Archive for March, 2013

Trick R Treat – Different Types of Horror

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of the most noticeable things about Trick R Treat is the surprising different types of horror united under one banner. We’ve compiled

B-Movies/Monster

Slasher Films

Something about the American style of fear is built on a culture of slashers and serial killers – individuals who on their own terms, hunt their victims. These horror films focus on the very real fear of what people can do, and because of this they can tap into the real fears of being alone, often heightening the film watching experience. There are umpteen thousands of slasher films, with the formula repeated endlessly without much care or attention as they can be very cheap to produce, but many are some of hollywood’s most well received films – including “Halloween”, “Nightmare on Elm Street” and. However, one of the most significant films in this sub-genre is Wes Craven’s Scream series, a collection of films which seemed

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to exceed the genre while defining and exploring them as part of the narrative – while also inspiring their own copycat murders. These films are incredibly self-aware, especially for mainstream horror but

If you want to find out more, the documentary “Cut to Pieces” is a fairly easy to watch documentary – and what’s more you can stream it on lovefilm.

Vampires
The distinction between vampires and zombies has become more significant

It would be foolish to ignore the incomprehensibly succesful Twilight series, which deal with a different kind, but if you want a really

NFT: Creepy Youtube Night

This post is part of our Nanu Film Trail for April – which this month is an anthology of horror. Looking at horror, it’s very easy to be lost in the culture of it without focusing on the effect it has. One of the questions we wanted to ask is this – what makes something scary? For our “free for all” this month, we choose something slightly unusual – a celebration of all the dark and creepy corners of youtube. A lot of what makes things scary are the circumstances within which you are experiencing things… turning off the light and turning up the volume both make a film feel that little bit harder to bare. But with new media comes new ways to experience horror – and nothing works better than stumbling through to the darker sides of the internet, where people have left their mark without leaving an explanation, uncertain shards glimpses into unanswered realities of an unknown world. There are many mysteries out there, tonight, let’s find them. How to make your own Creepy Youtube Horror Night For your own Creepy YouTube Horror night, you will need: One Laptop Some Snacks Some Drinks Some Friends A few links The recipe is simple – all of you sit together, turn the lights off, and put the laptop in front of you. One of you nominate yourself to be the curator for the evening. Pop yourself along to this reddit page, where some wonderful people have compiled an almost exhaustive list of videos on youtube that are considered by many to be of interest for this sort of thing. Amongst you, decide which sounds the most intriguing, and click play… and repeat! Importantly, as much as

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this night is about exploring our fears, it’s important not to bully or go further than anyone in the room is prepared to go. Nothing spoils the night more than someone. This said, YouTube is fairly good at policing content which might be too violent or innappropriate, so although many of these are odd or freaky or even unknown, they are at least “safe” to a certain extent… For our attempt, the rules were simple – if someone read a title outloud, we watched it, and we soon learnt to keep

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our intrigue to ourselves. For our sins, we kept a record of what we watched, and have made a playlist to get you started, which you might enjoy. Some of them are well-made horror shorts, some of them tread the line between hoax and horror, where others are just oddities from the past which now look odd and fun. We’ll find out about Finlay’s reaction to some of these later in the month. Have you given this a go? What videos worked for you, what videos didn’t work? Let us know in the comments, or get in contact on twitter.

Interview: Raconteur Edinburgh

Satnaam-Raconteur

Storytelling nights are all the rage right now, and none is more welcome to the scene then the fantastic Edinburgh endeavour Raconteur. We

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grabbed one of the organizers Satnaam Dusanj for a quick chat ahead of their next event, to find out more about this innovative night. If you fancy the sound of yourself as a bit of a storyteller and reckon you have a story to contribute, all you have to do to get involved, is get in contact with Raconteur on their facebook page or drop them a tweet @RaconteurEd and they will be able to give you all the information you need.

