Arts, Music & Events Preview, April 2011 (Part One)

This latest preview feature again hits after a small bite has already been digested. There’s plenty more to chew on, so without further ado...

Can you believe that it is four years since Prostitutes & Policemen’s first uptempo clubnights raved the Attic’s roof off? Well you can take your nostalgic disbelief with you tonight to Sankeys where they’ve listed the wacky mix-merchants Crookers atop an electro-ridden bill.

Another one for this evening – as well as tomorrow, Thursday 7th – is a film showing screened by Manchester Friends of the Earth. They’ve organised ‘The End of the Line’ in Didsbury to highlight over-fishing, followed by Pete Postlethwaite’s climate change insight ‘Age of Stupid’ on Thursday in Levenshulme. They’re asking a few quid per night.

Thursday 7th is a packed night all around. There’s the monthly An Outlet musical showcase Some Drum I Would Never Hear, which is pitched against a pair of art exhibition launch nights. New collective Underground Separation – art students at Salford Uni – promise a varied Soup Kitchen spread, curated across a broad range of disciplines within visual arts. And to evoke an audio mood Now Then Manchester favourite Paul Green has stepped in to soundtrack the space.

Across town BLANK SPACE has another outsourced exhibition adorning its insides; Perception/Deception is the title that No Such Thing Collective will be wrapping their creative arms around.

For Friday 8th Northern Groove are involved in the staging of Horace Andy, of Massive Attack fame, and his regular backing band Dub Asante at Band On The Wall. That’s not enough reggae? A second dose awaits on Saturday 9th. More for Friday, though, is offered by Micron and their booking of Kiki for funky Finnish frolics. They set up shop at Joshua Brooks, as ever.

In the DJing vibe, Piccadilly Records staff clubnight project Wet Play finds itself again in fresh surrounds, unsurprisingly given its sporadic, nomadic existence thus far. That’s Soup Kitchen on Saturday 9th, where you’ll find John Morales rubbing shoulders with the regular sound providers including Ruf Dug. Around a corner or two This City Is Ours bring the curtain down on their stay at An Outlet, whose neighbours would prefer the bustling clamour of their inner-city living space to be untouched by the relatively chilled-out beats of Blood Boy et al’s combined record collection.

Fast-forward to Monday 11th for some more visual mind food. This one’s Manchester FoE endorsed but run by Man Met Uni in the All Saints Building, who’ve picked out ‘Food Inc’ to tickle your optical taste buds. Back on the aural of the senses, 80s throwback Aussie indie ensemble Architecture In Helsinki’s tour stops off at one of the Academy venues on Wednesday 13th.

Thursday 14th is one of those inexplicably arduous nights in terms of narrowing down what to attend from a long list, as follows... Japanchester, featuring From The Kites Of San Quentin, Day For Airstrikes, Plank[!] and Trojan Horse, is an effort to raise money to help to support post-quake Japan; A Hawk And A Hacksaw at Islington Mill, supported by Dan Haywood and the New Hawks (keep an eye out for an interview to be published here very soon); Saki Bar’s Grand Reopening Weekend misjudges when the weekend is by starting up on a weekday with Reggae Thursdays; finally a factual one in Chorlton for those looking to align their house with a more environmental norm (or just save money through efficiency) – it’s a precursor to Saturday 16th’s Big Green Festival, both taking place at St Clement’s Church on Chorlton’s Edge Lane, where the theme is Bike To The Future (geddit?) and the best all female dance troupe in the UK, Spokes, will perform.

Deep breath. Friday 15th is one I’ll pinpoint a little better. Cutloose present Theo Parrish at the Roadhouse. Cosmic disco grooves aplenty. It’s Record Store Day during the following day, Saturday 16th, so if you’re keen then maybe try an all-nighter to beat the early birds into the inevitable queue outside Piccadilly Records. And ignore this fella (not that anyone’s paid much attention to the NME for a long time anyway).

More for the Saturday, you say? Here’s a couple: Carefully Planned reach ten in their All-Dayer series at Castle Hotel, while Eastern Bloc Records eclipses that milestone with a second instalment of quarter-century back-slapping at Islington Mill.

In other news, Sounds From The Other City tickets are on sale so catch them before the guaranteed sell-out (based on the evidence of all previous years), or get involved with the volunteering team to see the festival from a different angle and make a few new friends. The Imploding Inevitable Festival, a recent regular at the deed poll office, is another with a nod from Now Then Manchester; June 10th & 11th, Fell Foot Wood.

Chorlton Arts Festival has a volunteers open day on Saturday 16th – and make sure you pencil in 29th April as their deadline for The Flash Mob Writing Competition, organised by a group of Manchester bloggers - many of whom can be found on our Manchester Blogs section (left).

