Kuedo – Work, Sleep and Live in Collapsing Space

Posted on June 1, 2012 by

According to my iTunes playcount, Kuedo’s album Severant has clocked-up  over 200 plays. This doesn’t include the many times i’ve listened to it on my iPod out and about or in my car. It may be safe to say that I quite like his music.

Yet believe it or not, I am not some crazed fanatic. Although Jamie Teasdale, the creator of Kuedo, has an impressive back catalogue of dub-step pioneering work when he was one half of Vex’d, I am still yet to sample these wonderments.

Released in 2011, I discovered Severant in Febuary 2012 and have been hooked on permanent loop ever since. It is both low-fi and largely expansive; equally dystopianly bleak and euphorically optimistic. No end of reviews and blogs have referred to the fact that it doesn’t just nod to electro classics such as the Bladerunner soundtrack, and Vangelis, but that it fully swims in its electro-retro glory, and transforms it into something truly forward looking.

Fortunately, just as i’m about to wear my little hard-drive out with such persistent replay, Kuedo has another release on the horizon.

Work, Live & Sleep in Collapsing Space (the title alone conjures images or surreal & geometrically tinged filemic joy) is due out on 25th June. While it certainly has its lovely little fiber-optic fingers hooked back into the ‘Severant’ sound, Work, Live & Sleep in Collapsing Space is a far more electrifying beast.

Kuedo again demonstrates his intricate layering of both analogue and forward-looking, digital synth sounds; each weaving at a thousand, illuminated miles-per-hour into the most syncopated of all electrical plaits. Unlike a lot of ‘Severant’ tracks however, the sounds in the new single do not seem intended to sway you into some eye-rolling, sci-fi ecstasy. Instead they seem to jolt you to right to attention and place your concentration firmly in the middle of some sort of Moroder-esque time-warp (think ‘Forbidden Planet’ rather than ‘Rocky Horror’).

Kuedo is playing Islington Mill tonight. On the same bill is a set by Laurel Halo, recently signed to Hyperdub, who does one of the fantastic remixes on the forthcoming Kuedo single. Her version is more open and ethereal. She adds to the mix whipped-up and spliced strings and creates a sonic space in which she places a heaviness that is achingly intense. I can only imagine the two on the same line-up will make for a fantastically imaginative and luxuriant electronic evening and I shall prepare my ‘Replicant’ look in anticipation.

Additional (getting with the sci-fi vibe): You can read an interview I did with Kuedo in June’s Blankpages

Today I listened to: Kuedo, Austra, Laurel Halo and Alt-J
Today I read: Tis by Frank McCourt 

This wasn’t taken today, it was taken a couple of weeks ago in Berlin but I thought it suited Kuedo’s sound so i’m uploading it here.

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Miss Julie at The Royal Exchange – Electrically charged and beautifully bleak

Posted on April 20, 2012 by

On the whole, a play by Strindberg (1849-1912) is never going to be a day at the races, though if you count the two tragic deaths at this year’s Grand National, then maybe it is.

A prolific writer who often drew on his own life experiences for his work, and Miss Julie is no exception, Strindberg was both in favour of women’s advancement and an accused Misogynist! He had numerous platonic and sexual relationships throughout his life, most of which ended in turmoil.

Of course the class and gender complexities involved in relationships were far more difficult in the late 19th and early 20th centuries weren’t they? Well quite possibly not.  Yes, both men and women now have the vote and the ‘upstairs downstairs’ scenario is far from the norm for the bulk of society, but issues about class-divide continue to fill news pages and attitudes towards women’s sexual behavior continues to plague them.

The themes of gender, class, love and lust explored in Miss Julie, written in 1888, are just as applicable today in 2012. It’s safe to say as I went to watch Miss Julie on Monday, directed by Sarah Frankcom at the Royal Exchange Theatre, I did not expect to be uplifted, but I certainly hoped to be enlightened. Informed beforehand of no interval (cue “Jesus what if I need to wee” panic), once the play started I fully understood why.

The set of Miss Julie – the kitchen of a Swedish Count’s house, all rustic wood awash with pale blue and soft cream hues – was beautifully and suitably basic and bleak. The play, set on Midsummer’s Night in 1874, revolves around the actions of three characters, played out in real-time before you.

First there’s the fickle, contradictory and unsettling Miss Julie. Referred to as “mad” before she even enters the stage, it seems she is a danger, even for herself, to know. Maxine Peake fantastically plays a Miss Julie who is unnervingly excitable and flippantly changeable and always fully, sexually charged.

Then there is the Count’s Manservant Jean. Cocksure and aspiring to rise above his station, Jean is played with a touching brutality by Joe Armstrong. Having loved Miss Julie since they were children, Jean is engaged (though with a sense of comedy by both) to Kristin, the household cook.

