample board to provide a back and forth with the audience). It’s because their entire performance can be summed up as saying “sod what everyone else is doing, we want to try something different”. Rather than subscribe to the overdone 4 piece rock band these guys have taken an idea and run with it. Namely the concept of sampling public service broadcasts to create songs that sound like nothing you have ever really listened to before.

The band starts its performance with a hilarious animated short, warning of the dangers of devoting to much time at a gig to taking photos and pictures (with the protagonist dying unfortunately as a direct result of his love of blurred videos of bands). This idea is extended when the band continuously present the visuals that they have drawn their samples from, with continuous clips of public service broadcasts being shown. Couple this with their beautifully crafted set designs and corny audience banter (that comes from the sampling board as a robotic voice) and you have a band whose eccentricity seeps from their very being.

Featuring guest performances by Smoke Fairies, providing backing vocals on ‘Valentina’, and a brass section for new single ‘Gagarin’, the band have a live show that is very well put together. With such grand concepts being introduced, Public Service Broadcasting are clearly a band that has ideas bigger than the venues they’re playing, but if they keep providing great performances perhaps it won’t stay that way for much longer.

Graduate tax still a long-term option, says Chuka Umunna

The Mancunion interviewed Chuka Umunna ahead of the General Election this coming Thursday. Before Parliament dissolved, Mr Umunna was a Labour MP for Streatham and hopes to be re-elected again come Thursday. Umunna studied Law at the University of Manchester and since 2011 has been Shadow Secretary of State for Business, Innovation and Skills. This position covers a wide range of issues including business, enterprise, science, and importantly for the readers of The Mancunion, Higher Education policy. I questioned Mr Umunna on a wide range of issues he would be in control of if the Labour Party were to form a government after May 7th.

Speaking to The Northern Echo back in January, Mr Umunna said, “we will not be able to go straight to a graduate tax—but getting there as soon as possible is my priority.” I therefore opened the interview with the shadow Business Secretary by questioning him on whether he still believed this was the best policy, or whether he was now in favour of university tuition fees being reduced to £6000, as is now the manifesto pledge of The Labour Party. Mr Umunna told me that “in an ideal world we’d have a more progressive system and that’s why, in terms of the principle of the graduate tax, it is something that we are very much still in favour of.”

However he continued by saying, “we don’t want to promise anything that we can’t deliver,” in line with Ed Miliband, who on the last of the television election specials last Thursday, said the Labour Party would rather “under-promise and over-deliver.” Chuka explained that “what we know that we can deliver is a reduction in fees from £9000 to £6000 a year.”

Mr Umunna accepted that “the current system is not sustainable in the long term”; however he continued by saying that “what we believe we can deliver is the tuition fee reduction now” therefore “what we know, we can do for the course of this parliament.”

Chuka was also keen to mention something he believes it is often missed off reports: “We are going to be increasing the maintenance grant from £3400 to £3800, which should benefit around half of students.”

Students would benefit under Labour’s tuition fee plans if they are entering Higher Education from September 2016, or are in the middle of a course at this time.

The policy of lowering fees was criticized back in February by 20 Vice-Chancellors in a letter to The Times, who said that it would create a £10 billion hole in revenues over the next government. In response to these worries, Mr Umunna said “it is a properly funded commitment, and it has been welcomed by various different Vice-Chancellors.”

Staying on the topic of Vice-Chancellors, I then spoke to Mr Umunna on the contentious subject of Vice-Chancellors’ pay. Back in March The Mancunion covered the story that university bosses are earning on average £260000 per year, the top ten earning between £392000 and £623000. The story also highlighted the lack of transparency involved in setting these pay levels. The University of Manchester, as an example, refused to share copies of the minutes of their remuneration committee, tasked with determining the pay of the Vice-Chancellor and senior post holders. Current Business Secretary Vince Cable said such pay levels were “hard to swallow.”