Review: Conquering Animal Sound – On Floating Bodies

Conquering Animal Sound

Conquering Animal Sound - On Floating Bodies
“Something new with an old shape”

In 2011, Scottish folktronica act and loop pedal enthusiasts Conquering Animal Sound burst into the consciousness of the Scottish music scene with their first LP Kammerspiel, released on Gizeh Records. It was an experimental record to be listened to without distraction, attention focused on Anneke Kampman’s delicate vocals amidst a chaotic symphony of crackles, bells, and synth hums co-created with James Scott.

Kammerspiel was an album that instantly hooked me. It presented something completely different from what I had come to expect from Scottish music and it brought great pleasure to me to see the duo shortlisted for the inaugural Scottish Album of the Year award in 2012.

Off the back of their critical success, the wait for Conquering Animal Sound’s follow-up album has been mercifully short-lived with the release of ‘On Floating Bodies’ on Chemikal Underground Records last week. The duo’s second outing features the familiar clicks and glitchtronica that define the CAS sound, whilst retaining the focus on Anneke’s enchanting Bjork-like vocals – a genuinely unavoidable comparison, sorry, Anneke – at the forefront of every song. However, ‘On Floating Bodies’ is a fuller, more confident record which has broken free from the shackles which kept Kammerspiel so finespun.

Speaking to Stu Lewis about their latest LP on The Tidal Wave of Indifference, James exalts: “We wanted more overtly electronic elements…to create more rhythmic sounds, and that came out in quite a direct fashion.” ‘On Floating Bodies’ certainly achieves this, expanding on their pre-established sound with layers of electronic loops, chirps and chimes which are entirely more striking in comparison to their previous outing. The far-reaching ‘I’ll Be Your Mirror’ is rife with 8-bit frills and Super Mario-inspired notations that trick my brain into thinking that I’m listening to the layers of this song converge to a catharsis, inside a busy arcade.

‘On Floating Bodies’ takes a curious though pleasant turn in its second half as CAS’s new found confidence starts exhibiting surprisingly poppy hooks. ‘Gloss’, ‘Treehouse’ and ‘A Noise Remains’ are all evidence of this, the last of these in particular standing out as Anneke repeatedly proclaims the line “move back and back and forth” with authority. The lush melodies on these tracks showcase Anneke’s vocals in a way that will be alien to those who are unaware of her recent solo work as ‘ANAKANAK’ and further demonstrate the influence of Anneke and James’s solo projects on this record. James, of course, is the man behind the swash electronic sounds of

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The Japanese War Effort.

The unique soundscapes that I fell in love with in ‘Kammerspiel’ are still present in ‘On Floating Bodies’ but they have been noticeably altered in accordance with a confidence and enthusiasm for music-making that the band has developed over the past 18 months. Anneke and James have managed to preserve the haunting qualities of CAS’s previous work, but have unfettered the electronic elements to instil more vibrant melodies and textures to their music.

This is by no means a reinvention of Conquering Animal Sound, though; it is a further expression of the qualities they possess which made people sit up and take notice.

On Floating Bodies is out now and available to purchase from Chemikal Underground Records.

Mike Nisbet In Session

Mike Nisbet

Last Wednesday, we welcomed Mike Nisbet, a bluesy singer-songwriter from Oban whose performances draw “Dylanesque” comparisons. After spending over a year living between London and Glasgow, sings about life on the road and feeling as though he has no home to return to. Mike played three songs for us including the brand new track “Travelling Blues” which will feature on his upcoming second album that he is hoping to release by the end of 2013. Plus there is some good chat about his thoughts on performing, song-writing, plus a new idea for a guerilla art installation.

Keep an eye on Mike”s website, Twitter, and Facebook for more news about upcoming gigs and album recording efforts.

casino jameshallison 4px; color:#02a0c7; width:472px;”>In Session – Mike Nisbet by Radioblagger on Mixcloud

Tracklisting:

1. Not Long (Live for In Session)

2. Colorado Girl (Live for In Session)

3. Travelling Blues (Live for In Session)

In Session broadcasts live on Freshair.org.uk every Saturday from 6-7pm featuring a plethora of the hottest new music from the Scottish scene, a roundup of recent and upcoming gigs, and, of course, a guest performing live in the studio.

