VU-zineNo. 1

Martin Ron

Julia Holter

Nils Frahm

Matthew Killick

TrouwAmsterdam

White Denim

Asian Dub Foundation

Contents & Credits

2Martin RonPointing the finger of blame

4Julia HolterEmotionally led music

6Nils FrahmLiving breathing sound

8Matthew KillickDiving for artistic inspiration

10VU ViewsOur favourite shots of performers

12TrouwAmsterdamTaking up a UK residency

14White DenimBack, sharper & smarter

16Asian Dub FoundationChandrasonic’s blast of inspiration

20Final Feet-ureMatch the feet to the artist

Editor: Dan Davies

Design & illustrations:

Kieren Gallear / DELS

Contributors: Glenn Max, Amelie Snyers

Chandrasonic, Richard Howard-Griffin

Moran Sheleg

Photographers: Zoe Klinck, Tina Miguel

Ross Brewer, Gus Palmer,

Street Art London, Josh Halcro

Watchful Eyes: Auro Foxcroft

Josh Greene, Dermot Hurley,

Jorge Nieto, Vidhi Gandhi, Juliet Spare

The VU Massive: Kath Khan,

Jack Foxcroft, Ty Vigrass, Tia Irish,

Lewis Howell, Ben Drinan, Radek

Kieczka Dominique Activille, Lisa

Reynolds Martina Margheri, Daniel

Gouly, Ania Buesdorff, Biba

Promoters: Bird on the Wire, Eat Your

Own Ears, Serious, Black Atlantic, The

Hydra, Fused, All Tomorrow’s Parties

Rinse FM, NTS, Earnest Endeavours

Soundcrash, SJM, Mixmag, Metropolis

Bugged Out, Two for the Road,

Communion, Magic and Medicine

City of London Sinfonia, Black

Butter Records, Resident Advisor

TrouwAmsterdam, Erased Tapes

Press Support: Natasha Parker,

Sofia Ilyas, Talya Elitzer, Emma Purvis

2

POINTING THE FINGER OF BLAME

Martin Ron’s “Badgergate” as it broke.

On the seventh day, the badger appears,

seemingly shielding his eyes from the

pointing attention. The black and white

creature is painted roughly to scale with

the giant hand (gun) but the final twist is

that Martin Ron calls the badger Goliath.

And the giant mechanical finger of blame

is David Cameron’s Government.

“What the mural represents is a complex

machine without feeling, a mutant with a

lot of power up against a tiny animal that

in reality is adapting to the habitat around

it,” Ron claims.

The picture is often more complex that it

first appears, let the work speak for itself.

And if you can you should witness it in

person.

The Holywell Lane Wall is curated by Street Art London who also provided these pictures

The Badgergate news broke in our tube

train office. “Do you know what Martin

Ron is going to paint? A shotgun pointing

at a badger.”

It came as a bit of a surprise, mostly

because it appeared a bit too overt.

Martin Ron is one of Argentina’s best

known street artists whose Buenos

Aires murals had previously featured

disembodied heads, men trapped in

floating boxes, giant snails and joyous

tramps. On first impressions Ron could be

compared to Salvador Dali crossed with

Monty Python era Terry Gilliam. But he

doesn’t just deal in surrealism. In fact Ron

says his style is “hyper-real”.

“But surely a shotgun pointed at a

badger?” the controversial cull was

starting the following Monday, “is a bit

too, um, real?”

Over the next few days the first drawing

that appeared on the chequered green

paint splattered wall was a pink gun

eventually morphing into a pointed

finger. The disembodied digits are based

on his girlfriend Erica’s - but this giant

version is mechanised. Next it’s revealed

the person operating the hand is based

on a family friend Ron’s staying with in

the UK. What seems to be happening

here is that Martin Ron is making the

personal political. He tells the Inspiring

City blog “I don’t pretend to paint about

global political situations; little local daily

situations are enough for me. I like to

paint fantastic situations that co-exist

with other situations around them on the

street. I mix in the everyday occurrences

with surrealism and situations of fantasy.”