When asked what he thought of these pay levels and whether he believed there should be more transparency Mr Umunna said: “we’ve argued for more transparency in terms of the pay of senior executives in the private sector, because it helps grow levels of trust but also it is healthy to have transparency. I think therefore the same principles should apply to university Vice-Chancellors’ pay and, frankly, if you’re delivering the goods and getting the results for the students in the university, then you have nothing to be afraid of in terms of transparency.”

We then moved away from the topic of Higher Education to address the growing issue of the skills gap and its impact upon the UK’s manufacturing sector. A government report at the end of last year highlighted how many industries are suffering due to an ageing workforce, with a stark example being that 70 per cent of highly skilled nuclear workers are due to retire by 2025. I therefore questioned Mr Umunna on whether tackling this issue was all about encouraging young people to take up vocational training options, or whether he thought to fix the real issue we need to encourage more investment into manufacturing to create the jobs for these students.

“The first thing is, we want to ensure that people are doing the course and gaining the qualifications that employers need; we need to make sure that young people are aware of the opportunities out there and frankly, this government’s massacred careers advice throughout the course of this Parliament, which is why we are going to introduce proper careers advice services for young people, where they will get access to one-to-one careers advice from the age of 11. At the moment there’s a national careers advice service but that provides advice just to adults, we want to make sure that young people get a look in.

“We need to sort out [the fact] that we don’t have enough people coming out of the system with the technical skills that employers tell us they need, which is why we’re guaranteeing young people who get the grades at school an apprenticeship if that’s what they want to do after they have left.”

Mr Umunna hadn’t yet indicated whether his party would also look into encouraging manufacturing investment alongside these plans. He was therefore questioned further.

He responded: “It’s a question of working strategically with the different sectors to grow their industries—so, for example, if you look at the car industry, the problem with that industry is… that we’re very good as assembling cars but we haven’t sufficiently developed the supply chain of the businesses that make the parts.”

He suggested that the only way this can be resolved would be by “working in partnership with the industry to grow and develop the supply chain by making sure people have the skills.”

In their manifesto, Labour have proposed to “ban exploititive zero-hours contracts,” which proposes that anyone working “regular hours for more than 12 weeks will have the right to a regular contract.” I posed the possibility that under this proposal an employer could sack someone on this contract in their eleventh week to prevent them ever getting a regular contract.

Mr Umunna made reference to personal experience to explain why he believed this was an unlikely scenario: “In practice, talking from my own professional experience—I used to be an employment lawyer—employers do not habitually sack employees who in time become entitled to some employment rights.”

He continued by citing research conducted into the zero-hours issue by the former head of Human Resources at Morrisons, saying his findings were that “employers wouldn’t do that—not least because if you’ve got somebody on a regular pattern for 11 weeks, as an employer you have to invest a lot of time and resources in training that employee up and so obviously if you just get rid of them on the twelfth week that money would have been wasted.”

In response to a question as to why zero-hours contracts couldn’t be banned altogether, he said they have completed “a consultation both with employees, trade unions and employers on this issue, and the consensus was not to abolish them altogether, because while they are used to exploit [some] people, there are some students that are often cited, for whom that arrangement can be acceptable and works OK for them.

“There are some employees who actually quite like the arrangement, and obviously that’s only where they are not being exploited under them and they’re not carrying all the risk, so they’re not, for example, having shifts cancelled at the last minute—that’s what we will have to stop.”

I then inquired whether, alongside the attention on zero-hours contracts, short-hour contracts would also be given attention. For example, this interviewer cited experience of many friends who work on four-hour contracts, when in fact they regularly work over 40.

Mr Umunna said that it should be the case that, “if they’ve got an employment contract that is four hours, under the law, if they have been working forty hours a week regularly for a long time, it would be quite straightforward for them to argue that their contract had been changed. It is less easy to do that if you are on a zero-hours contract”.

