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Month: February 2015

Top 5 author name changes

1. Tennessee Williams (born: Thomas Lanier Williams)

The author of A Streetcar Named Desire changed his birth name to the one we know today sometime in 1939. He once wrote that he had a “desire to climb the family tree,” and thus changed his name, but others have speculated that he called himself Tennessee because his college fraternity nicknamed him this due to his thick southern dialect.

2. Mark Twain (born: Samuel Langhorne Clemens)

When he was young, Twain wanted to become a steamboat pilot. Part of the process of operating a steamboat was for the leadsman to call out “mark twain,” which meant that the water was deep enough for the steamboat to travel. A seemingly standard expression in river boating would go on to become the name of one of America’s greatest writers.

3. George Orwell (born: Eric Blair)

Before the publication of Down and Out in Paris and London, Orwell sent a letter to the publishing company saying he wished for the book to be released under a pseudonym as he did not want his family to be uncomfortable at the fact that he had lived as a tramp. He settled for the name George Orwell because it was “a good round English name”.

4. George Eliot (born: Mary Ann Evans)

George Eliot felt it was necessary to masquerade the fact that she was a woman in order for her work to be treated as equal to men’s work. Although there were accomplished female writers at the time, like Charlotte Brontë, Eliot wanted to escape the cliché that women only wrote romantic novels, but didn’t think she would be taken seriously with a female name.

5. Joseph Conrad (born Józef Teodor Konrad Korzeniowski)

His first published novel, Almayer’s Folly, saw Conrad adopt the recognised name. Born in Poland, but later moving to England, the name change can only been seen as a way of anglicising his birth name. The choice of his third of four names, Conrad, appears to be a homage to the Polish Romantic poet Adam Mickiewicz’s patriotic narrative poem, Konrad Wallenrod.

Wolf Hall from Book to Screen

Mantel’s 2009 and 2012 Man-Booker winning novels Wolf Hall and Bring up the Bodies have managed to surpass all expectations, and winning the prize does invariably lead to a huge increase in sales, with Mantel’s books continuing to sell in their tens and hundreds of thousands even five years on. The afterlife of most Man Booker winners does not, however, usually include both stage and television adaptations, making Mantel’s something of an anomaly.

Mantel’s books captured the public’s imaginations at the time of their publication and they continue to capture viewers in their adaptations today. Wolf Hall and Bring up the Bodies both tell stories full of human complexity which recount a distant time and place with unparalleled insight. With the breadth and depth of Mantel’s novels, it would seem that Peter Kominksy is stepping into a somewhat hazardous playing field in attempting to televise the books. Yet Kominksy’s adaptation challenges even the achievements of Mantel’s novel, succeeding in a clash of artistries that readers and viewers are relishing. While Mantel has almost limitless space within her novel, Kominksy has merely six hours, leading to unadulterated pace, flashbacks and visual impact that does justice to Mantel’s breakout works.

With the fourth episode of six airing this Wednesday, it seems that there is no stopping historical drama Wolf Hall. The Henry VIII drama first aired in January, and having been watched by over four million viewers, it swiftly became BBC2’s most successful drama in a decade. With viewers and critics alike regarding the adaptation of Mantel’s Man Booker Prize winning novel as ‘close to perfect television’ The Daily Mail’s television critic Christopher Stevens gave Wolf Hall a five-star review.

It is no surprise that Kominksy’s adaptation has caused such a stir, with a cast consisting of Mark Rylance as Thomas Cromwell, Damian Lewis as Henry VIII and Jonathan Price as Cardinal Wosley. With the media frenzy circling the filming and interviews with Rylance, Mantel and Lewis on their hopes for the programme, Wolf Hall really took on a life of its own. What sets Wolf Hall apart from other historical dramas is that, unlike The Tudors, Wolf Hall is taut and gloomy; if you are looking for lusty bed scenes and beheadings then Wolf Hall is unnervingly quiet in comparison. James Walton at The Telegraph was taken by the pace of the production stating ‘its willingness to allow a slow build; its defiant refusal to get overexcited by either its own material or its own hype; and, above all, its vivid sense that what we now regard as history (and therefore as somehow inevitable) is something that once unfolded—and unfolded uncertainly—in real time’. Kominksy sets Wolf Hall apart from the hype to present viewers with a pared down, concise and coherent interpretation that Mantel herself said exceeded her expectations.

The buzz over the novel and its televised adaptation is justified by many, and in a somewhat paradoxical manner BBC2’s adaptation has not discouraged anyone who hasn’t read the novels from reading them; it leaves you with a lingering urge to either read or re-read the originals. Kominksy has not dumbed down the historical drama but rather approached it in a manner that feeds our curiosity, as he cuts to the chase and feeds us our television in what could be coined ‘tablet form’.

Catch Wolf Hall on BBC2 or BBC iPlayer, and if you’re like me, make your Wednesday nights for staying in.

Great Worqs

Having started just over a month ago it seems that Great Worqs is certainly a force to be reckoned with, just looking over their website alone shows their substantial growth across multiple social platforms. Great Worqs is using media itself as a source to connect and unite people who are interested in publishing, with their aim being to connect readers, writers and filmmakers, it is a market that is tapping into the new modern and malleable approach to all creative avenues.

Great Worqs is a platform which encourages and enables writers and writing enthusiasts to put their hand at writing short stories, film synopses and blurbs that will be submitted and if the pieces are good enough they will be published onto the platform. Writers with published work on the site are able to upload books and scripts which can be bought for a fee of £1.49/$2.32 to readers of Great Worqs, with the majority of royalties being returned to the writer.

There is an aspect of the platform that provides the basis for filmmakers from all around the world to connect for free. With Great Worqs already boasting platforms from multiple well established filmmakers including Terance Nance, Andrew Corkin, Dean Craig, Eric Kolelas and more. The Great Worqs team consists of students from Swansea University, Imperial College London and NYU, along with other schools. Yet, as of the New Year the organisers were already expanding by involving an abundance of students from the Met Film School based in Ealing, after the school is pushing Great Worqs through their institutions social pipeline.

Great Worqs is focusing on creating a platform that will break down the barriers for writers when it comes to publishing and the film industry. Through the platform writers and readers can upload their work or stories and gain traction within days, and depending on how many members of the site love and rate yours stories. Filmmakers will then be able to easily get into contact with you in order to hopefully turn your words into the next Great Worq.

Currently Great Worqs are running a competition in partnership with the MMBF trust which much like their usual set up allows students to upload stories, connect with film-makers/student filmmakers and work together to make a film that will be sent back to Great Worqs. Following this the short films will be put onto their YouTube Channel. The highest viewed videos will then be reviewed by their high profile independent filmmakers who will judge the best film. Winners will get free independent film festival tickets to any festival in the world of their choosing and £100 prize money. At the same time if you already have a short film made you can submit the synopsis of that film and send your film right over, where they will upload the film and your story as a pre-collaborated piece. ​For more info check out (www.mmbf.co.uk/greatworqs).

