FOUR

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RIP

ISS

UE

04 - AU

TU

MN

2012

04

£PR

ICE

LE

SS

- MU

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E

HIYA,Welcome to Trip Number Four. Letters instead of

numbers eh. Bet that threw you. We've ditched the tidy

popstar in the making on the cover approach and went

back to the true Trip style… Sorry for the wee lapse.

Normal service is resumed. So ensue the usual "much has

happened since the last issue", and it has. Wor Altoid has

had a hand in putting together a fucking wonderful line

up for 'Frontier Festival'. Turn pages to read more about

that. Wor Loco B has started a new project '5ft. Walls At

Zeros' and invented the phrase 'full tickets' which I'm all

about overusing in the upcoming months, again read on

for more…

Sports wise, United have kicked off the new Premier

League season in true United style; slow as fuck. RVP

will sort us out though. Chelsea's league this term if

you ask me though. Any one bar the Citeh will do me

mind… Big Dougle B has put his relying commitments

aside and signed for Berwick Rangers proper… and

has been one of their best players thus far this season,

including against Ally and his Newco. 1-1, with a BRFC

goal disallowed in the last minute… hhmmm… Andy

Murray won his first major, and to everyone's surprise

the miserable bastard nearly managed a smile. The

olympics was G.I.D gid. And we got a new TV show from

British Cycling's dominance in said olympics and Tour

de France; The Road To Glory, absolutely top shit. And

as I type Team Europe are about to complete one of the

greatest comebacks ever in the Ryder Cup. Nothing on

that one night in Munich my friends mind… Nothing.

Festival season happened. Was alright. Stone Roses at

every single festival ever seemed to be many peoples

highlight. Simian Mobile Disco in the Slam Tent at TITP

my own personal favourite.

Anyway best get back on track… This is The Trip Four

and it's pretty amazing. Dancers, bands, books, beers,

DJs, festivals, local heroes returning, theatre and more…

Read on my friend…

IMAGE: LEE MACE

CONTRIBUTORS & THANKS....LEE MACETRUDY MORRISONPAUL SINCLAIRROSS DAVIDSONALAN TURNBULLNOISYDARRONGENERATE RADIODAVE METHVENSCOTT JEFFREYTHAMPSONBRENDAN MCDONALDROB WILKINSONSUE REEDALAN THOMPSONSAMMY REEDCHASTITY FLYTEWILSON GALEPHIL HEYWOODSION GATESBARRELS ALEHOUSERAMBLESHACKYOUR HOUSE HISTORIAN ADVERTISE WITH US; HAMISH@THETRIPMAGAZINE.CO.UK

All good things must come to an end and never is this

more true than when that good thing is made even

better by being free of charge.

The Berwick Broadcasting Corporation, the pro-am

theatre company which has been delighting audiences

at The Maltings for the last three years, will cease

broadcasting as from January 2013. There will be

much lamenting and rending of hair as this company,

with its irreverent take on the radio shows of the

Forties and Fifties, seeks a new direction.

I caught up with Rob Wilkinson, general Berwick

Broadcasting Corp bloke-in-charge and fellow

scriptwriter.

So, Bobster, there are a lot of pissed off fans out there.

RW: After three years, we've a lot of new fans and a

core of stalwarts who have been with us from the very

beginning avidly following the trials and tribulations

of old favourites such as 'The Sticks', 'Reverend Peter

Meliah', and 'Fighting Friday'. We want to leave them

wanting, rather than force-feeding them more. The weight

of having to produce an entirely new show every month is

ever present. It's a big responsibility because these shows

are loved by a lot of people. We want each show to be

the best it can be, and finding the time to ensure quality

control is becoming an issue.

So basically you're saying the cast and writers have

had a better offer?

RW: Well, we all have new projects we want to invest in –

some acting, some writing. You, for example, are making

the move into writing for 'real' radio for the 'real' BBC,

and I've a lot of time invested in the Tideline Runners

Theatre Company, with two shows next year – Love or

Money & Other Stories in February 2013, and The Word

in the Wires sometime next summer.

Good times though, eh? The laughs. The complaints...

RW: We have courted controversy over the years, but once

you explain to people where the joke lies they settle down.

It's a very kind-natured show in spite of its mockery – we

pick our targets well. The 1940s filter that we employ

is more than just a cosmetic choice – it harkens back to a

time when '-isms' were prevalent throughout the whole

of society – racism, sexism, etc. We hold our carnival

mirror up to these dated attitudes and reflect them back

as grotesques. Some people haven't really understood that

and they saw our shows as racist/sexist/homophobic.

Going out with a whimper or a bang?

RW: We plan on ending the 2012 run on a high... in 2013.

We didn't want to call time at Christmas because then that

episode would have to serve too many masters. By ending

at the beginning of the new year we can lead straight into

the new format.

Ah. Gone but not forgotten entirely?

RW: Exactly. Instead of a monthly show, we're going to do

a series of one-hour specials at various points throughout

the year, celebrations of holidays and national events kind

of thing. We'll also be performing in new spaces, though

keeping to Northumberland and the Borders.

So dry your eyes, all you fans of nostalgic innuendo. It

looks as if there's some life left yet flickering in Fanny's

meat.

TRUDY MORRISON

THE SHIPPING OUT BROADCAST

5FT WALLS FROM HEROES

Berwick Music Veteran Brendan Porteous goes solo in new venture

If you are a fan of music in the B.U.T scene, then

it will be impossible for you to have not heard

of the Porues brothers. Both Liam and Brendan

have spent the last ten years creating musical

waves within this walled town and, for the first

time ever, Brendan is going it alone. Whether it

be with Espionage Of The Loc, The Absolute

Kretins or any other of the musical outfits he has

created or stumbled upon in the past, Brendan

has delivered cult classics with his twist of clever

lyrics and catchy melodies. So, how did this new

venture come to fruition?

“Well, with Espionage Of The Loc, the gigs

started to become few and far between” explains

Brendan, sitting on a cold Sunday night, smoking

tabs and drinking gin, “So I suppose I wanted

to start doing a lot more music than I was doing

at the time, and starting a new project would

achieve that goal” And like any writer, the

majority of the material that became 5ft Walls

was drawn from real life, and there’s no stopping

the everyday struggle, so getting it out was an

important factor in this new venture “All the

songs are about real life happenings, the usual,

and if you listen to the album, you’ll probably

get that…” Fair enough. But what lead him

to land on the somewhat unusual name 5ft

Walls At Zero’s? “Point Break, the film. Patrick

Swayze’s character says ‘5 foot walls at zero’s,

lets go!’ When I asked him how the new project

compares with his previous bands, his answer

came with little thought, “It’s easier in the sense that I’m doing it

all myself, I’m recording it all myself, so what I say goes, there’s no

arguments from the other guys, because it’s just me” This must become

a luxury for any artist, the freedom to express in a completely free

way, without the need to cater for others. Does this mean then, the end

of Espionage Of The Loc?

“Oh no” Says Brendan “At the moment with 5ft Walls, I play along

with backing tracks, drums, bass and keyboards. So eventually, I plan

to get Ali, Xennon, Liam and Knoxy to form one big band of many

songs.” It sounds as if Brendan has given a lot of time and thought to

his new band. Many, many bands have come and gone over the years

in Berwick, a curse of the town in some ways, but in the eyes of its

creator, 5ft Walls At Zeros is here to stay…

“This album stems from the stories of my life. The ups and downs. But

with good, hard hitting music behind it… I have dreams that we will

play big festivals. I’m not aiming for main stage headliner, I see us

as a daytime slot band, with the sun shining…and all the birds going

mental….”

So there you have it, straight from the horse’s mouth. As a critic

(That’s such a shit word, isn’t it? Being a critic is just voicing your

own opinion, which means little to nothing to anyone but yourself,

but its what I’m here to do, I suppose) I would urge you to check out

the album. Any Espionage fans out there will be satisfied with it, the

next chapter in the Loc world, and any new fans will find it as a great

introduction to a great artist. Brendan Portues is a true musician, with

a gift for the gab and a talent for truly beautiful music. You’d be fool

to let this one slide…. Enjoy another fine sunny day with something

else from Loco B.

