Reviewing Opposite of Robot – Richard Turner interviewed!

Last Friday saw the final Opposite of Robot event playing itself out at Lancaster’s Yorkshire House. Founded by Richard Turner and later expanded upon by Wes Martin – both Lancaster based musicians/performers in their own right, OoR offered considered events organisation in a supportive atmosphere; showcasing some 70 bands/performers from across Europe and the UK between March 2008 and its April 2010 finale. Several events aimed to benefit local and national charities – Lancaster Homeless Action, Animal Care, Lancaster District Women’s Aid and Oxjam, whilst the remainder took a decidedly not-for-profit tact, aiming to divide up earnings between acts/performers.

In the lead-up to the finale I sent Richard some questions about OoR, its aims and intentions, its context on a local/national level; obstacles faced; its achievements and likewise any hopes its curators had for the future of live music in Lancaster. Richard was kind enough to write back fairly with the following responses. The following interview was conducted via email April 8th and 9th 2010.

Could you tell us a little about OoR’s aims at the outset?

The aim was really to bring about more music from out of town mixed with local talent. The idea was to mix up some of the different bands and age-ranges – have the older bands mixed with younger ones, cross-pollinate, and try and help create a sense of community amongst musicians. In many ways, when Wes (Martin) was trying to get the Ledge Collective off the ground, it was a similar kind of idealistic aim to get like-minded people together.

Was there any format or model for promoting that had inspired you or influenced how you went about things?

Well, I’d been putting on gigs for about 8 years anyway, just not made a thing of it particularly. When I was in the Wisemen, we did gig-swaps with out-of-town bands and made connections that way and in some ways, it was just an extension of that. However, Feedback and then LAWM and some others came along and made being a promoter sexy. I’d helped Richard Twine out with LAWM a little bit, and that was the most obvious model to follow in that sense. Also, there were some great nights in Manchester around then, things like Red Deer Club and Hedge had a big influence on the alt folk scene in particular.

When did you notice the promoter thing starting to gather momentum, any obvious shifts or developments you’d see as having led to the spot we’re currently at (i.e. where promoting is – arguably as viable as performing?)

When I settled in Lancaster in 1999, there were no promoters that I can think of. It was just bands booking there own gigs and very rarely you’d get some punk band from Blackburn or Blackpool doing a gig swap with one of the older bands. I put some gigs on and called it Morner Bros Presents, which was the name of the Wisemen’s self-release label, but it wasn’t put about much as a concept. But once Feedback happened – around 2005, it briefly became cool – more than actually being in a band for a time it seemed. Everyone and his dog seemed to have a go, but a lot of them did a handful of badly organised events and folded, or they were students that left town. Now there are some good promoters who are very professional like the Get it Loud in Libraries and the 44 Presents people and Totally Wired/Wired In, Dingo Barracks and more.

Early on I spotted a disclaimer which asked prospective bands/performers to think carefully before asking for a gig – to what extent d’you think it’s been important to have a kind of criteria for the acts you’ve put on?

Well, it’s a difficult area, but basically you have to have some sort of vague rules, in order to shape the vibe of it all. Even then, you’d get requests from people who’d be better off on X Factor or wanting to be Coldplay or something. There’s nothing wrong in that, it’s just already catered for. I wanted it to reflect the large numbers of musicians that are doing something other. Having said that, although we’re probably tagged as a folk night, there’s been quite a lot of other stuff.

How difficult was it pulling bands in from afar, in terms of the process of making contact/arranging line-ups etc?

It’s not difficult as such, just very time-consuming. There’s a lot of liaising goes on. We’ve tried to construct the bills so that the bands are somehow complimentary. As a musician, it’s pretty disheartening to find yourself playing alongside a couple of bands you have nothing in common with, so the idea was to have a loose theme.  Similarly, I used to make mix CDs for each night, for the music around the live performances that tried to reflect the bands and their influences, rather than playing something random.

Did you have to turn anybody away?

There were a few bands we would have had on but didn’t due to a conflict in date availability or just busy schedules. Wes wanted Jasmina Machina, and I wanted a few people like Men Diamler, Homelife, Denis Jones, Euros Childs, the Rose Bay Willow Band, Good Noise bad Noise and more, but you can’t have them all… I tried to respond to all requests, though I might have missed a couple for which I apologise! There were some occasions where a band was getting radio and press and a profile, but I just thought they were terrible, so couldn’t bring myself to do it!

