To set things straight, if you’re expecting a waiter to be hovering at your elbow, serviettes that have been folded into exotic flowers, food brought to you artfully balanced on your plate, you should probably go elsewhere. That is definitely not what the Authentic Curry House is about. The evening is for those who are passionate about food (preferably Indian!) not the performance surrounding it. It’s for those who want a fuss-free, relaxed evening and to enjoy a 3 course Indian meal.

The Authentic Curry House was set up and is run by Alex and Sally, two curry enthusiasts who organise a monthly evening dedicated to Indian food. To give a general idea, this month, following the opening poppadoms and chutney there were not three but four curries to try, all vegetarian. Inevitably some tasted better than others: personally I could have passed on the green lentil one but the beauties of the smoked aubergine curry or the pumpkin, poppy seed and coconut one made up for it. And then when you’re at the point where you think you’re about to explode, the curries having been accompanied with rice, naan and lassi (and this also being the sort of place where it’s more than acceptable to have seconds), you go up to the food table to be served dessert. More food??? Well, yes, time for carrot halva. And let me tell you this – that carrot halva was something else. Sweet, goey, tasty it won over all the halva sceptics with the first mouthful. And that was helped down – not that it needed to be – with chai.

So, if you don’t fancy the standard Saturday-night chaos and want to do something different give the Authentic Curry house a whirl. It shouldn’t disappoint – I certainly wasn’t.

http://www.authenticcurryhouse.com/

By Ginger Clark

‘Given To The Wild’ entered the UK mid-week charts at #1 before debuting at #4 on the official weekend charts, the band’s highest ever placing album. With this record, there are remnants of the old Maccabees, there is an essence that holds this album and the last together however, with it’s bigger, more anthemic sound and subject matter – as well as the hype factor off  the back of their last album obviously – it’s no wonder that this album is looking to propel them to new heights.

With ‘Wall of Arms’, the band’s second album released in 2009, The Maccabees developed their sound from ‘Colour it in’, including brass sections to songs like ‘Dinosaurs’ and using samples, like on the end ‘No Kind Words’. Their Lyrics developed as well, to a more abstract field, whilst still maintaining the themes of love and relationships that their first album projected. Here again, The Maccabees have evolved. Teaming up with Tim Goldsworthy (producer of The Rapture and Unkle), with his background in electronic music, the band have succeeded in adding new textures to their sound. A bigger, more ethereal soundscape encapsulates the album. The brass is still there, but it’s more dominating, in songs like ‘Child’. A piano has also found its way onto the album in ‘Ayla’, its arpeggiating loop underlying the whole track and creating a grandeur that’s unmatched in majesty by any previous efforts from the band. Electronic drumbeats have a heavy bearing on track, ‘Go. ’With glimmering guitar sounds, covered in reverb and a more composed, denser sound, ‘Given To The Wild’ creates images in one’s head of the band playing at night to a giant crowd on the pyramid stage at Glastonbury, rather than a daytime set in a tent.

Lyrically, the band’s singer Orlando Weeks has developed as well. To his own admission, age has been a contributing factor to the change of subject matter in his lyrics. He told the BBC that “it didn’t feel appropriate to write love songs after turning 28”. Instead, ‘Given To The Wild’ deals with issues such as aging and the passing of time, “one thing’s for sure we’re all getting older / Before you know it we’re pushing up daisies” sings Weeks on the album’s first single ‘Pelican’ and the worlds transience “And I know nothing stays forever” he sings on ‘Forever I know’.

Whether it is from a new found confidence in their music or an assurance of this records success off the back of their last album, The Maccabees appear to have bent to no demands to create number one hits. The record is whole and a complete work of art with every track holding it’s own justified place on the album. There aren’t any of the bouncy, catchy tunes that pervaded ‘Wall Of Arms’ but the songs on this album are more sophisticated and will hopefully continue to reach out to the band’s fans as well as win them a whole new following. With ‘Given To The Wind’,  obviously haven’t felt the need to put any catchy singles at the beginning of the album to lure listeners in either. Instead, the album progresses and builds up as an entire, complete entity of its own.

