Sunday, January 13, 2013
Martin Stephenson at Islington Metalworks
The Kalamazoo Klub has been ejected from its former home under the King's Head in Crouch End. No longer known as 'Squatter's Bottom', Crouch End is becoming increasingly chichi (you thought it was already? think again!) and is changing flavour from being the home of wealthy bohemians, having caught a fatal does of bankeritis.
So here we are at the Islington Metalworks, a slice of 1990s Berlin within sneezing distance of the Angel tube station. In a room-within-a-room, flashing squiggly red and green lights rotate on the floor, inflatables with projected oil bubbles loom at each side of the stage, and a backdrop of twinkling lights proclaim 'Wedding!' in assertive twinkly-light voices.
The young sound chap, who hails from Philadelphia, is sane and calm and tones down the lighting a little; the guys from Blinking Buzzard, a clutch of old-timey music fans who not only run the club but also act as support band, start moving upholstered ammo-boxes into position at the front of the stage, and soon it actually looks like a gig. The black-clad security fellers turn out to be sweethearts; the loos are clean and the whole place becomes an intriguing and friendly space. Spotlights are turned round to illuminate the stage and very soon the whole room fills (I'd say half as many people again as the King's Head venue pulls, possibly because of the proximity to the tube station).
Lots of Geordie expats are here and the atmosphere is buzzing.
So are the Blinking Buzzards, who have acquired a new member and who almost spill off the stage because there are so many of them. Their sound is mellow and their choice of songs exact: these musicians are total fans and they bring the aural equivalent of a Southern Porch Circa 1925 into the black-clad club. There is one moment of drama as Guy berates the King's Head for evicting them. Is that green smoke I see seeping out from under the stage? Actually, the Buzzards fare better here than at the King's Head- we can see them all clearly and they are now playing to a new, larger audience who are all listening... that can't be bad, can it?
So Martin comes to the stage, accompanied by Jim Morrison on fiddle (Martin knows a lot of Jims: there's Jim the guitar, Jim the banjo, Jim the... well, Jim probably).
From the start we know it's going to be a good night. The sound is perfect- not too loud, and for a listening audience it's just the right volume. What an antidote to the raucous Christmas gigs!
There are some gorgeous versions here: Lilac Tree, Little Red Bottle (best of the night I think), Wholly Humble Heart, plus lots of old-timey stuff and a lot of humour that has people roaring with laughter.
Jim and Martin have a close musical bond and tonight Jim is playing particularly well- subtle where he needs to be and swooping the solos when he has space to do so. The interplay between the two musicians is a joy to watch and listen to and the audience listen keenly all the way through. There are enough older songs here to satisfy the long-time fans but also a tour through Martin's very interesting and varied musical past.
What else can I say? This is an amazing, well-managed venue, the sound guy was great, the music was perfect for brightening up a bleak January evening: and hats off to the audience for good listening!
So here we are at the Islington Metalworks, a slice of 1990s Berlin within sneezing distance of the Angel tube station. In a room-within-a-room, flashing squiggly red and green lights rotate on the floor, inflatables with projected oil bubbles loom at each side of the stage, and a backdrop of twinkling lights proclaim 'Wedding!' in assertive twinkly-light voices.
The young sound chap, who hails from Philadelphia, is sane and calm and tones down the lighting a little; the guys from Blinking Buzzard, a clutch of old-timey music fans who not only run the club but also act as support band, start moving upholstered ammo-boxes into position at the front of the stage, and soon it actually looks like a gig. The black-clad security fellers turn out to be sweethearts; the loos are clean and the whole place becomes an intriguing and friendly space. Spotlights are turned round to illuminate the stage and very soon the whole room fills (I'd say half as many people again as the King's Head venue pulls, possibly because of the proximity to the tube station).
Lots of Geordie expats are here and the atmosphere is buzzing.
So are the Blinking Buzzards, who have acquired a new member and who almost spill off the stage because there are so many of them. Their sound is mellow and their choice of songs exact: these musicians are total fans and they bring the aural equivalent of a Southern Porch Circa 1925 into the black-clad club. There is one moment of drama as Guy berates the King's Head for evicting them. Is that green smoke I see seeping out from under the stage? Actually, the Buzzards fare better here than at the King's Head- we can see them all clearly and they are now playing to a new, larger audience who are all listening... that can't be bad, can it?
So Martin comes to the stage, accompanied by Jim Morrison on fiddle (Martin knows a lot of Jims: there's Jim the guitar, Jim the banjo, Jim the... well, Jim probably).
