Yama Warashi Album Launch / E B U / Landslide Purist/ Lot Grundy

As the Facebook event page said, The Cube was transformed into a magical world of moonlight and spirits, to celebrate the long-awaited album launch of ‘Moon Egg’ by Yama Warashi on Stolen Body Records. There was dance, visuals, spoken word, and a limited edition blue and gold vinyl on sale, which I hastily grabbed, along with a t-shirt. Support came in the form of nightmare pop darlings E B U, the twisted beautiful songs of Landslide Purist, plus wistful songs and poetry from Lot Grundy. Geff attended and danced at the front with Dali, who swirled to the music like the dancing spirit she is. Eventually everyone was at the front! The event had sold out and good reason.

Moon Egg is about delusion and hope. We all dream about something and sometimes we dream a bit too much and it can become reality in our mind. Sometimes we realize that we all believe something that is a complete fantasy. But also feeling and believing something exciting and juicy is a great and magical feeling. ‘MOON EGG’ is about this magic, dreams, delusion and hope.

Yama Warashi – Moon Egg

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Kikagaku Moyo and The Evil Usses on Wednesday 25th May 2016

It was great to get Japanese psychedelic rock darlings Kikagaku Moyo booked for a gig at the Cube on their European tour, promoting their new album, ‘House in the Tall Grass’. Their music manages to cover meditative atmospheric ambience to full rock-outs and their live performance did not disappoint. Supported by Bristol-based The Evil Usses this was always going to be one helluva gig and it was. Tickets sold out and were being traded outside in the car park and there was a real buzz on the night.

The Facebook event can be found here: https://www.facebook.com/events/1534725080190987/

Here are some photos taken on the night …

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Bluescreen’s 15th Birthday Bash!

Bluescreen was 15 on April 26th and we had a Party! Not only celebrating 15 years of screening locally produced Short Films but also being the longest running event at The Cube and also the longest running Open Screen Short Film night in Bristol!

Huge thanks from Bluecreen aka Steve/Tess/Ben – to everyone who came out and celebrated!  Special thanks to Dominic for the documentary about Bluescreen, I think it caught the very essence of Bluescreen.
Also thanks to the Cube Orchestra and Bluescreen Hi-Fi DJs and all the folks who volunteer at the Cube who make Bluescreen happen each and every time and lastly and firstly all the Filmmakers who have screened at Bluescreen, without whom…  Here’s to the next 15 years!

So there was Cake..

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And a Documentary about Bluescreen….

And here’s a list of the Films we screened on the night:
– Films/Directors/Orig Date Screened –
Art Films – Cube Orchestra 26-Apr-16
Bluescreen Docu – Dominic Wade 26-Apr-16
We’re Going To The Moon, Then Coming Back Again – Keef Chemistry /Cube Orchestra 26-Apr-16
A Trip In The City – Steve Parsons 26-Apr-01
The Battle Of Cable Street – Toby Trackman/Yoav Segal 30-Mar-05
Bad Dad – Tasha Hollywood 23-Apr-03
Jamm TV – Chris Barnett 18-May-04
Wheres My Spleen – James Pendlington 15-Sep-04
Land of Dreams (Transpersonals promo) – Piski Films 15-May-13
Charley Harry’s Wondrous Nothing – Esther May Campbell 17-Mar-04
Mandogs – Oliver Purches 28-Nov-07
DIG DEEP – Muscat/Southsection 13-Jul-05
Me and Reg – Lee Matthews 25-Jan-12
Dewis’ Hat trick – Matthew Walters 2003
No Sunday of Rest for the Wicked – Philip Head 25-Mar-09
Collide-O-Scope – Naren Wilks 27-Jan-10
Doug Tabbard: Human Curler – Dylan Radclyffe 30-Apr-08
1000 Voices – Tim Travers Hawkins 20-Jan-16
I dont want to fall in love.. – Kid Carpet/Wrongboy 02-Jun-08
Ordered Numbers – Mr Hopkinson 20-May-15
Felixs Machine – Tom Mansfield 25-Mar-09
The Cube – Danae & Sigi 30-Mar-11
Gentlemen – Graeme Maguire 10-Sep-14
Asbo Shepherd – Woody Morris 23-Mar-16

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Drawing The Cube

Click on images to view them “the right way up”




IMG_0956Hi everyone,

Thanks to Laurie Lax here’s some photos to share of the first Draw The Cube session organised by Kayle.

We focused on drawing ‘incidental assemblages’: picking one each, drawing for 10mins before swapping and then working on top of each other’s.

Followed by: 3min exercises taking turns to draw the same assemblage. We became influenced by each other’s style working on the same piece of paper.

Lastly we put our chairs back-to-back in a NSEW configuration in the office / lounge and drew what was in front of us.

We discussed ideas of how to ‘systematise’ the sessions – perhaps reflecting on the cube’s manifesto as a collective methodology. Personally I had the idea to research cubism as an attempt to cover our subject from all angles.

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Our JULY 2015 Origami Programme Trailer

Here’s the Cinema Trailer for our, at the time of writing, latest Programme.

Whatever’s next – a flyer for the poster archive!??

Well, you just never know with Cube!

Anyway, find the foldable fiends across the city in those unusual spots . . .