However he continued by accepting that “there’s no denying it that in some senses, trying to ensure fairness in a workplace when there are employers who will insist on trying to get over the rules that are put in place to ensure fairness, is a bit like running up a down escalator, and we’re always happy to think and review the situation to make sure we’ve got the right balance. If we see further abuses then obviously we’ll take action.” He added, “the reason that zero-hours [contracts] became such an issue is because actually we changed the rules around agency workers, so that if you had been working after 12 weeks as an agency worker you would get similar rights to those doing exactly the same job but who had a permanent position in your workplace. It was partly in response to us stopping this kind of abuse, of the agency situation, that there was a growth in zero-hours contracts.”

As many young people are unaware of the current employment laws that he had referenced and what they are entitled to as employees, I put to Mr Umunna whether better communication was needed for all employees of their employment rights. He responded, “one of our proposals is to make sure that if someone is put on a zero-hours contract they are told that they are on a zero-hours contract. A lot of people don’t actually realise that they’re on them.”

Mr Umunna had opened the interview by apologizing for the fact that another rapidly approaching engagement meant that our interview had to be limited to seven or eight minutes. I therefore knew we were on sticky ground when, as we approached 13 minutes, we tried to ask him about how to best tackle the BME attainment gap at university level. I was keen to explore this, as earlier last month Mr Umunna told the London Evening Standard that he wanted to see 1 in 7 company directors coming from black or minority ethnic backgrounds.

Unfortunately, time had beaten us and he quickly commented on an important issue that “If you’re a black or minority ethnic young person you’re much more likely to be unemployed. We’ve got to make sure before we can even look at pay that we’ve sorted out the unemployment issue around different diverse communities and then of course we’ve got to look to close the pay gap too.”

Dimensions Festival announces full line-up

As the end of the university year looms closer and the grass on the other side of exams gets greener, the excitement for summer builds and builds. If you’re planning on going to Dimensions festival, that excitement will soon be reaching a critical level after a brand new wave of acts were announced a few days ago.

The new names include Juan Atkins, Underground Resistance presents Timeline live, Âme, Boddika, Loefah, Floating Points (DJ set), BADBADNOTGOOD, Objekt, Space Dimension Controller, Petar Dundov, Ilija Rudman, Randall, Waajeed, Eliphino and many more, who join the already revealed Four Tet Live, Little Dragon and Floating Points Live who headline the Dimensions Opening Concert, with George Clinton / Parliament / Funkadelic, Moodymann, Ben Klock, Lil Louis, Mala, Gerd Janson, Dusky, Mount Kimbie (DJ set), Blawan, John Talabot, Surgeon, Bicep, Rødhåd, Hessle Audio: Ben UFO, Pearson Sound and Pangaea, Daniele Baldelli, Motor City Drum Ensemble, Osunlade and many more at the festival itself.

Keep an eye out for our review after the festival and until then you can read our preview of Dimensions festival, along with the rest of our European Festival review here

Live: The Leisure Society

20th April

The Deaf Institute

7/10

The evening of the hottest day of the year so far couldn’t be better accompanied than by the reassuring sweetness of The Leisure Society. ‘Outside In’ opens their set with an instant summer anthem, honing in on the stamping piano and uplifting chorus. Having only released their most recent album The Fine Art of Hanging On this month, The Leisure Society have hardly given us a chance to consume their new songs. But as a most infectiously likeable band, they call us into welcoming arms with tune after tune of harmless and sunny bliss.

I’m often wary of a flute, especially when shoved on the side of a small stage with a fiddle. Its not unlikable, but often inoffensive and tame. Yet in ‘Nothing Like This’ the flute is no sound filler like the tambourine or a hand bell, rather it flirtatiously bounces off the violin, creating an energetic duo forcing them into centre stage. They own that stage.

“This song was inspired by a visit to the Hastings Fisherman’s Museum”, announces front man Nick Hemming introducing ‘Tall Black Cabins’, “that’s got pop hit written all over it.” The coolest thing about The Leisure Society is their complete awareness of how very uncool they are. An admiring audience of worshipping 50-somethings ought not to be snubbed, and it’s definitely refreshing to see them sing along and fist pump in unashamed adoration. They’re captivated by the older songs such as ‘This Phantom Life’ which acts like a narcotic, disdaining scepticism with invigorating hope.