4

Julia Holter’s current album

Loud City Song is her first studio

album for Domino. Worked up from

demos in her bedroom studio, they

have been beautifully arranged to

pack an emotional punch. As she

joins but isn’t swallowed up by the

mainstream, our programmer

Glenn Max, hitches a ride.

How different was the process knowing

that this album would have the ability to

SOUND CITY

reach a much broader audience?

I worked on this material for year and a

half before I went into the studio - I had

all of it figured out as far the structure of

the songs, the atmospheres, the basic

harmonic material, the choruses. Even

some of the sounds we decided before

going into the studio.

We planned it out so it was comfortable

enough for me to be creative. We

recorded the players for the first six days,

and then there was months of mixing,

and even recording keyboard parts and

some vocals at my house. There was a lot

of time for me to do my thing, be alone

and not have the pressure of the studio

environment.

Does the fact that you tour affect your

process when you write?

I don’t think about that—if there’s a chorus

of tubas on my record I’ll come up with

another way of doing that live.

What’s your approach to narrative and

music?

I guess I’m more excited by stories or

fragments of stories. Sometimes I think

of it’s easier to think of my songs as

poems that are orchestrated just because

it’s not really a specific genre. I think

overall I’m more interested in looking at

each song and what it requires.

Do you come from a musical or artistic

family?

My dad used to play folk songs on

guitar. I can remember him playing

“I’ve been working on the railroad’’ and

stuff like that. He’s a great singer, he’s

really talented but my parents are really

academics. I didn’t think of myself as

creative until I was like 16 - I didn’t think

this was anything I could ever do.

What changed for you?

I went to this high school where there

was a lot or musical activity. It always

had this special music component.

I was around a lot of musicians and

since a lot of them were extroverted,

I was introverted….a lot of them were

jazz or musical theatre majors. I was

a piano major. I was in a very classical

environment where you were only valued

if you’re a virtuoso. It wasn’t easy to be

taken seriously unless you write.

Then after high school, I took this Music

Theory class - and I didn’t even know why

I was doing it except I really liked it. I had

to write music as an assignment, and I

thought, “I can’t write music.’’ I kind of

just thought you had to be a genius to

write music. Growing up in that classical

atmosphere can be really hard on people

who aren’t really smart –they’re just

musical. But I really liked it so I just kept

doing it and I applied to music school.

Actually no one liked what I was doing

for years and years, including teachers. I

knew there was something there. I knew

there was something in me. I felt it really

strong.

I really kept it to myself a lot cause

I was really shy about it. It was a bad

time, college - but there must’ve

been something that kept me going.

Sometimes you can feel really bad about

yourself and still really be into what

you’re doing.

And what is your relationship with

performing?

I don’t think about it. I actually took to it

very easily which is strange because the

things I just told you. I think when you’re

doing what you want you feel honest

about it. I actually love performing.

Julia Holter will be performing at the Village Underground on 11th November.

6

When he was young, Frahm was taught by

Nahum Brodski, a student of the last scholar

of Tchaikovsky. However he diverted from

this purely classical route because he wasn’t

content with reading and reciting dead

sheet music by past masters. Instead, he

took inspiration from his parents jazz record

collection.

“The thing I really liked about the jazz

form, is starting from nowhere and going

somewhere,” says Frahm “I’m really

interested in sound as a phenomenon. Even

listening to classical recordings, the thing

that is most interesting to me is how people

play rather than just what people play.

There are so many different performances

of classical music, so it matters who was

playing it - the touch of the player but also

where they played it. It’s a sound piece - the

tone of the piano, the room they recorded

in. It wasn’t just about the skill of the player

but the quality of the music for me.”

Listening to Nils Frahm’s Felt album, what’s

appealing is that you hear the entire piano:

the of squeaking pedals the noise of the

keys being pressed, the felt hammers hitting

the strings, the creaking and breathing of

the beast. “Recording the piano in this way

LIVING BREATHINGSOUND

reminded of those old live jazz recordings,”

agrees Frahm “I’d always been impressed by

how intimate they felt. This set me on an

interesting trail, I thought why not go all

the way and push it to the extreme? Go

inside the piano with your ears. It was not

something I’d heard before.”