PAUL SINCLAIR x

GENERATE RADIO

// The second year in a row and the Generate

Radio team are honoured with a nomination

in the ‘Radio Station of the Year’ category,

something they do not take lightly.

// Pipped at the post by Heartland FM, they

learned that just a handful of votes kept them

off the top spot. Directors Kyle Wilson and

Oscar MacAndrew said ‘to be 3 votes shy of

getting the award is an awesome feeling and we

would like to thank all those who support us,

not just for this award but everyday’ Kyle went

on to say ‘Frankly to be nominated is amazing

enough after all we were in the mix with much

larger stations with FM status. That is an honour

alone’. The event was attended by both Oscar, Kyle and a team from

the station. On the agenda was firstly a great night out but also forging

connections, another plus for an event such as this. The station once

again scored a first - an interview with Scosha who picked up the

award for ‘Pop single of the Year’, as well as a live session from Erin

Bennett who won ‘The Frankie Miller Songwriter of the Year’.

// Generate Radio simply goes from strength to strength with

a competent group of volunteers, enthusiastic and professional

presenters, and innovative shows. This month sees the celebration of

their 2nd year anniversary marked with a 24hr live show by Presenter

Donald Strachan (also an SNMA nominee). Will they make it at next

years awards? You could say 3rd time lucky, but this little band of go

getters don’t rely on luck. No, they simply get on with it.

So, I

’ve

been

giv

en t

he p

rivi

lege

of

havi

ng a

sne

ak p

eak

at t

he n

ew R

oy’s

Iro

n

DN

A a

lbum

, ‘U

nder

My

Skin

’ and

eve

n ha

d a

littl

e bi

t of

an

inte

rvie

w w

ith

the

man

beh

ind

it, s

tock

bro

ker,

trav

elle

r, m

ulti

inst

rum

enta

list,

spir

itua

l exp

lore

r

and

cons

pira

cy a

ficio

nado

Ian

Tho

mps

on.

Ian

wor

ks in

Edi

nbur

gh f

or ‘A

maj

or m

ulti

nati

onal

fina

nce

inst

itut

ion’.

Som

e

wou

ld s

ay t

hat

this

is a

t od

ds w

ith

his

pass

ions

for

mus

ic, s

piri

tual

ity

and

fight

ing

the

good

figh

t ag

ains

t th

e po

wer

s-th

at-b

e. B

ut h

e ha

s no

illu

sion

s ab

out

wha

t

he d

oes.

He

finds

it d

iffic

ult

som

etim

es t

o w

ork

for

the

enem

y bu

t un

ders

tand

s

that

thi

s en

able

s hi

m t

o ac

hiev

e hi

s go

als

of t

rave

lling

, mus

ic a

nd li

ving

life

. Thi

s

Gem

ini r

eally

und

erst

ands

how

to

bala

nce

thin

gs. T

his

bala

nce

is s

omet

hing

tha

t

is n

otic

eabl

e th

roug

hout

the

new

alb

um.

I’m

now

on

my

7th

or 8

th li

sten

and

the

sm

orga

sbor

d of

ele

ctro

nica

indi

e so

ul

is b

ecom

ing

far

from

tir

ing.

It

is a

pie

ce t

hat,

init

ially

, you

can

rea

lly g

et in

to a

groo

ve, t

hen

as y

ou li

sten

to

it m

ore

you

alm

ost

build

a r

elat

ions

hip

wit

h th

e

song

s. T

his

soun

ds o

utra

geou

sly

wan

ky y

es b

ut w

ith

the

amou

nt o

f ef

fect

s th

is

guy

has

in p

lay

you

‘get

to

know

’ the

son

gs m

ore

and

mor

e ev

ery

tim

e yo

u lis

ten

to t

hem

.

The

voc

als

thro

ugho

ut t

he w

hole

alb

um a

re m

ixed

exc

elle

ntly

. I k

now

I g

et

anno

yed

by e

lect

roni

c m

usic

whe

re v

ocal

s ar

e pu

shed

to

the

fore

fron

t. It

see

ms

arro

gant

and

imba

lanc

ed. O

n th

is w

hole

alb

um, h

owev

er, h

e pl

aces

the

voc

als

on

a le

vel w

ith

the

rest

of

the

mus

ic a

nd a

dds

lots

of

reve

rb a

nd e

ffec

ts r

ende

ring

som

e of

the

line

s qu

ite

hard

to

mak

e ou

t bu

t at

the

sam

e ti

me

mor

e a

part

of

the

mus

ic r

athe

r th

an a

sep

arat

e th

ing

put

on a

shi

ny p

edes

tal.

Acc

ordi

ng t

o

the

man

him

self,

thi

s is

due

to

his

desi

re t

o le

t th

e lis

tene

r m

ake

up h

is o

wn

lyri

cs a

nd ‘s

ing

alon

g lik

e a

nugg

et’. T

his

allo

ws

the

liste

ner

to g

o, n

ot o

n Ia

n’s

jour

ney,

but

thei

r ow

n. T

his

resu

lts

in t

he f

eel o

f th

e al

bum

bei

ng a

hel

l of

a lo

t

mor

e ap

pare

nt t

han

the

actu

al id

eas

put

acro

ss in

the

thr

ough

the

lyri

cs. T

his

is

not

sayi

ng t

he ly

rics

are

n’t

impo

rtan

t. T

here

’s s

ome

exce

llent

ly r

elat

able

stu

ff

bein

g sa

id. ‘

Roo

ftop

s’ f

or in

stan

ce is

, I’m

sur

e, f

amili

ar t

o so

me

and

the

lam

ent;

‘Get

the

tim

e’, t

hat

wou

ld b

e po

igna

nt f

or m

any

of u

s at

som

e po

int

in t

he p

ast,

pres

ent

or f

utur

e.

I’ve

had

the

pri

vile

ge o

f se

eing

the

se g

uys

at t

heir

Chr

istm

as g

ig a

t th

e B

arre

ls.

Tha

t w

as a

spa

nkin

gly

good

nig

ht a

nd s

omet

hing

I w

ill r

emem

ber

for

a lo

ng

tim

e. I

’ve

also

bee

n lu

cky

enou

gh t

o si

t in

on

a fe

w p

ract

ices

out

at

El R

anch

o

Hol

msi

e. A

nd a

big

sho

ut-o

ut h

as t

o be

giv

en t

o th

e gu

ys t

hat

have

join

ed I

an.

I th

ink

I’ll

call

them

the

Roy

sett

es. B

rend

an, S

teve

, Hol

msi

e an

d K

noxy

are

all

very

cre

ativ

e be

ings

who

hav

e le

arnt

not

e fo

r no

te a

nd b

eat

for

beat

wha

t Ia

n

give

s th

em. T

he m

ix o

f Ia

n’s

elec

tron

ic t

rack

and

the

Roy

sett

e’s

live

inpu

t gi

ve

Ian’

s m

usic

a b

rilli

ant

rich

ness

whi

ch d

efini

tely

get

s m

y ju

ices

flow

ing.

The

mai

n th

emes

thr

ough

out

the

albu

m a

re jo

urne

ying

, find

ing

bala

nce

and

beco

min

g ha

ppy

wit

h th

e ea

rth.

Thi

s is

a b

reak

fro

m w

hat

this

guy

usu

ally

focu

ses

his

mus

ic o

n; A

liens

, rev

olut

iona

ry c

alls

to

arm

s an

d th

e es

oter

ic a

gend

a

whi

ch w

ill h

ave

us a

ll be

ing

herd

ed in

to s

lave

ry w

ith

ever

y pe

nny

we

spen

d

and

ever

y ti

me

we

swit

ch o

n th

e te

lly...

(ne

arly

got

into

a r

ant

ther

e bu

t I’

ll

hold

bac

k, t

his

isn’

t th

e pl

atfo

rm).

Ian

wro

te m

ost

of ‘U

nder

My

Skin

’ whi

le

trav

ellin

g ar

ound

Sou

th E

ast A

sia

and

Aus

tral

ia a

nd t

his

mea

nder

ing

imag

e

show

s th

roug

h lo

ts o

f th

e tr

acks

, no

less

in ‘H

eave

n Se

nt I

nsan

e’ a

nd ‘S

tran

ge

Dre

ams’.