Follow In Session on Twitter

Like In Session on Facebook

Download our free/charity mixtapes which compile every artist featured on In Session 2011 and 2012 here – http://insession.bandcamp.com

The F-Word: Why Rihanna is just like the rest of us

rihanna

Rihanna”s in the news again. Better avert any precious pre-teen eyes before they catch her contagious sexuality and transform into writhing sluts before our very eyes. She predates teen sex, revealing clothing and domestic abuse after all. It”s all her fault. The middle-class mums raising their eyebrows over their mid-morning coffees certainly think so.

Well I, luckily enough, am not a middle-class mum and I”m hardly ever up early enough to meet for mid-morning coffee, so I guess it”s okay that I love Rihanna for all her controversies and contradictions and mistakes and successes. A little disclaimer here before I go any further; of course it”s important to acknowledge bigger questions about patriarchal influences on her clothing choices and sexually explicit lyrics, but I am firmly of the “don”t hate the player, hate the game” school of thinking. Insofar as Rihanna is negotiating a patriarchal playing field just like the rest of us, I think she”s doing the best she can in the only way she knows how – kind of like all my twenty-something female friends. Tutting and averting your eyes from her overt sexuality and very public private life simply serves to reinforce some of the biggest double standards facing young women today; that we at once have to be sexually available without being slutty, that we”re gentle and servile until a man rapes us or beats us up and suddenly it”s all our fault.

Now I”m not claiming to be some kind of expert on the lyrics of every Rihanna album ever, but I”ve listened to the radio, seen the videos and watched the consequent moral panic every time she releases a new single. Lots of her songs are about sex. Some of them are about parties and dancing and others are about falling in love or having your heart broken. It”s a soundtrack that actually sums up the lifestyles of young women beginning to make their way in the world, exploring what it means to be young and female. Songs like Rude Boy and S&M might be shocking, but only because society says that women shouldn”t be sexually confident and in control; I”m more concerned about how Taylor Swift gets away with lyrics chastising other women for their sluttiness, or why we think it”s sweet when One Direction sing about women as passive recipients of their affection. After all, nobody blinked an eyelid at the absolute tune that was Justin Timberlake”s “SexyBack”: You see these shackles/ Baby I’m your slave/ I’ll let you whip me if I gambling problems misbehave”. But then JT isn”t a sexually confident black girl. I can”t speak on behalf of black women, but it”s certainly important to note that there are a whole range of extra problems, double standards and stereotypes facing them that Rihanna has also had to negotiate throughout her life and career, the hyper-sexualised, booty-shaking black woman trope being just one.

Sadly, slut-shaming is but one step on the slippery slope towards victim-blaming, and here we find Ri-Ri again, bearing the brunt of society”s misguided feelings about domestic abuse and gender violence. Rihanna is one of the 3million American women beaten by their partners in a year, and she”s one of the many millions who have returned to that partner in the aftermath – on average, a woman leaves an abusive relationship 7 times before leaving for good. To pile all our discomfort about these shocking statistics on an easy target helps nobody. The criminal here is Chris Brown, and if Rihanna takes him back and the same thing happens again, it”s still nobody”s fault except his. Rihanna is a grown woman, and she summed it up herself when she said “if it”s a mistake, it”s my mistake”, actually a refreshingly honest and mature comment taking responsibility for her own actions. But back to hating the game and not the player – it might be true that bigwig record label bosses have exploited Rihanna”s situation with songs like “Russian Roulette” and “Love The Way You Lie”. It might not be. But regardless of who is ultimately pulling the strings, surely it is absolutely not the place of anyone else to decide whether or not Rihanna is expressing herself correctly as a victim.