Or for more information on Great Worqs visit the site, the URL is: www.greatworqs.com

Review: Scar Tissue by Anthony Kiedis with Larry Sloman

Scar Tissue by The Red Hot Chilli Peppers’ frontman Anthony Kiedis, along with Larry Sloman, is certainly one of the most honest and obscene autobiographies you will ever read. Kiedis appears to hide nothing as he takes the reader on a tour of his life up until 2004, reaching crushing lows and unbelievable highs. At the end, it is hard to decide whether he is a narcissistic asshole, or just a sincere man trying to be the best person he can be. Whatever your final position is though, it is almost impossible to claim his life has been boring.

Kiedis’ bohemian lifestyle starts pretty much from birth. His father and mother split when he was very young, and during his childhood he would alternate between living with his father Blackie Dammett in California, and with his mother in Michigan. By the age of 15, a young Tony Kiedis was already one member of his father’s gang. He recalls unbelievable tales of snorting coke and smack, and negotiating with his father about who he would lose his virginity with. The theme of drugs and sex is seemingly as ubiquitous as vowels for the rest of the book.

The frantic and wild lifestyle continues into his adult life as he documents the rise of The Red Hot Chilli Peppers. However, one criticism of his story is that he doesn’t dwell too much on how the band really recorded their music. People looking to receive a detailed insight into how the Chilli Peppers function or get along will be left still wondering what it is like. Take for example Chad Smith, the drummer of the band for the past 15 years at time of publishing. Kiedis spends a mere half a page in total to describe his relationship with Smith. It may well be that Kiedis is protecting his friend by not sharing intimate stories, but it appears more like an insult to not even refer to him as a primary figure in his life. More shockingly is his quick digression of his other band mate, Slovak Hillel. The death of Hillel is mentioned almost in passing and Kiedis’ spends an insignificant moment to reflect on what his death meant to him.

The autobiography, however, is for the most part enjoyable. For fans of the Chilli Peppers, the least it will do will make you re-live some of the notable moments in the band’s history. For instance, watching their 1991 performance of ‘Under The Bridge’ on David Letterman will make you tense up. The guitarist John Frusciante is high on smack, and without warning Kiedis proceeds to play the song in an unknown key, leaving the frontman all lost at sea. For people who are not fans of the band or don’t know too much about them, it will appear to be endless cycle of overindulgence leading to addiction leading to recovery leading to overindulgence again and again, until it becomes tedious and boring.

Overall, the book is designed for fans of Kiedis, sex, drugs, and rock and roll. If none of the above take your fancy, you’re probably best looking elsewhere. Ali Pearson

Classics Digested: Paradise Lost

Who is the author?

John Milton passed away 340 years ago this month and yet he still remains one of the most quintessential names in the world of Literature. Whilst Milton is best known for his epic poem Paradise Lost, his influence outstretches that of the Miltonic verse. His stance as a vigilant polemicist and civil servant for the Commonwealth of England under Oliver Cromwell means that Milton has had a large impact in shaping the world we know today. Writing in English, Latin, Greek, and Italian, he achieved international renown within his life time. His Poetry and prose reflect the thoughts of a true republican and his celebrated Areopagitica, which openly condemns pre-publication censorship is amongst the most historically influential defences of free speech and press.

What is it about?

Paradise Lost chronicles the Biblical story of the Fall of Man, through Satan’s temptation of Adam and Eve and their eventual expulsion from the Garden of Eden. What may strike you is that Satan is often regarded as the protagonist and equally the hero of this work. Whilst it is divided into two halves consisting of six books each, which reflect on the lives of Satan as the fallen angel, and the Son as Jesus Christ. As Satan is cast out of heaven for hubris he creates his own realm in Pandemonium. He is a rebel against the divine authority of God, which is often regarded as a mirror to the Commonwealth as a rejection of kingly authority. Milton’s intentions are divided in making God attractive to humanity and yet making Satan admirable. One thing for you to muddle over: Who do you think is the hero of this epic?

Why should you read it?

It is Milton’s magnum opus, his definitive work. It is firmly striding through the footsteps of the greats like Ovid, Homer and Virgil, as the great Epic Poem in English Language. Whilst it is certainly not the easiest to digest it is worth the eventual struggle. Not only is this epic in plot but it is epic in verse and poetic technique. It was one of the few works of true genius working on the basis of vast intertextuality and widespread knowledge. If that isn’t enough then how about its controversial stance. To put it simply, Milton as a devout Christian presents to you one of the most sensual and erotic accounts of Adam and Eve from the 16th century and to top it off Satan comes out as the tragic hero.

 Famous Quote:

“Better to reign in Hell, than to serve in Heaven.”

Preview: Red Bull Music Academy Tour – Manchester

Across the weekend of 16th-19th April the Red Bull Music Academy tour will be stopping off in Manchester.

A programme of club nights, shows, lectures, workshops, daytime parties and live radio broadcasts tailored made to Manchester’s cultural heritage will feature in various venues across the city.

Just some of the events on offer include: a daily exhibition hosted at Soup Kitchen; Skepta in conversation on April 16th; a teachno feast served up at Sankeys on April 17th with Industrial City Sounds featuring Derrick May, Surgeon, Tin Man and more; and a studio science workshop from legendary hip hop duo Royce Da 5’9” and DJ Premier aka PRhyme.

The 17th edition of the Red Bull Music Academy takes place in Paris this autumn. You can read our feature on the recent Road to Paris tour, including details on how to apply for the academy, here.

Further information about the tour and tickets can be found here.

Full line up details for the Manchester leg are below:

Dr Me’s Jacket – A Red Bull Music Academy Exhibition

DATE: Thursday April 16 to Sunday April 19

LINE UP: Dr Me

VENUE: Soup Kitchen, 31-33 Spear Street, Manchester, M1 1DF

TIME: Noon to 10pm

TICKETS: Free entry

Red Bull Music Academy presents In Conversation with Skepta

DATE: Thursday April 16

LINE UP: Skepta

VENUE: The Studio Gorilla, 54-56 Whitworth Street West, Manchester M1 5WW

TIME: 6.30pm to 8.30pm

TICKETS: £5

Red Bull Music Academy presents Tropical

DATE: Thursday April 16

LINE UP: Hosts – JME, Skepta, C4, Flowdan and friends; DJs – Todd Edwards, Preditah, Slimzee, Plastician & Logan Sama