And in the immortal words of Columbo, just one more thing: have a little listen to Big Block 454 for some wah-wah funky tones, mellow acoustic oneirism and deadpan lyricism.

Words: Ian Pennington

Interview: From The Kites Of San Quentin

For those out of the loop of modern music, I’ll let you in on a badly kept secret: we live in a digital age. And so, post-peak era for the recorded product, it can sometimes be easy to forget when or if a musical collective has released the mellifluous fruits of their labour outside of the world wide web’s virtual boundaries and into the tangible wild. One such musical collective is Manchester’s From The Kites Of San Quentin (FTKOSQ), who’ve previously self-released demo singles through the bandcamp blogosphere but never held their music in their hands.

The internet, of course, is just the latest in a long line of double-edged swords to have directly resulted in a physical music sales dip and subsequent major label accusations of ‘killing music’ (take a bow, cassette ‘home taping’, CD ‘burning’, et al). It’s a recent history which Kites’ laptop mix-maestro and beat merchant Phil Bretnall, aka Blood Boy, spends little time mourning. “As far as the major label industry goes... good fucking riddance. At the end of the day, they are just a glorified bank so, as much as they can give you exposure, now they just want to get their hands on things that are rightfully the artist's, such as a percentage of live show fees and merchandise. So, we would never rule out a bigger indie, but I think in this day and age being as self-sufficient as possible is the way forward.”

Indeed the internet holds a definite benefit for the self-sufficient. FTKOSQ’s forthcoming physical release – a split single with fellow local soundsmiths Borland – is a step along a path that owes a debt to their early demos’ circulation through cyberspace. It has also opened a time portal back, in part, to an earlier recording norm; that of the vinyl: “we love the idea of vinyl releases. The CD has gone the way of the cassette, so if you’re gonna have something physical to go with your download then it may as well be wax.” So, while the download has become in essence the primary release route for independent artists such as FTKOSQ, distribution outside of the vast, yet oddly restrictive, internet bubble represents a stride forward. You can only reach so many people through your browser’s bandwidth and at an often limited sound quality, as recent Now Then Manchester interviewee Tullis Rennie – of the Concrete Moniker label – would attest.

To add that up, the summation of FTKOSQ’s ‘Chet Beaverbrooke’ and Borland’s ‘Clockmen’ (plus mutual remixes) equals output that’ll be rewarding; not only for both bands, but also for folks who may be familiar with one but not so familiar with the other, suggests Bretnall: “It's our first proper release and we just wanted people to hear what we are capable of, which was why the full track and remix format really appealed. Plus it means peeps into Borland will check us out and vice versa. We love the Borland track and the remix they did for us is just awesome.”

Not that FTKOSQ have been tethered to a keyboard in a locked computer room. They’ve been performing as a reduced line-up of three, forced by the departure of Paul (Phil: “We had to change things around pretty drastically, so that took a bit of getting used to, but we’re good now. Live is where it's at for us to be honest!”). Regardless, the trio have infiltrated the forefront of many local promoters’ thoughts by virtue of a delivery lazily comparable with Portishead, but more complex than any one reference point.

A recent gig at Kraak Gallery, supporting Trojan Horse’s album launch show, sees Bretnall’s dystopian samples, wobbly FlyLo glitchstep and shifting synths align with his fellow Kites in their labyrinthine progressions. Turgid lilts from the belly of guitarist Luke Bhatia’s substantial FX soundboard set-up duel with warped, drowning vocals effusively transmitted through the added depth of Alison Carney’s dual mic dynamism. The former an oneiric harness to the latter’s jolting immediacy. Theirs is often a maze with Kubrickian looming threat; trip-hop amidst the streets of a Hunter S Thompson deranged urbanism. While there may be the vague hint of Tom Vek’s ‘Nothing But Green Lights’ trailing in the Kites’ slipstream, the gears quickly change; pedal floored in a blurry night drive through reds, while distorted inhuman voices hazily plume the flight away.

Influences are increasingly a non-event given the eclectic scope of the average mp3 player shuffle – another defining point of the fast-paced internet paradigm. But they can be an indicator. Although varied, a couple listed in the Kites’ listening habits stand out for their status as the great outsiders, namely prog rock stadium-fillers Rush and Yes. As bands much-maligned by magniloquent music journo types (the former in particular considered an easy – and fair – target, unfairly, although gaining recent unexpected kudos from a certain Manchester-founded newspaper), the implication by association is clear; their sound is their own – if you don’t like it then lump it.

Such a mentality perhaps fires Bretnall’s bluntness regarding the appeal of independence as an artist: “complete control and generally making things more exclusive.” You could lump it, but the chances are you’ll like it; the slow builds of ‘Chet Beaverbrooke’; the escapist harmony overwhelmed by discord around the midpoint; the glistening sonic polish of studio practise (Phil: “Our track on the split was mixed and mastered by our old friend Andy Giblin. At the time, we just weren't that great at getting a good final mix, so he helped us out”).

