a PDF of issue 1 - VU-Zine

VU-zine
No. 1
Martin Ron
Julia Holter
Nils Frahm
Matthew Killick
TrouwAmsterdam
White Denim
Asian Dub Foundation
Contents & Credits
2
Martin Ron
Pointing the finger of blame
4
Julia Holter
Emotionally led music
6
Nils Frahm
Living breathing sound
8
Matthew Killick
Diving for artistic inspiration
10
VU Views
Our favourite shots of performers
12
TrouwAmsterdam
Taking up a UK residency
14
White Denim
Back, sharper & smarter
16
Asian Dub Foundation
Chandrasonic’s blast of inspiration
20
Final Feet-ure
Match the feet to the artist
Editor: Dan Davies
Design & illustrations:
Kieren Gallear / DELS
Contributors: Glenn Max, Amelie Snyers
Chandrasonic, Richard Howard-Griffin
Moran Sheleg
Photographers: Zoe Klinck, Tina Miguel
Ross Brewer, Gus Palmer,
Street Art London, Josh Halcro
Watchful Eyes: Auro Foxcroft
Josh Greene, Dermot Hurley,
Jorge Nieto, Vidhi Gandhi, Juliet Spare
The VU Massive: Kath Khan,
Jack Foxcroft, Ty Vigrass, Tia Irish,
Lewis Howell, Ben Drinan, Radek
Kieczka Dominique Activille, Lisa
Reynolds Martina Margheri, Daniel
Gouly, Ania Buesdorff, Biba
Promoters: Bird on the Wire, Eat Your
Own Ears, Serious, Black Atlantic, The
Hydra, Fused, All Tomorrow’s Parties
Rinse FM, NTS, Earnest Endeavours
Soundcrash, SJM, Mixmag, Metropolis
Bugged Out, Two for the Road,
Communion, Magic and Medicine
City of London Sinfonia, Black
Butter Records, Resident Advisor
TrouwAmsterdam, Erased Tapes
Press Support: Natasha Parker,
Sofia Ilyas, Talya Elitzer, Emma Purvis
2
POINTING THE FINGER
OF BLAME
Martin Ron’s “Badgergate” as it broke.
The Badgergate news broke in our tube
train office. “Do you know what Martin
Ron is going to paint? A shotgun pointing
at a badger.”
It came as a bit of a surprise, mostly
because it appeared a bit too overt.
Martin Ron is one of Argentina’s best
known street artists whose Buenos
Aires murals had previously featured
disembodied heads, men trapped in
floating boxes, giant snails and joyous
tramps. On first impressions Ron could be
compared to Salvador Dali crossed with
Monty Python era Terry Gilliam. But he
doesn’t just deal in surrealism. In fact Ron
says his style is “hyper-real”.
“But surely a shotgun pointed at a
badger?” the controversial cull was
starting the following Monday, “is a bit
too, um, real?”
Over the next few days the first drawing
that appeared on the chequered green
paint splattered wall was a pink gun
eventually morphing into a pointed
finger. The disembodied digits are based
on his girlfriend Erica’s - but this giant
version is mechanised. Next it’s revealed
the person operating the hand is based
on a family friend Ron’s staying with in
the UK. What seems to be happening
here is that Martin Ron is making the
personal political. He tells the Inspiring
City blog “I don’t pretend to paint about
global political situations; little local daily
situations are enough for me. I like to
paint fantastic situations that co-exist
with other situations around them on the
street. I mix in the everyday occurrences
with surrealism and situations of fantasy.”
On the seventh day, the badger appears,
seemingly shielding his eyes from the
pointing attention. The black and white
creature is painted roughly to scale with
the giant hand (gun) but the final twist is
that Martin Ron calls the badger Goliath.
And the giant mechanical finger of blame
is David Cameron’s Government. “What the mural represents is a complex
machine without feeling, a mutant with a
lot of power up against a tiny animal that
in reality is adapting to the habitat around
it,” Ron claims.