The album’s opener, ‘Given The Wild (Intro)’ is an atmospheric drone of an intro that leads into ‘Child’ a track pronounced with brass and a groove provided by the drums and bass that long with the way Weeks sings, is reminiscent of Foals’ second album ‘Total Life Forever’. This song, along with first single ‘Pelican’, a song that builds up from anticipatory punching guitar into an exciting sprawling chorus,  are the albums most immediately relatable songs. The whole of the album is filled with majestic, anthemic songs that wouldn’t go amiss in an arena set. Not that that’s on the cards just yet for The Maccabees. With a tour of  the UK to concentrate on and then the festival circuit in the summer, The Maccabees will be looking to – deservedly – edge their way up the billings and get ‘Given To The Wild’ to bigger and bigger audiences.

It’s the first album that band are confident enough to deem a complete representation of themselves on record. it’s an album of anthems and it’s an album of maturity. ‘Given To The Wind’ is out on Fiction Records and available in stores now.

By Tom Clarke

SHOWINGS:

@ Cineworld on Wed 22nd Feb, 1pm and

@ Glasgow Film Theatre on Sat 25th Feb, 10.45 pm.

(see respective websites for more information about tickets etc)

By Ruby McDougall

DIY dance-punk bedroom experimentalists High Places recorded their debut album in 2008 using anything they could get their hands on – a 12 string guitar, banjo and kalimba as well as plastic bags, mixing bowls and other household objects. The result was an idiosyncratic combination of elements – global polyrhythms, hip-hop beats, post punk basslines and field recordings, bound together by a rough, DIY production which hovers somewhere between a dance punk, folk and lo-fi aesthetic. Live, it’s much the same ethos, with Mary manipulating her vocals with delays, pedals and loops, and Rob creating percussion with drum pads, samplers and IRL percussion like wood blocks. Now relocated to LA from New York, they’ve been swept up in the wave of nu-cool, experimental bands– touring with Deerhunter, Yacht, Dan Deacon and last year’s GMFF guests Lucky Dragons, to name but a few.

The alter ego of musician Matt Hill, Umberto is a one-man band crafting horror score creep-scapes for the digital age. Umberto’s music is a hypnotic, all-consuming journey, reeling you into a foggy, neon-lit world of graveyards, stalkers, haunted houses, witches and blood-stained corpses. Evoking the unsettling progressive rock of Goblin and the sinister, dystopian synth-work of John Carpenter, his acclaimed releases have garnered considerable praise for their staggering, gothic take on italo disco and new-wave synth pop. Flying over exclusively from Kansas City, Missouri, Umberto will be performing a live soundtrack to a secret film, with support from power-sleaze duo Organs of Love & Strange Vice DJs. Join David Barbarossa, Claudia Nova, Older Lover and Henry Fondler at the official afterparty at SWG3 from 11pm-2am. More at www.facebook.com/glasgowmusicandfilm.

Now in its fourth year, the Glasgow Music and Film Festival is a series of one-off events combining audio and visuals. Lovingly co-curated by film buffs and music geeks from the Glasgow Film Festival and the Arches, the results range from the entertaining to the inspirational to the downright weird.This year’s festival runs from 16th-26th February 2012 and and comprises a series of gigs at venues across the city, complemented by a programme of music documentaries and fiction films at the GFT. If you’re not lucky enough to win this time, tickets for High Places, Umberto and all GMFF gigs are available from both the GFT (0141 353 6535) and Arches box offices (0141 565 1000). You can also book online/get more festival information at www.thearches.co.uk orwww.glasgowfilm.org/festival.

Just answer the following question:

From which American city did High Places originate?

Please send answers, with your name and mobile number to meggiemdonald@hotmail.co.uk by Wednesday 15th February to win!

Terms & Conditions:

Competition open to over 18s only

Prize is not transferable

Prize is three winners to receive a pair of tickets each for High Places and Umberto as part of GMFF

And this, people, is where things get exciting as the Hillhead Bookclub, home to Granny Would be Proud fairs, will be hosting a clothes fair, for men, and for men only. The average (female) vintage aficionado will be well acquainted with the GWBP fair and no doubt have spent many a Sunday afternoon there perusing the stalls in the hope of snapping up some beauty from times past or some cute accessory designed by one of many local designers. For the first time though, things are being turned on their heads with the “Boyroom Blitz” as the sartorial master-mind behind the venture, Frederique Villain, is putting men in the shopping-spotlight.