Thi

s im

pres

sion

of

trav

ellin

g le

ft w

ith

you

mak

es it

per

fect

for

a t

rain

jour

ney,

a pa

rtic

ular

ly b

ruta

l han

gove

r or

the

nig

ht b

efor

e. Y

ou k

now

, all

of li

fe’s

littl

e jo

urne

ys w

hich

mak

e up

the

big

one

. Thi

s is

a c

rack

ing

albu

m w

hich

as

soon

as

it’s

out

in O

ctob

er y

ou s

houl

d sn

ap it

up,

get

to

know

it a

nd s

ing

alon

g

like

a nu

gget

. Als

o, a

s so

on a

s is

pos

sibl

y hu

man

ly p

ossi

ble

get

alon

g to

one

of

thei

r gi

gs in

Nov

embe

r! T

hey’

re la

ndin

g in

Edi

nbur

gh, G

lasg

ow, A

berd

een

and

of c

ours

e B

erw

ick-

upon

-Tw

eed.

R

OS

S D

AV

IDS

ON

IMAGE: THE MAN ALAN TURNBULL

RIDNA ALBUM PREVIEW

LORDS OF BASTARD - CUDDLES

// Whack. Here's Cuddles...

// I love sandwiches and this CD reminds me of a proper belter

Sandwich.. filled to the brim with meat and oozing with garnishes and

melodic seasoning that ensures you're hungry for another immediately

after finishing it. Its a bit like the cheese at the Golden Arches.. you

know it's essentially made of unknown ingredients but it tastes epic.

Lords of Ba$tard have topped their debut album in great style with

the masterfully entitled 'Cuddles'. Mike Aitchison, originally from

Berwick-a-town.. now a resident of Leith in Edinburgh, is the driving

force behind their concrete foundations in the Edinburgh music scene.

They frequent Bannermans on a regular basis where you can see them

perform live tracks from both their debut and newest album.

'Cuddles' envelopes all that is mental in the world of heavy guitar

music. The Drums are intense, the keys perfect, punchy bass and terror

dream-style guitars all accompanied by vocals that sit perfectly in the

mix - exactly where they should be.. Imagine being beaten heavily by

2 guitars, a mentalist drummer and a rhodes keyboard, to breaking

point, only to have your soul and body healed by 16, yep - 16 Swedish

goddesses. It's a refreshing listen... Excellently produced and delivered

in a macabre yet enlightened way to ensure you feel the dirt of every

track and arranged in a manner that makes for an easy listen. 'Eggs

any style' is a favourite, not for the egg-type connotations, just for the

sheer brilliance of the melody and the way it spits in your face while

telling you everything you ever wanted to hear..... class.

The lads really do know how to make technical guitar music and have

a rare ability to make it very listenable. If I was a gambling man, well,

I'd go to the bank, withdraw all my money, lend more from my Gran,

head to the casino and put it all on Lords of Bastard.

// Winner.

Mucho Respecto - Noisydarron

DAVE RECOMMENDS

Everyone’s favourite ginger, Barrels

frequenting, deep house record spinner Dave

Methven has sent us a note with five of his

favourite tunes. Check them out or miss out.

1 - Pittsburgh Track Authority – Untitled

My favourite record of recent weeks. Straight

up house music with a definite nod to the past.

Synthesised strings, bleeps, and a belter of a

bass line.

2 – Omar S – Set It Out

One of my favourite records of all time

and never far away from my record bag.

Ridiculously deep and soulful with a great

vocal. Omar S makes it look easy, a true house

music legend.

3 – Locussolus – Berghain (Darkroom Mix)

Im not even sure what this is. Techno with a

hint of disco, a touch of darkness and a load of

complete fucking mentalness. Im yet to hear

this in a club, but when I do I reckon I may

actually soil myself.

4 – Fred P – Come This Far (Fred P Reshape)

If “epic” wasn’t completely overused and cringe

worthy id probably use it to describe this beast.

As deep and subtle as you like, it just builds

and builds. If you like deep house check out

this dudes mixes, he got skillz.

5 – Tornado Wallace – Paddlin’ (Linkwood

Remix)

I had to include something from the Edinburgh

man Linkwood. Everything he touches is gold,

he has serious amounts of talent. A deep,

groovy, downtempo bomb perfect for a Barrels

warm up set.

DAVEY FINGERS x

DIVORCE//THE CLUNY 2//18.9.2012

Brutal is a word far too overused nowadays, as an

adjective it is pinned onto more genres of music than it

probably should be.

Such foreword is indicative of me once again making

things over-difficult for myself, because I just don’t have

any other words to accurately describe the events I

witnessed here.

As a consumer I am finding myself drawn more and more

to the obscure and the raucous, there is much to explore

down this path and the bands domineering the stage of

Cluny 2 tonight are truly something to behold.

Regretfully only glimpsing the last tune or two of local

three-piece ‘Tide of Iron’, they certainly blow my tits clean

off in this short time, causing me to surface for air and a

bottle of Wylam after only minutes in the darkness of this

supremely cool venue.

Next up are Nately’s Whores Kid Sister, another

Newcastle band and one that I frequently champion. This

is my fourth time seeing them this year and they still can’t

bore me. Despite new song ‘Bags’ being the only fresh

content they have for the 100-or-so people here tonight

(that and some lovely dress/legging combos) they’re 30

minutes once again feels like 5.

My only knowledge of Glasgow’s ‘Divorce’ was garnered

from various online platforms in the week or so leading

up to this gig. Several visits to their bandcamp resulted in

the decision that they could be something I’d enjoy live.

To be totally honest, I still feel as though I’m yet

to recover from their set. I’m not referring to my

physical wellbeing either, as I was sat for most of their

performance. They make music that mentally drains yet

excites and inspires me as a musician.

It is rare for a band to expel such seemingly un-meditated

and ferocious noise whilst staying as tight as a tiger in

the process. Switching between blast parts akin to 90’s

grindcore and some of the juiciest DFA 1979 style bass/

drum grooves I’ve had the pleasure of listening to,

Divorce make you uneasy in the most pleasant of ways.

Its music to shock to the core, to soundtrack the most

horrific and prolonged of introspective nightmares. Next

time I make a vengeance kill, they’ll feature heavily on

the playlist.

SCOTT JEFFERY

SHAKEFEST 2012 - DUNS

Alan Fairbairn and friends transforming Duns Volunteer

hall into a tidy little venue with table staff and stovies

for the crowd to enjoy.. not to mention a sound setup

managed by local favourites Iain Ballentyne, and Scott

Spence.

I’d already seen the delights of 3 bands, Missing Myla,

Where’s George? and Morfsnud. The first hailing from

Dunfermline - nice one fellas for journeying it to the

borders to play some very well executed pop/punk.

Missing Myla created another poppy atmosphere and

these lot really know how to belt out a tune. Great guitar

work and just the right amount of cheese to make some

tasty Duns-baked cheese-pastry type sound. Nice.

..Morfsnud, from Duns.. get it? Genius. ..apparently

playing their last gig but by the look on the lead singers

face afterwards I reckon not. Hopefully see them soon

somewhere if a little altered in guitarists.

Me. Pale one. One guitar and me. Couple of hundred folk

tearing into stovies, drinking pints and ‘chatting’ (There’s

nothing more comforting when you’re poring your

heart out in songs you’ve made up in your televisually

programmed mind than.. erm.. stovies.) Enjoyed it though,

warm welcome and friendly crowd..

Le Woodsmen next. Was looking forward to seeing these

lads as I hadn’t seen them for a while. Their live sets are

the business. Finest songwriting and sharply executed

guitars, just a couple of things that make Le Woodsmen a

pleasure to listen to… and dance to.. Great tunes to dance

to.

The Warehouse Announcement had arrived, having

already played at Spittal Seaside Festival. Some boys!

Always good to see these fine men. Fine musically

talented beasts. Every one of them. Bob had astounded

me with his signed poster of the Trailer Park Boys before

they went onstage and I tell you, I’m jealous of that poster

and always will be.

Their music was as entertaining as the banter and as usual

they put on a crackin' show.

Last up, Easter Street. A local talent indeed. Easter

Street’s music, is a type of sound that’s rare round these

parts. Great guitar riffs and strong vocals complimented

by drumbeats sitting perfectly inside clever songs. Great

onstage chat too.