VENUE: The Ritz, Whitworth Street West, Manchester M1 5WW

TIME: 10pm to 3am

TICKETS: £15

Red Bull Music Academy presents Industrial City Sounds

DATE: Friday April 17

LINE UP: Derrick May, Surgeon, Dana Ruh, Tin Man, Happa, Acre

VENUE: Sankeys, Beehive Mill, Jersey Street, Manchester M4 6JG

TIME: 10.30pm to 6am

TICKETS: £10 – £15

Red Bull Music Academy presents Deep South

DATE: Friday April 17

LINE UP: Omar-S, Doc Daneeka

VENUE: South Nightclub, 4a South King Street, Manchester M2 6DQ

TIME: 11pm to 4am

TICKETS: £10

Red Bull Music Academy presents Simmering From Beneath

DATE: Friday April 17

LINE UP: Mount Kimbie, Synkro, Braiden, Dan Hampson,

VENUE: Soup Kitchen, 31-33 Spear Street, Manchester M1 1DF

TIME: 11pm to 4am

TICKETS: £10

RBMA Radio: Live in Manchester

DATE: Saturday April 18

LINE UP: Krystal Klear, Zed Bias, Jon K, Jonny Dub, Chunky, Metrodome, Paleman, Danuka, Swing Ting, Meet Free DJs, Glowing Palms

VENUE: Soup Kitchen, 31-33 Spear Street, Manchester M1 1DF

TIME: Starts at noon, closing time TBC

TICKETS: Free entry

Red Bull Music Academy presents Zed Bias and friends

DATE: Saturday April 18

LINE UP: Zed Bias, ∆KKORD, Illum Sphere, Levelz, Chimpo, Sivey, Biome, Jonny Dub b2b Metrodome b2b Rich Reason

VENUE: Antwerp Mansion, Rusholme Grove, Wilmslow Road, M14 5AG

TIME: 11pm to 4am

TICKETS: £10

Red Bull Music Academy presents Studio Science: PRhyme

DATE: Sunday April 19

LINE UP: PRhyme

VENUE: NQ 2022, 20 Dale St, Manchester M1 1EZ

TIME: 2pm to 4pm

TICKETS: RSVP for guest list from February 25

Wax Works – A Red Bull Music Academy Special

DATE: Sunday April 19

LINE UP: DJ Jazzy Jeff, PRhyme, Todd Terry, Krystal Klear, Josey Rebelle

VENUE: Beat Street, Great Northern Warehouse, 235 Deansgate, Manchester M3 4EN

TIME: 6pm to 2am

TICKETS: £10

Review: Umami

Umami, a Japanese loanword, translates as a ‘pleasant savoury taste’. Included with the four classic taste dimensions: sweet; salty; bitter and sour, it can be recognized largely in Japanese cuisine often found in the additive known as MSG. This flavour is associated with a salty, savoury taste which is why its inclusion in the basic list was in dispute. However, the distinction from the ‘salty’ category can be made due to the way that Umami can be created through combinations of savoury foods put together. Think Remi with his cheese and strawberry in Ratatouille.

Umami means adding the intense flavour that you need in order to enjoy your meal to the full extent. Parmesan on spaghetti Bolognese. The little bit of burnt on your roast potatoes. Mustard on ham. Fish and chips with tartar sauce. Soy sauce on sushi? Umami!

It’s also the name of a lovely underground noodle bar on Oxford Road. Having visited on five occasions without a single disappointment, I thought a review of my fifth taste was in order.

On descending the restaurant’s steps I first expected to be greeted with a neon-lit counter, hectic atmosphere and claustrophobic but versatile seating – a sort of cross between Archie’s Milkshakes and Yo!Sushi. This presumption was only due to a glance at the offer of a £5.95 lunch deal and the coloured sign modestly pointing to ‘noodle bar’. What in fact lives at the bottom of those stairs is a sophisticated and authentic Japanese restaurant that is a great meeting place for lunch or dinner, student or superior.

Shiny rectangular wooden tables stand at perfect elbow-resting height, with matching benches and similarly sized Japanese artwork adorning the right wall. Another wall gives home to the half-open kitchen with a tall bar for freshly made orders to wait. Those orders don’t wait long as staff are attentive and efficient, in fitting with the place’s clean and functional look. Despite the sleek design, the restaurant still holds just the right amount of character, being underground and spacious without feeling confined or empty.

The food itself is similarly simple without being boring. Mostly centred around noodles in various sizes with differing broths and flavourings, the menu also offers fried rice dishes and an appetizing selection of small plates or starters.

From the vast amount that I have tried, I would particularly recommend the crispy salt & pepper tofu – perfect for first time tofu-triers, or those who’ve had bad experiences with the spongy stuff tasting like well, sponge. The king prawn gyoza dumplings are equally satisfying and when dipped in the sweet sauce really create that UMAMI flavour.

The udon and ramen soups are honestly much of a muchness for me, which doesn’t mean to say they are not good. The combination of noodle and broth makes a refreshing lunch and a spicy one is perfect for a cold winter day. Offerings on the lunch menu are a careful selection of the best sellers that the chefs are readily prepared to make in a short time, it seems encouraged during this time as a means of practicality for the staff. This means that you’re not getting a pared down version of something from the full list, so it’s a win-win situation.

The speed of service here means I’ll normally go for lunch so I can spend more time doing nothing quickly get back to the library. However, on occasions where I’ve dined in the evening it has also been a lovely choice, always positively commented upon by the friends I have taken. Although one night we gave in to the temptation of Japanese beer Asahi, a regret after examining the receipt to find it was £3.60 a bottle. I suppose that’s just how these restaurants make their money, but as a student it’s unlikely that I’d opt to have a drink there again.

To conclude, I’d describe Umami as an up-market and less commercial Wagamamas that guarantees a fulfilling meal. It won’t blow your tastebuds, but it’ll pleasure them.

Umami
Japanese Sushi Noodle Bar Restaurant
147/153 Oxford Road
Manchester
M1 1EE
http://www.umami.cc/

Preview: Patience

From the first moments of the rehearsal, it is clear that the whole cast is incredibly engaged and despite the humourous atmosphere, everyone takes their role very seriously. “Patience is my favourite Gilbert and Sullivan opera and I proposed it because the society hasn’t performed it since 1989,” explains Rachael Lewis who is part of the chorus.

The plot mocks the aesthetic movement of the 1870s and ‘80s in England and showcases extremely silly yet likeable characters. Patience is the name of a dairy maid whom everyone tries to woo, but who is not interested in anyone herself. Not even the admired yet self-absorbed aesthetic Bunthorne can win her heart. But when her childhood friend Archibald comes along, who is even more aesthetically inclined, the tables drastically turn.

The performance next week promises a roller coaster of satire and a room full of laughter. During the rehearsal, the dull performance room was transformed into a world of wonder and it couldn’t cope with the volume of the professionally sounding voices. Amy Barker, a member of the committee, mentions that everyone is very excited and that everyone has put a lot of effort into it. The society started rehearsing mid-October and the adaption is pretty faithful to the original opera, besides it being more melodramatic. Especially impressive is the choice of the cast. As soon as the actors entered the stage, their characters told the story with fantastic singing and were accompanied marvellously by the score. A definite must-see. If the show is better than the rehearsal, it will have the whole audience in stitches. The society’s next endeavour will be a concert on the 2nd of May. More details can be found on the website mugss.org.