Finally dropping into the audience for an acoustic rendition of ‘Pancake Day’, rotating the room to give everyone their own private performance, they reach new levels of quaint (there was even an unaccompanied verse of just whistling). There’s no reading between the lines here, it’s merely unadulterated leisure listening perfect for giving you a taste of your future middle ages. And you know what? If I’m still having as much fun as those grey haired fist pumpers were, I can’t bloody wait.

Live: Bipolar Sunshine

17th April

The Ritz

5/10

It is a packed out Ritz which welcomes Manchester’s own Adio Marchant, alias Bipolar Sunshine home, on the last date of his 2015 tour. Foreshadowing his entrance is a vibe-y onstage light installation, spelling out “BIPOLAR SUNSHINE”, which sets up the ambience for the music ahead.

Indeed, vibes seem all important to Marchant. In a set sparsely punctuated with talking, he manages to occupy most of what there is with remarks about the “feeling” and the “scene”. Maybe this is to make up for the lack of significant feeling in his performance as a whole. Whilst the catchy refrain “do it like that, do it like that” in ‘Deckchairs on the Moon’ is brimming with upbeat rhythm, the deck chair brought out for it seemed to be nothing more than a visual sugar fix.

The cover of Gary Jule’s ‘Mad World’ thrown in in the middle of the set is the only indication of something more complex. It mixes up the slightly banal delivery of hopeful sounding melodies with something moodier in the emphasised bass line. However, the set’s predictability isn’t to take away from Marchant’s ability to captivate the crowd, especially in the memorable choruses of hits like ‘Where Did The Love Go’. Nevertheless the set that barely surpasses forty-five minutes does little to stir the audience to any higher echelons, and is limited to a one song, timid encore.

Ultimately, it isn’t the performance’s musical intricacies which are lasting imprints of Bipolar Sunshine’s set. The visual aspect – Marchant’s dip dyed blue hair, the accompanying band’s white suits, and musical collaborator Jazz Purple’s dungarees – are what stick out. Oddly it is the music, not performance, which dominates Marchant’s shows though.

So what is this visual candy masking? The answer seems to be in the crowd. They’re engaged, but in a stumbling sort of way, chatting throughout and buying drinks right up until the encore. Recorded, Bipolar Sunshine’s music can be charged, moving. Live, the songs take on the hue of telephone hold music. I’m left half-full or half-empty, whichever, there is something lacking. It is nice but forgettable.

Live: Mounties

17th April

The Deaf Institute

5/10

Canadian indie supergroup Mounties failed to impress at a near empty Deaf Institute. The release of their debut full-length album Thrash Rock Legacy a year ago signalled a bright future for the outfit with a collection of charging indie rock. In fact, opener ‘Pretty Respectable’ reflects the spirit of the album well with a tantalising synth hook, catchy lyrics and driving bassline.

However, after the opener the band fail to catch the attention of the crowd for long spells. ‘Feeling Low’ sounds messy, which is more to do with the song itself rather than poor performance as there is just too much texture for it to translate well live. ‘Waking Up On Time’ is a lovely studio song transmitting great summery vibes with fantastic synth melodies and airy vocals, but once again the song fails to translate well to a live setting. It seems the band want to rock-up their songs for live performances, yet in doing so they lose the delicacies that make their music so appealing.

Despite this, the gig does pick up quite well towards the end with a sequence of songs that of much better quality. ‘If This Dance Catches On’ is a driven guitar-led piece of indie rock that lifts the mood and even inspires the audience to put on their dancing shoes for the rest of the set. ‘Headphones’ is a foot-tapping singalong that is a good song despite some rather naff lyrics. However, by far the band’s best song is closing number ‘Tokyo Summer’ which shows the true potential of the band to infuse their brand of indie with bursting synth melodies and catchy vocals.