Great local music, pints, stovies, friends, a quality

evening… Plans are already underway for Shakefest2 so

keep it in mind for a wee cracker night oot in Duns next

summer.

Well done to everyone who contributed to raising over

£2500 for the Parkinsons Unit.

THAMPSON 

THINK OF THE VERB, RATHER THAN THE NOUN.

REJECT BY STANLEY ODD.

Who's Stanley Odd? The sounds that form the opening

few seconds of their second LP, Reject, are like that of

a spaceship landing. That lends to the fact that they see

themselves as outsiders. They're a Scottish based hip-hop

band. I've heard they had a hard time finding a record

company who saw past their MC's accent. That makes

me think about how it's perfectly acceptable to put an

American accent on our radios, but not a native Scottish

one; for us to listen to American points of views and raps,

but not one from our own doorstep! That's the radios

and record companies playing it safe. That's something

Stanley Odd seem at ease to fight against. They're of the

minority and they're proud of the fact, but that doesn't

mean they aren't very, very good, or "accessible", or

poignant, or down-right happening.

MC Solareye puts to you pictures of life in the UK (and

of the world) via energetic, intelligent, soul-searching,

honest word plays. There's no american-gangsta-wannabe

rubbish here. Veronika Electronika adds a tonic to his

'gin'; her soulful tones play off his urban-vocal, almost

vitriol, wits. Together they switch lead vocals to provide

an almost verse/chorus format. The vocal performances

are so compelling it's easy to overlook (overhear, even)

CAULS – EP2

It seems like only a few months ago I was bemoaning

to anyone who would listen that music these days

rarely surprises me and all but never delights. Well, that

whinging and hand-wringing is over- I have seen the

light. To say that the new E.P. by Cauls is surprising is

a massive understatement. The level of surprise is on

a par with a kindly vicar stopping part way through an

acoustic reading of “If I Had a Hammer,” on National

No Swearing Day, standing up and screaming “I DON’T

FUCKING THINK SO!!!” then pissing on the font.

Opening with the chilling bass atmospherics of

“Whistler,” E.P.2 quickly establishes its air of manic

unpredictability by channelling The Cure’s seminal

“Faith” album and cranking up the Goth to 111! It also

introduces us the exquisite voice of Michael Marwood

who has his vocals set to stunning. He doesn’t so much

sing a melody, but eviscerates it and leaves it bleeding

on the floor. Whistler’s moody theatrics give way to “No

Motion” – easily the most accessible piece here but by no

means “pop” – with its all conquering melody, stadium-

sized chorus and the boundless energy of a toddler

ripped to the tits on M-Kat; it’s just about the most

exciting thing to emerge from my stereo since the news

that Bin Laden had died last May.

Iris Brickfield demonstrates just how much fun being

mental can really be. Perhaps their most violently

inventive song with a never-ending ending that’s almost

the tight, smooth, back bone to the songs. Samson the

Snake (drums/electronics), AdMac (bass), Scruff Lee

(guitars) and T Lo's (keyboards) contributions are the

definition of deft, with a capital D; Deft.

My pick of the songs from Reject are "Going Through

The Motions" (brings to mind our almost imitate,

modern relationship with technology) and "Marriage

Counselling" (Scotland and England). Having said that,

these aren't the singles off the album.

I've seen the band live twice and they're tight and

powerfully uplifting. Odd folk, indeed.

BRENDAN MCDONALD

comically absurd yet so much fun and so very right.

Back in the late nineties, music journalists loved to talk

about being “bathed in a cathedral of sound,” this is more

akin to being “gang-fucked in the showers in the lunatic

asylum for the creatively insane.” The Durande provides

a moment’s respite with its “Stars of the Lid” inspired

yawning guitar sweetness before “Ahsonnutli” (The chief

God of the Navajo – fact fans – he created everything

from the sky to accordions.) This closing track sees the

band shed their final mantle of sanity – the point where

Marwood demonstrates the type of noise a rabbit would

make if you opened it slowly with a bench-saw. It puts

the “mental” in “monumental.” It is – like the rest if the

E.P. – incredible. Sickeningly inventive, playful, exciting

and intoxicating.

Like driving a very fast, very stolen police car into a

sand-pit full of toddlers: Messy, but ultimately worth the

tragic loss of life. This release stands head and shoulders

above any rock record released this year. It is the sound

of people who love what they do and who love life. It is

the most life-affirmingly ALIVE record you will hear in

a long time.

ROB WILKINSON

GARVALD, EAST LOTHIAN AUGUST 31ST – 2ND SEPT

“You know you’ve had enough when you wake up in a

heart shaped straw circle listening to drumming”

This was the quote from a fellow ‘souper’ at Audio Soup,

a tiny but oh so friendly festival, which has soared to take

prime position in my list of favourite festivals this year.

From the moment I arrived on Thursday, to set up my

stall as The Woolly Pedlar, and had a cup of tea made for

me, to the time that I left hugging newly made friends,

and vowing to return next year, I was surrounded by

lovely people, many of them like myself veterans of the

festival scene.

I think it is the fact that the Audio Soup crew were made

up of folk that had been to countless festivals in their

time, and knew what makes a festival work that made

this tiny event such a roaring success. In one small field

there was everything you would find at a larger festival.

The main stage saw tribute bands on Friday, billed as

Tribute night, such as Blondie, RAGE, and I sang along

to many covers remembering all the words, being of that

generation.

Dub Mafia went down a storm as did Spartan Tartan,

Frog Pocket and Mr Woodnote. Sunday night however,

was my top night for bands on the mainstage. Pikey

Beatz were in my opinion the best band of the weekend.

They are a seven piece band who are hard to fit in a

genre. They are billed as ska reggae, but there was also

a wonderful mix of gypsy melody which saw the crowd

waltzing and then back to some serious raw energy. They

are only young but there are extremely talented, and

the fact that they were billed before the Scottish giants

Bombskare, shows the as a great festival band that they

have built over the last few years. Bombskare didn’t fail

to disappoint either and finished the festival in true ska

style with the crowd jumping and asking for more.

The dance tent was given ten out of ten for effort with

décor, with signs such as ‘look don’t leer’ and we all had

a great time in there with great tunes and great people,

which is after all, what makes a great dance tent.

Venue 42 with its wooden floor and cheesey tunes was a

fun place to be, providing workshops by day such as

AUDIO SOUP//

>>

>>

Flamenco with Toti and Diego and a cocktail bar by night

with some great cheesey tunes. Next door, the Wub Hut

played thumping tunes for the more hardcore amongst

us.

By far my favourite venue was The Beatroot Café

though. Run day and night by a tireless team and

providing delicious homemade food, and with a stage,

soundsystem and some fantastic bands, such as Colonel

Mustard and the Dijon 5. It has an air of wackiness and

cabaret and was the ideal venue to finish off the night,

when a cup of tea and a chair is called for, but you are

not quite ready for bed and the music sees you up for

just one more dance.

By day, the arena had plenty to offer too. There was just

the right amount of market traders, with Jupiter and

Woolly Pedlar seeing to your festival clothing needs, and

the fantastic sauna run day and night in the ‘Shit Hot

Shed’ as well as massage and alternative therapies, with

nature walks, and a place to make your own herbal lip

balm, creams and potions.

The kids’ area provided a safe haven and plenty for the

kiddiwinks to do and was run by the some very lovely

folk.

Randomness and fun abounded by day, and the straw

bale heart was centre stage for many a shenanigan.

You could have your outfit pimped up and titivated by

‘Glad rags’, and Cupid’s Couriers saw to it that love and

laughter flowed. Sunday saw many in their finery as

folk wore their Sunday best, and a carnival atmosphere

prevailed.

The weather of course helped with wall to wall sunshine

and not a drop of rain all weekend, which most definitely

has not been the case at the other festivals I’ve attended

this year. I left the site on Monday morning so glad that

I had found Audio Soup. It was the perfect end to the

festival season and I look forward to going again next

year. I’ll most certainly be looking out for their March

Equinox gathering.

Many congratulations to the Audio Soup crew. You knew

just what works at a festival and worked so hard to make

that happen. I met some lovely people and made many

new friends. Well done to all of you. I will be back.