The picture is often more complex that it
first appears, let the work speak for itself.
And if you can you should witness it in
person.
The Holywell Lane Wall is curated by Street Art
London who also provided these pictures
4
SOUND CITY
some vocals at my house. There was a lot
of time for me to do my thing, be alone
and not have the pressure of the studio
environment.
Does the fact that you tour affect your
process when you write?
I don’t think about that—if there’s a chorus
of tubas on my record I’ll come up with
another way of doing that live.
What’s your approach to narrative and
music?
I guess I’m more excited by stories or
fragments of stories. Sometimes I think
of it’s easier to think of my songs as
poems that are orchestrated just because
it’s not really a specific genre. I think
overall I’m more interested in looking at
each song and what it requires.
Do you come from a musical or artistic
family?
Julia Holter’s current album
Loud City Song is her first studio
album for Domino. Worked up from
demos in her bedroom studio, they
have been beautifully arranged to
pack an emotional punch. As she
joins but isn’t swallowed up by the
mainstream, our programmer
Glenn Max, hitches a ride.
How different was the process knowing
that this album would have the ability to
reach a much broader audience?
I worked on this material for year and a
half before I went into the studio - I had
all of it figured out as far the structure of
the songs, the atmospheres, the basic
harmonic material, the choruses. Even
some of the sounds we decided before
going into the studio.
We planned it out so it was comfortable
enough for me to be creative. We
recorded the players for the first six days,
and then there was months of mixing,
and even recording keyboard parts and
My dad used to play folk songs on
guitar. I can remember him playing
“I’ve been working on the railroad’’ and
stuff like that. He’s a great singer, he’s
really talented but my parents are really
academics. I didn’t think of myself as
creative until I was like 16 - I didn’t think
this was anything I could ever do.
What changed for you?
I went to this high school where there
was a lot or musical activity. It always
had this special music component.
I was around a lot of musicians and
since a lot of them were extroverted,
I was introverted….a lot of them were
jazz or musical theatre majors. I was
a piano major. I was in a very classical
environment where you were only valued
if you’re a virtuoso. It wasn’t easy to be
taken seriously unless you write.
Then after high school, I took this Music
Theory class - and I didn’t even know why
I was doing it except I really liked it. I had
to write music as an assignment, and I
thought, “I can’t write music.’’ I kind of
just thought you had to be a genius to
write music. Growing up in that classical
atmosphere can be really hard on people
who aren’t really smart –they’re just
musical. But I really liked it so I just kept
doing it and I applied to music school.
Actually no one liked what I was doing
for years and years, including teachers. I
knew there was something there. I knew
there was something in me. I felt it really
strong.
I really kept it to myself a lot cause
I was really shy about it. It was a bad
time, college - but there must’ve
been something that kept me going.
Sometimes you can feel really bad about
yourself and still really be into what
you’re doing.
And what is your relationship with
performing?
I don’t think about it. I actually took to it
very easily which is strange because the
things I just told you. I think when you’re
doing what you want you feel honest
about it. I actually love performing.
Julia Holter will be performing at the
Village Underground on 11th November.
6
and mood. Music will be one part of the
performance but so will my appearance and
LIVING BREATHING
SOUND
the atmosphere we make in that interaction
is important. I often want my audience to
express themselves, they can dance and
whatever - but often they don’t do it! People
are smart they know how to behave and I
trust them. I’m thankful that they came and
it should feel like they’re a part of this.
Getting to know Nils Frahm’s music.
Inside and out.