Trolling blogspot.com I came across a number of guidelines for putting on successful DIY shows – they cover everything from what food to prepare the acts to legal fly-posting spots! Could you kindly share some reflections on what’s made for a successful OoR gig?

Crikey, I should have read that first! Er, it’s hard to say really. I mean, you have to do a local press release 2 weeks in advance, national gig listings need 4 weeks advance, tell all local radio stations, do the usual Facebook/Myspace/Twitter groups, have a mailing list, text people on the day, physical posters and flyers, and so on… And sometimes it works, and other times it doesn’t.

What would you describe as the major obstacles to achieving your aims/goals?

Time and money, and the recession hasn’t helped. I know a lot of people that stay in and watch DVD’s instead of coming out. And sometimes apathy – there have been gigs where the downstairs of the pub is rammed, but upstairs is quiet! I’m afraid to say that a lot of the musicians have only turned up to the ones they’re playing at, which has been a disappointment.

One thing I noticed about OoR – and LAWM specifically, was how both outfits managed to foster dependable links with local press – from web-blogs to local newspapers – as a means of signposting their nights. How important has it been to build these links and how effective?

Well, it’s hard to say how effective it is. I mean, sometimes loads of people tell you they’ve seen the night advertised in the paper, but they don’t necessarily turn up. It’s got to be done though, and it does mean people outside your immediate friends know what’s going on.

What, if anything, could you tell us about the relationship between social networking sites and live music events on a local level?

I think that the whole thing is about to change/implode/end. I think it was seen as exciting/useful initially but people are increasingly switching off from it. It is still useful to a degree though, but it seems it’s musicians looking at each other rather than the wider public being involved.

Any guesses as to where it’s headed?

I’ve no idea! It’s a strange time for music, the industry as we’ve known it for the last 50 years has pretty much crumbled, and even in the last 3 years, there have been massive changes. Personally, I’m just going to go all out for artistic expression from now on, and if I end up totally awash of the rest of the world’s music, so be it.

What would you see as being the value of drawing out-of-town acts/performers?

Well, as talented a town as Lancaster is, it’s always essential to take a wider view, I mean we don’t want to be considered parochial and small-town-minded do we?

If you were holidaying in Iran or something and someone asked you what things were like for music in Lancaster – what d’you think your response would be?

When you put it in that context, we’re incredibly lucky to all be able to express ourselves so freely and easily, and we do take our freedoms for granted sometimes.

Anything you’d like to see happening locally that isn’t already?

I’d like to see more people enjoying live music, I’d like to see things like OoR have funds made available to them to help bring more music to more people. And I’d like to see bands and musicians being paid more. The council hinder live music by threatening legal action by postering derelict buildings.

Who designed the flyers?

I designed most of the flyers and posters. Wes did one, and a couple (Miserable Rich and the last Last Harbour) were generic tour posters that I’ve just adapted with local details. I’m really interested in design generally and particularly graphic design, so I’m ashamed to say that most of the posters were knocked up pretty hastily! Pre-OoR, I used to do photocopied stuff, and get interesting effects from generations of copied logos and images, but I used Photoshop and various images for ease of use to upload onto Photobucket for the purposes of social networking sites. So it’s interesting how the present culture directly affects the means of poster/flyer production, eh?

Are there any poster designs locally or otherwise that you’ve enjoyed and/or admired?

Slow Riot Records posters are the best.

Any personal highlights from OoR?

There have been many high points, too many to mention, but off the top of my head, Mikey Kenney’s solo set was awesome, Trembling Bells were great, Homemade Lemonade’s journey has been great to watch, the Adventures of Loki/3D Tanx/Joyeux night was a good do…Lovely Eggs at the Animal Care night was ace…Little Pebble…

Little Pebble was great. Joyeux too. Interesting you mentioned Trembling Bells – any guesses as to what’s allowed Glasgow’s ‘New Weird folk’ scene so much interest and press beyond its locale?