Wednesday 18th – Saturday 21st February: 7.30PM
Sunday 21st February: 2.30PM

Manchester Grammar School
Fallowfield
M13 OXT

Preview: Reclaim the Night

On Thursday the 26th of February, the streets of Manchester will light up with storms of voices saying ‘No’ to sexual violence against women, street harassment, rape culture and victim blaming.

Reclaim the Night is open to the whole community and will be full of colour, light and noise. The march will be lead by a self-defining women-only block and followed by a mixed block open to all genders.

A recent survey of young women showed that 43 per cent have reported being sexually harassed in a public place in the last 12 months. A 2013 Home Office study showed that one in five women have been sexually assaulted since the age of 16, yet only 15 per cent felt able to report this to the authorities.

Women’s Officer, Jess Lishak, says, “we will be raising our collective voices and making ourselves too visible to ignore when we take to the streets in our hundreds.

“Everyone is welcome to join us to add their voice to the protest in our march against violence against women, street harassment, rape culture and victim blaming, which is unfortunately so pervasive in our society.”

The march will gather in Owens Park outside The Tower, Wilmslow Road, Fallowfield at 7:00pm.

A neon parade will head down Wilmslow Road and Oxford Road, which will be closed to traffic, towards the University of Manchester Students’ Union.

The evening continues with the Reclaim the Night free afterparty, a festival of the finest women’s talent, with live music, speakers, poets, community stalls and awesome DJs till late, at the Students’ Union from 8:30 – 2:00am.

The Mancunion spoke to Women’s Student Officer, Ellis Quinn: “Reclaim the Night is about empowering the whole community to speak out against sexual violence, street harassment and assault.

“It has so far been a huge success. It engages with hundreds of people from all different walks of life to unite and stand up together.

“This year’s march is of exceptional importance given the incidence of student sexual assaults in the Fallowfield area. These horrific acts prompted action from the student community, with some individuals creating a petition to increase police patrols within the area.

“Reclaim the Night seeks to harness this enthusiasm and anger and turn into something positive. If you want any information please contact the women’s officer Jess Lishak at [email protected].”

Reclaim the Night T-shirts are now available from the Union Store for £12. There are four different styles available, all printed with glow-in-the-dark ink. All profits will go to local charities that work with women who have experienced sexual violence, domestic violence, and street harassment.

Ziferblat

Up a small lift, behind a small door on Edge Street in the Northern Quarter is Manchester’s newest quirky café experience, Ziferblat. The concept is very simple: you only pay for the time you spend here—your drinks, toast, cereal, fruit, biscuits, board games, and cake is all free; all they ask that you wash up after yourself.

Relaxed design and friendly staff embody the Northern Quarter ideal of enjoying the time you spend here. Upon arrival, you’re buzzed in and follow the signs; up the lift, round the corner, and you arrive to ‘check in’. Here, you choose your favourite clock from a wide range, including Colin (a gold phone box, chosen by Marcus) and Horse (an old alarm clock with a horse on it, chosen by Charlie). Check-in is simple—all that is required is your name, e-mail, the name of your clock (Colin), and time of arrival.

The name Ziferblat is derived from Zifferblatt, meaning ‘clock-face’ in Russian and German, which seems apt given the pay-as-you-stay method the so-called ‘anti-café’ employs.

We were checked in by a genuinely friendly member of staff, who reminded us to wash up and of the important rule in Ziferblat; this is a shared space, so be respectful to those around you, “but apart from that just relax and enjoy your time.” At £3 per hour, it’s hard not to.

The communal space itself is littered with mismatched old furniture—from green leather sofas arranged around a fireplace to ornate red settees with plush cushions and a matching rug. The space seems perfectly designed to relax and pass the time. As we were told by the staff, it’s “your home from home.”

We arrived late in the afternoon, as the fluorescent lights were turned off in favour of small table-lamps. These created a gentle orange glow, which further emphasised the relaxed atmosphere created by Ziferblat, perfect for the end of a long day.

The space is surprisingly large, yet intimate. Small stations are provided with kettles, coffee machines, and condiments—which allow you to set your own pace as you browse the free Wi-Fi or enjoy some scones. In one corner of the space is a small kitchen, with labelled drawers to help you find plates, cereals, bread for the toaster, and milk if the coffee machine runs dry. It’s easy, friendly, and, most of all, it works.

At half past three, it was busy, but not cramped. We found a comfortable sofa easily and went to get coffee, a scone, and some toast. It feels like being at home; toasting your own bread, looking in the fridge for butter, and finding a spoon for your Nutella. While moving round an unfamiliar kitchen with strangers felt a little awkward at first, it was soon clear that people were polite and accommodating, and the strangeness of the situation quickly felt normal.

With a wide range of cereal, fruit and, cake on offer for £3 an hour, it would be hard not to overindulge. Yet the atmosphere and ideals of the social space seem to worm their way in; it’s hard to want to. All you want to do is to sit back, relax and take it all in.

Should you find yourself bored of the free Wi-Fi, you will find a large selection of board games and puzzles. It feels like an old ideal, left over from a time when cafés didn’t provide internet access, but there’s something about Ziferblat that allows the board games a space in the present day. Groups of strangers could be seen playing Scrabble, Cluedo, and Jenga, something that would definitely not be seen in a Starbucks or Costa.

Open from 10am – 10pm, it offers almost anything. You could come for breakfast and enjoy a bowl of cereal with toast, or enjoy a sandwich you’ve made yourself at lunchtime. As well as those chatting and playing Connect-4, we could see people using it as a calm and comfortable place to get some productive work done.

The coffee’s good and the contents eclectic. Of course, at 5p a minute, you could use it on the fly to down a cheap coffee and a sandwich, but the atmosphere is so relaxed and friendly that you’d gain so much more value from spending a little time there, really appreciating the cosy, attractive surroundings, and not feeling as if you’re being rushed out of the shop for another paying customer.

We’ll be back very soon. It has a great atmosphere and a great price, if only we had had longer to spend there.

Club: Yousef presents Circus @ Transmission

7th February

Albert Hall

7/10

With the Warehouse Project now having shut up until next season, Transmission has stepped up to fill the gap it has left in the city’s nightlife. DJ and producer Yousef selected tonight’s roster of talent.

Ten Walls took to the stage shortly before midnight, by which point the room was full to bursting point. From the vantage point of the first floor balcony, looking over a sea of ravers grooving away, it was impossible not to get swept up in the rapturous atmosphere. Ten Walls (a.k.a Marijus Adomaitis) played an ambitious hour-long set, despite his rather limited repertoire of material. However what his set lacked in quantity, more than made up for it in quality, with the crowd reacting wildly to ‘Gotham’ and ‘Requiem’ in turn, and to early hints of ‘Walking with Elephants’. Ten Walls’s visual and light show was second to none on the night, with ten beams of light cutting down vertically into the crowd at throughout the set.

As ‘Walking with Elephants’ brought Ten Walls’s set to a raucous close, hotly anticipated duo Dusky took to the stage. The euphoric set that followed was truly one of the best that I’ve seen during my time in Manchester. Highlights of Dusky’s set including the thumping ‘Inta’, with it’s eerie horns blaring echoing through the room, and the old skool ‘Yoohoo’, with its glorious piano backing sending the Albert Hall into a frenzy.