All of which sits within not only a first for From The Kites Of San Quentin, but also for Gulf Records. The label is the joint project of Borland’s Rob Gregg and Dubai-based Dan Fogg, who unwittingly join a UK music spectrum seemingly commercially welcoming of James Blake as the nominated figurehead of spliced future beats and post-dubstep downtempoism. But the Gulf Records timing shouldn’t be considered an opportunistic reaction. There’s no need for an exaggerated ‘I was there’ moment, à la Sex Pistols at Manchester Free Trade Hall; the pairing of Borland and From The Kites Of San Quentin represents a separate take as part of, not following on from, a burgeoning, efflorescent electronic music niche.

Borland as a live act are on a hiatus, which makes it all the better that Gregg’s time is freed up to continue their presence with the Gulf venture. And FTKOSQ themselves are no strangers to side projects, promoting and podcasting regularly under the This City Is Ours (TCIO) guise. Bretnall is quick to express him appreciation of his Manchester electronica promoter brethren. “Hoya:Hoya. Full stop, man. Best clubnight in the country, hands down, and we’re lucky enough that it's on our front doorstep. Probably the most forward thinking bunch of people in the UK right now with a residents crew to die for. Also, Mind On Fire. They have been at it for ages now and we have done fair bit together. We did a party with those guys at Islington Mill last year as This City is On Fire – we were turning people away at midnight.” He goes on to champion Drumclinic, Hot Milk, Norvun Sundays and Hit&Run, along with another freshly sprouted record label, Broken Bubble.

Manchester is certainly offering an enviable electronic selection; the future is promising. As far as FTKOSQ’s future goes, the short-term is the split single on 4th April with Borland, a record that aside from Kites’ tune conjures up Borland’s ‘Clockmen’ – a steady Balearic dreamscape overpowering the clicks and flickers of percussive minimalism – and swapped production credits to each other’s work. A launch night at Centro accompanies on 1st April, while further ahead Bretnall is planning for TCIO the label: “we mixed some other tracks with Andy [Giblin] that we’re gonna be releasing as a digital EP over the summer through This City is Ours, with the album being the first physical release on the label towards the end of the year. The plan is to release it ourselves as a limited marble/coloured vinyl run with a download and some lovely artwork. Totally not cost-efficient, but who gives a shit?! We’re not looking at making money from the label; we just wanna recoup and help fund the next release.” And with a listenership interest piqued by what has preceded, this independent, like it or lump it ambition can drive FTKOSQ’s digital beginnings into an actual reality.


Words: Ian Pennington
Images: Ed Sprake, except image #3: courtesy of Trojan Horse

Hit&Run presents: Submotion Orchestra @ Mint Lounge, Monday 14th March 2011

After rumours of a gig in Manchester last December failed to materialise I’m like a kid before Christmas for this one. With two sold out shows before arriving in Manchester, you know that this is going to be worth the Tuesday morning hangover.

On arrival, the queue into Mint Lounge is like a bank vault giveaway with the masses scrambling to get in. The madness outside the club is no mask for inside where the place is packed as Submotion Orchestra are just getting into their set (yes, I missed the start thanks to the carnage outside).

For those unfortunate enough not to have encountered this septet formed in Leeds, tonight’s gig is the perfect introduction. Under the Ranking Records label, which has also released material by Gentleman’s Dub Club and Quark, Submotion consists of talented individuals who come together to work even better as a collective.

Self-described as “progressive live dubstep,” they wow a student-heavy crowd with Ruby Wood’s exquisite lyrical tones backed up by sharp synchronicity from drums, guitar, keyboards, percussion and trumpet. The band’s enjoyment radiates out to a crowd crammed into the club and literally hanging from the walls for a view. In particular, new single ‘All Yours’ (released last week through Exceptional) and the piercing, yet enchanting, vocals of ‘Finest Hour’ go down a storm. All of which is too much for one punter to contain, turning as he does to the nearest life form, which happens to be your humble narrator, and exclaiming his disbelief at the high quality on show.

Following the band's set, the invisible seventh piece to the Submotion jigsaw, DJ and producer Ruckspin, occupies the decks to supply an injection of urgent bass to soundtrack the early hours of Tuesday.

In part due to the selection of songs played, the dancefloor just doesn’t stop moving, which is something drummer Tommy Evans alludes to after the gig. He tells Now Then Manchester that they were expecting an audience more suited to uptempo drum’n’bass due to the Hit&Run modus operandi, so were wary of keeping it lively. Visibly pleased with the reception from the crowd, Evans is already looking forward to returning to Manchester with the current Ranking Records roster's other live act Gentleman’s Dub Club, who are touring the UK throughout May.