SUE REED

FRONTIER FESTIVAL

AS PART OF OUR FRONTIER FESTIVAL SPECIAL, WE CAUGHT UP WITH CO-ORGANISER ALAN THOMPSON FROM TRAVELLED MUSIC. ALAN EXPLAINS THE ARTIST LINE-UP IN DETAIL… >>

X

WEDNESDAY 10TH OCTOBER //AGES & STAGES: A FILM ABOUT THE MELIGROVE BAND

A couple of years ago I toured the US with Canadian

band Born Ruffians, along the way, somewhere in the

Nevada desert, we had met up with our support act

for the tour The Meligrove Band. They are possibly

the unluckiest band I have ever met, but they keep

going relentlessly smiling all the way. The first show

I remember with them (they missed the first 4 dates

due to customs troubles leaving Canada) we were in

Reno, Las Vegas’s ugly sister. The guys turned up in a

converted disabled bus with the destination ‘Woodbine

Sluts’ showing on their vehicle. The show went well

despite the male prostitutes and crack heads outside

the venue and we headed back to our casino hotel. We

stayed up late drinking and gambling with toothless

ladies and mullet haired locals, the next morning The

Meligrove Band’s ‘fun bus’ was surrounded by oil.

A burst gasket on the 2nd day of tour! We had a 12

hour drive to the next show in California so Meligrove

Band were forced to cancel yet another show, losing

much needed income and missing out on some much

needed affection from Californian girls. They joked

and smiled regardless and this film is a testament to

this hugely popular Toronto band. It’s a behind the

scenes documentary about life on the road and life in

the music industry. Critically acclaimed at Toronto Film

Festival and making it’s UK premiere in Berwick upon

Tweed. I can’t recommend the film enough or indeed

the music of The Meligrove Band, maybe one day we’ll

get them to play in Barrels!

THURSDAY 11TH OCTOBER // BERWICK BANDS COLLECTIVE PRESENTS

Berwicker Jonny Gray started the Berwick Bands

Collective in the early noughties at a time when

the Berwick music scene was just emerging. Great

bands such as The Briganties, The Local Villains and

Ninepins were all part of the early stages. Now growing

again the Berwick music scene is well established with

musicians sharing gear, arranging shows and releasing

mixtapes, demos and albums all within the walled

town. Thursday’s show will feature the creative noise

and songwriting brilliance of local poet, playwright and

actor Robert Wilkinson aka Secret Gang Handshakes

alongside new Portues brother project 5ft Walls@Zeros

with Le Woodsmen performing well-known songs all in

the hidden gem of a venue – Barrels Alehouse.

FRIDAY 12TH OCTOBER // ELECTRIC PENELOPE ALBUM LAUNCH

Possibly the biggest show of the festival will be

Electric Penelope’s album launch night in The Maltings

Theatre, a 300 capacity venue in the heart of Berwick.

The main performance will feature a full live band,

backing singers and all the frills of a stage show. Anna

Emmins is Electric Penelope singing soulful, jazz

styled pop music in support of her debut album, which

will be available on the night.

We also welcome back to Berwick, after performing

at last year’s Borders Green Festival – Trevor Moss &

Hannah Lou. The husband and wife duo play pop-folk

music that have received acclaim from the Mercury

Music Awards committee and brought the songs to the

attention of a wide range of BBC radio programs right

across the UK.

Local gals ‘The Mockingbirds’ have expanded

their line-up to include a rhythm section to match

their delicious vocal harmonies and will open the

performance under their new stages names – ‘The

Moon, The Son & The Daughters’. After spending

the summer busking in Berlin and playing shows

around Eastern Europe the group were joined by

Anna’s brother Gabriel back home. Singer Maddy

explains, “The Moon was the only constant that kept

us together when travelling, The Son is Gabriel and we

(Maddy, Anna and Hannah) are the Daughters!”

XI

ELECTRIC PENELOPE

SATURDAY 13TH OCTOBER // THE TOUR

The Saturday night is the show I’m most excited

about! It’s going to take place over 4 venues with

staggered shows so the crowd can walk between each

gig. The night starts off with a few words and a drink

in the Maltings Stage Door Bar where a very special

guest will entertain ticket holders. We’ll then walk

up to the amazing Gymnasium Gallery. A venue that

has never hosted a music event before. The space is

incredible and the bands playing up there are pretty

incredible too. Opening the show will be local lads

Ordinaryson. Playing songs from their debut album

‘Sorted Out’, the lads have built up a good reputation

for quality songwriting and musical proficiency over

the years, having played shows all over the continent

and alongside some well known acts such as Mercury

nominated Field Music in Barrels basement! Next

up will be the vocal folk group from Tyneside

The Cornshed Sisters, the girls last show was in a

launderette with only ten people squeezed in to catch

the unique performance. Gymnasium headliners will

be the crazy UK festival veterans Rob Heron & The

Tea Pad Orchestra. They play a brilliant blend of swing,

folk and jazz rock to take any crowd off their feet,

double bass, guitars and accordion it’s sure to be great

set.

A short walk to the Henry Travers Studio is next for

a very special performance from local lad done good

Derek Meins. Derek has toured Europe with his first

band Eastern Lane, who were signed to the legendary

Rough Trade Records at the tender age of 15. Eastern

Lane were supported by Zane Lowe, MTV and

XFM and even toured with the infamous Libertines.

After moving to Brighton after Eastern Lane parted

ways Derek went on to play in front of thousands

supporting The Maccabees around the UK with his

original act The Famous Poet. His last outing was in

blues-rock shouty mode as The Agitator, a project

that found Derek signed by Blur’s management team

(he lived in a very big house in the country!) and

appear on Later with Jools Holland to much acclaim.

This hometown show will be much anticipated and

Derek will perform solo at the piano a fantastic way to

showcase his wonderful songwriting abilities.

Cattle & Cane, a 5 piece lo-fi band from Teesside will

headline this show performing songs which have found

themselves playlisted on BBC 6Music and performed

live at T in the Park. Check this band out on YouTube

for a taste of something special.

For the last night ravers and partygoers the Frontier

Festival marches on.. Barrels Alehouse will be the final

calling point with RIDNA DJs special guests at the

regular Flux DJ night in the basement. Residents Gav

and Flinty will play a hybrid selection of Rap, Grime,

Techno, Electro, Synth Wave, House and Bass music

which will go on till the wee hours of Sunday morning.

SUNDAY 14TH OCTOBER //IAIN PETRIE PRESENTS

The brand new Watchtower venue in Tweedmouth

will host a full days of acoustic performances curated

by local musician and producer Iain Petrie. Special

guests will include Bridie Jackson & The Arbour, Tasha

Blackmore, Antic Hay, Linzi Walker, Des Shanahan,

Angus Gunn.. A fantastic selection of brilliant

musicians in a wonderful venue. A great way to cap off

a great week of live music in Berwick. A border town

on the Frontiers of independent music!

XII

ROB HERON & THE TEA PAD ORCHESTRA

Above all things Electric Penelope is a classy writer of top quality pop music. The most compelling evidence in support of this is the song “My Lovely Friend”. A song LITERALLY about having a lovely friend. A lesser composer tackling such topic-matter would probably inspire the eye-stabbing of several kittens, so it speaks volumes to her song-writing ability that “Leccy-pen’s” own piece will have you grinning from ear-to-ear like a drooling village idiot. With A New Day, Electric Penelope has carved out an assured piece of classic pop. With one eye looking longingly behind her to the classic sounds of 1960’s girl groups and the other fixed firmly on the squelchy synth driven textures of “future-pop now,” this cock-eyed songstress has happened on a winning formula that is fun and reassuring. If a hug could be translated into song it would sound like this album. And what of the songs themselves? Opening with recent single “Trafalgar Square” with its parping “Ronsonian” horns and effervescent carnival atmosphere, we then bump into the “The Supremes-u-like” Motown infused “You Are My Everything” (A song every girl should sing to her guy at least once in hushed breathy tones...)