Well, Alex Nielson and Alasdair Roberts have both worked with Will Oldham, so that immediately pricks the ears of any music journalist, and members of Nalle worked with a Hawk & A Hacksaw with similar results. Plus, David Keenan (Wire writer, musician and owner of esoteric music shop Volcanic Tongue) lives in Glasgow, and has also been in groups with Nielson and bigged him up. Which isn’t to say that their praise is undeserved of course, they’re very talented, but they’ve had some people on their side which has helped.

Anything you’re looking forward to in the future?

I’m looking forward to being more focussed as a musician again, and having a rest as a promoter. Hopefully, there’ll be some new blood to give us all a boost. I know Richard Davis has plans and maybe Richard Twine will come out of promoter-retirement? Or maybe it’s time for someone not called Richard?

Finally, how important do you think a sense of community is to creating opportunities for musicians/performers etc. on any level?

It’s a thorny issue really, because people obviously gravitate towards other people that share similar views/interests etc, yet can be accused (and indeed sometimes be guilty of) being cliquey. We’ve always invited people to contribute in whatever way they want, and tried to have a degree of diversity. In some respects, although we’ve had some great nights of music, and have fostered some new talent and brought some new things to new people, OoR has largely failed in its attempt to bring about more of a community aspect and strengthen the local scene. It will be interesting to look back at this period in hindsight, and whether this is of itself or part of a wider cultural shift in the way people view and value music.

Richard Turner plays as Goldmundo, in Dan Haywood’s New Hawks, Starless & Bible Black and The Little Hero Band.

Wes Martin is an artist and banjo player in indie-folk act The Low Countries and The Existence of Harvey Lord.

Lit Fest Lunchtime Lecture — Samuel Taylor Coleridge

Reviewed by Kev McVeigh

To a gratifyingly packed auditorium at the Storey CIC, Carol Coates introduced her talk by saying that the only simple facts about Coleridge were the dates of his birth and death (1772-1834.) She proceeded then to list many of his attributes and roles in an attempt to assure us, it seemed, of Coleridge’s importance. Although she mentioned his role in inspiring and mentoring Wordsworth (and in my eyes it was a more mutual relationship than that) what she missed was his role as inspiration to a generation of prose writers (Hazlitt, Hunt, Hone, Cobbett Jeffreys, etc.)who reacted against Coleridge’s Toryism and his abandonment of his ‘powers’ and became leading figures in British radical reform.

For most people, however, Coleridge’s reputation rests on two works, The Rime Of The Ancient Mariner, which Coates read long excerpts from, and Kubla Khan read entire. Correctly, in many critics eyes, identifying that the latter is in fact a constructed whole rather than the ‘fragment’ the poet disingenuously claimed, I think she caused a stronger reading of the poem to emerge than simply the rich fantasy image often seen. (The same applies to Wordsworth’s ‘I wandered lonely as a cloud’ which is about imaginative power rather than flowers.)

To finish this brief talk, she read two of Coleridge’s conversation poems highlighting his role in creating this then new and original form. ‘This Lime-Tree Bower, My Prison’ and ‘Frost At Midnight’ epitomise Coleridge at his most confident. They also serve to highlight Hazlitt’s remark of 1825 ‘all that he has done of moment, he has done 20 years ago.’

Of course Coates’ brief here was an overview of Coleridge the poet, and she delivered a charming, entertaining and enlightening talk. For me it left me wanting more, which was her stated intent, ‘Go away and read Coleridge’ she told us at least a couple of times. It also left me, personally, wanting a discussion opportunity and the chance to go into more depth. Another time?

The Dukes Youth Theatre to Perform at Lancaster Castle

Hot on the heels of demi-paradise productions, The Dukes Youth Theatre will be performing their new play at Lancaster Castle on Saturday 27 March.

Legend of Eve the Brave has been written by youth theatre members alongside group leaders Lenny St Jean and Mary Sharples. New characters have been created including Merlin’s evil brother, the Lady of the Lake District and Eve, who has always wanted to be a knight but can’t because she’s a woman…

Sixteen young people aged between 7 and 10 are currently rehearsing for this unique experience and what will be their first show outside the DT3 space.

Two older members of DT3 are currently receiving training as directors and have also secured work at Lancaster Castle with demi-paradise productions. Eve Burton is working as Assistant Director and Stage Manager on The Merchant of Venice and Ruby Clarke has been working as Deputy Stage Manager.

