While a less varied offering than last week’s Outlook launch party, 19 April’s The Tuesday Club was headlined by up-and-coming Liverpool DJ duo Camelphat, whose diverse range of high quality house music has won over tastemakers such Annie Mac and gained them an impressive following. The duo will spend the summer on a huge tour, which kicked off with their Tuesday Club appearance and will take in locations ranging from Ibiza to Paris.

With events relocated to the smaller Studio as opposed to TTC’s usual home of Foundry, the night was kicked off by highly promising up-and-coming producer Cloonee. Gaining huge popularity on social media with tracks such as ‘Want It’ and ‘Separated’, he is definitely one to watch over the coming months and an improvement in quality since he supported Eats Everything was noticeable. While most people waited until Solardo was on to get up onto the dancefloor, this was not a fair reflection of a high quality and atmospheric set from Cloonee.

cloonee ttc

Solardo upped the levels further with ambient, expansive deep house which was accompanied by impressive visuals. The smaller location of Studio gave more of a house party feel to the night, and the quality didn’t let up with a series of selections that were handpicked to work the crowd. Staples of the genre from producers such as Jackmaster made an impression on the crowd, and Solardo put his ninety minute slot to good use with the biggest tunes saved until the end once the atmosphere had built.

camelphat

Finally, headliners Camelphat played out the night with tunes rooted in deep and tech house. An array of dance anthems from the pair had the whole room moving through propulsive rhythms mixed in with elements of other genres of dance music and hip-hop. Their wealth of new material sounded great, and testament to the exciting things that lie ahead for Camelphat as they continue to ascend in the house scene. Extended build-ups and pauses preceded enormous jobs with basslines that grabbed everyone’s attention and compelled them to dance. Mixing the intense and the euphoric, Camelphat’s performance – in a similar way to Cloonee and Solardo’s slots – was a real success in winning over a relatively small crowd, in an intimate setting, to produce a great vibe throughout.

Written by: Dominic Penna

Twitter: @DominicPenna

 

Photography by: Elouisa Georgiou Photography


The Tuesday Club returned on 12 April with Sheffield’s launch party for Outlook Festival. Taking place from 31 August to 4 September in Croatia, Outlook’s strong line-up includes Andy C, DJ Q, Section Boyz, Stormzy and Damian Marley. To reflect the festival’s variety of acts, the launch party saw TTC welcome grime scene favourite P Money, drum and bass producer Rene Lavice with Stapleton and dub and reggae legends Channel One Soundsystem.

Resident DJ Andy H delivered another diverse and reliable opening hour on the decks, setting into motion an eclectic night of music. Placing a heavy emphasis on dancehall and reggae sounds, especially towards the end, Andy H managed to get ravers engaged while raising the anticipation levels for the night’s three big attractions.

Seamlessly taking over the stage, Channel One delivered an interactive performance which proved over the course of ninety minutes why their appeal endures. With credentials including appearances at 2012’s Red Bull Culture Clash and Notting Hill Carnival residencies, expectations were high but their set was authentic and increasingly danceable throughout. Their live PA setup was used both to provide vocals and work the crowd, while Channel One’s musical selections – an effective mixture of dubplates and anthems of the genre – added to the sense of fun, with their hour and a half passing quickly and creating an atmosphere of real positivity.

channel 1

Following a short transition, a rapturous reception greeted P Money on his entrance. Immediately inciting cheers and mosh pits, he dropped 2015 single ‘10/10’ early on which only heightened the mayhem. A mixture of grime and dubstep kept energy levels flowing, with P Money more than proving his abilities as a live performer. Energy levels were upped further by 2012 classic ‘Dubsteppin’’, a remix of club favourite ‘Rhythm and Gash’ and appearances from special guests such as Sheffield’s very own K Dot. P Money finished up by praising the crowd at his first Sheffield gig for some time, which seemed to pass in the blink of an eye.