Re-using the original GWBP idea, the stalls held by local talent and designers will be offering items for the male-wardrobe as well as anything that might be appropriate to deck out a man. Expect to find bow-ties and cufflinks. Or something I’m personally looking forward to: menswear designs by Jennie Lööf. It’s exciting to see designers like her pay attention to men, because it’s rare for there to be anything affordable allowing guys to explore and be adventurous in what they wear. If her women’s wear is anything to go by (which it is), then her menswear should be fun, quirky and show-stopping. And quite frankly, if this doesn’t sound enticing to the men, no matter, because just it is a “boys” thing doesn’t mean that we girls are excluded from having a browse.

So, whether fashion is your thing or not, and whether you are a guy or not, I recommend you head on down to the Hillhead Bookclub on the 12th of February (from midday until 5pm) as this could be a turning point. Will we be seeing hoards of dapper gentleman or vintage-rebels, à la James Dean, parade down Byres Road in the near future? I truly well hope so.

Text by Ginger Clark

The Ep opens with “I Lost You”, a fairly standard AptBS song both structurally and sonically. Despite lacking any real eye-opening moments, it is a suitably loud and vicious opener to the Ep. “So Far Away” delivers more of the noise of the opening track, proudly bearing its influences on its sleeve with a subtle surf riff in the chorus and some guitar chime at the mid-point of the song reminiscent of the orchestral work during Nancy Sinatra’s moments in Lee Hazlewood’s “Some Velvet Morning”. Title track “Onward to the Wall” brilliantly introduces additional female vocals from Alanna Nuala to the usual Jesus and Mary Chain vocal drone of Ackerman, again creating a Lee Hazlewood-Nancy Sinatra-esque moment. The bass guitar comes to the forefront along with the usual motorik/apache beat of the drums which combine to drive the song whilst Ackerman’s feedback howls out in the background. This retreat of the guitars to allow the bass its place in the limelight leads to the creation of one of the most haunting and impressive AptBS songs to date. “Onward to the Wall” is about as far removed from the trademark sound of AptBS as they have ever been, yet it proves to be a masterstroke and highlight of the Ep. The remaining two tracks “Nothing will Surprise Me” and “Drill It Up” are a return to the classic AptBS sound, yet each fail to top the excellent title track, despite the fact that each of them are enjoyable in their throbbing drive and grime. Oliver Ackerman’s personally made Death By Audio guitar pedals feature prominently, and it is on the two final tracks of the Ep that they can be heard for all their ferocity.

Overall, the Ep can very easily be considered a great success and a step forward on AptBS’ journey. Four of the tracks offer the listener exactly what they would be expecting; a crash of feedback and reverb drenched drawl, hallmarks of the AptBS sound. The title track is something unexpected yet thoroughly exciting, showing, if anything, a bright future for the band as they explore new paths. Whilst delivering a slightly changed sound in parts, AptBS have created an intriguing collection of songs. Exciting times seem to be on the horizon for the band if this Ep is anything to go by. Well worth numerous listens, Onward to the Wall delivers on all fronts, maintaining the frantic sound of old, as well as showing positive progression into new terrain.

Text: Daniel Magee / Photography: Simon Robbillard

However, although their cocktail menu looks amazing, if you fail to secure the Mojito deal you will have to pay around £5.95 a cocktail – perhaps a little steep for the average student. Having said that, Bar Soba on Byres Road definitely has a more student-y vibe to it compared to the branch located on Mitchell Lane, which was reflected in the canapé style food served at the launch. Whilst the sushi was a little dull, the spicy fried fishcakes left no one disappointed – very tasty and crispy. In terms of Asian food, Bar Soba is a definite welcome to the West End. Up until now, there hasn’t been much to choose from apart from the Chinese take-away or an Indian curry. The menu at Bar Soba definitely feels more appropriate for a quick lunch between lectures. The service was quick both at the bar and in the restaurant and all the staff very friendly and approachable. In addition to being a new hotspot for student lunch, Bar Soba is also promoting itself as a bar and pre-club venue. The launch featured some great tunes supplied by Miss 7 (The Shimmy) and Hari (Sub Club) and regular events at the venue will include Thursdays with Djamba (Mixed Bizness), Fridays with rotating residents from Sunday Circus, Supermax and The Shimmy, Sundays with Bar Soba residents and Saturday will host a Subculture pre-club. It is clear that this new Bar Soba is not just about the food, but also about the social experience that comes with the music, drinks and décor. It will be interesting to see whether Bar Soba can win the hearts of the students or if it will be taken over by people with a little more money in their pockets. Having said that, one does not exclude the other and I know that I will definitely be heading back for more.