Famous women occupy a strange territory where they”re judged by standards we don”t expect of other women. Of course there”s economic privilege to take into account, but Rihanna, Beyonce, Christina and co are still women

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– some of them are black, or lesbians, or come from difficult social backgrounds, and these inequalities can”t be ignored just because a woman has made it to the top against all the odds. At the end of the day, celebrity men aren”t expected to be waving a flag for a greater cause all the time, and we don”t hold every single one of them up as role models for little boys – if we did, Pete Docherty et al would be screwed, not to mention Chris Brown again, discussion of whom is always centred on his victim rather than the influence he might have on impressionable young boys. Maybe you don”t want your children to listen to songs about S&M or drugs or guns, and I understand that – but regulate their access to these things, rather than attempting to regulate a young woman”s way of expressing herself in a male-dominated world. Rihanna is a real young woman, dealing with all the same things that real young women deal with and yes, she”s contradicted herself and changed her mind and reinvented her identity in her time in the spotlight. But she”s also consistently controlled her own image and subverted stereotypes of what women, and specifically women of colour, should be. Not to mention having gone through a horrific ordeal and come out of the other side full steam ahead, with a new album, tour and film roles to boot.

It”s easy for those middle-class mums to tut at Rihanna over their coffees because underneath the bravado she is a twenty-something, black domestic abuse victim from a very difficult family background. An easy target. That it”s seen as acceptable for women like Rihanna to bear the brunt of our disapproval is the real problem here, and having little girls growing up accepting this as fact is far more damaging than them being exposed to a bare navel or an innuendo-laden lyric that they don”t even understand. I hope Rihanna is safe and happy, as all women deserve to be. I hope she has a strong support network around her, should she need one again. All we can do, as gormless spectators, is leave her to it and accept her decisions, whatever they might be. To tut and shake our heads at her is to strip a young women of agency, choice and ultimately a chance at equality, and that”s a dangerous road to go down indeed.

Review: Frightened Rabbit – Pedestrian Verse

Frightened Rabbit

Pedestrian Verse cover “There is light but there’s a tunnel to crawl through” In an interview with Lily and me for In Session in August last year, Frightened Rabbit frontman Scott Hutchison explained that ‘Pedestrian Verse’, the band’s fourth studio album, was going to be a necessary step out of his comfort zone. This was not because the band were partnering with Atlantic Records, their first major label, having called time on an illustrious relationship with Fat Cat Records which spawned three records, including the sublime ode to

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embittered lovers ‘The Midnight Organ Fight’. No, Pedestrian Verse marks the evolution of Frightened Rabbit, the band, as Scott relinquishes his monopoly over songwriting to produce a more collaborative record. “With the last one,” he told In Session (the interview in full can be found here), “I started to get bored of my own habits in writing.” Scott referred, by “the last one” to the warmly received 2010 release ‘The Winter of Mixed Drinks’. “In opening the writing up – not the lyrics, the music – to the rest of the band, it’s a lot more interesting and you can hear everyone else’s input. It’s a lot less my project and more of a band now really.” Pedestrian Verse certainly sounds like a Frightened Rabbit album only… different. The great appeal of Scott’s songwriting remains omnipresent and, like Midnight Organ Fight and The Winter of Mixed Drinks, the band continues to marry, to quote Scott, “uncomplicated music with reasonably complicated themes” and “weird, twisted lyrics to what is essentially a pop song”. Fundamentally, the band’s affinity with musical juxtaposition remains in songs like Backyard Skulls, an anthemic ditty about macabre suburban secrets sung over an exuberant backing track. However, Pedestrian Verse truly reflects the band maturing in their sound, moving towards a richer, symphonic arrangement which one assumes has been brought forth through a combination of the new collaborative songwriting process and major label influence. Frightened Rabbit’s musical arrangements now experiment with pacing, tone and a touch of reverb. Pedestrian Verse sheds the folk influences from their sound and eases towards gloomy anthemic rock songs. That is not to say that they are on their way to standing alongside The Twilight Sad in that respect, far from it. At a stretch, you can hear echoes of Interpol lurking in the chorus of the devastatingly bleak ‘December Traditions’ as Scott refrains: “It’s not the answer, I’m just begging to be told/ What do you need, what do you need from me?” December Traditions best demonstrates the pacing at play, as the backing drums and guitars hold the line throughout Scott’s lonely lament, before staggering out in defiance: “Love’s labour stains a linen sheet/ The ghostly body who makes his bed beside you/ Is slowly losing teeth”, Scott sings. The changes are numerous yet subtle, but they reveal themselves quite clearly when held up to the light of the band’s previous offerings. Production values have noticeably increased, naturally. Stand-out songs The Woodpile and State Hospital sound slicker, grander, with an almost cinematic quality behind them that drives lyrics through your chest as the songs unfold with orchestral flourishes. I can’t help but think songs like those and the extraordinarily blunt album closer Oil Slick (blunt even by Scott’s standards) would have lost their impact if they had come during The Winter of Mixed Drinks, where the poppy backing got out of hand. The pacing is very deliberate on Pedestrian Verse and the instrumentals are now over their identity crisis; the band saves the raucous energy, using it only when necessary, in favour of a more reserved slow build that champions the band as whole. Pedestrian Verse is an album of songs that beg to be sung on the grandest stage. It signals a triumphant return to the dizzy heights they set themselves with The Midnight Organ Fight. Good to have you back, boys. originally posted on www.blastocyst.org.uk