Best song on the album is the plaintive and beautifully romantic “Carry Me Home”. Every second of this ballad is at once painfully honest and wonderfully theatrical. We also take a trip through Electric Penelope’s record collection - Title track “A New Day” is gentle summer reggae track with a surprisingly tender chorus while “Sunny Song” is a sultry sticky soul number in the “It’s a Man’s World” vein. The album isn’t all sunshine and butterflies, “Scorpion” is all dissonant tango piano and comes with a feeling of impending danger; and the scary-assed gypsy waltz “Everything Must Come To An End” has her coming across like the world’s most callous fortune teller. The song makes me think of spiders laying eggs in my ear... don’t ask me why it just does. The album closes on a playful note with a nod back to her lo-fi -roots “The Innocent Ones” with its cute “comb, biro and mug”

percussion and simplistic whimsical scat “ba-ba-ba...” chorus is sweet pop perfection. Speaking personally, I’d like to hear a few more “Innocent Ones” as this seems to really fit the voice snugly and... it’s really fun.This is a strong assured debut that is staggeringly ambitious in its execution and almost too perfect in its production. Perhaps future releases will see this mantle of perfection slip a little and embrace the silliness even more. The theatricality running through almost every track is fun and delightfully endearing, but it’s when the epic stops and the intimacy starts that this album really wins big.

One thing is clear... this is not “for safe read boring-safe,” it’s not “Mum-pop.” You don’t see her so much boogying away at the kitchen sink with a tray of fish fingers... but orbiting the planet in a satellite looking down on us all – like a guardian - before riding the wreckage like a surfboard as it crashes to the earth, hopping off just before impact, fixing her lippy and coolly walking home and making the world’s best chocolate fudge cake. This is “MILF-POP!”

There is something very unusual and special about this album – and that is the “writing voice” of the singer. Her open and honest lyrical tales get to the heart of who Electric Penelope really is: A mother; a sister; a daughter and wife - she is all these things and she sings of them with such endearing rose-tinged romanticism that her diary-like poems take on an almost Quixotic sense of adventure. It is this great support system of friends and family that inhabits her song-world that makes her songs such an inviting prospect. You always hear the vox-pops bleaters crying “If only Amy Winehouse had better friends...” This is what is happening here: A mercurial sense that everything is alright, no matter how bad they seem- help is at hand... you are safe and you are loved.

ROB WILKINSON

ELECTRIC PENELOPE A NEW DAY

XIII

THE BERWICK WATCHTOWERThe first time I heard about this project it was described

to me as, “the old Jehovah witness place”, which didn’t paint much of a picture considering I know nothing about the religion other than its followers are notorious cold callers. I found myself just weeks later deciding “The Watchtower” was the best name for this beautiful building, but apparently I was the only human alive that didn’t know this is the name of the jehovah’s magazine, so just for the record the jehovah’s are gone and lots of crazy art has moved in.

When I first met with Kate (the owner of the watchtower) it was clear that this place is to serve 2 main purposes. The first being that it is a tribute to her late husband Ian Stephenson and his spectacular art work, The second being that it is an open door to artists of all varieties. Whether it be a 100 year old painter or a 10 year old who just learnt his first guitar chord we have opened this building in hope of aiding those with a love for creation.

It’s early day’s and we are only just starting to discuss how we aim to do this but one thing is for sure we aren’t a big entertainment business, though we do aim to entertain, our main aim is to facilitate, inspire and build a network of creative thinkers who are all teaching, learning, and collaborating under one roof.

At this time the facility itself is the most valuable asset we have to offer. It has a full gallery which has Ian Stephenson’s work constantly on display on the highest point’s of the tallest walls and bellow this we currently have work from Mali Morris, Stephen Lewis and Mark Irving on display but these exhibitions will constantly change as we have no shortage of artists wanting to show their work.

In the main exhibition area we also have a stage and lighting for gigs/ play’s or any other function you can think of. Below this we have the brand new recording studio/ practice room which is yet to be equipped properly but the acoustics are heavenly plus it’s old school wood frame and canvas interior gives it the ultimate hippy folk vibe. My favourite feature has to be that there are inputs upstairs in the exhibition hall where you can record live shows or just make use of the big echoey hall in you’re recordings. As well as our facilities Kate Stephenson and Michael Richardson are possibly two of the nicest odd balls I’ve met in my time and they are all about trying to make things happen and welcoming enthusiasm of all sorts.

However the opportunities these facilities present would be nothing without YOU. The whole reason I wrote this article is to ask everyone and anyone to get involved. When I first was introduced to the watchtower I was just a musician having a look around and now I’ve been handed a great opportunity to be involved in the running of this place. So if you think you can make use of our facilities or can contribute in any way or even if you just want to meet some more creative folks then come see us. You can catch us on facebook www.facebook.com/berwickwatchtower or the website www.berwickwatchtower.com and you can e-mail me on Sammy@berwickwatchtower.com. it’s about time Berwick’s music and art scene had some life in it again and we’re hoping everyone will help us on this venture.

SAMMY REED

XIV

// I must be a philistine. When contemporary art

speaks to me, it’s often under its breath along the

lines of, “For fuck’s sake,” and with a mental prompt

to take the recycling out.

Visual art, by its very nature, should be indefinable

– is indefinable. Yet this doesn’t chime with those

contemporary artists who feel the need to dictate

to us what we are meant to be seeing. As I don’t

presume to tell the artist what to create, I would

appreciate the same courtesy from the artist in

not telling me what to perceive. I have a sneaking

suspicion that many artists finish a piece and think,

“Hmm, it’s pretty enough, but I haven’t a fucking

clue what it means.” So, not having enough belief

in the merit of their own art, they scribble down a

few lines of hasty pretentious twaddle to keep the

art critics happy and to alienate large swathes of the

general public.

The last time I visited the Tate Modern in

London I left white-lipped and shaking,

marvelling through my incandescent

wrath at the gravitas with which people –

functioning people, holding down jobs,

raising families – contemplated three light

bulbs, a lolly stick and a dead rodent.

// I recall stomping back across the Millennium

Bridge shrieking at the aptness of the Tate Modern

being cut from the new clothes of the ultimate

emperor, Tony fucking Blair; a connection which so

ART FOR ARSE SAKE?

YOUR HOUSE HISTORIAN

www.yourhousehistorian.co.ukTelephone: 01289 298 177 Email: speirsp@gmail.com

pleased me at the time I kept repeating it until my

husband told me to shut up, people were staring.

// I recently told a colleague of mine, a Guardian reader,

this story. He looked at me first aghast and then with

well-brought-up pity, as if I was disabled and had

accidentally rolled myself across his picnic rug.

“Oh, my God. Modern art is brilliant!” he

spurted. “It’s all about the space it sits in and

the emotions it evokes. The very fact that you

felt so strongly about it means that, as art,

it succeeded.”

Christ, I feel exhausted just remembering.

// I’m tired of people like my colleague assuming a

smug and patronizing stance, believing that they ‘get’

contemporary art when really the only thing they’ve got

is a suggestible personality type. Because, I’m sorry, if

an exhibit requires an A4 laminate of explanation beside

it… well. Call me naive, but aren’t artists supposed to

convey things through the medium of – and I’m fairly

confident I’ve got this right – art?

(EXTRACTED FROM ‘IT’S NOT YOU, IT’S ME – 184/250,’ NOT THE

BERWICKSHIRE ADVERTISER)

CHASTITY FLYTE //

I am immensely proud to be writing this review. Rikki has a zeal that would see him succeeding in any endeavour he sets out on and a pipe dream three years in the making saw the launch night of his brand new brewery Bear Claw.

Berwick has a rich history of brewing dating back from 1777. The Border Brewery was brewing beer throughout the 19th century but halted brewing after the first World War. The flames were relit in 1992 with the re-founding of the Brewery. This enjoyed superb success, so much so in fact that new premises were in needed after only ten years. This saw the formation of the Hadrian and Border brewery in Newcastle. With the departure of the now Hadrian and Border Brewery from the town there has been an empty space where a beer company should be.

No more though, and my lord what a comeback! With the names like the charmingly morbid ‘First Blood’ and hopelessness inducing ‘Sun God’s Ruin’, Berwick Beer is back with a vengeance. A vengeance through the medium of ABV’s of 6.5 and 5.7 respectively.