The Gift and The Glory

A double bill of brand new plays set in the great outdoors of the Lake District will be opening at The Dukes this Spring.

Written in tandem by John Moorhouse and Lisa Evans, The Gift and The Glory tells the story of two pairs of friends at a crossroads in their lives. Old pals Tom and Jed take a familiar route through the Lakeland fells in The Gift. This time however, they’re off the beaten track as an intensely personal story is revealed.

Glory, Glory is set three months later and a new pair of friends walk that same route. Sixty-somethings Joy and Lizzie are growing old disgracefully. Swigging away and confronting their fears for the future, they share laughter, secrets and gin.

The plays have been written specifically for the local landscape and the outside will literally be brought inside when huge rocks arrive from Ingleton quarry near Carnforth to create the set. The double bill will also feature a specially composed soundtrack with gospel and folk music performed live by the actors.

Dukes’ Director Joe Sumsion will direct Glory, Glory and Louie Ingham will direct The Gift. This will be Louie’s first professional production for The Dukes. She joins Joe fresh from directing The Dukes Youth Theatre in The Things She Sees which made it all the way to The National Theatre as part of the New Connections Festival.

Glory Glory writer Lisa Evans has recently enjoyed success with The Maid of Buttermere at Theatre by the Lake and her new play, Up the Duff, will be touring nationally in the autumn.

The Gift and The Glory runs from Wednesday 31 March – Saturday 24 April 2010. Tickets cost from £5 to £15.50 and can be booked at The Dukes Box Office on 01524 598500 or http://www.dukes-lancaster.org.

Polish Film Season at The Dukes

A collection of new and classic films from Poland will be shown as part of a Polish Film Festival at The Dukes in March.

Starting on Monday 22 March, Katyn is an Oscar-nominated film which tells the story of Polish army officers murdered by the Russian secret police during WW2.

Tricks, screening on Tuesday 23 March, is a charming and bittersweet tale about childhood. Mother Joan of Angels, showing on Wednesday 24 March, is a story of possession and one of the landmarks of Polish cinema. Finally, Ashes and Diamonds on Wednesday 31 March is a powerful and intimate study of the nature of fate and a country in flux after WW2.

There will also be Polish music playing in The Dukes bar before the screening of Tricks on Tuesday 23 March.

All films have English subtitles. Tickets cost £5 (£4 concesssions) and can be booked in advance from The Dukes Box Office on 01524 598500 or online at http://www.dukes-lancaster.org.

Seven

Saturday, April 3, 2010 at 8:00pm

Bands performing:

PONIES

HUNGRY SOULS
(Vocals and Guitar – Frenchie, Bass and backing vocals – Rachel, Lead Guitar – Grum, Drums – Dave)

POISON ARROW

CARPE DIEM
(Vocals and Beat boxing – Flash, Vocals and Guitar – Frenchie, Lead Guitar – Jon Moore, Bass – Grum, Drums and Backing Vocals – Rachel, Percussion and Backing Vocals – Dave.)

These talented local musicians team up with artists studying at the University of Cumbria to bring you a night of music and visual delight!

This event has been organised to help fund ‘SEVEN’, an exhibition that will take place at the University of Cumbria in June which all guests are also invited to.

£3 on the door.

art of the eastern motifs — maria golubeva

Reviewed by Kevin mcveigh

The Thomas Storey room at The Storey currently contains fifteen of the most intricate and beautiful artworks in town.
Golubeva has applied her skills with ancient techniques of cutting black paper into delicate symmetrical designs to the modern LED backlight technology and the results are stunning.
The large scale of these pieces emphasises the tiny details as the black is contrasted on white.
Fantastic images sit alongside geometric patterns and ornate texts from the Qu’ran.
One can’t estimate the time involved to make these pieces but they deserve as much attention by viewers now.
The art of eastern motifs is on until 11th March.

Errors + Worriedaboutsatan at The Storey

After an amazing year of events, 44 returns in 2010 for our second show at the Storey Centre in Lancaster. We proudly welcome ERRORS for an exclusive headline performance, a band that call Mogwai’s very label Rock Action Records home, Errors are not to be missed!