The new Frahm album Spaces (out

November 18th) is a live album that has been

kept alive. Compiled from over 60 hours of

recordings, taken on a variety of different

devices in many venues over two years, the

filtration process meant finding the best

sound recording of each partially improvised

song. “The different recording manners

certainly have a different atmosphere but

each individual piece has its own demands

in terms of tone and atmosphere. It’s really

hard to perform that set in one go to my

satisfaction. I thought it would be safer to

record many shows and get some distance,

select different parts and bits from different

locations. It was also interesting to see how

the pieces developed over time... It was

good to have all the material to choose from

and put it back together as one show.”

Frahm prefers to call these songs field

recordings, the audience is present and

Getting to know Nils Frahm’s music. Inside and out.

included, especially on ‘Improvisation for

Piano, Laughs, Coughs and A Cell Phone’

the final recording on one sweltering and

epiphanic night in St John at Hackney.

“An improvisation changes with the people

in the room. It’s important what they bring

to the show. People trying to be quiet

and coughing, the telephone ringing - it

affects how I play. I mean, certain classical

performers, run off stage when a mobile

rings, but I think it’s good as it provides

an atmosphere that we’re all together,

performance is made from audience… I don’t

want to become isolated and don’t want to

be a snob. I’m not some sort of genius on

stage who thinks you need to respect

the art. “In the end, the concept of the

performance is 90 minutes of atmosphere

and mood. Music will be one part of the

performance but so will my appearance and

the atmosphere we make in that interaction

is important. I often want my audience to

express themselves, they can dance and

whatever - but often they don’t do it! People

are smart they know how to behave and I

trust them. I’m thankful that they came and

it should feel like they’re a part of this.

It may come as a surprise that Frahm’s late

night performance at Village Underground

won’t involve a grand piano but he hopes

that this movement away from the big black

tomb can bring new life to his set. “I want to

experience different set up. The grand piano

is such a big instrument and it tends to

dominate, you have to form the whole room

around the instrument, and set up with

the piano in the centre. Hopefully at this

performance people can chatter or dance. I

also want to express my love for club driven

music, after this performance I’m going to

take time off to produce more dance music.”

Like other performances such as the

renowned Boiler Room set, Frahm will take

inspiration from DJ culture.“I got an idea

from the tradition record deck DJ set up,”

he says enthusiastically “I want to mirror

my synths on the left and right and move

between them like a cross fader. Then

start a loop on one side and mix in other

elements on the other. It’s going to be like

the Boiler Room set-up but I will have more

time than 30 minutes in my hotel room to

prepare. The audience will be different,

the room will be different… and so will

the temperature.”

Nils Frahm will be headlining a special Erased Tapes night alongside Kiasmos and Rival Consoles from 10pm on 18th October

8

For the last four years, Matthew Killick

has been making abstract black and

white oil paintings influenced by visual

encounters he experienced during

numerous diving trips around the UK.

For Postcards from the Deep he used a

different technique, painting on large

glass panels that are installed on the

Great Eastern Street wall. Backlit by

LEDs this murky netherworld is brought

into the light. Killick’s work is also

about inner exploration - an attempt

to find connections between the

chaos of nature and organic structure

DIVING DEEP

in life. Metaphorically, what is lost

in the dark depths or what bubbles up to

the surface. Village Underground’s head

programmer Glenn Max dives in with

some questions.

In the preparation of each piece how

much can be left to chance and how

much can be controlled?

I consciously seek out processes that

involve aspects of chance in order to

keep an element of excitement and

surprise for myself during the creative

process. A skill that develops is the ability

to recognise when chance has dealt you

a good hand, and then acting upon it.

Over time however, my ability to control

the paint has increased, and now I am far

better at predicting and controlling the

chance aspects of the process.

Do you actively

avoid representationalism?