With Dusky’s set having flown by, it was down to Yousef and then Sasha to close the night. The former played a rather uninteresting set, bar the tech sounds of ‘For The Terraces’, which briefly returned the crowd to Dusky levels of activity.

Ultimately Transmission felt a lot more fun and less serious than the Warehouse Project, which I think was partly due to the incredible venue. There are still plenty of Transmission nights still to come, so it’s definitely worth trying to sample some of its unique atmosphere if you can.

Feature: RBMA – Road To Paris

4th February

Kitchen Street, Liverpool

Established sixteen years ago, the Red Bull Music Academy  gathers sixty applicants per year to spend four weeks over a five-week period to take lessons from and work with leading professionals in the industry. Each year it is held in a different city, and has thus far covered five continents. Anyone is welcome to apply (DJs, cellists, everyone in between and everyone on either side), and the application form found on the website makes it clear that those at the academy are interested  in individuality and ultimate creative potential over raw proficiency: questions include “Your in-laws are coming to dinner. What music are you going to put on (and what are you gonna cook)?“, and “You’re standing at a Paris street corner, when a friendly soul hands you an ancient accordion. Which song will you play?“. Details on how to apply are given in the final paragraph of this article.

The academy is without a shadow of a doubt the coolest way any energy drink has ever been marketed. Although that isn’t much of a feat in itself, the academy quite clearly serves as a springboard for some very positive things: the website for the academy hosts its own online magazine, on which one can find short films made about various aspects of music, and a vast amount of interviews with academy graduates and past lecturers (including a set of figures as diverse as Bootsy Collins, Stephen O’Malley, Giorgio Moroder and Flying Lotus) – which have much to offer anyone interested in music, musician or otherwise. As for the academy itself, Mumdance discusses with Emma Warren, among other things, what the (Tokyo 2014) experience was like for him, personally:

Photo: Red Bull Music Academy

“The best thing about it was meeting people from around the world, all with a completely different musical upbringing… [it’s] such a unique situation, one which you’d never otherwise be in.” Mumdance’s experience with the academy mirrors the academy’s own stated intentions to foster the potential of its intake, via providing a melting pot of musicians from all over the world, each offering their own unique palette of experience.  Indeed, the application form belies an eagerness to get a feel for their applicants in the contexts of the respective area that produced them: it asks applicants to “Name the ten albums & tunes from your country (or city) that you definitely have to play to your fellow participants at the Academy. We’d also like to know why each of them is worth talking about.” Having been rejected the first two times he applied, he provides a little advice to prospective applicants, letting more of himself come through the third time round, after making concerted efforts to impress: “it sounds so stupid, but just be yourself.”

Mumdance goes on to talk about the overall trajectory of his musical career (what got him started was his year ten work experience at the Happy Vibes record store in Brighton), and on his recording process. For him, virtually every track takes three days to complete: the first is spent creating the sounds, the second is spent arranging those sounds into a piece of music, and the third into mixing it and adding any finishing touches to get the track sounding its best. Asked about the place of music in the modern world and what it is becoming, he notably adds that “I feel we’re in this stage where people are making music for themselves, rather than follow the ideas of others.”

Photo: Red Bull Music Academy

A seasoned veteran of dance music, François K speaks less about the academy, instead spending most of his time entertaining the audience with anecdotes (one involving Kraftwerk, and another, Pink Floyd) accrued over his time in the music industry, and how he has observed electronic music evolve since 1976, when he first started DJing in New York. In terms of advice to fellow musicians, François shares his experiences with various club owners, throughout career: “don’t let the owner of the club fuck with you… the only good things that happened to me were [because of] us knowing what to do, and saying to the management: “you do the beer, you do the security; leave us alone to do the music.”

For those interested in applying to the academy, a summary of a typical RBMA day, as well as FAQs and full application instructions with the form itself can be found here.  Applications are open until March 4th, and the process, albeit thorough, seems very fulfilling: those interested will find it reassuring that at RBMA: “Creativity is the only currency here. Music is what we live and stand for”.

Interview: Prosumer

Prosumer, a.k.a. Achim Brandenburg—storyteller, potions master and vinyl obsessive. Prior to his appearance at Sankeys this Saturday, we get to the nitty gritty, talking about the origins of house and techno—and whether they’ll ever be the same again—drugs, and his new label Potion.

Original techno and house was started as an underground scene back in the 80s, where people who were considered ‘outsiders’ by mainstream America congregated in clubs across Chicago and Detroit which were open to everyone, regardless of race or sexuality.

It was this freedom which drew people to the clubs and fuelled the rise of Chicago house and Detroit techno. “I think that [the freedom] has mainly gone. Influential people like Derrick Carter have started asking  what has happened to the old music as current mainstream artists just don’t reflect the old scene—black kids, gay kids—look at the Top 100, they aren’t represented anymore. Derrick got a lot of stick when he questioned that.”

DJing has become very different in recent years, with a lot of discussion around the topic of the DJ as a celebrity. Certain milestones mark this—Paris Hilton’s Ibiza residency, Joey Essex’s mix CD. “I can’t do the whole DJ booth raising my hands in the air. People should enjoy the music I play. I don’t understand why some people don’t dance, and instead they face the DJ all the time. I find that irritating—what we’re doing is not witchcraft, it’s blending tracks into each other through beat mixing.”

The setup in a lot of clubs has changed as this new ‘breed’ of DJ arrives, which affects people who have been around for longer. “Light should be for the dancefloor, not to illuminate the DJ. I don’t get it. I feel shy and find myself trying to be smaller hiding behind the decks.” In clubs where the dancefloor is the focus point, the DJ can get something back too: “Someone in the audience may be smiling in a way that makes you feel good so you can give that back to the crowd.”

Vinyl sales are at an all time high since 1996, but Brandenburg has always been a proponent of the bigger disk. “For me personally, vinyl is the best medium for music. And even if you ask people that didn’t grow up with records but CDs and MP3s, what the most valuable medium for music is, they’ll mostly answer ‘vinyl’.

“I think that’s because of its aesthetic and its size. The big artwork looks nicer, people can appreciate it. If you really love an album you’ll probably want it in its physical form too and vinyl is perfect for that—it’s something special.

“Vinyl of course has its imperfections, through playing it’ll get marks and scratches and become a bit individual.” I agree, noting when it skips at exactly that point where you dropped it after a heavy session, or when its crackles remind you of that night where you can’t actually remember too much. “It’s these imperfections which can make you feel connected to the physicality of a record. With some of my records, I will spot my copy within a pile of others, because I am so used to hearing a pop or hiss at a certain moment.