‘First Blood’, an American red ale, at the first taste grips the front of your face with equal measures of bold hops and malty blasts. Then those tastes don’t let up all the way down the glass. I’d personally recommend this in a half pint glass... with a dark, navy rum perhaps. ‘Sun God’s Ruin’, a double Border blonde (whatever that means?), seems a little more laid back, almost session bearish. It’s buttery texture and lightly hopped flavours lull you into the false sense that this is a lighter beer. It certainly doesn’t drink like its alcohol content. So be warned it’s a Siren of a beer. The man’s dedication goes further than carefully crafting his beers, his pump clips are from carefully hand carved wooden print blocks too.

Rikki’s launch night went superbly well with one beer sold out and the other very close behind. Everybody was well oiled and although, from a strictly business point of view, I’d like to see him making a more approachable beer(primarily because it tastes so good I want to have more than 3 pints before I can’t talk) the fact is he has a passion for making strong beers and having there been such a void of brewing in Berwick he wanted it to come back with a bang. And bang it went. Well done Rikki, I wish you all the best and can’t wait to see you going from strength to strength (not that kind Rikki!).

ALL HAIL BEAR CLAW!

ROSS DAVIDSON

BEAR CLAW

walkers

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Extreme comfort for allsorts “ ”stargazers

divers

En suite toiletEn suite showerOutside shower

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DVD playerFree wi�

FridgeSound system with ipod docking

Tea & co�ee facilitiesToaster

Sleeps 2 (either as 2 singles or 1 double)

 e Rambleshack is an individual B&B with a di�erence: the intimacy of a B&B with the

privacy of a holiday let. Situated in the heart of the beautiful village of Coldingham on the

East coast of the Scottish Borders. All within walking distance of the blue �ag beach, the

marine reserve at St Abbs, and the pub.  e Rambleshack is ideal for a break away whether you are en route, love sur�ng or

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 e Rambleshack, Fishers Brae, Coldingham, Scottish Borders, TD14 5NJ

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email bookings@therambleshack.com www.therambleshack.com

Cop

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2012

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R MBLE s h a c kthe intimacy of a B&B with the privacy of a holiday let

TM

I’VE BEEN DREAMING OF THIS EVER SINCE I WAS A BOYOkay, anyone who’s ever seen me attempt to “cut some

rug” (a mercifully rare occurrence) will know that not

only do I have a complete inability to dance, I also

seem to not understand what dancing is or even which

parts of my body are actually moving. When it comes

to watching dance, particularly more contemporary

dance pieces, I often fail to understand what it is I am

actually looking at: I don’t understand. I can’t find a

way in. I find it impenetrable. It makes me not want to

go to contemporary dance shows.

So here I am at Chloe Smith’s first solo dance piece

(following on from her nightmarish ensemble piece

last year in the spooky-wooky Penny Lodging House).

Upon entering the room I am surprised to find chairs

arranged in a circle – have I come to an intervention?

- and am told to “sit anywhere except for the chair

with boots and the torch.” This chair is reserved for

our host. She sits down, puts on her boots and starts

making odd little shapes in the palm of her left hand

with her right. My brain immediately reaches for the

help manual. Are we supposed to copy? Do I applaud?

Should I take all my clothes off?

Then she begins to tell us the story of her time spent

at Occupy London. This tale – a sweetly told modern

parable – is the “music” to the piece. With characters

as rich and tangible as any great novel: Columb who

“lives outside the money system”; Kenny, a sweet

natured alcoholic who bought our Chloe a Mars bar

for her breakfast; and Kelvin who worked

in the kitchen whose grandfather called her

“baby girl”. Chloe’s personable and nuanced

delivery coupled with her inventive dance

was both compelling and strangely moving. I

became so utterly invested in these people that

I had never met that I wished that they were

still there, safe in their tents. Then came the

moment Chloe walked to a lady in the circle

and asked her to hold out her hands. The lady

dutifully obliged as Chloe started to make the

same shapes in her hand that she had made on

her own at the opening of the show. “This is

the kitchen tent...” she begins. She moves on to

the next member of her audience – now utterly

engrossed - focusing all of her attention on her

latest disciple; “This is the spire of St Paul’s...”

With “I’ve Been Dreaming of this Ever Since

I was a Boy” Chloe Smith has created a

show that is a whip-smart whorl of invention,

accessible without playing to the lowest

common denominator and brim-filled with

genuine emotion. Sweet, engaging, beautiful

and unique - a show just like its creator.

ROB WILKINSON //

// I’m getting on a bit now. Hell, that’s an

understatement. I believe if I were to catch a

common cold it would end me. Real shame, but

it’s true. I’ve had a pretty eventful life though;

I’m not sad, just curious about what comes next.

In a way I’m looking forward to it. Will I burn

in hell for what I did at the tender age of 16?

Will I be forgiven and allowed passage through

the handsome gates of heaven? Fuck knows, but

Lord, its exciting thinking about it.

“IT’S NOT ALL GLOOMY AND BAFFLING THOUGH”

// I always enjoyed writing. I always marvelled

at the goings on in my town, the beautiful town

of Rosewood. I figured I’d write my own little

blog for you, dear reader, and tell you of some of

the absurd goings on in this town over the years.

It’s not all gloomy and baffling though, just last

year, the local first school’s headmaster decided

it would be good sport to let the kids create a

game for the parents to take part in for sports

day, and vice versa. I’ll bet he wished he hadn’t

as he, as well as the parents, took part in their

34th round of “Chuck the dried dogshit through

the hoop”. Ah, life in a small town eh?

// If you will endure, dear reader, I will tell you

stories of the bizarre, and at times, damn right

creepy things which happened in my town. Why

are you bothered about who I am and what I

have to say? Well sir or madam, if you’re not,

turn the page, put the mag down, staple the cat

to the ironing board, or whatever else you freaks

like to do.

// I’ll be back next time. I’ll tell about “the

disappearance of the three”. Big news that was,

round here anyway...

MUSINGS ON MY TOWN

Selection of real cask ales upstairs, basement cocktail bar, live music events every week, avaliable for hire for

private functions.

Frontier Fesitval - Berwick Bands Collective

Frontier Festival - Flux DJs Gav ‘n’ Flinty & RIDNA

Katriona Gilmore & Jamie Roberts Live

Address:59/61 Bridge Street Berwick-upon-Tweed

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SCAN NOW for full October to December

listings...

BY WILSON GALE

BERWICK FILM AND MEDIA FESTIVALSo, what was it like? Well, it was like wheat, chaff, panning

for gold among the mud, gravel and marmite of a river

bed, finding unexpected diamonds mixed with fools gold.

This mixing of metaphors, sheer unpredictability and gasp

out loud moments probably sums up the Berwick Film

and Media Festival perfectly. If art is anything then it

should polarise, create debate and simply make you think.

Art should be a disruptor amongst the straight edges of

logic, science and our everyday lives. And on that basis

the Berwick Film and Media Festival certainly delivered

to its brief.

The theme of this years festival was to explore the

link between still photography and the moving image,

or in other words “Pictures in Motion” - how one has

informed the other - whether in terms of the visual

language of each, the mixing of the actual media or still

photographers making the transition from the static to

the moving. Of course this is a very apt theme given the

recent explosion of user generated content on YouTube

and the fact that any digital still camera or smart-phone

is pretty much capable of taking decent quality video

content. So, we all now have the tools.

The ongoing digital democratisation of film making, while

it has given many more people the chance to explore

their creativity using a medium previously denied to

them, has meant there is a lot of garbage out there and

careful sifting is required not to get sucked into the

morass of the cheap laugh or the banal. Or the simply

pretentious. Of course you would expect the film makers

in the festival to be creative, intelligent people who have

not only studied their art, but are also in love with it. But

is that enough to guarantee the production of compelling

art? Art that reaches out to the viewer and is memorable

and/or thought provoking? The answer is no, it doesn’t

always guarantee a compelling viewing experience, but it

does perhaps guarantee the unexpected. Think of a film

festival like choosing bottles of French wine as opposed

to that of the new world. You never quite know what to

expect. A great vintage could be corked, while a bottle of

vin-de-table could be sublime.

Over a couple of days we saw a range of films that

spanned the range from pure gems of sheer brilliance

where even just a single frame of the movie stayed

imprinted on the mind even now to the self-indulgent,

narcissistic dullness. But hey! Isn’t that what it’s all

about? Some movies, especially the shorts seemed to

possess no story but would simply depict visually an

emotion or concept. We saw a three minute short, shot

beautifully with mostly one scene that seemed to me

to be a visual interpretation of the words “dread” and

“menace”. It was as though the two characters were aware

of some awful un-named doom that was fast approaching.