From the start we know it's going to be a good night. The sound is perfect- not too loud, and for a listening audience it's just the right volume. What an antidote to the raucous Christmas gigs!
There are some gorgeous versions here: Lilac Tree, Little Red Bottle (best of the night I think), Wholly Humble Heart, plus lots of old-timey stuff and a lot of humour that has people roaring with laughter.
Jim and Martin have a close musical bond and tonight Jim is playing particularly well- subtle where he needs to be and swooping the solos when he has space to do so. The interplay between the two musicians is a joy to watch and listen to and the audience listen keenly all the way through. There are enough older songs here to satisfy the long-time fans but also a tour through Martin's very interesting and varied musical past.
What else can I say? This is an amazing, well-managed venue, the sound guy was great, the music was perfect for brightening up a bleak January evening: and hats off to the audience for good listening!
Friday, January 11, 2013
Thursday, January 10, 2013
Tuesday, January 08, 2013
In Which I Attend A Men's Fashion Week Event
Number One Adwych twinkled in the night air; full of anticipation, I slid through the huge glass doors in my glamorous coat and fancy tights (they don't call it Glamuary for nothing, my friends) and slipped down to the basement screening room to see MALE-AW13, a film directed by Dr No (one-time new blood Slits guitarist) and filmed by her partner in crime, Pete Remke.
The film shows the latest range of clothing by a designer called Lee Miller, who has a label called Doctor Robert; it's not just a wispy fashion film though. It's got a story, of a wealthy young man who stages his own kidnapping, looking rather cool in Lee Miller's clothing range while he clumsily clips letters out of a newspaper for his blackmail writing. Meanwhile, the police are outside digging up the garden (they really were, in Tottenham, but that's another story). The music is by Dr No and Pete's amazing band, the Home Office (and I reviewed their New Year's Eve gig about two years ago), and features moog synthesiser swoops and sinister vocals that ideally suit the darkness of the film. The clothes are simple and beautiful (why don't they make women's clothes like this?)- plain and well-cut and for wearing at home just to feel nice in when there's nobody about. I like that idea!
I made friends with a young Irish photographer: who said fashion types are snooty?
I'm off to visit his blog now!
Lee Miller's clothes are at www.doctorrobert.co.uk
(p.s. I've spent all day marking today and so I really enjoyed the night out. I will be reviewing some CDs soon)
The film shows the latest range of clothing by a designer called Lee Miller, who has a label called Doctor Robert; it's not just a wispy fashion film though. It's got a story, of a wealthy young man who stages his own kidnapping, looking rather cool in Lee Miller's clothing range while he clumsily clips letters out of a newspaper for his blackmail writing. Meanwhile, the police are outside digging up the garden (they really were, in Tottenham, but that's another story). The music is by Dr No and Pete's amazing band, the Home Office (and I reviewed their New Year's Eve gig about two years ago), and features moog synthesiser swoops and sinister vocals that ideally suit the darkness of the film. The clothes are simple and beautiful (why don't they make women's clothes like this?)- plain and well-cut and for wearing at home just to feel nice in when there's nobody about. I like that idea!
I made friends with a young Irish photographer: who said fashion types are snooty?
I'm off to visit his blog now!
Lee Miller's clothes are at www.doctorrobert.co.uk
(p.s. I've spent all day marking today and so I really enjoyed the night out. I will be reviewing some CDs soon)
Monday, January 07, 2013
Sunday, January 06, 2013
Friday, January 04, 2013
Joke
Knock knock.
Who's there?
Ella
Ella who?
Ella Phantsfootumbrellastand.
Sorry. Marking 61x2000-word essays, 45 x1500-word essays and 6 x7000-word theses.
Gets to you, eventually.
Who's there?
Ella
Ella who?
Ella Phantsfootumbrellastand.
Sorry. Marking 61x2000-word essays, 45 x1500-word essays and 6 x7000-word theses.
Gets to you, eventually.
Thursday, January 03, 2013
Matthew Bourne's Sleeping Beauty at Sadler's Wells
The Offsprogs, myself and McSis went off to Sadler's Wells yesterday evening to see this wonderful ballet. I do like Bourne's ballets but I also agree with the occasional critic who says that there's not enough dancing in them.
This one was a perfect antidote to that: after a charming start that included a lovely puppet rendition of the young princess and a projected precis of the story so far, a clutch of stylishly scruffy gothic fairies blew on to the stage and we watched a section of the show that had me dying for a rewind button; it was fabulous.