For now, Submotion have finished their UK tour, but I urge you to track them down at one of their yet to be announced summer festival dates. High praise from Gilles Peterson, and myself, is not dished out to any old rabble and this lot are of the highest calibre.

Words: Danny Doyle
Images: Gary Brown (GB Multimedia)

Continue launch night @ Sankeys, Friday 11th March 2011

My fears are confirmed before I arrive; Sankeys’ days are surely numbered. It’s been a while since I last ventured here (except for one forgettable night hosted by a brand of cigarette paper) and Ancoats, as one of the last untapped areas of Industrial Manchester, is swiftly evolving from the dilapidated inter-warehouse alleyways so serenely welcoming of an award-winning dance club. The renovation of former factories - although pleasant and a good use of space - will inevitably lead to a yuppie invasion and a battle for Sankeys to retain its licence.

Despite these fears, new night Continue holds an interesting line-up with a description that befits a club claiming to be a trailblazer in forward-looking music. The answer to ‘intelligent dubstep’ and ‘future garage’ awaits.

When the main room doors open, there to greet the slowly swelling audience is local DJ XXXY's uptempo pulses and melodic shuffles in the future garage imprint. Pangaea keeps the steadily growing volume of punters moving; his lively beats taking inspiration from dubstep, garage and elements of tech and house. It could seem as if he’s trying to please too many genre diversifications, but the blend works by not overdoing each ingredient; digressing from one to the other seamlessly.

With the strobe-soaked dancefloor healthily, but not entirely, filled and by now unable to resist the rhythms, Instra:mental has a standard to maintain in taking over the world-famous decks. The response is to raise the tempo a few notches, but retain enough of the renowned dubstep minimalism to ease in smooth mixes between phases.

An early call away means only catching the first half of Dark Sky and sadly missing Scuba’s tech-friendly SCB project. However, it is clear that the guys behind Continue are planning for a musical future, regardless of the ever looming Ancoats invasion by studio apartments and Ikea flat-packs.

Words: Danny Doyle
Images: Ian Pennington

Arts, Music & Events Preview, March 2011 (Part Two)

Picking up smoothly where March Part One left off, this evening (Saturday 19th, in case you haven’t checked your calendar and/or have arrived fashionably late to this blog post) sees another instalment of This City Is Ours. It’s in conjunction with the Broken Bubble label launch at the cosy confines of An Outlet.

Sunday 20th sees Arbouretum stride the Deaf Institute stage. They’re often defined as ‘folk-rockers’ but the ‘folk’ tag is presumably a result of the abundance of facial follicles, while their occasional face-melting solos would surely singe your typical folky vibes, so file instead under the Crazy Horse-backed-Neil Young emphasis on ‘-rockers’.

Now Wave + Hoya:Hoya = an intriguing collaboration. Furthermore, when the equation equals a warped evening of Brainfeeder acts you’re onto a winner; in short, Teebs and Jeremiah Jae, Monday 21st, Deaf Institute.

Food Not Bombs is plotting a few events, starting with an open meeting. Head along on Tuesday 22nd if you fancy helping to expand its culinary arsenal. Otherwise on that night, Manchester Salon’s latest discussion focuses on The Future of Journalism and Publishing Online at Blackwell University Bookshop; a hot topic for this blog, needless to say.

Merzweek is ongoing from 21st ‘til 28th and Wednesday 23rd is the day to catch a premiere screening of the documentary focusing on central Merz artist Kurt Schwitters’ life. 7pm start, free entry; beat that, mobile phone Wednesdays.

Mount Fabric launch their new EP at the Castle Hotel the following night, Thursday 24th. And the final weekday, Friday 25th, ends with a win-win techno choice: Content welcome Juan Atkins to Joshua Brooks during the same hours as the finale of the three Übermotion monthlies at Sound Control. The latter drags along recent Kompakt compilation architect Robag Wruhme and Berlin’s deep house merchant Efdemin.

If you’re not exercising your democratic right to wave placards around on the streets of London on Saturday 26th, then there’s a veritable feast of politically apathetic alternatives on or near your Manchester doorstep; hell, you might even be able to make it back up here in time for the evening’s options – provided you haven’t been kettled in Kensington. American-born, now local, folkstress Jesca Hoop has been entrancing Manc audiences for a fair while now; we reviewed her Deaf Institute show last year, which is where she returns after Hey! Manchester’s persuasion. The lazy comparisons range from Bjork to Joni Mitchell, via Kate Bush, and I’m feeling lazy so that’ll have to do. Magic Arm supports.

