Skip to main content

Giant Tank vs The Fringe 2007

Edinburgh’s premiere promoters of aktionist noise happenings commemorate a decade of cottage industry chunder with three bloody Sundays of non-Fringe-based hissy fits. Five reasons for their essentialness follow.

1 It’s not music. It’s just noise And there is nothing like it. The events feature Wire magazine-approved acts from Paris, Brighton and Leeds, including several you may or may not have ever heard of. Do Ashtray Navigations, Ocelocelot, Shareholder, Towering Breaker, Made Out Of Wool, Eye Shaking Kingdom, Blue Sabbath Black Fiji, Muscletusk or Playground Meltdown ring any bells?

2 Its not big. Or clever But at various times it promises a stomach-churning, vomit-inducing, spiteful, ugly and puerile racket. All of which are to be encouraged.

3 It repeats itself Usurper play three times, though you won’t always hear them. The GT house band scritch, scratch, bubble and squeak as the quietest unplugged act ever.

4 It’s got the best merchandise stall on the planet An array of hand-crafted CDRs, cassettes, comix and T-shirts go global with means of production seizing limited edition LP collaboration between Blood Stereo and Belgian Fluxus freak Ludo Mich, who stole thunder and blew minds at Glasgow’s leftfield Instal festival.

5 Its cheap. And nasty Fiver a night. Twelve quid all three. Go on. Go deaf for a living.
Henry’s Cellar Bar, 228 9393, 12, 19 & 26 Aug, 7.30pm, £5 (£12 for all three shows).

The List, issue 582, 9 Aug 2007



Popular posts from this blog

Clybourne Park

Adam Smith Theatre, Kirkcaldy Four Stars
It’s a case of whoops, there goes the neighbourhood twice over in Rapture Theatre’s revival of Bruce Norris’ Pulitzer Prize-winning play, which opens in 1959 in the same Chicago suburb where Lorraine Hansberry’s drama, A Raisin in the Sun, which appeared that year, is set. Here, Robin Kingsland’s Russ and his wife Bev, played by Jackie Morrison, are preparing to move out of their now almost empty des-res following a family tragedy.
Unknown to them, the bargain basement price tag has enabled a black family to move in, with Jack Lord’s uptight Karl a self-appointed spokesperson for the entire ‘hood. Russ and Bev’s black maid Francine (Adelaide Obeng) and her husband Albert (Vinta Morgan), meanwhile, bear witness to a barrage of everyday racism. Fast forward half a century, and a white family are trying to buy the same house, albeit with a heap of proposed changes which the black couple representing the block’s now much more diverse community aren’t…

Michael Rother - Sterntaler at 40

"There's so much to do," says an uncharacteristically flustered Michael Rother. The normally unflappably beatific German guitarist, composer and former member of Neu! and Harmonia, who also had a stint in a nascent Kraftwerk, is packing for live dates in Russia and the UK, including this weekend's show at the Queen Margaret Union in Glasgow.
"It has always been my choice to take care of these things myself and not have a manager," he says. "Somehow for me the independent aspect of doing things is really important, but it has its disadvantages."
As well as playing selections from Neu! and Harmonia, the trio he formed with Dieter Moebius and Hans Joachim Roedelius of Cluster, Rother's Glasgow date will see him play a fortieth anniversary rendering of his second solo album, Sterntaler, in full. Rother will be accompanied by guitarist Franz Bargmann and drummer Hans Lampe, the latter of whose musical involvement with Rother dates back to Neu! days, …

Kieran Hurley – Mouthpiece

Things have changed since Kieran Hurley first began writing the play that would become Mouthpiece, which opens at the Traverse Theatre in Edinburgh this weekend. At the time, Hurley was, in his own words, “quite new on the scene.” As a writer and performer, he had already scored hits with Beats and Chalk Farm, two pieces that put him on the map with a new generation of theatre-makers steeped in an equally new wave of grassroots opposition that drew from the iconography of revolutions past. Where Beats looked at the politicisation of 1990s club culture, Chalk Farm, co-written with AJ Taudevin, focused on a teenage boy caught up in the 2011 London riots.
More plays followed. Some, like Heads Up used the same solo story-telling aesthetic to look at an everyday apocalypse. More recently, Square Go, written with Gary McNair, dissected toxic masculinity through a school playground fight.
All the while as Hurley developed as a writer, from new kid on the block to established provocateur, this…