Don’t write off Mounties as they do have lots of potential and future material is definitely something to look forward to, but their live performance was not as impressive as their studio material and it must be said that their Friday night slot at the Deaf Institute was ultimately a wasted opportunity.

Interview: Rhino Bucket

Georg Dolivo, along with the rest of Rhino Bucket, are all set to embark on the 2015 Monsters of Rock Cruise to the Bahamas later this month. This cruise – four days full of sea, sun and rock star debauchery – will inevitably bring a whole new meaning to ‘rock the boat’. They will be joined by some of rock ‘n’ roll’s most legendary names of the last 30 years or so. Tesla, Europe, Night Ranger, Extreme, Kix and many more are all confirmed for what is a rather unusual performance concept, but it’s a gig that clearly has a certain appeal to bands and solo acts every year, including Georg. “It’s four days of non-stop rock ‘n’ roll, beers and sunshine. Why not do it?” Fair point. No-one can really argue with that.

When Georg formed Rhino Bucket in Van Nuys, California in 1988, the likes of Guns N’ Roses and Van Halen were already gaining internationally-acclaimed success. Not that I intentionally brought it up to rub it in his face, of course. It’s difficult to place a finger on why Rhino Bucket didn’t join them and ‘take off’ in the mainstream, and I’m not the only one. “If I knew the answer to that, I would be a millionaire. Actually, there quite a few great bands that didn’t get the success that they deserved. For example, Junkyard, Sea Hags, The Hangmen, Darling Cruel, LSD, The Unforgiven, etc.” Georg, though, is not one to dwell on any notion of what could have been. “If you pick up a guitar purely for financial reasons, you’re heading down the wrong path. It takes a passion. I’m proud that after all these years; we are still touring, still making records, still a band.”

In all those years of touring and making records, Rhino Bucket’s sound has drawn unsurprising comparisons to rock ‘n’ roll compatriots and juggernauts, AC/DC. A comparison which, and quite rightly so, Georg is happy to embrace. “To a certain degree, we were all fans of early AC/DC, probably more so for Greg Fields [original lead guitarist until 1996] and myself. As young men drinking and fighting in the streets of Van Nuys, they were the sound-track to our lives.” The AC/DC connection goes far beyond stylistic similarities, as Rhino Bucket had a former AC/DC drummer behind the sticks for two albums. Simon Wright, originally from Oldham in Greater Manchester, appeared on Rhino Bucket’s 1994 album PAIN, and The Hardest Town in 2009. It’s a small world in which who you know, counts. “Our original drummer left the band, and his wife knew Simon’s wife, and a couple of phone calls later, we got together and jammed. It worked instantly and he has been a good friend ever since.”

You would be forgiven for thinking that by having a former AC/DC drummer on their books, he should have worked wonders for their reputation. Sadly, that didn’t appear to be the case. “I’m not sure it did anything to raise or lower our profile. Hmm, maybe it did, as everyone is a fan of Simon, myself included.” I ask Georg what he knows about the music scene in Manchester, having worked so closely with Simon. “I don’t know much about the Manchester music scene, but I do know that the greatest football team that has ever existed resides there at Old Trafford, Manchester United!” A man who is more First Division than Joy Division, it seems. Or maybe he’s just, Simply Red? “Oh yeah, I’m a life long Manchester United fan. My favourite players were Roy Keane and George Best. I secretly hope that Cristiano will come back to us.” He’s not the only one. “But I doubt that will happen.“ Again, he’s not the only one. “Paul Scholes was the best midfielder of his generation, and Ryan Giggs should be spanked for what he did to his brother.” Spanking, though, I’m sure was one of the many things that got him in to trouble in the first place.