For those looking to loiter across the Irwell, Islington Mill hosts the aforementioned Merzweek closing party that’ll feature John Maus as the star attraction and Doodlebug on the decks. Another shout is the Kode9 gig at Jabez Clegg. Drum Clinic have organised a 90 minute set to look forward to from a man whose Hyperdub label has helped a genre flourish by providing a platform for early Burial, Darkstar and Zomby releases.

Busy Saturday means chilled Sunday and there are a couple of Now Then Manchester endorsed ways to do just that. Alexandra Park is the place to head for an afternoon lesson in badge making, ‘mind food and acoustic liveliness’. Or if you end up having an extra long lie-in then tune into Northern Groove’s new Sunday night show on Unity Radio; 1-3am for cosmic house, electro-funk and soul.

The month sort of peters out after that as far as I can tell, but check out Bar Centro’s Soul Sessions on Wednesday 30th for a couple of melody-addled solo performances.

Words: Ian Pennington

HearHere presents: Polar Bear with Jyager @ Sound Control, Wednesday 16th March 2011

I’ll get it out of the way at the start, Seb Rochford has a lot of hair, a veritable mane of hair. There, I said it, no need to mention it again, because from here on in, it’s all about the music.

Support comes from Sheffield’s King Capisce, comprising of a guitar, bass, drums rhythm section and fronted by dual saxophones, but they go far beyond what you’d assume from a jazz quintet line up. Their melting pot of influences makes for a delightful mix, moulding Battles-inspired math-rock riffs and psychedelic Mars Volta-esque noodlings alongside duelling saxes reminiscent of early Polar Bear. They are clearly talented musicians and the intelligent use of dynamics and groove display their abilities, new single ‘If Not Now, Then When?’ is a highlight - and well worth checking out - but as with many musical equations, this band doesn’t quite equal the sum of its parts. The talent is certainly there, but the performance is missing that extra something, a little excitement or dynamism from the group as a whole. There is great potential here and they are definitely worth keeping an eye on to see what they can produce through developing as a band.

The mature crowd slowly eases its way forward and welcomes Seb Roachford’s Polar Bear to the stage with warm applause, but who’s this baseball cap toting chap striding on stage? It’s Polar Bear’s latest addition, London-based rapper Jyager. It’s clear from the start that he’s going to be running the show, stealing some whoops and waves from the crowd between songs; he’s intent on having a good time and it’s easy to see why. The band onstage with him is a rapper’s delight, crafting tight grooves and melodies upon which his slick and rhythmic lyrical flow thrives. Playing all the hits from latest collaborative album Peepers, Polar Bear and Jyager are a delight to watch; each musician complementing the other as the tastiest of drum grooves, smooth guitar licks, delightfully melodic sax squawks and syncopated basslines, topped off by Jyager’s energetic presence, combine to form a glorious whole.

But you get the feeling that this isn’t the Polar Bear that some members of the audience have come to see. One heckle of "play one we know!" is met with a wry smile from Jyager, because if you were expecting the well-loved, sax-led jazz quartet, you may end up going home disappointed. The evolution from the early days of Polar Bear’s snarling sax duelling that earned them a Mercury Music Prize nomination is clearly evident as they embark upon this dynamic collaboration. On the strength of their combined musicianship alone, the prospects for what this band can create are insatiable and, united with such an exciting talent as Jyager, the jazz/rap union appears to have been carried off with vibrant aplomb.

For the unexpectant neutral, this is a delight to behold and as I gaze at the musicianship on show my good English self can’t help but let out a wiggle of the hips and a tap of the foot in response to the rhythmic energy flowing from the speakers. As the inevitable encore ensues, there is noticeable sophistication about Polar Bear’s manner, no need for any tricks or flamboyance, just let the inventiveness and excitement of the music speaks for itself.

Words & Images: Simon Bray

Where next for art in Manchester?

The announcement of the fortunate few recipients of the Government’s Arts Council England (ACE) funding scheme is due by the end of March. To put it bluntly, thanks to irresponsible bank management, public money that could have been used as funding for the arts has already been distributed as bankers’ bonuses and to rub salt in the wounds we now live under the rule of a government convinced that a regressive state is the answer. As a result, even those who usually expect funding wait with bated breath. This has affected Manchester groups in differing ways; Ian Pennington spoke to representatives of Mooch N4 Street Art Gallery and Blank Media Collective, two examples of local groups with contrasting responses to the cuts.

To set the scene, a 10-year strategic framework was published under the title of Achieving great art for everyone last November and, as the result of what the Arts Council North West’s spokesperson describes as “major consultation with all those involved or interested in the arts,” Arts Council England is certain that it represents the best option for everyone, particularly given the circumstances of the recession’s playing field.