“I love visiting Manchester because of its music scene. In the charity shops there are loads of copies of A Guy Called Gerald’s ‘Voodoo Ray’, so you know that at one point it was in every household. Mancunians know their stuff! Unfortunately that means you rarely find a bargain in record shops.”

https://www.youtube.com/watch?v=ivr57dcs9-E

Prosumer recently completed his Fabric mix for the famous London nightclub, which has recently been in the news after several drug deaths led to threats of closure by the authorities. After a huge social media campaign, the club was allowed to stay open under the condition that they install breathalysers and sniffer dogs outside the venue, becoming one of the first clubs in the country to be forced to do so. Understandably, this came under fire from a number of sources including The Guardian, who called the measures ‘draconian’.

Reflecting on this, Prosumer reveals: “It’s not always been as strict as this—years and years ago in Germany, when I first went to raves, they’d always have a stand with leaflets informing you about drugs, but now this has completely disappeared.

“The fact is that people will always do drugs, there’s no point in denying that. Banning drug use just makes it worse. Many cases of overdoses occur when people panic as they’re being searched and swallow all their drugs at once to avoid being prosecuted.

“Also, people pre-load with drugs before leaving the house to be safe in case of a search. There is little you can do about this as a club and it is putting kids in danger of overdosing.

“People need to be educated. They need to know how to make informed decisions, rather than being punished.”

Prosumer DJs around the world and like many of his peers he observes differences and similarities in the places that he plays in. One particular example of this was when he was with his friend Kerstin (Egert AKA Tama Sumo) in Israel. “We were in Jerusalem and then in Tel Aviv the following night. The Jerusalem crowd was mainly weed smokers and people in Tel Aviv were on who knows what. Kerstin had only packed one bag of records but she managed to play two completely different sets which catered to each audience. It was very impressive, it really stayed with me.” It’s this admiration of his peers and his humbleness which makes Achim Brandenburg such a nice person to interview.

Prosumer moved out of Germany to Edinburgh two years ago, which may seem a strange move for a DJ to make. Explaining this decision he tells us: “I’ve got friends here, needed to be in a German or English speaking country and I’d visited a lot because my friend studied here.” Since relocating there he’s made it his home and doesn’t see a move on the cards anytime soon “I also feel at home, but I still get excited every time I see the castle.”

Brandenburg’s friendship with surgeon and fellow producer Murat Tepeli is closely documented, reaching its next logical step in November last year with the launch of their label, Potion. The name is taken from Elton John’s ‘Your Song’, specifically the lyrics “a man who makes potions in a travelling show.” “As a DJ you’re in a travelling show.” Each weekend—which starts on a Thursday—he packs his bag of potions [records] which “provide relief for ailments so people can have a good time.”

With (almost) two releases already under the belt of the label—Tepeli’s own Drop It Like It’s Hot EP  and Copenhagen duo Wilma’s EP due out this month, the label is already looking toward release three and four. The third he reveals will come from Tuff City Kids (Gerd Janson and Phillip Lauer’s collaborative project) and the fourth release will be courtesy of Prosumer himself.

This fruitful partnership and longtime friendship of Brandenburg and Tepeli means they’ve spent a considerable amount of time together over the years. Surprisingly, the duo’s favourite pastime is making music of the karaoke variety; “I’ve got to keep a bit of mystery in this, but a surprise hit is ‘Open Sesame’ by Leila K.”

The last time Prosumer was in Manchester, he’d played in Soup Kitchen at a show which sold out in record time—partly due to the tiny capacity. This time around, he’s at Sankeys along with three of his best friends so this show is set to be considerably different. “We’ll have a lot of fun playing records we all love to build a story which lasts all night.” Interestingly, Achim describes his sets as ‘stories’ or ‘travels’. “Each set of music can take the listener to another place.” It becomes apparent that he is mapping ‘places’ onto feelings, each song or genre inciting a different emotion.

What story will he tell with the others at Sankeys? “I don’t know yet, but one thing for sure is that it will be a fun one.”

Humble, down-to-earth and downright fun, Prosumer visits Manchester’s Sankeys on the 21st February for an all-night extravaganza hosted by Selective Hearing with Tama Sumo, Virginia and Murat Tepeli.

Pangaea Space Odyssey victor!

Once again The Mancunion teamed up with the Students’ Union for this January’s Pangaea event, Space Odyssey. We found hundreds of both the best and most disastrous solo costumes for the galactic theme and gave you our top ten to vote upon to decide who should be crowned our Supreme Chancellor of the Galactic Republic.

The voting closed last Thursday and over 1300 of you cast your vote online.

We can now announce that with 30 per cent of the vote you decided to crown Princess Leia, a.k.a. Toby Parkes, is our Pangaea fancy dress victor!

Toby has won two tickets for this Summer’s Pangaea event. To get your tickets please contact Joel Smith the Activities and Development Officer for the Student Union closer to the event.

Your runners up were, in a close second Wall-E, a.k.a. Jake Shearer with 29.1 per cent, and in third place The Mustach-tronaut (thank you Sam), with 26.7 per cent of the vote.

All the photographs we took during the evening can be seen on The Mancunion’s Facebook page.

Feminist fashion: Decisive decades

There’s a stereotypical image of a feminist often cited by people as their reason not to identify with the very word itself. You know the one—frumpy, angry, and very badly dressed. Where this image comes from is a mystery to the Mancunion’s Fashion and Beauty as most major advances in fashion have been a result of female empowerment, or in other, more concise words, feminism. We’ve chosen the most inspiring decades of feminist fashion as an ode to the fashion followers who got us to where we are today.

Photo: Wikimedia Commons

The 1920s

During World War I, women were allowed to work on the Home Front, meaning that for the first time ever they held positions of power in society. With the war over, the suffragette movement took off and you may recall that in 1928, the government even allowed women to vote. Social and political boundaries were being broken down and the female voice was beginning to be heard. Political and economic change in the post-war period was mirrored in rapidly evolving fashion designs. Gone were the restricting corsets; replaced with dropped waists, raised hemlines and more ‘masculine’ cuts.

A female identity began to form through the flamboyant and daring designs of flapper dresses; androgyny was suddenly sexy, as opposed to being frowned upon. Most importantly, women’s wear needed to match women’s lives which meant they needed to be both functional and fun. Dresses were less heavy and outfits smarter. These were clothes that women could actually do stuff in, like work, vote, speak, and, at times, be taken seriously. Most importantly, these were the clothes that were made with women in mind and not the patriarch.

Photo: likeabalalaika @Flickr

The 1960s

The 1960s was the home of feminism’s second wave and as women fought for contraception and better representation in the workplace, they wore their opinions on the outside. From miniskirts to go-go boots and space-inspired trends, ‘60s fashion looked forward to a very feminist future.

There are few decades which have seen as many feminist fashion breakthroughs as the swinging ‘60s. With the introduction of the mini skirt in 1964, Mary Quant sparked a style revolution that hemlines are yet to get over. Freeing female knees up and down the country, skirts became a statement of political persuasion and a call to arms to other women. So those still silly enough to think short skirts are about attracting male attention, take note!