The final act of the night was internationally acclaimed rising star Rene LaVice, who was joined by London MC Stapleton. High octane drum and bass from Rene worked very well alongside Stapleton’s hype man performance, with Stapleton regularly shouting out Sheffield and leading a range of call and response chants. LaVice’s own sounds ‘Hotblooded’ and ‘Part of Me’ managed to hold their own when mixed in with quality remixes of songs by Rae Morris, Major Lazer and even man of the moment Justin Bieber. Hard and heavy basslines kept everyone engaged until the lights came on – LaVice ended on current single ‘Play with Fire’, an incendiary track and one of his biggest.

TTC’s comeback not only saw big names and top-quality music across the night but also successfully represented the scope and standard of the artists that Outlook festivalgoers will be treated to this summer. And, with huge names such as Shadow Child, Camelphat and Artful Dodger all performing at Foundry in the next month, yet more sublime and eclectic nights are guaranteed.

 

Written by: Dominic Penna

Twitter: @DominicPenna

 

Photography by: Elouisa Georgiou Photography

 


A major symptom of modern life is ‘existential dread’. This is when you feel anxious at the thought of total responsibility for how ‘successful’ your life is. “Do my friends enjoy hanging out with me?” “Am I ever going to earn as much money as I’d like?” “Will I ever own my own house?” “Am I with the right partner?” “When on earth will I actually find “the right partner” – I’m 30 for god’s sake!”

Just as in any other age, 21st century Brittain endorses a certain philosophical outlook about how to achieve a meaningful life, which promotes disharmony in many people. We often spend time worrying what our decisions will mean for the ‘story of our lives’, examining everything in retrospect. We’ve all seen films that seem to tell us perfection is possible.

‘The Tralfamadorians had no voice boxes. They communicated telepathically. They were able to talk to Billy by means of a computer and a sort of electric organ which made every Earthling speech sound.

‘Welcome aboard Mr. Pilgrim’, said the loudspeaker. ‘Any questions?’

Billy licked his lips, thought a while, inquired at last: ‘why me?’

‘That is a very Earthling question to ask, Mr. Pilgrim. Why you? Why us for that matter? Why anything? Because this moment simply is. Have you ever seen bugs trapped in amber?’

‘Yes.’ Billy, in fact, had a paperweight in his office which was a blob of polished amber with three ladybugs embedded in it.

‘Well, here we are Mr. Pilgrim, trapped in the amber of this moment. There is no why.’  

– Kurt Vonnegut, Slaughterhouse-Five.

Maybe being ‘trapped in amber’ isn’t such a comforting thought, yet I think it’s a useful metaphor to relieve existential dread and force your attention into the moment. There are infinite explanations for ‘why?’ or ‘what if?’. You’re alive now. Be happy. Smile.


Crammed into Cassie’s Citroen C4 on the M1 (northbound), I had no clear idea what the next ten days would have in store. I’d only heard about this trip t’north, minus my own immersion into the ‘close-knit’ C4 community, about a week or two previously – Cassie having mentioned that the National Student Drama Festival (NSDF) in Scarborough had reopened applications for its technical team. Not owning any previous experience with theatre ‘tech’, I could have responded with polite, restrained curiosity towards this news, thereby ensuring healthy blood flow to my lower limbs, which were now fighting for space with Beth, James, rucksacks and Caitlin’s premier front seat. Alas, this wasn’t to be. Instead (after circulation won out) I spent hour-after-hour wheeling large, ambiguous metal cases, carrying obtrusively long metal poles, awkwardly climbing tall metal ladders, and ‘focusing’ lots of oddly-named metal lamps, which made me pretty grateful for a comfortable bunk bed (first floor) at the end of the day. On top of that, I learned a thousand new things, helped facilitate some incredible theatre from around the country, and spent time with some of the most welcoming and enthusiastic people I’ve ever met. In fact, I enjoyed it so much I’m now interested in careers in the theatre industry and aim to become more involved with the tech crew at Sheffield Uni.