Football aside, Rhino Bucket haven’t performed in the UK for what is coming up to ten years now. With a strong rock fan-base that would welcome and embrace Rhino Bucket with open arms, there should be no issues with coming over and playing a few UK gigs, should there? “Ah, England and their lovely border agents… Three of the guys were deported in 2005 because of a lack of work permits for a gig we were supposed to do in Manchester. I wasn’t as I’m a EU citizen [Finland]. Although the promoter offered to come down and pay for the permits, the agent wouldn’t have it, and thus the deportation. When we were back at the airport, 12 hours later, they handed us tickets for only the guys being deported, leaving me stranded.” Having a lack of permits may not be as much of a ‘rock ‘n’ roll’ reason for not being allowed to perform here as, say, throwing televisions out of hotel windows (I know, very clichéd), but Georg hopes that one day, Rhino Bucket can return. “We would love to play in England, Scotland, Wales, and Northern Ireland, but until someone with enough clout and legal knowledge to make that happen comes forth, I’m afraid we shall remain ‘persona non grata’ in Great Britain.”

Unfortunately, the setbacks do not end there. “We do not have the rights to our first two albums, which were on Reprise/Warner Bros. Records. For quite a while, they were out of print, but a couple of years ago Rhino Records, not affiliated with us in any way, re-released them on iTunes. Legally, they have to send us reports every three months but they have yet to send a single one. So again, legally we should receive full ownership of the first two albums as a result. But, we do not have the financial resources to take on the lawyers at Warner Bros. and they simply ignore us and continue to sell our first two records on iTunes with out sending a single royalty report.” For any band, the music ‘industry’ can be a very dangerous game to play. In all his years with Rhino Bucket, Georg has accumulated enough wisdom and experience, both good and bad, to write an entire series of books, never mind just one. His simple advice to new bands is to “lawyer up and trust no one. Not everyone is a crook, but everyone is there to make money, including your lawyer. So make sure everything is in writing and crystal clear. And also remember, there is not a single person who you will ever meet that works at any record company that you yourself couldn’t do a better job than what they do. It’s the crime of the century, they call musicians clueless but they themselves are as dumb as dirt.”

Despite the troubles with their first two albums, Rhino Bucket are in the process of making a new one. “We have a good number of songs written and are scheduled to record this summer”. Writing songs, as well as worshipping Manchester United, is one of Georg’s great pastimes. “There is a certain excitement in getting a song down and then visualising how it will be realised in recording and then received live”. Not one to deviate from a proven musical formula, Georg says that any new album is “always going to be straight ahead, bang your head rock ‘n’ roll!” Not that it should come as any surprise. Rhino Bucket have powered through the last 27 years without any pretence to be anything other than a great rock ‘n’ roll band, playing the music they love, to people who love to hear it. They are amongst the last of a dying breed, but there is no chance of this rhino kicking the bucket (sorry) any time soon.

Album: George FitzGerald – Fading Love

Released 27th April, 2015

Domino Records

8/10

A lot of people write songs after break-ups, and George FitzGerald just broke up with predictable dance music. Due to this, Fading Love may not be what you expect. Considering the path taken to get to his debut LP, the content and message of this album are a stark departure from the last five years of singles produced by the Berlin based DJ/Producer.

The most obvious difference to anything prior is the pace and overall feel of the album. Fading Love is quite melancholy, and starts at a low, ambient base with ‘About Time’, featuring a prominent set of specially written vocals, rather than the predictable ‘sample vocal’ of popular tracks. The following song, ‘Full Circle’, the first single to be released from the album, also features the gentle vocals of Oli Bayston of Boxed In. This and ‘Crystalize’, are arguably the most similar to FitzGerald’s earlier work, but with good reason. They manage to allude to the more tactile, ambient nature of the rest of the album in an attempt to draw inexperienced listeners in towards a different, more leftfield approach to dance music. By doing this, Fading Love could be mentioned in the same breath as some Orbital releases, and parallels can also clearly be drawn to Jon Hopkins’s more recent work through tracks like ‘Your Two Faces’. Some FitzGerald trademarks are still present however, but are visibly more measured, like the subdued bassline of ‘Full Circle’.

Although the album lasts only 40 minutes, it has the feel of a, dark, night long set through the low ominous synths that undercut so many tracks. This really sets the album apart, as it carefully controls the energy levels, allowing them to flow through each track into the next, giving the whole album a clear narrative.