Formed in 2004 Errors have gained massive support from their musical birth, touring throughout Europe and the UK these guys are really do the business on the live stage. With elements of Math Rock, Electro, Indie and Acid House thrown into the mix their sound has gained them fans in all corners.

With the likes of Underworld, Zane Lowe, Rob Da Bank and Erol Alkan all tipping their hats to Errors you know your on to a winner…

http://www.weareerrors.com / http://www.myspace.com/weareerrors

44 Presents…

ERRORS (Rock Action Records)

Live: Worriedaboutsatan – http://www.myspace.com/worriedaboutsatan

+ very special suprise act tba…

DJ’s: Mister Sushi (Botchit & Scarper), Shengi (Infra)

Saturday Febuary 27th / £8 (advance) / £10 (on the door)

7pm – 12am

Age: 16+

Storey Creative Industries Centre,
Meeting House Lane,
Lancaster,
LA1 1TH.

01524 509000

http://www.thestorey.co.uk

Tickets available digitally via Skiddle –

http://www.skiddle.com/events/11346118/

0844 844 2920

Printed tickets avilable soon at the following outlets:

Lancaster Visitor Information Centre,
The Storey,
Meeting House Lane,
Lancaster,
LA1 1TH.

– 01524 582394

Reef,
46 Market Street,
Lancaster,
LA1 1HS.

– 01524 846066

Kates Skates,
12-22 Dalkeith Street,
Barrow-in-Furness,
Cumbria,
LA14 1SP.

– 01229 433445

Working Class Heros,
70 Market Street,
Ulverston,
Cumbria,
LA12 7LT.

– 01229 585493

Direct ticket reservations via – alex@botchit.com

*Please Note*

ERRORS will perform between 9.30pm – 10.30pm so time to catch the last trains back after the show.

Begin/End

Half Moon present

Begin/End

Monday 1 March

A new multimedia show for young people comes to The Dukes in March and people under the age of 26 can see it absolutely free.

Half Moon, one of London’s leading small-scale theatre companies for young people present Begin/End.  The story centres on the friendship between two girls, Lili and Yaz.  Their friendship offers a form of escapism from their problems at home and school and they become an inseparable gang of two. However the intensity of their relationship reaches breaking point when Lili develops unreciprocated feelings for Yaz.

The production features an exciting mix of new writing and VJing.  This growing art form blends music with video and images and is not often explored in theatre.  As an added extra, audience members will be given a CD of the soundtrack to take home with them.

A text/chatback session will also take place after the performance.  The show is recommended for 14+.

Free tickets are available through the Arts Council’s A Night Less Ordinary scheme and must be booked in advance.  Alternatively, tickets cost £9 and £5 for other concessions.  Please call The Dukes Box Office on 01524 598500 or see http://www.dukes-lancaster.org to book.

Oh What a Lovely War

Lancaster Girls Grammar School and Lancaster Royal Grammar School present

Oh What a Lovely War

By Joan Littlewood and her Theatre Workshop

Wednesday 3 – Saturday 6 March

Oh What a Lovely War is a theatrical and musical chronicle of the build up to and the conduct of World War I.  Told through songs and documents of the period, the play includes popular tunes such as Keep the Home Fires Burning and It’s a Long Way to Tipperary.  It looks back to a time when men and women showed strength, love, friendship and optimism in the face of tragedy.

Director Helen Tozer said:

“You can expect songs, sketches, newspanel, slides, dance routines, Edwardian Music Hall and revue in our show.  There is a big emotional range and several favourite old songs from WW1 which I’m sure people will be singing in the street as they walk home!”

Pupils aged between 15 and18 have been meeting 3 times a week since November to rehearse for the production.  Katy Flowers (age 17) who, like the rest of the cast plays several different roles, said:

“I’ve had great fun and would recommend the experience of being in the joint school musical to any students in the future.”

Julie Brown, Producer at The Dukes said:

“Work created for and by young people is central to The Dukes’ programme and we’re really looking forward to welcoming pupils both backstage and as audience members.”

Tickets for Oh What a Lovely War cost £10 and £8 (concessions).  Please call The Dukes Box Office on 01524 598500 or see http://www.dukes-lancaster.org to book.