In the second half of the decade women took the borrowed-from-the-boys concept and blew it out of the water, wearing trousers in a vast array of styles including some that were indistinguishable from male versions. This act of leg liberation reflected women’s growing freedom and desire for professional and social recognition. The new androgynous look, as embodied by supermodel Twiggy, riffed on 1920s influences. But contrary to popular belief, no bras were burned in the making of this new aesthetic.

Photo: fanpop.com

The 1980s

Power dressing packed a punch in the in the 80s as women began to dip their toes into the unfamiliar world of androgynous fashion. A decade laced with ties, tailored skirt suits and double-breasted jackets had dawned and the sheer strength of their masculine silhouettes reflected a new era of female empowerment, as more and more women gained a sturdy foothold in the male-dominated world of business.

Love them or hate them, shoulder pads were an embodiment of the ‘dress for success’ mantra as women set their sights far beyond the glass ceiling of gender inequality. This powerful trend eventually permeated popular culture, with strong female protagonists sporting powerful sartorial looks in shows such as Dallas, Dynasty, and the 1988 cult classic ‘Working Girl.’

Previous more traditional notions of the aesthetics of femininity had begun to fade and designers such as Giorgio Armani, Thierry Mugler, and Claude Montana launched new arguably outlandish designs which featured razor sharp tailoring in understated yet commanding hues and that channelled the masculine. Feminists in fashion were making a clear statement about their refusal to be confined to a single sartorial mould of restrictive dressing, which consequently liberated them socially, professionally, and politically.

 

 

Review: Scuttlers

While dust is rising on the stage, small pieces of cotton wool descend from the theatre ceiling in a similar way to snowflakes. On stage, people are working in a cotton mill, which is represented by a cylinder like construction of yarn hanging down from the top of the ceiling. The loud sound of the working machines can be heard all over the stage.

Scuttlers is written by Mona Munro and directed by Wils Wilson. It places the audience in the back streets of Manchester of the 1880s. Youngsters are living on certain streets which they call their territory. With empty eyes they walk silently around in the foyer of Royal Exchange Theatre before the start of the performance, an action which is repeated during the interval. Because of the difficult situation they have to face in their daily lives, they get together and create gangs. ‘The Tigers’ is one of them.

Here, female teenage power holds the group together. Theresa is the leader and is played persuasively by Rona Morison. Her motto—“No one looks after me but me”—emphasises both the strength and stubbornness that she has had to construct for herself to cope with the death of nearly every family member. Thomas (David Judge), who wants to be part of the gang and later will be, describes her as “mad and loud”. Two of her best friends, Polly (Chloe Harris) and Margaret (Caitriona Ennis), are also members of the Tigers. While Margaret is traumatised by the rape of her mother’s boyfriend, Polly seems to be the stronger person. But when the other gang steals her trousers, bell, and jacket and puts her into a dirty petticoat, she loses all of her strength, confidence, and identity as a Tiger and leaves the gang.

The last scene combines past and present: the trial scene of Thomas, who killed two people, vanishes behind the cotton yarn, while the water on stage takes on a red colour. The actors walk hectically over the stage in modern clothes while Polly stands ghostlike between them. Her repeated line “Don’t walk there. It’s a man’s blood. A man died here.” is not heard by the others. Her voice chokes off in between the vivid sound of the city of modern Manchester.

Scuttlers is a play for everyone. It is especially the sounds, the stage setting, and lighting that make the performance strong and leave the audience astonished and lost in thought.

Scuttlers is on at The Royal Exchange Theatre from 7/02 – 07/03.

Review: INSIDE

Monday night saw the Octagon Theatre (Bolton) open its doors to SBC’s latest production, Inside.

Finding critcial acclaim at the Edinburgh Fringe Festival, Inside is a psychological thriller exploring the conflicting mind of a kidnap victim suffering from Stockholm syndrome. Stockholm syndrome is a physchological phenomenon which sees a hostage express empathy, sympathy or in severe cases positive feelings of affection towards their kidnapper.

Both written and performed by Rosie MacPherson, Inside is an hour long monologue manifested with harrowing innocence and realism. Never leaving her character, you enter and take your seats as she sleeps in front of you, you leave as she gazes at the blank camera screen. It is clear that a great amount of research has gone into her performance, allowing her to craft a character riddled with such complexity that makes it a truly exceptional character study.

What was most effective about MacPherson’s performance were the fragments of personality that would expose themselves for only a brief moment. Mere echoes of her old self. Taken as a child and having suffered twelve years of both physical and mental abuse, MacPherson does a superb job of portraying a much older victim taking refuge in their premature childhood.

A pivotal aspect for audience members is the victim’s excitement and obsession with her school disco, a chapter of her life she was never able to experience—further reiterating the sheer innocence of the character. However, the most heartbreaking aspect is the fact that we never discover the victim’s name.

The narrative laced within the monologue is crafted so that our victim’s situation isn’t explicitly revealed all together but is allowed to bleed out from her lucid mind, making for a raw portrayal and keeping the audience hooked.

The Octagon’s Studio performance space was perfect for the production; if situated in a larger theatre the intensity of the performance would have been diluted. Being in such a small audience made for a bigger impact, making spectators feel as if they were intruders prying. The set was just as gritty and real as MacPherson’s character, a mere shell, just like its inhabitant.

Based on true events, Inside is raw and powerful with a truly chilling ending. A show not to be missed.

Interview: Pearson Sound

As a founding member of the renowned Hessle Audio label, Pearson Sound, a.k.a. David Kennedy, is amongst the most influential figures in the UK club scene. The label has built a reputation of consistently being at the cutting edge of dance music, while Pearson Sound, Ben UFO and Pangaea mirror this in their varied and accomplished DJ sets.

With an extensive back catalogue of EP releases under his belt, Pearson Sound is due to release his debut full-length LP next month. “I’ve always been asked about doing an LP and the timing just felt right now. I had a particular signal chain set up in the studio and had switched up my way of making music a couple of years ago. After I had got a few tracks together I realised that I wanted to write an LP.”

The excellent artwork for the album features heavily edited photos of the producer (pictured above). “Andrew Stellitano was the art director for the project. We should be doing a couple of features near the release date which will explain fully the process we used to create it.”

With two- or three-track vinyl releases being by their design very club-focused, a full-length release can see producers head in experimental directions, however Kennedy asserts that the LP is still very much aimed at the dancefloor. “I still see the album as a club record, several of the tracks have featured in our DJ sets over the last year or so. It’s about presenting what I’ve been up to for the last couple of years, and presenting a cohesive body of work. The LP format allows for a greater breadth of material. With a 3-track single, sometimes throwing something ambient on there can feel a bit token, and I wanted to present my work at different tempos with a bit more context.”

Hessle Audio had a quiet 2014, yielding just one release from new addition Bruce. “We’ve always favoured taking our time and making sure the music is right rather than rushing anything out. All of us always has to be in agreement about the track we put out.” Hessle Audio artists seem like a tight knit crew; I question if a producer’s personality impacts upon selecting them for release. Do they get to know each producer before making this decision? “Not always personally, no. Our first release was by a Romanian who was sending us tracks online for the radio show. But a lot of the artists on the label we know from the music scene in London and we see each other socially.”