You’ll be aware of the recent cuts to public spending, I’m sure. Here’s a quick recap on how the ConDem blade fell on the arts: last October the Arts Council England (ACE) announced a 29.6% cut to their budget over the next four years, with 6.9% immediately trimmed from the majority of funds previously announced for 2011/12, and its Chief Exec Alan Davey adding that he expects the ruling to have “a significant impact on the cultural life of this country.” Then in January the inevitable scramble to the top of a thinning money tree was reported by ACE; the consequence is that “approximately 1,340 arts organisations across the country [have] submitted a request to be part of the new portfolio.”

Davey, in something of an understatement, admits via the ACE website that, “demand for funding will outstrip supply.”

Many will be left without the funding that they hope for, although it’s worth remembering that some Manchester arts organisations have been coping well enough without public funding. But that isn’t to say that public spending won’t affect currently non-funded arts projects, at least indirectly.

Certainly, by the time the cuts have filtered down through the hierarchy, smaller independent groups will be left to feed on scraps. Christina Pavlou, former curator at the recently closed Mooch N4 Street Art Gallery and now unemployed, makes the point that lack of funding for other local organisations can have a knock-on effect to those operating in related industries. “The strain can still be felt in the privately funded sector. With Mooch N4 we were completely independently funded, with the income on sales supporting the payment of staff, rent, electricity and publicity. There was a definite drop in sales when the arts cuts were announced, and as a result we did not have the income to stay open. We decided to close rather than change our independence by getting funding and having to follow what the government man says we should do.”

The final point is salient. There are benefits to remaining free from funding in that ticking boxes to adhere to application regulations doesn’t have to clog up your to-do list. However, it does make life more difficult when you’re forced to organise and promote shows under your own steam, something that Pavlou has persevered with under the HldTght moniker.

Of the Arts Council’s expressed funding goals, one seems most relevant given much of their upcoming work could potentially revolve around alternatives to funding: “Goal 3: The arts are sustainable, resilient and innovative.” Reading between the lines, this aim essentially exists to encourage non-funded artistic practice and to diminish reliance upon the Arts Council to make a living in the arts.

This is a mindset that Blank Media Collective has adopted from the outset. Their DIY mentality has led to a gradual and organic growth over the past five years, culminating in a new home on Hulme Street, BLANKSPACE, which was formerly the easa HQ. Talking after their successful launch party at the new gallery space, the Blank Media Collective Director Mark Devereux insists that all is not lost following the cuts. “There are potentially both good and bad implications and time will only tell over how each organisation, gallery, artist and creative reacts and responds. As the Director of a small arts organisation I feel our role is now even more integral in making sure the platform and opportunities are given to emerging artists and nurturing the future artists for the next generation.”

However, the funding question rears its head here as well. Compared with Mooch N4, Blank Media’s attitude differs in the sense that they seek Government funding where possible, but have the foundations in place to maintain their work on a tight budget. To take the next step Devereux admits that Blank Media will require some outside monetary help, “[we are] currently working on a number of funding applications to help the future of the organisation, increasing the support we are able to give to emerging artists. We are well aware this is our next big challenge, however because of our background of implementing projects on shoe-string budgets we know we are able to continue our work even without any external funding.”

The overriding sentiment is one of stoicism; it’s not exactly business as usual when the goalposts have moved and narrowed, but there’s no point crying over a pot of government gold that has long since been spilled into the coffers of flagrantly foolhardy bankers. “If we start worrying about how the cuts will affect this, that and the other it will spurn creativity even further,” offers Devereux. “Groups should work within their means, continue to create platforms and raise the interest in the fantastic work by the artists they support. We should do what we are good at – think outside the box...”

Words: Ian Pennington
Images: Courtesy of Blank Media Collective

[An edited version of the above article appeared earlier this week on the Manchester MULE website]

Arts, Music & Events Preview, March 2011 (Part One)

It’s already been a busy month so far, hence the lack of preview until today. Chances are that the omission of a neat, overly wordy events navigation has spun your social compass into a magnetised frenzy. So to prevent any further blind stumbles through Manchester’s happenings, here’s a rundown of what’s to come.

Friday 11th’s evening seems as good a place to start as any, being as it is the starting point for Continue, a new post-dubstep, IDM styled affair at Sankeys. Hotflush Recordings label boss Paul Rose headlines in the split musicality of dark electronic sub-bassman Scuba and tech-fuelled alter-ego SCB, while the likes of Dark Sky and Mind On Fire compilation favourite XXXY fill other slots across the night.

Sunday 13th is one for Debt Records, who’ve lined up their entire roster plus a couple of extras for a charity-oriented Band on the Wall show. Keep the earlier-than-expected kick-off time in mind so as not to miss a stellar cast from John Fairhurst to Josephine.