All figurative work is an appropriation,

but what I mean here is that I try to

convey how things feel rather than how

they look. Sometimes the gap between

how things feel and how they look is

narrow, and at other times it is vast. For

instance I find that the after effect of

diving in dark, murky conditions, on a UK

wreck site is one of fleeting images like

glimpsed memories from a dream. The

reality of how it looks is quite different

to how the mind recalls it, because fear,

excitement, and the imagination ‘in-fill’

the details that aren’t clear.

Image number 6 is perhaps the most

uniform, stark and perhaps inorganic of

your new work. How different was the

process for this?

This image, actually comes from a very

specific moment that I saw when diving

in Cornwall. The day was overcast, and I

was in the Helford river doing a shallow

dive of only about 8 metres. Towards the

end of the dive the sun suddenly burst

through the clouds, and the entire river

exploded into a mass of light rays. It was

one of the most beautiful things I have

seen. From that point onwards I started

making paintings that were influenced

by the way light travels through water.

What is your relationship to colour in

these works - one is hesitant to call them

monochromatic?

All of the paintings have been done

using the same ivory black. However,

now I am emitting light through them,

there are other factors that effect the

final ‘colour’. For instance the choice of

LED light. The ones I have used here are

‘warm white’ which gives a softer and

browner final colour to the work than

the bluer and more medical looking

cool white LEDs. The reason for doing

monochromatic work was that I really

wanted to concentrate on my ability

to draw, and to compose. I find that

colour is so seductive that it distracts my

attention, and I end up moving away from

my original ideas due to the relationship

between two colours taking over my

attention. I see the works as ‘drawings

with paint’.

How is painting on glass different in

process than painting on canvas?

The way that paint moves on glass is

very different to any other surface I have

worked on. To start with, the paint flows

and moves much faster. There is barely

any resistance so it is difficult to begin

with. Also everything is done in reverse,

as I paint on the ‘back’ of the glass, and

use the glass itself as the outer surface

of the piece. However, the result is very

satisfying, and the opportunity to present

the work with light emitting through the

places where paint is absent opens up to

me a whole new world of opportunity.

Matthew Killick’s Postcards from the Deep is showing on VU’s Great Eastern Street wall

Ghostpoet, The Raveonettes, Neon Neon, Crew Love, Thierry Noir

VUVIEWS

Phosphorescent, Belle Epoque, Lubomyr Melnyk, Tim Exile and The Heritage Orchestra

12

The legendary Dutch club is bringing a

bit of their magic to Village Underground.

Dan Davies gives programmer and DJ,

Olaf Boswijk, a quick call to discuss

their methods.

Is there a Trouw philosophy?

Well, Trouw means “loyal” or “faithful” we

got the name because it was also one of

the national newspapers and their printing

press was in the building that we moved

to. It still is a newspaper actually, it started

THE WAY OF TROUW

in the Second World War as a resistance

newspaper. We kind of liked that it stood

for that counter-culture and also thought

that original meaning was relevant to us.

We wanted to get the basics right, the

sound and the lighting In particular. Actually,

the sound is great because it was a printing

press the building was treated to absorb

the noise. We always liked good food, so it

was then quite natural to open a restaurant

in the complex. Finally we had a basement

space so we thought why not offer that

out as an art space? So it kind of grew

organically, the real philosophy and

manifesto followed a few years afterwards.

The building is temporary, we have to

leave in a year which will be sad. But the

relationships we’ve built will mean that new

projects will be born.

What do you look for in the music you

programme – is it just the coolest thing?

It’s not the coolest thing because the

coolest thing is always too much hype. I

like to think that the musicians and DJs

we programme will still be relevant in ten

years’ time. It should be contemporary, it

shouldn’t just look back to old heroes, there

should also be a future element. People use

the word quality too much but it needs to

have that characteristic. People like Andrew

Weatherall, Tom Trago have been strong

for a long time and will still be relevant for a

long time to come.

What art connections have you made?