I particularly liked the little female fairy who bounced around the stage with a manic grin on her face, twitching and whisking her limbs around as though she were made of animated feathers; her part was over in the twinkling of an eye and there was no time to give her the applause she so richly deserved. Offsprog Two preferred pointy-man, who punctured a whole clutch of invisible balloons with his sharp pointy fingers, toes and even nose.
The costumes were to die for and emphasised the fact that Bourne's dancers appear to be in the air for an unfeasible 60% of the time.
From that point on the story came thick and fast; we had met the gigantic red Bad Fairy at the begining and (s)he reappeared in her born gender as The Bad Fairy's Son ready to seek vengeance. The very cute couple of the Princess and the Handyman did a lovely dance sequence on a garden bench that was reminiscent of the scene in the Sound of Music where Lisl and Franz (?) romance each other in the summer house.
Then of course, the The Bad Fairy's Son handed her a purple Bad Rose which pricked her finger and she fell asleep.
Events unfolded and we found ourselves in a red and black nightclub with The Bad Fairy's Son ready to marry the princess before sacrificing her. There was more beautiful ensemble dancing in this venue which resembled Cha Cha circa 1983, and another chance to see the dancer who played the Princess, Hannah Vasallo, show us just how lithe and graceful she was.
Hats off also to Ben Bunce as last night's Bad Fairy's Son: tall, scary, grimacing and a powerful presence on the stage.
Even the footlights had been made gothic with small brass wings upon them.
This ballet is stylish, well-choregraphed, beautifully performed (such fluid and well-rehearsed dancing!) and absolutely riveting to watch because of the costumes and overall design. I felt full of happiness as I watched it; I felt as though I too was floating through this world of mischief and magic with my bloated Christmas body left far below me on a velvet theatre seat!
What's more it even has a happy ending.
You must go to see it if you can: it's perfect.
This one was a perfect antidote to that: after a charming start that included a lovely puppet rendition of the young princess and a projected precis of the story so far, a clutch of stylishly scruffy gothic fairies blew on to the stage and we watched a section of the show that had me dying for a rewind button; it was fabulous.
I particularly liked the little female fairy who bounced around the stage with a manic grin on her face, twitching and whisking her limbs around as though she were made of animated feathers; her part was over in the twinkling of an eye and there was no time to give her the applause she so richly deserved. Offsprog Two preferred pointy-man, who punctured a whole clutch of invisible balloons with his sharp pointy fingers, toes and even nose.
The costumes were to die for and emphasised the fact that Bourne's dancers appear to be in the air for an unfeasible 60% of the time.
From that point on the story came thick and fast; we had met the gigantic red Bad Fairy at the begining and (s)he reappeared in her born gender as The Bad Fairy's Son ready to seek vengeance. The very cute couple of the Princess and the Handyman did a lovely dance sequence on a garden bench that was reminiscent of the scene in the Sound of Music where Lisl and Franz (?) romance each other in the summer house.
Then of course, the The Bad Fairy's Son handed her a purple Bad Rose which pricked her finger and she fell asleep.
Events unfolded and we found ourselves in a red and black nightclub with The Bad Fairy's Son ready to marry the princess before sacrificing her. There was more beautiful ensemble dancing in this venue which resembled Cha Cha circa 1983, and another chance to see the dancer who played the Princess, Hannah Vasallo, show us just how lithe and graceful she was.
Hats off also to Ben Bunce as last night's Bad Fairy's Son: tall, scary, grimacing and a powerful presence on the stage.
Even the footlights had been made gothic with small brass wings upon them.
This ballet is stylish, well-choregraphed, beautifully performed (such fluid and well-rehearsed dancing!) and absolutely riveting to watch because of the costumes and overall design. I felt full of happiness as I watched it; I felt as though I too was floating through this world of mischief and magic with my bloated Christmas body left far below me on a velvet theatre seat!
What's more it even has a happy ending.
You must go to see it if you can: it's perfect.
Wednesday, January 02, 2013
Suburban Pastoral Now On Bandcamp
Tuesday, January 01, 2013
Michael Gove Is Too Stupid To Be Education Minister: New Year's Rant
About ten years ago I applied to take part in some interesting research about school buildings.
The ad was for artists to imagine how to make school buildings better; the main focus was the fact that contemporary teenagers were getting too large for secondary school corridors, which were becoming congested with a consequent increase in bullying.