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Goan Dogs Video ‘Running’ recorded at The Cube


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Duo Bogof Trailer

Some of you may remember the wonderful Duo Bogof who fuse live performance and pre-recorded video.  This is done in a way that sometimes makes it difficult to know where one starts and the other ends.  While here we filmed for them and some of this has appeared in Their trailer.

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Bristol Arts Centre October – December 1968 Scans

Tonight we’re showing ‘Daisies‘ (Dir. Vera Chytilová, 1966, Czech Republic, 74 minutes)

This was in the programme from 1968 we showed you some scans of back in March.

Also – in case you missed them – we recently(ish) posted memories of the space back from then here too:

Here’s that programme scanned in full, including the contemporary copy about ‘Daisies’ . . .    

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Bristol Arts Centre memories

In the late sixties till about mid seventies, this was the sole Arts Centre in Bristol, and had to cope with both film and small-scale live performances, possibly even ballet. This was the era when you reverently went to see the latest Truffaut, Bergman, Godard, Antonioni, Pasolini etc. All demanding, “serious” films, in lofty contrast to the pabulum and prolefeed available at the Odeon or the ABC etc.

The entrance looked like a normal terraced house on King’s Square, but had an illuminated sign using the same green graphics as on the Programme notes sheets. (Parking was then relatively easy in the square or the surrounding roads!) The place seemed to be run by a shortish, dark-haired chap, in early middle-age, well-dressed in three-piece suit, who meeted-and-greeted punters, and to whom you complained after a Cassavetes movie.

Getting from the entrance to the auditorium seemed an airport walk; as a child, I marvelled at the Tardis-like ability of a small Victorian house to contain such a long passage, not then realising the cinema is remote from the frontage. This auditorium looked then just as it is now. Oh, there was also an usherette, (yes, even for such a small audience!). She used one of those red-glowing-nipple torches, and was attractive young lady, but slightly cast-eyed. The seats were perfectly comfortable, but I recall there was sometimes a slightly unpleasant odour, maybe caused by damp? The place was certainly not air-conditioned then.

As children we were often brought there for weekend afternoon performances of ‘U’ certificate films, often “revivals”, or the odd theatrical piece. I remember a season of cartoons, which were individually introduced by a knowledgeable chap who told you about the director, animation techniques, voice characterization actors, etc whilst the younger tots fidgeted.

I also recall a season of Buster Keaton films; these had just been rescued, in the nick of time, from the horrors of Nitrate oblivion, (or worse, flambe), and copied onto modern safety stock. Enterprisingly, the Centre placed an upright piano on one side of the screen, and engaged an old geezer who had played in silent houses (this was around ’69) to accompany the films. He deservedly got his own round of applause at the end.

By contrast, and moving to the the evening presentations, aimed at intellectuals, my mother recalls one of those pour epater le bourgeois live events, where the guilt-ridden middle-class liberal audience are made to sit on the stage, where they are harangued with Marxist simples by the cast, who “occupy” the seats. My parents also walked out on Dyn Amo (1972) (look it up) a sort of homegrown would-be Warhol movie, mostly set in a strip club. I recall BAC offered a Club membership, permitting them to show WR Mysteries of the Organism uncut, including the infamous plaster-caster scene…

Curiously, I don’t remember BAC ever showing adverts, except, possibly, for forthcoming attactions. Maybe subsidies were more generous then!

A perenially popular art-film presentation was Monte Hellman’s Two Lane Blacktop (1971), an early existentialist road movie, with James Taylor, Warren Oates and the late Dennis Wilson. My younger brother wanted to see this film just for the cars, but it was an “X”, so no dice. I, however, saw it twice, and my adolescent sensibilities were jolted by that scene where shy Taylor waits outside a cheap motel room, whilst we hear his companion, Wilson, have sex with a casual pick-up. I saw the Mick Jagger/ Nicolas Roeg/Donald Cammel Performance at the BAC twice, (that one really freaked me out-I finally understood what cinema could be), and other films that just didn’t seem (then) to be getting to TV quick enough, like The Last Picture Show.

This was a different (pre-video) age, and even some ten–year old films had not yet made it the small screen; at least, that how it appeared to a then-teenager; thus, I saw A Hard Day’s Night, Cabaret, Some Like it Hot-overrated, not that funny, Ken Russell’s The Boyfriend (camp but enjoyable, like a warm-up for Moulin Rouge), New York, New York, Sunday, Bloody Sunday, even various Hammer Horrors etc. Some of the first Brit. New-Wave films were also shown, like Radio On, (1979) another existential road movie, very Wim Wenders-ish, with Kraftwerk on the track, and in deliberately-grainy black-and-white. (This film actually starts in London and makes its dystopian way along the A4 to a desolate, hardly-recognizable Bristol, encountering a young then-barely-known Sting along the way!)

Anyhow, I continued to go to the BAC until about ‘81. I think the last film I saw there was one of Truffaut’s late films, aptly titled The Last Metro (1980). A change of name to King’s Square Cinema(?) about this time did not seem to help the Centre’s fortunes; by now the Arnolfini, with its air-conditioned luxury, was the first port of call for most cineasts (especially in Summer) and this, in turn, was rivalled if not supplanted by the Watershed, with its multiple screens-from 1982 or so onward.

John Ounsted     19/6/14

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Stewart Lee

Stewart Lee interviewed by David Hopkinson after performing John Cage’s Indeterminacy at the Cube on Saturday 22 March 2014, with musical accompaniment by Steven Beresford and Tania Chen.

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