Bar Soba is located on 116 – 122 Byres Road, check out their website at www.barsoba.co.uk

Photography: Cole Cohen

If, like me, the book passed you by and you thought you’d wait until someone jumped in and digitised it (an English version anyway) to see what all the fuss was about, then I can assure you that, after watching this, you’ll get it. I also learned while eavesdropping on a gentleman conferring with his lady friend during the sticky floor shuffle we all partake it when exiting the theatre, that this so called ‘Hollywood’ version is surprisingly accurate to the novel. As mentioned previously, I haven’t read said novel so I can’t really comment, however I can assume that the overall premise is the same – adding to her own personal and financial problems, Lisbeth Salander (Rooney Mara), a troubled and antisocial young computer hacker is called upon to assist recently smeared journalist, Mikael Blomkvist (Daniel Craig), in his search for the truth behind the disappearance of Harriet Vanger who went missing 40 years ago and is presumed dead. Their inquiries lead them further and further down the rabbit hole of the Vanger’s sinister and shrouded past, until they find themselves so far in that they aren’t permitted to turn back.

It’s ultimately a ‘who dun it’ but without the Scooby doo premise of falsely leading evidence and a line-up of potential, creepy offenders. Instead leaning more towards the sheer brilliance of Salander’s technical prowess in uncovering and mentally logging evidence (she has a photographic memory), accompanied by her complete disregard for the social comfort of anyone who comes into contact with her. I feel it necessary to include a disclaimer that there are some severely disturbing parts to this film, Salander’s life is far from a fairy tale, but I reassure you that without these, your understanding of her character and the impact of the film as a whole would be dramatically lessened. The story is hugely complex and isn’t devoid of a few head scratchers, I’ll admit, but therein lies part of the enjoyment, piecing together the story with your mates afterwards and arguing over the interpretation of events. So, it’s not really a film that you can sit back and take in leisurely, in fact there’s an unspoken agreement that when you buy your ticket, you are expected as a viewer to put in as much effort understanding the plot as Stieg Larsson did in writing it. Or adversely, you could just watch it a couple of times and gradually make sense of it all. Either way, you’ll still feel like MacGyver.

There couldn’t be a more brilliant setting for this type of film; the eeriness of the desolate and white washed Swedish landscape perfectly accents the underlying threat that stalks Blomkvist and Salander in their pursuit. But at the same time the majestic beauty of the scenery retracts from the overbearing feeling of impending doom. Try to compare it to the battle between the wolf and the buffalo on frozen planet, intense, yes, but oh so picturesque! It’s not all edge of your seat, trust no one, paranoia though, Craig pulls out another Bond-esque performance where he’s still able to have a laugh and pull out a witty quip even when someone’s trying to murder him. ‘Diverse?’ I hear you say. Well yeah, but in Craig’s defence, it worked well with the character, so I guess, if it ain’t broke…?

More notably though, Salander is unexpectedly genius in the comedy stakes, with her F*** you attitude and jaded demeanour she’s shot right up there as one of my favourite heroines, although I can’t imagine she’s a character intended to be brandished on a bedroom wall poster. Her approach to dealing with people (for the most part anyway) is hilariously ‘no nonsense’ and blunt. Maybe it’s the Britishness in me, but god I found her rudeness exhilarating. Even her inability to say ‘thank you’ resulted in satisfied giggles.