Oliver Stone’s recent documentary, South of the Border, is free to waltz into on Monday 14th at the university's Open Media society. Fill your head with thoughts on the various propagandising of a North/South American divide before emptying it again amidst the mellowing tones of Submotion Orchestra, who top a Hit&Run bill at Mint Lounge. Keep an eye out for their forthcoming single ‘All Yours’; released later this month on Thursday 24th.

From the Americas to Africa in the space of a day; Ethiopian jazzman Mulatu Astatke (whose recent album was reviewed in Now Then Sheffield here) is booked in on Tuesday 15th for a Band on the Wall gig of the ilk you won’t see every day. In short: Do. Not. Miss.

Shifting marginally across the jazz plateau, highly recommended 2005 Mercury Music Prize nominees Polar Bear are Hear Here’s next offering on Wednesday 16th. They’ll be joined onstage at Sound Control by Portuguese rapper Jyager, and in support by former Now Then Manchester gig-closing soundwall merchants, King Capisce.

The sea of green fancy dress you’ll encounter on Thursday 17th is the major clue for the Ireland-related Guinness-athon that is St Patrick’s Day. Bar Centro plan an artistic angle under the eyebrow-raising moniker of The Trials and Tribulations of a Romano-Briton Snake-Hater. DJs are promised to give the visuals some audio accompaniment. Also in art that day, Blank Media is hosting an intriguing interpretation of the artworld’s similarities with religious dogma. MMU’s Ryan Higgins curates No Offence Intended at BLANKSPACE.

Finally for now, Friday 18th sees WARP’s Seefeel perform scuzzy mind-tingling shoegaze, courtesy of Now Wave and Islington Mill.

Words: Ian Pennington

Efterklang @ Academy 3, Friday 25th February 2011

Each time Efterklang return to these shores it seems that they’ve embarked on a new elaborate artistic project. Previously it was the full orchestration of highly acclaimed album Parades; this time, the band use the slot usually offered to a support band by taking the chance to display their latest endeavour, their debut film, which is directed by Vincent Moon of La Blogotheque fame. Technical mishaps dictate that for the first half of the film the subtitles read backwards, eventually amended by a man fiddling about with the on-screen menu, but for the most part the film isn’t about the words, it’s about the sounds.

Rumbling into life with overwhelming sub bass and a series of natural sound recordings it’s a feast for the ears that shows great promise. However, it soon develops into what is seemingly an extended La Blogotheque showcase with a few self-referential nods to the band’s childhood and, in a similar way to Sigur Rós’s Heima, we find the band performing acoustic versions of tracks in a whole variety of locations, including a school backed by a high-five happy children’s choir.

The highlight however is the performance of ‘Alike’ in an old barn where apparently the band used to rehearse. Primarily focused on frontman Casper Clausen, as the song progresses the camera gradually pans out to reveal the band with a whole host of performers wielding an array of instruments, including not only trumpets and drums, but also bursting balloons and a broom being swept percussively. The song progresses and develops to a euphoric climax and it is this inventiveness and versatility that really portrays the essence of the band; creative thinkers who want to express their music in a considered and joyous way, and who better to help realise that on film than a man who spends his life capturing bands performing in creative spaces.

So now onto the main event and, as much as I enjoyed the film, it’s no match for the real thing. The band are welcomed onto the stage with a very warm welcome, performing to their largest Mancunian audience yet, but it takes until around the fifth song in, curiously the bleep and beat heavy ‘Step Aside’, for the crowd to really start getting excited. As the band introduce ‘Soft Beating’ you begin to realise you are experiencing something very special. This group of multi-instrumentalists perform their music with such ease and joy it’s a pleasure to experience; each musician’s part has its place without doing too much, but is somehow absolutely vital to the whole, as the songs hang together with a musical chemistry more reminiscent of classical composition than indie rock.

With Casper Clausen dictating proceedings, we are treated to a superb collection of tracks from their now extensive back catalogue and as they leave the stage the crowd beg for more. On their return, Clausen whispers through the beginning of ‘Cutting Ice to Snow’, the crowd are left with bated breath by what is perceived to be a dramatic pause, but actually turns out to be the band trying to hear Europe performing ‘The Final Countdown’ in the venue downstairs, which prompts a number of self versed renditions from the audience, a mischievous move which only goes to show their absolute joy at performing their creations to an adoring audience.

As the band bring their set to a close it’s with regret that I have to turn and leave; I could watch this band all day. Hopefully it won’t be long until we see them again, and who knows what sort of endeavours they’ll get up to between now and then?

Words & Images: Simon Bray

Arts Cuts and the Manchester Response

The Guardian recently reported Bank of England Governor Mervyn King’s analysis of the public spending cuts. "The price of this financial crisis is being borne by people who absolutely did not cause it," he said. "Now is the period when the cost is being paid; I'm surprised that the degree of public anger has not been greater than it has."