Ultimately, it’s an excellent post night out album, ideal for the slow return to normal after the club-ready dance music and huge basslines have finished, and the love affair with the night before is over.

Club: Daniel Avery

28th March

Soup Kitchen

7/10

Coming off the back of the extremely successful debut album, Drone Logic, in addition to an excellent collection of remixes, expectations for Daniel Avery’s show at Soup Kitchen were high. With a small but strong supporting lineup including a set from underground techno pioneer, Volte-Face, the show was poised to be a heavyweight set of performances in an intimate atmosphere.

The night began with John Loveless playing some percussion rich, bassy techno, which was perhaps a little heavy for an early slot. Volte-Face followed this with much of the same, but with more variation, incorporating more ambient tracks with rolling synths that appeared to sit a lot better with the mixed crowd that had turned out.

The beginning of Daniel Avery’s set was unclear, as he hovered around the decks for a while before actually appearing to start, giving the night a very casual, house party style feel that was only amplified by the stripped back, basement setting of Soup Kitchen. This seemed appropriate for Avery, as it completely fitted his nonchalant, seemingly indifferent style of performance. When he did visibly get underway, he displayed excellent track selection and really appeared to give the crowd what they wanted and expected from him.

Most of the tracks played in his 2-hour slot were either originals or remixes from his album, some of which he used to test the crowd with, such as Matt Walsh’s remix of ‘Free Floating’. Although this could be construed as the lazy option, the positive response showed that it was obviously what the crowd wanted to hear. The end of the set had a fairly odd feel to it, as whether out of confusion or just poor selection, the last half hour was entirely made up of tracks that were in their own right, incredible closers. The track that actually closed out the night was the KiNK remix of ‘Knowing We’ll Be Here’, arguably the best finisher of the tracks played.

All in all, the gig was an excellent showcase of Daniel Avery’s production abilities, but failed to set my world alight, more as a result of his lack of charisma in an intimate gig, that seemed to necessitate it for the performance to really stand out.

Live: John Cooper Clarke

21st March

O2 Apollo

9/10

John Cooper Clarke: a poet, a comedian, a punk, a Mancunian. You either love him, or you have probably never heard of him. Revolutionary in the 1970s, JCC earned the title of a ‘punk poet’, performing on the same bill as the likes of Manchester’s The Fall and Joy Division. Punk was a movement of anger and rebellion, its people were not expecting the love of poetry that JCC evoked in them. With a grittiness, rawness and comical crudeness that was a far cry from Wordsworth’s ‘Daffodils’, JCC made poetry accessible and enjoyable for a new and unsuspecting generation. Now marked as a legend in music, poetry and culture, JCC returned this month to his hometown and most loyal fan base for a memorable night of profanity and politics.

Opening with a poem dedicated to the guest list of the night, JCC proved his ability to write a brilliant and hilarious poem about even the most mundane of topics, humbly stating that he was “somewhat of a rhymer”. Over the course of the evening, he dipped in and out of an old and battered notebook filled with ingenious scribblings and anecdotes. The first half consisted of relatively new and unknown poems, JCC venturing into the world of limericks with ‘Necrophilia’, who said you can’t achieve comic perfection in two lines?! To the room’s excitement, JCC soon began trailing through his old classics such as ‘Pies’, ‘Chickentown’ (his most favourite after it appeared on The Sopranos), ‘Beasley Street’ and the biggest crowd pleaser, the gloriously despicable ‘Twat’. He also performed ‘Things are gonna get worse’ which as a poem about the effects of ageing, he crudely dedicated to the late Terry Pratchett, apologising for his infamous “lack of empathy”.

His often long and undirected ramblings did not please everyone, but for those who truly understand JCC, they know and accept that this is all part of the wonderful skinny-legged and big haired package. So if you are inclined to poetry that is both hilariously crude and profoundly real, check out JCC, there really is no one, nor will there ever be, like the legend himself.