Whilst at NSDF I got the chance to help out with two shows created by students and graduates from Sheffield. Daniel by Footprint Theatre, and Departures: A Song Cycle by Joe Bunce and Matt Malone, both of which left lasting impressions on me and together picked up around 8 Judge’s awards at the end of the festival. Set on a station platform, Departures highlights the diminished sense of community in our modern lives through the awkward conversations of passengers waiting for a delayed train. We know strong communities are a crucial part of a fulfilled life and ‘7 Reasons Why Theatre Makes Our Lives Better‘ talks about how theatre (shocker) can help build them, by bringing communities together and evoking valuable new perspectives. Both these shows were first performed at the Theatre Delicatessen on Moor Street, and, this being a Sheffield-based blog, I’d like to encourage people to go and see shows there, as well as at other theatres around the city.

The first paragraph was designed to encourage people to take opportunities, even if it might make more sense to decline them. One opportunity I took at NSDF that was especially out of my comfort zone, was attending a workshop called ‘Writing For Performance’. To my dread, Chris Thorpe who was leading the session announced we would use the last 30 minutes to write something of our own… and then read it to everyone. With “why do you do this to yourself?” on a self-conscious loop around my reluctant brain, I seriously considered sneaking out. Yet I went through with it and it turned out to be quite a positive experience. I managed a short poemy-prose thing inspired by a moment in Departures that I loved, namely when 8 of the characters sit in a circle on the platform and extol, in magical harmony, humble ingredients of daily life. This is what I came up with:

The windows and walls, ceilings and floors

Drop.

Drop away, evaporate, diss-apparate

Leaving us all naked on raised epiphanic velvet.

Frantically fleeting, yet oh so fulfilling,

I want it to become myself,

Hold my-self in this community of minds.

This is why we come to these dim places –

To explore where no external light can reach.

For something primal to be evoked

Not some prison to be preached.

Freedom from our enforced identities

Flowing through each other’s entities.

At last.


Paradise is sitting in a lecture; clueless
Paradise is having no direction; clueless
Paradise is me, a target; bullseye; clueless
Paradise is you using me, clueless
Paradise is my parasite, I’m clueless.

Paradise is a snowy summer, clueless
Paradise is knowing you pained me, clueless
Paradise is paradise when I’m alone, I’m clueless
My paradise is no paradise at all.

The pursuit of paradise unending, clueless
The pursuit of happiness, everlasting, I’m clueless
Clueless because paradise is smiling without a cause.

Paradise, my paradise, is having no trust
Paradise, your paradise, is keeping me in a box
Paradise, what paradise?
You weight me down.

Living in an unorthodox paradise,
A sorrowful paradise,
My hell of a paradise,
Wake me up after you leave so I know what paradise really is.

 

Ope Ogundeji


Helene Gugenheime is a graduate of Ecole Du Louvre and holds degrees in Art History, Contemporary Art and Musicology. After graduating she worked as a journalist for the French magazine Crafts, it was whilst working here that she discovered the Japanese process of Kintsugi.

via The Creators Project

via The Creators Project

Kintsugi is a process of repairing broken pottery, translated literally it means “golden joinery” or “to patch with gold”. A broken piece of pottery is joined back together or the cracks filled in with a mixture of gold and lacquer or epoxy, paying a kind of visual tribute to the breakage as well as the repairing process, “turning flaws into virtues”.

Already familiar with the practice of Kintsugi, when Helene met a lady called Marie who has a mastectomy scar where her left breast used to be she immediately thought “I have to put gold on it”. And so the artist’s project Mes cicatrices, Je suis entièrment tissé (My scars, of them I am fully woven) was born.

via The Creators Project

via The Creators Project

Speaking to the Creator’s Project, Helene said: “When I saw Marie’s scar, I saw a mix of strength and fragility. It was amazing. I saw not only the injury, but the healing. At one point or another, you’re hurt: in your skin, in your heart, sometimes. You have to go on with that. And you can’t go on exactly the same way you were used to: you have to create a new way to go on.”