So here we are, seemingly in a reality that values a visit to the bank over a visit to an art exhibition. Those CEOs and board members of multinational banks with gut-wrenchingly high bonuses have not only twisted the system to suit their sordid greed and manipulate many a populace into economic meltdown, but now, by electing a government set upon finishing the job, the clarity of shooting ourselves in the other foot is all too vivid.

As far as the arts are concerned, there has been some local resistance so far. The recent Artists’ Bonfire at Islington Mill is one example and its co-organiser Rosanne Robertson lauds the “definite sense of camaraderie and passion that I have never witnessed at an art event before.” There is more to follow, as The Artists’ Bonfire will next radiate its embers in the Big Smoke of the south, London, with the aim of building on the foundations that will have been laid by the March for the Alternative protest event on 26th March. Robertson is enthusiastic about the possibilities of the second Bonfire event and encouraging participation and awareness can only be of help to the arts as she aims to “add fuel to the creative fire.”

However, Robertson laments the circumstances that have paved the way towards this scenario of belittling artistic pursuits. “For many people art doesn’t seem to factor into the equation as something that should be saved in these circumstances, whereas threats to libraries or the forests get a wider response as perhaps not everybody has a relationship with art. I think a lot of the time people see it as a small selection of people asking for money to fulfil a hobby and, with the Government using the arts as a soft dispensable target, they back that up on a national scale.”

Christina Pavlou, who is a proactive figure in Manchester’s street art scene, offers a slightly different perspective: “People are losing their jobs and galleries are shutting down, but art will always be viewed as a luxury product. We don’t need art in our homes, but we want it and I think small groups can still make exhibitions, shows and events happen. I am more concerned by the closure of libraries and getting rid of some youth work teams.”

Pavlou, formerly curator at Mooch N4 Street Art Gallery until the cuts indirectly prompted its closure (“There was a definite drop in sales when the arts cuts were announced, and as a result we did not have the income to stay open”), recently curated the HldTght live art exhibition and afterparty in the Soup Kitchen’s basement “on an £80 budget and we made most of it back. There were around 250-300 people at HldTght who enjoyed a night we put on for a fraction of what most people pay.”

But when you only make most of your outlay back then such enthusiasm will remain in the realm of extra-curricular, meaning less time can be afforded to it and the results will be less frequently enjoyed. For many the arts may be a luxury, but for others they are a livelihood and the luxury for one can less easily be retained and continued without the livelihood of the other. Robertson favours a stronger public sector: “If organisations disappear or start having an entrance fee then access will be restricted, further marginalising groups who may not historically engage as much with art. I think that free access to art, culture, broadband, knowledge and literature should be a basic right and that in some places the removal of an art centre or a library can mean the loss of all of these things to a large number of people who don’t have the money to access these things any other way.”

“There is a new philistinism that threatens not just art galleries, museums and centres but art and culture in primary education, music in community projects and university humanities and arts departments. There has to be an orchestrated resistance by the people who understand the value of arts and culture.”

Part of that resistance has been organised by another attendee at that Bonfire, Ian Hunter, who is also a Director at the Littoral arts trust and co-ordinator of the upcoming Merzweek event later in March. He pledged to the fiery fate a framed photograph depicting a scene from the Degenerate Art exhibition (Munich, 1937), at which Nazi goons displayed artwork in a derogatory fashion to exemplify their perception of its lack of value to society. Hunter’s speech commanded the full attention of the gathered circumference as he explained how those derided artists were deported so as not to stain the Nazis’ Aryan vision.

To take that comparison a step further, it could be argued that, by diminishing arts groups’ access to the state’s economy, a similar tactic of exclusion is taking place.

Hunter’s parting encouragement before the flames died down was to “work together, act together in solidarity, in generosity, in reciprocity,” which will in theory be the underlying aim for The Uncut Society event and workshop at Madlab tomorrow, Saturday 5th March. It will be an open meeting encouraging everyone from artists to NGOs via community groups and political arts movements to attend with a view to setting up an informal coalition or network.

There will also be a further reaching protest tomorrow, 5th March. Manchester March Against the Cuts begins at 12pm at All Saints' Park on Oxford road and will continue until around 3pm. Make the effort to go along and make your voice heard, before Rupert Murdoch inevitably seeks to use his ever expanding media arsenal to shoot down opposition.

The attitude of hope for the future exuded through Hunter's parting words will be invaluable for the arts during this period of forced austerity. Pavlou is also confident that art will find a way through it: “In an economic downturn artists always speak out and significant art movements always appear. So I think something good will come for the arts, we are living in the wake of the YBAs and this should be the prompt for our generation to hit the art market and the press again.”

Finally, she adds as an afterthought: “Oh and carry a marker pen at all times, you never know when you’re going to pass a poster of David Cameron...”

Words: Ian Pennington