We have a long term relationship with the

Rijksmuseum, the Museum of Modern Art

in Amsterdam. We do video installations

mostly and we have exhibits that are open

at night, that expose young clubbers to high

quality art. We’re approaching them in the

place they like to go and their senses are

open.

Tell me a bit more about your food policy?

It’s a vegetable restaurant, there’s veg

growing all over the restaurant and the club

actually because we think it’s beautiful. The

food we cook is Mediterranean by which I

mean Spain, Portugal all the way over to the

Middle East. It’s Mediterranean also in the

sense that you just get a table and have

small plates that you all share with meat

and fish as well. In a way we’re inspired by

London and Ottolenghi home-style cooking

too; we like lots of colour very fresh food.

Good for the body and good for the soul -

nothing too high cuisine. We cater for young

people who want a quick snack before

dancing in the club, through to a couple in

their 50s who live around the corner.

How did you hear about Village

Underground?

Jorge approached us asking if we were

interested with working with you – and we

were. We really liked the building and we

really liked the fact that art played a big

part. We seem to have similar goals and

philosophy. Hopefully, we’ll collaborate a

few times really establish something in the

long term.

What can we expect on the night?

We like the idea of Trouw Takeover and

we’re going to symbolise that with flags.

We thought it would be cool to have our

own flags and the DJs will have their own

flags too. The artists we’re bringing over are

Tom Trago who is a resident and runs the

Rush Hour label. We’ve got San Proper – one

of Amsterdam’s true Rock ‘n’ Roll house

legends - he has a studio in our building.

Then we’ve got Job Jobse who’s the new

youngster on the block and runs the Life and

Death label – and I’ll be DJing too. Two of

our visual light guys will be coming over. We

like the world in between light and visuals.

We love analogue slide projectors rather

than LCD screens.

Trouw Takeover takes place on 30th November

14

White Denim thrust themselves into the

Austin music scene in 2008. Fully formed

(with apparently over 1000 songs recorded)

and chocked full of energy, they became

the band to watch at SXSW. Now about to

release their fifth studio album Dan Davies

knocks about with the hard-wearing lead

singer and guitarist James Petralli.

For you and your contemporaries, how big

an influence is Austin?

Everyone takes themselves pretty seriously,

whether or not they should is arguable.

WHITE DENIM

But it certainly helps a band have a more

professional approach to doing music.

Being in a city like Austin in Texas where

there’s tons of bands gigging and loads of

press coverage, it seems like there’s a lot

of opportunity which certainly motivated

us early on. There’s a lot here, there’s a

lot of rock and roll and there’s always a

new awesome garage band and a good

songwriter in town too.

I notice that you’re touring with Tame

Impala, how much has the psyche rock

sound dripped into your Kool Aid?

Back, sharper & smarter.

Psychedelic Rock is my earliest influence.

The record that changed my perspective

and made me want to play music was Axis

Bold As Love by Jimi Hendrix. From there

I went into every area of psychedelic rock

that I could find. I went into Krautrock – and

I was really into effects.

Basically, I think that it’s always been there

for all of us, we always loved that late 60s

rock and roll sound. I really like Tame Impala,

the production on their records is amazing. I

haven’t seen them perform since this record,

so I’m looking forward to that.

When are your songs the most fully formed

- do they grow on stage or in the studio?

They really take shape in the studio, we

don’t really jam a lot. Sometimes we’ll do

jams at sound checks but they take shape

in the studio and they continue to grow on

the road. For me, I realise what’s working for

a song once the record is finished and we’re

starting to tour it. I’m constantly rewriting

lyrics adding parts and changing the songs.

I think the ideal situation would be to make

a record, tour it and then make a record

again. They kind of evolve, y’know?

The new material sounds punchier, is that

confidence or good production?

I think it’s a little bit of both, the production

on this record is a lot more direct, the more

individual tracks you add to a song the

smaller it starts to get. I’m especially guilty

of multi-tracking a song until it’s paper thin.

On this record we made a conscious effort

to be more direct with the parts that we laid

and let the production speak, it’s a kind of

‘less is more’ approach.

Do you find as you get older it’s harder to

get out and give it your all?