It may come as a surprise that Frahm’s late
night performance at Village Underground
won’t involve a grand piano but he hopes
When he was young, Frahm was taught by
reminded of those old live jazz recordings,”
Nahum Brodski, a student of the last scholar
agrees Frahm “I’d always been impressed by
of Tchaikovsky. However he diverted from
how intimate they felt. This set me on an
this purely classical route because he wasn’t
interesting trail, I thought why not go all
content with reading and reciting dead
the way and push it to the extreme? Go
sheet music by past masters. Instead, he
inside the piano with your ears. It was not
took inspiration from his parents jazz record
something I’d heard before.”
that this movement away from the big black
tomb can bring new life to his set. “I want to
experience different set up. The grand piano
is such a big instrument and it tends to
dominate, you have to form the whole room
around the instrument, and set up with
the piano in the centre. Hopefully at this
performance people can chatter or dance. I
collection.
also want to express my love for club driven
The new Frahm album Spaces (out
music, after this performance I’m going to
“The thing I really liked about the jazz
November 18th) is a live album that has been
form, is starting from nowhere and going
kept alive. Compiled from over 60 hours of
somewhere,” says Frahm “I’m really
recordings, taken on a variety of different
interested in sound as a phenomenon. Even
devices in many venues over two years, the
included, especially on ‘Improvisation for
listening to classical recordings, the thing
filtration process meant finding the best
Piano, Laughs, Coughs and A Cell Phone’
that is most interesting to me is how people
sound recording of each partially improvised
the final recording on one sweltering and
play rather than just what people play.
song. “The different recording manners
epiphanic night in St John at Hackney.
There are so many different performances
certainly have a different atmosphere but
“An improvisation changes with the people
of classical music, so it matters who was
each individual piece has its own demands
in the room. It’s important what they bring
playing it - the touch of the player but also
in terms of tone and atmosphere. It’s really
to the show. People trying to be quiet
where they played it. It’s a sound piece - the
hard to perform that set in one go to my
and coughing, the telephone ringing - it
tone of the piano, the room they recorded
satisfaction. I thought it would be safer to
affects how I play. I mean, certain classical
in. It wasn’t just about the skill of the player
record many shows and get some distance,
performers, run off stage when a mobile
but the quality of the music for me.”
select different parts and bits from different
rings, but I think it’s good as it provides
locations. It was also interesting to see how
an atmosphere that we’re all together,
Listening to Nils Frahm’s Felt album, what’s
the pieces developed over time... It was
performance is made from audience… I don’t
appealing is that you hear the entire piano:
good to have all the material to choose from
want to become isolated and don’t want to
the of squeaking pedals the noise of the
and put it back together as one show.”
be a snob. I’m not some sort of genius on
take time off to produce more dance music.”
stage who thinks you need to respect
keys being pressed, the felt hammers hitting
the strings, the creaking and breathing of
Frahm prefers to call these songs field
the art. “In the end, the concept of the
the beast. “Recording the piano in this way
recordings, the audience is present and
performance is 90 minutes of atmosphere
Like other performances such as the
renowned Boiler Room set, Frahm will take
inspiration from DJ culture.“I got an idea
from the tradition record deck DJ set up,”
he says enthusiastically “I want to mirror
my synths on the left and right and move
between them like a cross fader. Then
start a loop on one side and mix in other
elements on the other. It’s going to be like
the Boiler Room set-up but I will have more
time than 30 minutes in my hotel room to
prepare. The audience will be different,
the room will be different… and so will
the temperature.”
Nils Frahm will be headlining a special Erased
Tapes night alongside Kiasmos and Rival Consoles
from 10pm on 18th October
8
DIVING DEEP
process. A skill that develops is the ability
to recognise when chance has dealt you
a good hand, and then acting upon it.
Over time however, my ability to control
the paint has increased, and now I am far
better at predicting and controlling the
chance aspects of the process.
Do you actively
avoid representationalism?
All figurative work is an appropriation,
but what I mean here is that I try to
convey how things feel rather than how
they look. Sometimes the gap between
how things feel and how they look is
narrow, and at other times it is vast. For
instance I find that the after effect of
diving in dark, murky conditions, on a UK
wreck site is one of fleeting images like
glimpsed memories from a dream. The
reality of how it looks is quite different
to how the mind recalls it, because fear,
excitement, and the imagination ‘in-fill’
the details that aren’t clear.