All in all, if you’re a fan of complex plots, dark and gritty characters and a bit of Nazi influence then I’d suggest you give it a look-see as there literally isn’t a dull moment in this film. If I had to include one bugbear it would be that Daniel Craig’s lack of a Swedish accent is unjustly overlooked. I know you’re a big, famous actor now Dan, but at least take a whack at it? Other than that the film is easily one of the best that has graced the silver screen in a long while and I defy you to dislike the tattooed protagonist herself, Lisbeth, who as a completely original and mesmerising character is clearly the reason behind the trilogies success.

9/10

Review by: Lauren Clark

It’s certainly true what they say about Scottish weather: it can be wet – and to add insult to injury, recent events have proven that it can get very windy too. After staunchly attempting to deny these facts, I have gradually come to sadly acquiesce when challenged by non-Scottish people and their inevitable comments about the “bad weather”. And yet if you’re like me, even though you’re aware of the complications rain and wind can create when it comes to dressing, more often than not its quite likely you’ll find yourself leaving the house in the most unsuitable attire. Wellies? Nope. Waterproof coat? Never heard of.

Luckily being weather-proof doesn’t not necessarily stand for being completely and utterly un-stylish and when you start looking around you’ll soon find that designers are actually on the ball about combining style and sensibility.

Bubble Betty

There’s Bubble Betty (http://www.bubblebetty.com/) for example. You know those rain caps, as sported by every single granny to keep the purple-tinted perm dry? Well Bubble Betty has taken those very uncool items and actually made them cool – whether lace is your thing or if you’re more of a leopard-print person, you might soon find yourself whipping a printed cap out of your bag whilst other people wrestle with their stubborn umbrellas. Who knew a print could do such wonders?

Chouchou

Or if you want to take things a little bit further go for Chouchou (http://www.chouchoucouture.com): a nice, diverse range of “Hollyhoods”. Some out of waterproof fabrics, others not (just incase you don’t want to be that sensible). Perfect for keeping your head dry whilst giving your outfit a unique touch. Oh, and it’s not raining? You’ll probably be so proud of your Hollyhood that you’ll be strutting about with it on anyway.

And then, when it’s not the rain or wind, it is inevitably the cold we’re battling with. Betty Spoke (http://www.facebook.com/pages/Betty-Spoke/119276501455502) has the answer to this with her snoods (snoods being all the rage at the moment, incase you hadn’t noticed). Hers have a Scottish touch with a token bit of tweed or tartan. Stylish, Scottish AND warm: thumbs up to that, is all I can say.

It therefore looks like I no longer have an excuse for turning up to places looking like a drowned rat: let’s praise the fact we have sensible-thinking designers in our midst!

By Ginger Clark

Here, a selection of our music contributors put forward what they consider to be the best musical offerings of 2011. But who are we to put them in order? So here they are, lined up as equals and open for your interpretation. Feel free to defend, argue or add your own favourites in the comment box below – Because there’s nothing quite as contentious as an end of year list…

[TRACK] NY Is Killing Me by Gil Scott Heron and Jamie xx from the album We’re New Here.

An outstanding rework album, We’re New Here exhibits new Electronic music’s capability to be confessional, injected with pathos, and still able to flood a dance floor with sub-  bass and addictive manipulated vocal samples. Now a tribute to the late Gil Scott-Heron, this album is a template for minimalist perfection – affirming that the clock is ticking on populist Dubstep. Mixed seamlessly NY is Killing Me in particular is a credit to Jamie XX. With a drop that Skrillex’ ugly sound could only dream of, and a soul that exudes 1960s provenance; this is how Electronic music should be done (MJ).

[TRACK] Bed of Nails by Wild Beasts from the album Smother.

A hint of Twin Peaks about it, Wild Beast’s third release, Smother marks a move towards the ethereal. Bed of Nails exemplifies this new musical manifesto; smouldering lyrics, murky vocals and a haunting electronica pulse –part of a new breed (The Horrors, The Rapture, Outfit) in a sea of tired pop. Maybe Domino Records’ first great release since the mid-noughties’ indie alternative blitz (Franz Ferdinand, et al.) (MJ)

[ALBUM] Sam Baker’s Album by Samiyam.