It’s a little bit harder to recover from a full

all out performance, no matter how tired

I get I just get out there that really push it.

Things can happen on stage that I didn’t

think that I can pull off, things that I can’t

accomplish in the rehearsal room.

How did Glenn convince you to come over?

We happened to be eating at the same

restaurant at SXSW - he cornered me, as

I was having lunch, and dropped a card

saying ‘You’ve got to come and play my

space’ and I said ‘I’d love to - how do you

feel about playing multiple nights?’ And he

was good with that. That’s what we were

looking for.

Are you looking forward to bedding down

for those two days?

Definitely, my ideal tour is multiple nights

in smaller rooms. That way, London is your

home for a few days. We don’t have to drive

so we’ll probably have more energy and

more time on the stage to get comfortable.

We’ll be able to mix it up a lot more than

just jumping into a new environment.

Sometimes one night isn’t enough to get

a sense of what is going to work. With

some of our material we play a lot of notes

in a gigantic space that all turns to mush

if you’re not careful. I’m really looking

forwards to filling out the room and doing it

again the next night, for sure...

White Denim are at Village Underground for 20th and 21st November.

216

Ummm what year is it? Oh yeah, 2013.

Sorry had a complete mash-up night in Brussels last night, a full power event in the city

centre, 5000 people jumpin’ for justice... recall a bit damaged...

Congo Natty is breathing new conscious life into Jungle - drum ‘n’ bass precursor for

those that don’t know. New album Jungle Revolution does what it says on the tin and

set to keep on doin’ it on 4th October at our beloved VU! Get the vibe. A lot of Congo’s

vids are directed by a genius in our midst who goes under the name of Global Faction,

a true guerilla film maker who only lends his immense skills to those with something

to say. He directed our latest ‘Radio Bubblegum’ but check also his blinding vid for

‘Manmahon Nation’ by MSG which of course has been banned in India. But don’t stop

there, Mr Faction has scores of videos (featuring artists like Lowkey and Caxton Press)

that represent what is a very healthy conscious rap scene in the UK . Talking of being

banned in India ADF’s Calcutta-based director mate known as Q has managed to

SONIC BLASTSBest things heard, seen & tasted by

Asian Dub Foundation’s Chandrasonic

escape that in 2013, unlike his previous

sex, drugs and surrealism rollercoaster

ride of a film known as ‘Gandu’ (“Arsehole”)

which blew out various censorious

gaskets . His new venture is a radical

reworking of the Bengali epic poem

Tasher Desh about a man washed ashore

on an island controlled by human-sized

playing cards. Yeah ok, we’re on the

soundtrack, but it looks like it’s gonna

be ace and is actually being released in

Indian cinemas and coming here soon!

Back to music, was great to see Thurston

Moore divining forbidden sounds

from the guitar as only he can with his

excellent new(ish) band Chelsea Light

Moving. Sure they’re like Sonic Youth,

of course they would be, but being like

SY at their very best is something the

world needs on a drip. Another excellent

show I witnessed down at VU.

It seems I am not alone in thinking

that TV drama has become one of

the most innovative arenas in the last

decade in content and format (i.e.

Netflix ENCOURAGING binge-watching).

Everyone knows The Wire and, like half

the world, I have just finished watching

the penultimate episode of Breaking Bad

which just gets better and better. I loved

the French series The Returned and I also

recommend the underrated Hannibal, a

surprisingly chilling updating of what I

thought was the done-to-death Hannibal

Lecter saga. I am still untangling my

neural pathways from the psychopathic

murk that the last few episodes of that

series drowned me in. And Mads Mikkelsen

(as Lecter) is the Christopher Lee of his

generation. To most British ears the idea

of a festival run by the French Communist

Party does not appeal - and may even

horrify. But having played there for the

second time last week I can confirm that

the long-established Fête de l’Humanité is

one of the world’s great festivals.