For the last four years, Matthew Killick
has been making abstract black and
white oil paintings influenced by visual
encounters he experienced during
numerous diving trips around the UK.
For Postcards from the Deep he used a
different technique, painting on large
glass panels that are installed on the
Great Eastern Street wall. Backlit by
LEDs this murky netherworld is brought
into the light. Killick’s work is also
about inner exploration - an attempt
to find connections between the
chaos of nature and organic structure
in life. Metaphorically, what is lost
in the dark depths or what bubbles up to
the surface. Village Underground’s head
programmer Glenn Max dives in with
some questions.
In the preparation of each piece how
much can be left to chance and how
much can be controlled?
I consciously seek out processes that
involve aspects of chance in order to
keep an element of excitement and
surprise for myself during the creative
Image number 6 is perhaps the most
uniform, stark and perhaps inorganic of
your new work. How different was the
process for this?
This image, actually comes from a very
specific moment that I saw when diving
in Cornwall. The day was overcast, and I
was in the Helford river doing a shallow
dive of only about 8 metres. Towards the
end of the dive the sun suddenly burst
through the clouds, and the entire river
exploded into a mass of light rays. It was
one of the most beautiful things I have
seen. From that point onwards I started
making paintings that were influenced
by the way light travels through water.
What is your relationship to colour in
these works - one is hesitant to call them
monochromatic?
All of the paintings have been done
using the same ivory black. However,
now I am emitting light through them,
there are other factors that effect the
final ‘colour’. For instance the choice of
LED light. The ones I have used here are
‘warm white’ which gives a softer and
browner final colour to the work than
the bluer and more medical looking
cool white LEDs. The reason for doing
monochromatic work was that I really
wanted to concentrate on my ability
to draw, and to compose. I find that
colour is so seductive that it distracts my
attention, and I end up moving away from
my original ideas due to the relationship
between two colours taking over my
attention. I see the works as ‘drawings
with paint’.
How is painting on glass different in
process than painting on canvas?
The way that paint moves on glass is
very different to any other surface I have
worked on. To start with, the paint flows
and moves much faster. There is barely
any resistance so it is difficult to begin
with. Also everything is done in reverse,
as I paint on the ‘back’ of the glass, and
use the glass itself as the outer surface
of the piece. However, the result is very
satisfying, and the opportunity to present
the work with light emitting through the
places where paint is absent opens up to
me a whole new world of opportunity.
Matthew Killick’s Postcards from the Deep is
showing on VU’s Great Eastern Street wall
VU
VIEWS
Ghostpoet, The Raveonettes, Neon Neon, Crew Love, Thierry Noir
Phosphorescent, Belle Epoque, Lubomyr Melnyk, Tim Exile and The Heritage Orchestra
12
THE WAY OF TROUW
organically, the real philosophy and
small plates that you all share with meat
manifesto followed a few years afterwards.
and fish as well. In a way we’re inspired by
The building is temporary, we have to
London and Ottolenghi home-style cooking
leave in a year which will be sad. But the
too; we like lots of colour very fresh food.
relationships we’ve built will mean that new
Good for the body and good for the soul -
projects will be born.
nothing too high cuisine. We cater for young
people who want a quick snack before
What do you look for in the music you
dancing in the club, through to a couple in
programme – is it just the coolest thing?
their 50s who live around the corner.
It’s not the coolest thing because the
How did you hear about Village
coolest thing is always too much hype. I
Underground?
like to think that the musicians and DJs
we programme will still be relevant in ten
Jorge approached us asking if we were
years’ time. It should be contemporary, it
interested with working with you – and we
shouldn’t just look back to old heroes, there
were. We really liked the building and we
should also be a future element. People use
really liked the fact that art played a big
the word quality too much but it needs to
part. We seem to have similar goals and
have that characteristic. People like Andrew
philosophy. Hopefully, we’ll collaborate a
Weatherall, Tom Trago have been strong
few times really establish something in the
for a long time and will still be relevant for a
long term.
long time to come.
What can we expect on the night?
What art connections have you made?