Live: Karnivool

24th March

HMV Ritz

7/10

Australian quintet Karnivool began the end of their European tour, Divergence, in a powerful show performed at The Ritz. Support came in the form of UK tech-metallers Monuments performing mainly material from their second album, The Amanuensis. Monuments draw a reasonable crowd with a dedicated contingent of followers and set the progressive tone perfectly for the headliner, despite being overwhelmingly loud. Even with tickets still on the door, possibly due to the fact that many students have packed up for Easter, by the time Karnivool got to the stage the atmosphere could only be described as electric.

Opening with ‘C.O.T.E’ and ‘Shutterspeed’ from their first album Themata, singer Ian Kenny belts out lyrics with power whilst prowling the stage, only to have the audience chant them back louder. The whole band has such an epic, ethereal stage presence, and seem to have their game down to a T with some serious movement in the crowd as they progress through the grooves of ‘Roquefort’ and the anthemic ‘Themata’. The setlist is broken into three parts with each album the band have made played chronologically – the main set consisting of Themata, followed by Sound Awake, before five songs are played as an encore from 2013’s Asymmetry.

‘Goliath’ and ‘Deadman’ seem to be strong crowd-pleasers moving through the main set, however the energy of the audience seems to taper off throughout, despite the band never missing a beat. Karnivool seem to have a false start on the encore, opening with ‘Alpha Omega’, even though the roar of the crowd demanded something a little more energetic. The classic ‘We Are’ is played with a phenomenal drive and clarity not found in the studio version and brings the energy right back up for going in to ‘The Refusal’, which goes down a storm.

Finishing the gig with the brooding track ‘Aeons’, Karnivool put in a cracking performance and are clearly a very talented band with some weight under the belt. Although playing a chronological setlist seems an interesting thing to do, all of the energetic songs are out of the way quickly, with the set not quite recovering from this. Nevertheless Karnivool are a force to be reckoned with, and are a must see for any fan of rock or metal.

Overheard: Election Special

“Yeah but that’s the thing with politics, it’s a choice between loads of wankers”
Overheard in 256

 

“I really want… to want to vote for Labour”
Overheard in Big Hands

 

“I like to vote for the underdog, just to give them a bit of hope”
Overheard in the Language centre

 

“I don’t know why but I just really trust David Cameron”
Overheard on the grass outside the Library

 

“If you could sum up how you feel about the general election in one emoji, what would it be?”
“Probably that disinterested side-eye thing. Or the pile of shit.”
Overheard in Uni Place

 

“The Milifandom is the best thing to come out of any election ever”
Overheard in Stopford

 

“If Nigel Farage is the next Prime Minister I will quit my degree and personally champion the assassination plot”
Overheard outside the Alan Turing Building

 

“Would you rather have Cameron or Miliband as your Prime Minister?”
“I think I’d rather move to North Korea and live under Kim Jong-un”
Overheard on a magic bus

 

“I just don’t feel like anyone is trying to get me to vote for them”
Overheard in the union

 

Preview: MIF & WHP present 10×10

Warehouse Project mark their tenth anniversary this year. An institution of Manchester, the impact they’ve had on the Manchester clubbing scene in the past decade is incalculable.

Manchester International Festival also enters double figures this year. This has provided the perfect opportunity for MIF and WHP to team up and curate two whopping events, set to take place on 17th and 18th July in the Mayfield Depot. With the demolition of this building scheduled, these are one off experiences.

Friday night features a live performance from electronic innovator Four Tet, with support from Tyondai Braxton and Koreless. Saturday sees ten of the world’s most renowned DJs playing sets, including Carl Craig, DJ Koze and Joy Orbsion. There will also be live sets from Octave One, Paranoid London and Dark Sky.

Full details can be found here, with tickets on sale from 10am on 8th May.

The Warehouse Project have also announced two shows for 16th October. Jamie XX will play the Albert Hall and Major Lazer will play Manchester Academy, tickets are on sale now.