The process goes as follows: participants enter Helene’s studio, undress fully and then a “glider” applies gold leaf to the participant’s scars. Once applied, the “glider” then disappears into the background while Helene encourages the participant to take a moment to do whatever they want; “sleep, cry, sing, do nothing, for however long.” When ready the participant signals for the “glider” to come back and carefully remove the gold leaf and scrape it into a vial with the participant’s name and the date scrawled on the outside while the participant re-dresses. The participant receives the vial of gold and a video of the entire process.

The practice draws heavily from Japanese Zen Buddhist philosophy and Japanese tea ceremonies, the emphasis being on spatial emptiness and ritualised behaviour.

For more info check HERE; Also check the video of Marie below; more pictures after the drop:

via The Creators Project

via The Creators Project

via The Creators Project

via The Creators Project

via The Creators Project

via The Creators Project

via The Creators Project

via The Creators Project

via The Creators Project

via The Creators Project


A collaboration between

Hantu collective

RBF Photography

Young minds matter

Atlas Studio Dance shoot-85Atlas Studio Dance shoot-149

Set at atlas studios and lead by Rob Felon, the studio houses up to 4000m2 of industrial backdrop of an old cotton mill situated in Bolton. We personally saw it as an artistic playhouse, there was endless possibilities in the studio, with dancer techniques ranging from ballet to breakdance. We were keen on letting this young minds loss in the studio, to improvise and develop interactive concepts for camera.
Atlas Studio Dance shoot-17 Atlas Studio Dance shoot-98   Atlas Studio Dance shoot-47

our main focus was adapting the body to interact with the space, working with such old and forgotten space the goal was to bring it to life with a vast range of dynamic vocabulary.

Atlas Studio Dance shoot-103 Atlas Studio Dance shoot-104Atlas Studio Dance shoot-102

 


Definitely call it a comeback! Every winter Monarch Butterflies migrate 3,400 miles south to warmer, more tropical climates. A concerted effort between Mexica, the U.S. and Canada has meant number this year have more than tripled!

The insects lay their eggs on milkweed plants exclusively and use it as a vital source of food, so the U.S. has been reintroducing milkweed along a 1,100 square mile stretch of the monarchs migration route. Meanwhile the Mexicans have been cracking down on illegal logging in the monarch reserve.

Obviously counting all the butterflies would be an impossible task so scientists and conservationists measure the land area the monarchs cover. This year the coverage was 10 acres of butterflies, only two years ago the area was at a record low of 1.66 acres, so the joint national effort appears to be working! However there is still a way to go to reach the record coverage of 44 acres in 1996, however it’s a fantastic start!

Biggups the Monarch Butterfly!


I feel like this has been a long time coming but it looks like Tesco will finally be donating all of it’s unsold food to local charities starting with the larger stores by the end of 2016 and all other stores by the end of 2017.

Tesco have partnered with FareShare FoodCloud, two organisations who have combined to make this possible. FareShare are a kind of middle-man organisation who have been collecting surplus food from various supermarkets and stores and then delivering the donations to local frontline charities who use the food to feed vulnerable people in their communities. FoodCloud have made the process even simpler by developing an app that the managers of supermarkets can use to say what food they have to donate and what time to come pick it up etc.

via FB

via FB

There’s been a lot of outrage in the last couple of years about the amount of food that is wasted by supermarkets, not only was tons of food being thrown away but at one time the food was also being spoiled or the bins were locked or caged up so as to stop people from rummaging through supermarket bins for a free meal. A couple of years ago some men were even arrested for taking food from a skip behind a supermarket. Anyway it’s good to hear that one of the biggest supermarket chains in the country have decided to listen to the outrage and do something worthwhile with all the surplus food.

The scheme has been implemented in 14 Tesco stores over the last 6 months and has generated over 22 tons of food so far. Check this video Tesco released about the pilot run at a store in Merseyside:

…and here’s some more info on the FareShare FoodCloud organisations: