Coffee-Table Notes

A brooding melancholy pervades from the opening chord of FOUND vocalist Ziggy Campbell's debut full-length release, which is a world apart from the electronic abstractions of his Edinburgh-sired band. Having fled the not so big city to hole himself up in a dilapidated Highland school-house, Campbell's self-imposed exile has seen Ziggy morph into Lomond. The isolation the move has brought with it has given him space to breathe in a way that has clearly affected this set of seven songs and two instrumentals. Like a home-grown musical reflection of Henry Thoreau's novel, Walden , and Big Sur by Jack Kerouac, this second release on the Campbell co-owned Triassic Tusk label is very much the sound of one man getting his head together in the country. Rather than bask in some wide-eyed nouveau-hippy idyll, this is Campbell, not in retreat, but more in bewildered and world-weary confrontation with himself. As a scene-setter, Fallen Stag may begin with a low strum and a mour

Cat Sheridan was two days into her new post as Learning and Participation Co-ordinator at the Festival and King's Theatre in Edinburgh when she proposed an idea that would introduce a radical new way of working within the walls of Edinburgh's two receiving theatres run by Festival City Theatre Trust. Sheridan had seen first hand how workshops and other educational initiatives designed for budding theatre professionals were out of the price range for many, while other potential participants were restricted by external work commitments. Too often, Sheridan observed, this meant that only those with the economic freedom to be able to pay for such valuable initiatives could take advantage of them, while those with less disposable income but who were potentially just as talented were unable to develop their skills. Eighteen months later, the result of Sheridan's proposal is the Attic Collective, a brand new theatre company for aspiring actors aged between eighteen and twenty-

The Lighthouse, Glasgow until March 5 th Five stars For six decades, the typographical work of Darlington-born Alan Kitching has blazed a quiet trail that has given printed matter a visual identity which has defined its various times. To coincide with the publication of a lavishly illustrated 400 page monograph by John L Walters, this major retrospective charts how a trainee compositor went on to create a canon that moved from Jan Tschichold-inspired modernist experiments, to reinventing letterpress with an explosive energy while the rest of the world went digital. Kitching's work has consistently channelled the vibrancy of its age, even before he combined skewed poetics and monochrome classicism for his poster advertising a screening of Peter Watkins' film, The War Game, at Watford College of Technology. It was during his tenure here that he learnt as much as he taught en route to producing his seminal manifesto, Typography Manual (1970), which the bursts of colour tha

Since 1997, Mark Beazley has operated under the name of Rothko in a variety of incarnations, first as a group, then later in duo and solo form. Even as a trio, however, the bass guitar, or rather, several of them, have been at the heart of Beazley's instrumental canon. Having broken cover early in 2016 with Discover the Lost, the first Rothko release since 2007's Eleven Stages of Intervention album, Beazley follows up in double quick time with this stark and startling collaboration with Johny Brown, the restlessly prolific street poet, soothsayer and driving force behind The Band of Holy Joy. The result is a suite of first person monologues charting the rites of passage of an inner city kid as he searches for something better, finding it in a doomed romance before drinking his pain away until he can move on. Recorded live in one take in July 2016, Brown's social-realist narrative is delivered unadorned by any musical frills other than Beazley's bass, which moves fro

When a group of teenage girls from an elite boarding school are taken on a Valentine's Day field trip to explore a local landmark, their subsequent disappearance causes understandable hysteria. As the girls remain missing, with no rational explanation forthcoming, what remains an unsolved mystery is invested with a mythology that seems to expose how polite society can be overwhelmed by outside forces not of its making. If such life-changing events sound like the stuff of sensation-seeking headlines in old time true crime magazines, this is possibly the effect Australian writer Joan Lindsay was going for when her novel, Picnic At Hanging Rock, was first published in 1967. Where a year previously Truman Capote had rendered real life events in novelistic form in his book, In Cold Blood, with Picnic At Hanging Rock, Lindsay flipped things on its head. By opening her book with an ambivalent disclaimer to authorial responsibility and ending it with a pseudo-historical newspaper report,

Edinburgh's Hogmanay Four stars A sense of place is everything in Scot:Lands. Half the experience of Edinburgh's Hogmanay's now annual tour of the country's diverse array of cultures seen over nine bespoke stages in one global village is the physical journey itself. Scot:Lands too is about how that sense of place interacts with the people who are inspired inspired by that place. So it was in Nether:Land, where you could see the day in at the Scottish Storytelling Centre with a mixed bag of traditional storytellers and contemporary performance poets such as Jenny Lindsay. The queues beside the Centre's cafe were further enlivened by the gentlest of ceilidhs was ushered in by Mairi Campbell and her band. For Wig:Land, the grandiloquence of the little seen Signet Library in Parliament Square was transformed into a mini version of the Wigtown Book Festival. While upstairs provided a pop-up performance space where writers including Jessica Fox and Debi Gliori re

Edinburgh's Hogmanay Four stars “Let's get rid of this weird-ass year,” says Paolo Nutini before launching into an epic rendering of Iron Sky, the third single from his 2014 Caustic Love album. It's less than ten minutes to 2017 on the second of two sold-out headline shows by Paisley's best known musical offspring, and Nutini is wearing his heart on his sleeve for a people's anthem backdropped by projections of some of the outgoing year's less savoury events. As an excerpt from Charlie Chaplin's speech in The Great Dictator rings out over images of America's president elect, it's a magnificently calculated coup de theatre. Nutini returns after the bells with a more upbeat selection, accompanied this time by images of some of 2016's lesser sung triumphs. With two out of three support acts also from Paisley, and with Nutini having had a hand in selecting all acts, there was an air of a mini Paolo-Stock. The three-song showcase by Lemon