This album was dropped back in June, all hazy and swaggering. Samiyam (AKA Sam Baker) created a collection of crisp instrumental hip-hop that was acutely delivered yet still deliciously woozy – as ready for the club as it was for chilling in your room half cut. With jazz influences, it is a welcome break from the other more bombastic trends in electronic music. As a whole, Sam Baker’s Album flows with an apparent effortlessness that makes it completely attractive. Also spectacular live back in November. (MD).

[ALBUM] Skying by The Horrors.

Personally, I don’t think that there is any band cooler in the world right now than these guys and it’s a testament to themselves that they’ve made such a great album this year without following any of the rules that the record business would usually place on such a big band. They’ve done completely what they want with this record, moving into the realms of vintage synth and home made psychedelia, and in the process, cementing themselves as one of the most important bands of recent times. (TC)

[ALBUM] A Different Kind of Fix by Bombay Bicycle Club.

With their third album, Bombay Bicycle club just confirmed that they’ve got it (as if we didn’t know that already). After allowing themselves the purifying experience of touring a folk record (that holds remarkable merit on its own), Jack Steadman and his band have come back with an album that is full of lilting melodies. from the irresistably catchy Shuffle, to the beautiful Still, this record is, in my opinion, their best yet (TC).

[ALBUM] Bon Iver by Bon Iver.

After For Emma, Forever Ago, his self-titled second masterpiece is equally as sublime but with an even deeper sincerity and emotion. Updating to an epic nine-piece and abandoning the solitary birth of a project in a hut, his sound has becoming multi-layered and richly textured making the selection of one song from this album an arduous task. The album is holistic; it’s about flow, from one scene, arrangement,song,memory and word into the next. Its an undefinable creative uproar of observation and poetic genius; putting a name to something realistic and surrealistic. I was fortunate enough to see him a while ago and it has to be said it was the gig of the year. (JE)

[ALBUM] Adventures of Tom the Lion by Tom the Lion.

An impossibly difficult musician to pin down with virtually next to no coverage on the internet, you can only buy his album through Rough Trade. Formally an illustrator and artist, there’s an appealing mystery to him which resonates through his music. He’s not able to be placed in a box. Ragdoll can be fixed to a comparison with Anthony and the Johnsons, until you slip into an Arcade Fire-Sequa tangent in Drop It and Go. His lyrics are stunning and his voice radiant, that’s without mentioning the vast genres he sails over and mixes together. The album itself with it’s illustration is a feast for the eyes, and reinstates a sense of ownership of music. He strikes back to an era where music was to be owned; not in amongst the cloud of the internet. Tom the Lion renounces the digital age in terms of publicity but definitely not in production. I cannot recommend him enough. (JE)

[ALBUM] We Must Become the Pitiless Censors of Ourselves by John Maus.

Despite the vintage synths and Ian Curtis-esque vocals, John Maus’s music (much like contemporary Ariel Pink’s output) has a modern streak which is hard to put your finger on but nevertheless prevents him sounding like he’s mindlessly rehashing his influences. This third album sees him mastering the art of consistency, with eleven brief but incredibly infectious songs which drip with post-punk, new wave and synth-pop sounds.(RW)

[ALBUM] Roads to Judah by Deafheaven.

San Francisco’s Deafheaven follow up their excellent 2010 demo release with this debut LP, which blends post-rock and shoegaze influences into its black metal blueprint with jaw-dropping results. The four tracks here are intense, moving and melodic, striking a perfect balance between beauty and brutality which remains throughout. If this typical of the kind of stuff kvlt purists have been whining about, we’ve got nothing to fear. (RW)

[ALBUM] Exmilitary by Death Grips.

In an internet age, free mixtapes are something rap fans and blog readers have become to take for granted, but when Death Grips exploded onto the map earlier last year, it became clear that we needed to rethink things a little. The combination of MC Ride’s terrifying, hyper-masculine bawl (“’CAUSE ALL I REALLY NEED IS SOME COOL SHIT TO MOB”) and Flatlander’s harsh, Charles Manson samplin’ production style puts these guys more in line with Black Flag (who are also sampled) than your average swagster. Hip-hop you can mosh to, and –  by God – it actually works.(RW)

• Free download here: http://thirdworlds.net/exmilitary.php