I have been reading today about the importance of 'flow' in schools and how it helps teachers to keep an eye on vulnerable pupils, and the pupils themselves to keep an eye on their own concept of learning.
Of course, The Idiot Gove wants clip-together schools with narrow corridors, concealed stairs and square rooms. This type of building will be cheaper to build and require less 'architecture' to create.
I couldn't participate in the research although I really enjoyed pitching for a chance to do it; I was teaching on the afternoons that they wanted us to meet, unforchly. But I could see how important it was to design, for want of a better word, gentle buildings. Brutal architecture may seem practical but I don't think people that are put in boxes to work or learn can be expected to work to their best abilities. And crammed corridors will lead to lateness, aggression and alienation. In ten years time the prefab buildings will have to be demolished and more practical buildings constructed in their place.
Perhaps Gove has read of the Russian Government's panic about its over-educated workforce who don't want to do the crappy jobs that were traditionally given to the less-educated people in society, so he wants to deliberately design uncomfortable buildings that make it difficult for pupils to study.
Do I sound like a communist if I suggest that these awful jobs- cleaners, dustmen and the like- ought to be better paid to compensate those who have to clear up after those who have more comfortable and status-led jobs?
Business-heads often seem to say that they have worked very hard for their money and therefore don't want to pay huge taxes on it. This implies that those who do the sh*t jobs in our society don't work hard! I have watched the cleaners at work and heard them talk about the number of jobs they have to do to earn a decent wage, and how they want to study to better themselves- when and if they ever have time have time.
I hereby support the London Transport cleaners in their campaign for a decent wage.
Remember this? http://www.youtube.com/watch?v=y-aRNW-Rst4
And Gove, use your heart as well as your head; don't embark on a scheme of building follies! Surely you are not such a fool?
The ad was for artists to imagine how to make school buildings better; the main focus was the fact that contemporary teenagers were getting too large for secondary school corridors, which were becoming congested with a consequent increase in bullying.
I have been reading today about the importance of 'flow' in schools and how it helps teachers to keep an eye on vulnerable pupils, and the pupils themselves to keep an eye on their own concept of learning.
Of course, The Idiot Gove wants clip-together schools with narrow corridors, concealed stairs and square rooms. This type of building will be cheaper to build and require less 'architecture' to create.
I couldn't participate in the research although I really enjoyed pitching for a chance to do it; I was teaching on the afternoons that they wanted us to meet, unforchly. But I could see how important it was to design, for want of a better word, gentle buildings. Brutal architecture may seem practical but I don't think people that are put in boxes to work or learn can be expected to work to their best abilities. And crammed corridors will lead to lateness, aggression and alienation. In ten years time the prefab buildings will have to be demolished and more practical buildings constructed in their place.
Perhaps Gove has read of the Russian Government's panic about its over-educated workforce who don't want to do the crappy jobs that were traditionally given to the less-educated people in society, so he wants to deliberately design uncomfortable buildings that make it difficult for pupils to study.
Do I sound like a communist if I suggest that these awful jobs- cleaners, dustmen and the like- ought to be better paid to compensate those who have to clear up after those who have more comfortable and status-led jobs?
Business-heads often seem to say that they have worked very hard for their money and therefore don't want to pay huge taxes on it. This implies that those who do the sh*t jobs in our society don't work hard! I have watched the cleaners at work and heard them talk about the number of jobs they have to do to earn a decent wage, and how they want to study to better themselves- when and if they ever have time have time.
I hereby support the London Transport cleaners in their campaign for a decent wage.
Remember this? http://www.youtube.com/watch?v=y-aRNW-Rst4
And Gove, use your heart as well as your head; don't embark on a scheme of building follies! Surely you are not such a fool?
Happy New Year!
Yes to Paloma Faith and The Hives, no to Roland Gift. Yes to Ruby Turner, no to Emilie Sande. No to The Dubliners after hearing Whiskey in the Jar every Friday for two years, sometimes performed twice by two artists with limited repertoire, at the Wylam Folk Club.
Jools Holland's show is there to be grumbled at, isn't it?
Looking forward to another great year of music and creativity!
Christmas albums to listen to: Tuneyards, Grimes, Merle Travis and more!
Jools Holland's show is there to be grumbled at, isn't it?
Looking forward to another great year of music and creativity!
Christmas albums to listen to: Tuneyards, Grimes, Merle Travis and more!
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