We like the idea of Trouw Takeover and
We have a long term relationship with the
we’re going to symbolise that with flags.
Rijksmuseum, the Museum of Modern Art
We thought it would be cool to have our
in Amsterdam. We do video installations
own flags and the DJs will have their own
mostly and we have exhibits that are open
flags too. The artists we’re bringing over are
at night, that expose young clubbers to high
Tom Trago who is a resident and runs the
The legendary Dutch club is bringing a
in the Second World War as a resistance
quality art. We’re approaching them in the
Rush Hour label. We’ve got San Proper – one
bit of their magic to Village Underground.
newspaper. We kind of liked that it stood
place they like to go and their senses are
of Amsterdam’s true Rock ‘n’ Roll house
Dan Davies gives programmer and DJ,
for that counter-culture and also thought
open.
legends - he has a studio in our building.
Olaf Boswijk, a quick call to discuss
that original meaning was relevant to us.
their methods.
We wanted to get the basics right, the
Then we’ve got Job Jobse who’s the new
Tell me a bit more about your food policy?
youngster on the block and runs the Life and
Death label – and I’ll be DJing too. Two of
sound and the lighting In particular. Actually,
the sound is great because it was a printing
It’s a vegetable restaurant, there’s veg
our visual light guys will be coming over. We
press the building was treated to absorb
growing all over the restaurant and the club
like the world in between light and visuals.
Well, Trouw means “loyal” or “faithful” we
the noise. We always liked good food, so it
actually because we think it’s beautiful. The
We love analogue slide projectors rather
got the name because it was also one of
was then quite natural to open a restaurant
food we cook is Mediterranean by which I
than LCD screens.
the national newspapers and their printing
in the complex. Finally we had a basement
mean Spain, Portugal all the way over to the
press was in the building that we moved
space so we thought why not offer that
Middle East. It’s Mediterranean also in the
to. It still is a newspaper actually, it started
out as an art space? So it kind of grew
sense that you just get a table and have
Is there a Trouw philosophy?
Trouw Takeover takes place on 30th November
14
WHITE DENIM
Back, sharper & smarter.
Psychedelic Rock is my earliest influence.
Do you find as you get older it’s harder to
The record that changed my perspective
get out and give it your all?
and made me want to play music was Axis
Bold As Love by Jimi Hendrix. From there
It’s a little bit harder to recover from a full
I went into every area of psychedelic rock
all out performance, no matter how tired
that I could find. I went into Krautrock – and
I get I just get out there that really push it.
I was really into effects.
Things can happen on stage that I didn’t
think that I can pull off, things that I can’t
Basically, I think that it’s always been there
accomplish in the rehearsal room.
for all of us, we always loved that late 60s
rock and roll sound. I really like Tame Impala,
How did Glenn convince you to come over?
the production on their records is amazing. I
haven’t seen them perform since this record,
We happened to be eating at the same
so I’m looking forward to that.
restaurant at SXSW - he cornered me, as
I was having lunch, and dropped a card
When are your songs the most fully formed
saying ‘You’ve got to come and play my
- do they grow on stage or in the studio?
space’ and I said ‘I’d love to - how do you
feel about playing multiple nights?’ And he
They really take shape in the studio, we
was good with that. That’s what we were
don’t really jam a lot. Sometimes we’ll do
looking for.
jams at sound checks but they take shape
in the studio and they continue to grow on
Are you looking forward to bedding down
the road. For me, I realise what’s working for
for those two days?
a song once the record is finished and we’re
starting to tour it. I’m constantly rewriting
Definitely, my ideal tour is multiple nights
lyrics adding parts and changing the songs.
in smaller rooms. That way, London is your
I think the ideal situation would be to make
home for a few days. We don’t have to drive
a record, tour it and then make a record
so we’ll probably have more energy and
again. They kind of evolve, y’know?
more time on the stage to get comfortable.
We’ll be able to mix it up a lot more than
White Denim thrust themselves into the
But it certainly helps a band have a more
Austin music scene in 2008. Fully formed
professional approach to doing music.
The new material sounds punchier, is that
just jumping into a new environment.
(with apparently over 1000 songs recorded)
Being in a city like Austin in Texas where
confidence or good production?
Sometimes one night isn’t enough to get
and chocked full of energy, they became
there’s tons of bands gigging and loads of
the band to watch at SXSW. Now about to
press coverage, it seems like there’s a lot
I think it’s a little bit of both, the production
some of our material we play a lot of notes
release their fifth studio album Dan Davies
of opportunity which certainly motivated
on this record is a lot more direct, the more
in a gigantic space that all turns to mush
knocks about with the hard-wearing lead
us early on. There’s a lot here, there’s a
individual tracks you add to a song the
if you’re not careful. I’m really looking
singer and guitarist James Petralli.
lot of rock and roll and there’s always a
smaller it starts to get. I’m especially guilty
forwards to filling out the room and doing it
new awesome garage band and a good
of multi-tracking a song until it’s paper thin.
again the next night, for sure...
On this record we made a conscious effort
White Denim are at Village Underground
for 20th and 21st November.
For you and your contemporaries, how big
a sense of what is going to work. With
songwriter in town too.
an influence is Austin?
I notice that you’re touring with Tame
to be more direct with the parts that we laid
Everyone takes themselves pretty seriously,
Impala, how much has the psyche rock
and let the production speak, it’s a kind of
whether or not they should is arguable.
sound dripped into your Kool Aid?
‘less is more’ approach.
16
2
SONIC BLASTS
Best things heard, seen & tasted by
Asian Dub Foundation’s Chandrasonic
escape that in 2013, unlike his previous
neural pathways from the psychopathic
sex, drugs and surrealism rollercoaster
murk that the last few episodes of that
ride of a film known as ‘Gandu’ (“Arsehole”)
series drowned me in. And Mads Mikkelsen
which blew out various censorious
(as Lecter) is the Christopher Lee of his
gaskets . His new venture is a radical
generation. To most British ears the idea
reworking of the Bengali epic poem
of a festival run by the French Communist
Tasher Desh about a man washed ashore
Party does not appeal - and may even
on an island controlled by human-sized
horrify. But having played there for the
playing cards. Yeah ok, we’re on the
second time last week I can confirm that
soundtrack, but it looks like it’s gonna
the long-established Fête de l’Humanité is
be ace and is actually being released in
one of the world’s great festivals.
Indian cinemas and coming here soon!
Uniquely internationalist, amongst others
Back to music, was great to see Thurston
I heard music from militant Western
Moore divining forbidden sounds
Saharans, killer Kurdistani grooves,
from the guitar as only he can with his
smash-up Madagascan ragga, I saw
excellent new(ish) band Chelsea Light
strange dances by ethereal Chavez -loving
Moving. Sure they’re like Sonic Youth,
supermodels, and ate probably the best
of course they would be, but being like
cooked and the most diverse food I’ve ever
SY at their very best is something the
seen at any festival. Every tent contained
world needs on a drip. Another excellent
a restaurant with set places, this being as
show I witnessed down at VU.
much a food and drink festival as a music
do. Everyone was incredibly friendly - as of
It seems I am not alone in thinking
course they would be - this was a festival
Ummm what year is it? Oh yeah, 2013.
that TV drama has become one of
with a purpose for a change. And not a
Sorry had a complete mash-up night in Brussels last night, a full power event in the city
the most innovative arenas in the last
hippy / new age / bad curry in sight. In
centre, 5000 people jumpin’ for justice... recall a bit damaged...
decade in content and format (i.e.
fact, it was a lot of ordinary and sometimes
Congo Natty is breathing new conscious life into Jungle - drum ‘n’ bass precursor for
Netflix ENCOURAGING binge-watching).
very brave for example, the Iraqi tent.
those that don’t know. New album Jungle Revolution does what it says on the tin and
Everyone knows The Wire and, like half
People from all over the world were being
set to keep on doin’ it on 4th October at our beloved VU! Get the vibe. A lot of Congo’s
the world, I have just finished watching
creative, having fun and dreaming the
vids are directed by a genius in our midst who goes under the name of Global Faction,
the penultimate episode of Breaking Bad
same dream. Plus, we played a killer gig on
a true guerilla film maker who only lends his immense skills to those with something
which just gets better and better. I loved
a fantastic stage.
to say. He directed our latest ‘Radio Bubblegum’ but check also his blinding vid for
the French series The Returned and I also
‘Manmahon Nation’ by MSG which of course has been banned in India. But don’t stop
recommend the underrated Hannibal, a
there, Mr Faction has scores of videos (featuring artists like Lowkey and Caxton Press)
surprisingly chilling updating of what I
that represent what is a very healthy conscious rap scene in the UK . Talking of being
thought was the done-to-death Hannibal
banned in India ADF’s Calcutta-based director mate known as Q has managed to
Lecter saga. I am still untangling my
Asian Dub Foundation are playing
Village Underground on 15th November
Village Underground
Village Underground
– Autumn 2013 –
– Autumn 2013 –
01/10 A Winged Victory For The Sullen
01/11 Portico Quartet, Flako & Cornelia
03/10 Cashmere Cat & Evian Christ
01/11 Soundcrash Halloween Party: Dj Yoda, Dj Woody,
04/10 DJ Kentaro, Hexstatic (Solid Reel Av Set) & Dr Meaker (Live)
Dj Cheeba & More
04/10 The Bug, Congo Natty, Channel One Sound System
02/11 Mixmag Live : Nina Kraviz
05/10 Contact Curated By Youngsta
04/11 Eliza Doolittle
06/10 Thundercat, Dorian Concept
05/11 Art Brut
08/10 Mulatu Astatke
06/11 Bear’s Den
09/10 Mulatu Astatke with Fatoumata Diawara
07/11 The Bloody Beetroots
10/10 Buraka Som Sistema (Live) + Film Screening:
08/11 Youngblood Brass Band
Off The Beaten Track
11/10 The Hydra: R&S Records 30 Anniversary: Derrick May,
Space Dimension Controller, Dbridge
08/11 Machine Drum: Vapor City Live Copeland, King Midas Sound
08/11 DJ Rashad
11/11 Julia Holter
18/10 Jackson & His Computer Band
15/11 Asian Dub Foundation, DJ Pandit G, Sonny Green
18/10 The Hydra Erased Tapes Special: Nils Frahm, Kiasmos,
17/11 Snarky Puppy
Rival Consoles
18/11 Hiatus Kaiyote
19/10 Skudge Label Night: Skudge (Live), Jared Wilson, Rivet
20/11 White Denim
21/10 Ooh LaLA Festival: Fauve ≠
21/11 White Denim
22/10 Ooh LaLA Festival: Dominique A, Rover, Melissa Laveaux
25/11 OM
23/10 The New Babylon: Film Screening By CLoSer
26/11 Presented By David Lynch: Chrysta Bell
24/10 Ooh LaLA Festival: Lescop + Christine & The Queens
28/11 METZ
25/10 Jaga Jazzist, Kelpe, Lund Quartet
29/11 Just For You: Joy Orbison, Soul Capsule, Jon K
25/10 The Hydra Turbo Halloween Special: Tiga, Clouds, Sei A, Untold
07/12 The Hydra: Jeff Mills
28/10 Parquet Courts
14/12 Black Butter Records
29/10 Jose James
villageunderground.co.uk
villageunderground.co.uk
20
FINAL FEET-URE
No VU photo shoot is complete without the obligatory foot shot, so we thought we’d
finish with a quick quiz. Nice shoes but who’s the star?
A
B
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C
D
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villageunderground.co.uk
Answers: A = Tim Exile, B = Adam Green, C = Mala Rodriguez, D = Bombino
2
© Village Underground, 2013