Uniquely internationalist, amongst others

I heard music from militant Western

Saharans, killer Kurdistani grooves,

smash-up Madagascan ragga, I saw

strange dances by ethereal Chavez -loving

supermodels, and ate probably the best

cooked and the most diverse food I’ve ever

seen at any festival. Every tent contained

a restaurant with set places, this being as

much a food and drink festival as a music

do. Everyone was incredibly friendly - as of

course they would be - this was a festival

with a purpose for a change. And not a

hippy / new age / bad curry in sight. In

fact, it was a lot of ordinary and sometimes

very brave for example, the Iraqi tent.

People from all over the world were being

creative, having fun and dreaming the

same dream. Plus, we played a killer gig on

a fantastic stage.

Asian Dub Foundation are playing Village Underground on 15th November

Village Underground– Autumn 2013 –

villageunderground.co.uk

01/10 A Winged Victory For The Sullen

03/10 Cashmere Cat & Evian Christ

04/10 DJ Kentaro, Hexstatic (Solid Reel Av Set) & Dr Meaker (Live)

04/10 The Bug, Congo Natty, Channel One Sound System

05/10 Contact Curated By Youngsta

06/10 Thundercat, Dorian Concept

08/10 Mulatu Astatke

09/10 Mulatu Astatke with Fatoumata Diawara

10/10 Buraka Som Sistema (Live) + Film Screening:

Off The Beaten Track

11/10 The Hydra: R&S Records 30 Anniversary: Derrick May,

Space Dimension Controller, Dbridge

18/10 Jackson & His Computer Band

18/10 The Hydra Erased Tapes Special: Nils Frahm, Kiasmos,

Rival Consoles

19/10 Skudge Label Night: Skudge (Live), Jared Wilson, Rivet

21/10 Ooh LaLA Festival: Fauve ≠

22/10 Ooh LaLA Festival: Dominique A, Rover, Melissa Laveaux

23/10 The New Babylon: Film Screening By CLoSer

24/10 Ooh LaLA Festival: Lescop + Christine & The Queens

25/10 Jaga Jazzist, Kelpe, Lund Quartet

25/10 The Hydra Turbo Halloween Special: Tiga, Clouds, Sei A, Untold

28/10 Parquet Courts

29/10 Jose James

Village Underground– Autumn 2013 –

villageunderground.co.uk

01/11 Portico Quartet, Flako & Cornelia

01/11 Soundcrash Halloween Party: Dj Yoda, Dj Woody,

Dj Cheeba & More

02/11 Mixmag Live : Nina Kraviz

04/11 Eliza Doolittle

05/11 Art Brut

06/11 Bear’s Den

07/11 The Bloody Beetroots

08/11 Youngblood Brass Band

08/11 Machine Drum: Vapor City Live Copeland, King Midas Sound

08/11 DJ Rashad

11/11 Julia Holter

15/11 Asian Dub Foundation, DJ Pandit G, Sonny Green

17/11 Snarky Puppy

18/11 Hiatus Kaiyote

20/11 White Denim

21/11 White Denim

25/11 OM

26/11 Presented By David Lynch: Chrysta Bell

28/11 METZ

29/11 Just For You: Joy Orbison, Soul Capsule, Jon K

07/12 The Hydra: Jeff Mills

14/12 Black Butter Records

20

FINAL FEET-URENo VU photo shoot is complete without the obligatory foot shot, so we thought we’d

finish with a quick quiz. Nice shoes but who’s the star?

Answers: A = Tim Exile, B = Adam Green, C = Mala Rodriguez, D = Bombino

A B

DC

WHO ’ S F IRST?

villageunderground.co.uk

This December, Secret Productions, Village

Underground & Petersham Playhouse cordially

invite you to discover a thrilling ‘Music Hall

of the Mind’… built to satisfy the fantasies of

the world's greatest city. Where your

imagination plays director, your closest friends

the stage's stars, and your wildest dreams the

opening scenes.

Lords, Ladies and Gentlemen,

we ask you to enter...

THE IMAGINARIUM

December 2013

For more information please call 020 7422 7505 oremail Christmas@villageunderground.co.uk

2

© Village Underground, 2013