Just three minutes was enough to create a nervous,

pressure cooker like feeling and it was almost a relief

when it ended. I’m thinking about the movie now, how

it unsettled me in those few short minutes. I’m not sure

whether it was a completely pleasurable experience, but it

made me think.

Outside of the movie screenings were scattered little

installations of video art – some hidden away in ice

houses, some lurking in the opened up battlements of

Berwick’s town walls. Some of these worked very well – a

special favourite was one where the outside elements

of roaring wind and crashing waves seemed to mingle

perfectly with a soundtrack of opera and the stop-go

freeze frame of a singer in an amazing frock amidst a

verdant forest. It was outside of this installation that

we asked one of the film festival staff what they had

thought of a film that we had seen the previous night

and which we had found to be the perfect example of

creative indulgence mixed with supreme dullness. After

a little hesitation and reticence, the staff member started

her response with “Well, I wanted to like it….” Then

admitted she had spent most of the evening avoiding the

film-maker in question just in case the dreaded question

of “Did you like it?” arose. That same film won much

appreciation from the audience. While each to their own,

I think it does beg the question of how much of creativity,

if clever and delivered by someone of standing is often

seen through the same mirror that the emperor and his

new clothes stood in front of. To use the wine analogy

again, the views of tasters who can see the labels can be

very different to those who cannot.

Again, that is not a criticism of the festival. It was a film

that polarised, which is exactly the point. I simply didn’t

like it – it bored the pants off me, didn’t make me think

and neither was it visually compelling. All I can say in its

favour was that the film maker seemed a really nice guy

and immediately before the screening I too…”Wanted

to like it”. However, that was just one movie. Some of

the cinema-photography in the other films we saw

was glorious, elegiac and beautiful - where the eye of

the director had made every frame of the movie worth

watching. Perhaps this was where the theme of the festival

was most truly realised. In still photography there is only

a single frame with which to tell your story, to impress or

to force wonder or interest in the viewer. In movies you

have 24 frames every second. But that is not an excuse to

put any to waste, although many often do.

I’ll single two movies out here, both shorts. First of all the

“The Last Bus” by Martin Snopek and Ivan Laucikova”

from Slovakia. A surreal tale of Beatrix Potter as

imagined by Roald Dahl or Nick Cave, it featured a

rusting dilapidated bus full of incredible creatures

apparently fleeing something. Or were they just going

on holiday? It took us into a fabled world that after a

minute seemed perfectly natural and believable. It was

beautifully shot, coloured, costumed and imagined. We

saw a wolf make the journey from being hunted, to being

feared to being the epitome of compassion, to finally

showing the sheer desperation of the need to stay alive.

Brilliant stuff and one of the few movies where luggage

and suitcases almost had the starring role. It was a film of

textures, in all senses of the word.

The second movie was another short, this time by fashion

photographer Tim Walker called “The Lost Explorer”.

Here a girl discovers a tent in the overgrown margins of

her family garden. Inside the tent, dying of malaria is an

African explorer complete with maps, a revolver and a

pith helmet. There’s a strange bond between them and the

film takes us on a journey of disquiet and amazement. The

explorer tells the girl of how they would capture canaries

and take them onboard ship. Then in the middle of the

ocean would release them and watch the flock swoop

and dive through the ships rigging before landing back

on deck. “Don’t they escape and fly off?” asks the girl.

“Where would they fly to?” responds the explorer.

This exchange is then gloriously realised in a dream

sequence where the girl and the explorer enter an

abandoned building to find a ghostly galleon made

of gossamer and silk about which a thousand bright

canaries flutter. I was minded of the magic realism of

Gabriel-Garcia Marquez here and “100 years of solitude”

where intrepid explorers come across a Spanish galleon

hundreds of miles inland, deep within a rainforest and

festooned with tiny blue flowers.

The explorer close to death, sneaks into the home of the

girl during a dinner party and rather awkwardly, dies in

her bedroom. The final scene where the girl sets alight his

pyre and is outlined in silhouette by the flickering flames

is simply beautiful.

Adapted from a short story by Patrick McGrath the “Lost

Explorer” is twenty minutes of lavish film making, which

demonstrates a love of light, scene and composition. Not

to mention great acting from the central character, played

by 14 year old Olympia Campbell.

So, no, we didn’t see every film out of the 40 or so that

were being shown. Neither did we see all the installations

or the premiere of “Resident Evil” given we are a little

scared of zombies down here at The Trip. There was, as

stated at the beginning some over-indulgence and some

brilliance. It was all excellently organised and I think

the very fact that the festival could attract over 50 film

makers and ultimately really celebrate the medium both

in terms of the films being shown and in the workshops

and Q&A sessions, has to be applauded. I could imagine

setting five days aside next year in order to ensure

watching as much material as possible and really getting

immersed into what the festival is about. Perhaps that’s

the way to do it as opposed to being a flighty gad-fly and

nibbling away at the margins?

But, would such immersion lead to viewing everything

on offer through the prism of the emperor and his new

clothes? Er, dunno to be honest, but regardless of that,

we’re very much looking forward to the next one.

PHIL HEYWOOD

BELOW: MARK COUSINS SPEAKS AT THE FESTIVAL

In “Travelling Daze”, Alan Dearling seeks to piece

together the woven, tie-dyed fabric of the “new-age”

travelling community. From the free festival hippies of

the 60’s “tune in, drop out” era, via the casualties and

campaigners of Thatchers Britain to the rave scene and

the modern festival experience, this refreshing insight

into “life on the road” seeks to dispel popular prejudice

and mis-conception for those that weren’t there whilst

also offering a trip down an almost certainly hazy

memory lane for those that were.

Dearlings introduction helps to paint a context for the

modern day traveller, outlining a journey with its roots

embedded in the post-war sense of displacement and the

emergence of the counter-cultural spirit and energy of the

1960’s. With totemic music festivals like the trio on the

Isle of Wight providing a focus for the growing sense of

frustration and adventure, we are taken on a journey with

some of the colourful characters across the generations as

they search for their new Albion.

2 of those characters, of whom each has a chapter

dedicated to them, are the infamous, often controversial,

although undeniably stalwart champions of the counter-

cultural travelling community....Wally Hope and Sid

Rawle. We are provided with anecdotal accounts of

both men, offering up a balanced and honest portrayal

(depending who you wish to believe) of visionaries,

mystics or frauds. Both men, in different ways shaped the

path and philosophy of many a modern day traveller. We

are also treated to a chapter on travelling artist, David

Stooke, whose moody landscapes of traveller camps and

intimate portraits of furrowed campers draw the reader

in closer with beautiful simplicity.

But it is in the struggle, the constant harassment by the

authorities and the endeavouring spirit that makes these

tales more poignant than ever. With the introduction

of the Public Order Act in 1986 following on from

Thatcher’s war on the miners in ’84, and then latterly the

Criminal justice bill in the early 90’s, Travellers constantly

found themselves on the receiving end of reactionary

policies designed to curtail anything that could be seen

as subversive or a threat to “decent” society. In 1985, in

what is known as the battle of Beanfield, police in riot

gear attacked a group of travellers on their way to a

peaceful gathering in Stonehenge. Trailers were burnt and

possessions stolen. The police originally stated that they

came under attack first... an allegation that was proven

not to be true. It is incredibly heart-warming to hear of

miners and their families helping out those travellers who

had lost possessions, just as the travellers had helped the

miners during their times of anguish.

For those that don’t have even a smudge of genuine

interest in the travelling fraternity, then this book will do

little for you. But for anyone who’s ever wondered who

the strangely attired wood folk were passing through

your town in beat up buses and wagons, or for anyone

that was “there”, then this book is a lovely little find.

One of the contributors, Netty Miles, who writes the

penultimate chapter, sums it up wonderfully....

“(travellers are)... tired of living on the city streets...(and)

bring the philosophies of Buddha, Marx and 2000AD

magazine together with Orwellian nihilism...”

Maybe there’s a little bit of that in all of us (?)

SIÔN GATES

IN TRAVELLING DAZE...

XXII