Gig of the Week: Found at The Caves

found

The clashing of arguably the most unpredictable and experimental musicians and the most dour introspective lyricist in Scotland drenched in whiskey. Thursday night at Edinburgh”s under-used but spectacular The Caves comes FOUND and Aidan Moffat”s latest collaboration. We don”t know what they have in store for you this time but judging by their previous collaboration with #UNRAVEL expectations should be high. The exhibition showed off both parties’ casinondal.com strengths where FOUND”s wizardry was allowed to change the perception of Aidan Moffat”s tales beyond emotional recognition based

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on choices made by the user. As for the live performance at the Queen’s Hall last August, the choice to display twitter feeds on screen felt slightly gimmicky and the inability to experience the different versions of each track to truly see what how FOUND can shape the tone was a drawback. However, the music alone was enough to leave all concerned satisfied that they’d witnessed something special and whatever they”ve cooked up this time I”d highly recommend catching what is potentially a one off. It’s non-ticketed and free entry with doors at 8pm. Check out below to see what happened last time these two met.

 

Martin Livingstone In Session

Martin Livingstone In Session

Last weekend we welcomed Martin Livingstone of The Changes into the studio to sing us a few songs which will soothe the ears of fans of Oasis, Ian Brown and Ocean Colour Scene as well as telling us a few tales amassed from over a decade of experience in the music industry.

Martin Livingstone”s next live appearance in Edinburgh will be at the Wee Red Bar on April 19th for a charity event.

You can keep track of Martin on his personal website online casino www.martinlivingstone.co.uk or by following his band The Changes via www.thechangeslive.co.uk or their Facebook page.

 

In Session – Martin Livingstone by Radioblagger on Mixcloud

 

Tracklisting:

1. Time To Deliver (Live for In Session)

2. Dream Until The Sun Goes Down(Live for In Session)

3. Smile Again (Live for In Session)

4. Quickbeam – Seven Hundred Birds

 

In Session broadcasts live on Freshair.org.uk every Saturday from 6-7pm featuring a plethora of the hottest new music from the Scottish scene, a roundup of recent and upcoming gigs, and, of course, a guest performing live in the studio.

Follow In Session on Twitter

Like In Session on Facebook

Download our free/charity mixtapes which compile every artist featured on In Session 2011 and 2012 here – http://insession.bandcamp.com

Nanu Spotify Playlist: International Women's Day

madonna-y-mia

To accompany International Women”s Day today, Elyse has compiled a bumper six hour, all-female playlist for you to enjoy. There”s a bit of everything – from hip hop to riot grrrl, electro to pop.

Have we missed your favourite fierce and empowering

To manner friends Maybe cialis side effect good fresh glitter into

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female track? Please comment and let us know!