Pearson Sound has released a number of collaborations in the past with the likes of Midland, Joy Orbison and Boddika. “I’ve done other collaborations although none of them have been released. I prefer to wait until we have actually finished some music though before announcing anything though as it doesn’t always work out to plan.”

The Hessle trio are currently in the midst of a UK tour which sees them play a number of all night long b2b2b sets. Despite being well-versed in playing together over the years, “we always surprise each other, there will always be tracks that the others play that I will have never heard before, or even have overlooked.”

“We’ve known each other for approaching 10 years now and have also been DJing together that long, so we are very comfortable playing together. Sometimes we play separate sets in addition to playing b2b if it feels right.” The tour stops off in Manchester this Friday, 20th February, at Sankeys. This leg is in coalition with the Transmission series and will see Hessle joined in the basement by techno heavyweights Karenn, whilst Spektrum hosts a Nonplus takeover with Boddika and Joy Orbison.

Pearson Sound is no stranger to Manchester crowds; I fondly recall his all-night set at Soup Kitchen last February with one of my favourite ever ends to a night: HudMo’s ‘Ooops!’ into DJ Gunshot’s ‘Wheel ‘n’ Deal’. “I’ve been playing in Manchester for a while, and in a variety of different venues. I really enjoy playing at WHP, the sound and tech setup is always spot on and the crowd are up for it.”

“But then sometimes it is nice to play in a more intimate surrounding, such as at Soup Kitchen. That was definitely a highlight of 2014. I’ve never played the main room at Sankeys before so I’m looking forward to checking that out.”

Expanding on how he approaches sets in these varying settings, Kennedy continues: “That’s the essence of DJing really, to be able to judge what’s appropriate for a particular venue, crowd, or set time. What might work in a sweaty basement with 100 people at 5am might be wildly out of place when playing to 5000 people in the middle of summer at a festival.”

“Playing all night long allows us to pace the night as we see fit, rather than having to adjust your set because of who is playing before or after you. Also doing the warm up too gives us the chance to play slower or more experimental music that we don’t often get the chance to play.” How does he mentally prepare for, say, an eight hour-long DJ set? “A nice meal and some peace and quiet before the night normally helps, especially if it’s a long set. Even if I’m feeling really ill before DJing, getting in the zone normally makes me forget about anything else if the gig is going well. If I’m not enjoying myself at a gig it’s normally because I’ll be having trouble with the equipment or monitoring.”

Finally, reflecting on his favourite places to play worldwide, Kennedy shares: “In terms of a city, the fact that Berlin doesn’t have a curfew is amazing. Nights finish when it feels right, rather than when a bouncer comes and shines a torch in your face at 2:55am. As a DJ, when you are given an open-ended slot it’s great! Clubs like Berghain, Under Bron, Golden Pudel, Wire, Sub Club, Output are all a pleasure to DJ in. And previously venues like Plastic People and Trouw but they have sadly closed now.”

Pearson Sound’s LP is released on the 9th of March via Hessle Audio.

He plays Sankeys this Friday, the 20th of February. We have five pairs of tickets to give away, simply email your full name to [email protected] before Thursday the 19th with the subject title ‘Hessle Competition’ for a chance to win.

Live: Gondwana Records Showcase – GoGo Penguin

7th February

Royal Northern College of Music

7/10

There are few genres as broadly misunderstood as jazz. After a night of Manchester based jazz label Gondwana Record’s best live offerings, I was no closer to understanding the world of jazz – but I was suddenly excited about a genre I had previously ignored. From the moment Mammal Hands kick off the night, their creamy smooth blend of music starts to show me what this whole jazz is all about.

However, it was clear that the evening peaks in both energy and excitement with GoGo Penguin’s performance. As Manchester locals who played their first show in Sandbar, its great to see them playing the RNCM. This is the first time playing their hometown since becoming last year’s oddball nomination for the esteemed Mercury Prize for their album v2.0.

Their sound doesn’t diverge much from the record, but the sheer experience of seeing the trio frenetically exorcizing twisted compositions from their instruments is an absolute joy. Piano, double bass and drums are each pushed to their limits by players right on the edge their own world class skills. Never steering their songs into typical jazz territory, the trio manage to incorporate snippets and the subtleties of electronic music; breakbeat drums, build ups, even glitches and drops. GoGo Penguin are a 2-step ahead of you and the rest of the audience.

Acting as a comedown from the fractal complexity of GP, Matthew Halsall (owner of Gondwana records) & the Gondwana Orchestra close the evening on jazz’s calmer, spiritual side. Playing trumpet himself and joined by an entire ensemble featuring Rachel Gladwin on jazz harp, the audience are guided through a slow meditative hour of Halsall’s own music. As easy as it was to fall into the intended trance, it was hard to shake off the energy left behind in the billowing void of GoGo Penguin.

Album: Charli XCX – Sucker

Released 16th February

Atlantic Records

7/10

Charli XCX – real name Charlotte Atkinson – has been making music since she was 14 and it seems like the constant years of hard work have paid off. Her as-yet-unreleased album Sucker already boats three top ten UK singles including ‘Boom Clap’, ‘Fancy’ and ‘Super Love’.

It’s hard to go anywhere now without seeing her iconic messy black hair and audacious attitude; she’s seen praise from The Guardian, Billboard, NME, Vice, Radio One and she’s chilling with the best of them – collaborations with Iggy Azealea, Rita Ora and Marina and the Diamonds have only further propelled her success into the music scene.

It’s unsurprising then, that Sucker has already had such great commercial success in the United States. She’s regarded as a sweetheart to those across the pond and for good reason; Sucker is track after track of sure fire hits. They’re undeniably catchy – XCX has certainly struck the right chords (literally) with this album.

It differs a lot to her first official album, True Romance, which was a beautiful dark mixture of gothic electro pop. Sucker feels more like the sassy older teenager that’s modelled itself on Mean Girls and doesn’t give a fuck if she’s part of the plastics – like Regina George, it’s fabulous but it’s evil.

XCX hasn’t held back on this album with songs such as ‘Breaking Up’ stating “everything was wrong with you/so breaking up was easy to do/hated your friends and your family too”. It’s a step up from ‘Stay Away’, the shy older track that’s the root of the former, and is a hella catchy break up anthem.

If the album had to be summed up in five words, they’d be “Charli doesn’t give a fuck”. Literally, she introduces the album by shouting “FUCK YOU, SUCKER!” There’s no soppy longing songs about lost lovers, Sucker is just a constant party the whole way through. There’s even a song about how masturbation is better than anything a guy could give (‘Body Of My Own’). It seems Charli really is living like a “London Queen”.

It’s definitely a pop album above the rest; it has diversity and direction, sass and seduction, and Sucker is an undeniably good album.