Kristin, though not involved in the main bulk of the action, is a uniquely essential character and offers an insightful point-of-reference to which the topic of the play continually springs back to. A devout Christian and happy to stay in her place provided that ‘those above her’ are something worth looking up to, Kristen is less a voice of reason, and more an embodiment of the reasons behind such complex gender and class issues in the first place. In the hands of Carla Henry, Kristen is played with a headstrong pathos that fills you with admiration and sympathy. Brilliantly knotted in sentiment and astutely right.

Once Kristen is either out of the way or conveniently asleep, it doesn’t take long for the action to elevate between Jean and Miss Julie who has entered the kitchen quarters in search of company, excitement and something or someone that she can connect with. Jean is jacket off and in his own quarters but in the presence of his ‘better’ who flips between a known notion of gender and class hierarchy and a hell-bent determination to destroy it. What unfolds is ugly, convoluted and irrational, just like the themes that fuse it.

Raised, by her late mother, to both think and aspire like any man, and also to hate men, Miss Julie is like a Nordic Estella. In Peake’s capable hands, she flicks, like a light switch, between the role of Dominatrix and submissive servant wanting orders. Jean, though critical of such changeability, is equally so. He dives between love-struck child and brutish yob with the flippancy of someone who knows his place but blatantly wishes he didn’t. Over-charged and out of place, together they cross the gender and class divide in the form of quick, off-stage sex. This decision is made lightly, but carries with it, as it still does, an immeasurably heavy weight.

The static between them is both exciting and dangerous and infiltrated by a sharp witticism that makes light of things while ironically highlighting them. In response to Jean’s tale of an impoverished childhood, Miss Julie frivolously yawns, “What a bore it must be being poor”. Equally humorous and unsympathetic is Jean’s retort to Miss Julie’s hysterical call for a death pact of “I think we might be better off in the Hotel trade”. While he yearns to run away to an independent life, which includes Miss Julie, her recklessness and intense considerations fill him with fear. Unable to indulge in her emotional dilemmas he claims, for his class, “Love is a game we play when we get time from work”.

All the turmoil and anxiety is brought to a brutal head as the Count returns home and something must be done to cover the tracks left by the actions of the night. It is, quite literally, fight or flight time. In an act that parallels the conclusion to Muriel Spark’s The Driver’s Seat, Miss Julie asks to be told to conclude things with a finality that is irreversible.

Each character ultimately leaves for what they believe they deserve. Kristen exits the stage, for the last time, to go to church. Miss Julie and Jean – with all options before them and seemingly no options at all – choose, respectively, a living death, or death itself; I left wondering, which was worse.

The set of Miss Julie, with its electric blue light and bluntness is the perfect platform for such shocking bleakness. The dialogue, expertly adapted by David Eldridge, is spiky and raw and the performances engulfing and unsettling. Peake, Armstrong and Henry are galvanic in their exploration of issues that, don’t simply taint but, charge through the lives we live.

Today I read: most online news sites (that are worth reading)
Today I listened to No Ceremony and Alt-J

 

 

We bought this lovely foil windmill from Whitby. We found it sat overlooking the seaside under blue skies blowing happily. We’ve stuck it in our garden which is far from the sea and currently rainy and grey. Because they add such delightfully, tacky brightness to the place I think they are happier about their current situation and not at all resentful. They spin with glee.

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Inside Exhibition at Blank Space

Posted on April 20, 2012 by

Manchester, the lovely city I live in, offers no end of fantastic and, usually, free art, to indulge in. Curators, practitioners and viewers range from the well versed and experienced, to the cutting-edge and emerging. It seems there is room for everyone.

Part of the reason for this is, as well as the more established and historic venues and organisations in the city, Manchester also has a long history of innovative groups like Blank Media Collective. Established in 2006, the collective claim to “champion emerging artists, writers, musicians and practitioners through exhibitions, performance, free portfolio hosting on their website and via our online magazine, blankpages.” And since 2006 they have gathered a firm a respected reputation for doing just that.

You can loose yourself for hours wandering delightfully through the many amazing portfolios on their website. Forget Pintrest; if you want to look at cutting-edge art and beautiful photography, the Blank Media Collective site is the place to waste a few hours. Similarly blankpages, their bi-monthly magazine, is a true aesthetic. Each edition showcases a poet, fiction writer, illustrator, musician/group etc, in an ever changing but always beautifully designed, clean and artistically respectful way.

So what about their exhibition?

Currently, within their fantastically, isolated and brilliantly clean and cubic building on Hulme Street, Blank Space is exhibiting ‘Inside’. The artists involved – Claudia Borgna, Philip Cheater, Drop Collective, Gill Greenhough, Rosie Leventon, David Ogle, Emily Rubner, Liz West and Chris Wright – are all extremely different and unique in terms of style/media and content. All, however, are united in one thing; a project that aims to thoroughly explore the psychological and physical responses we have to the environments we experience.

The segmented space within Blank Space provides the perfect setting for this as participants are invited and able to completely immerse themselves within each individual art piece.

Themes of absence, loss, memory, fantasy and nostalgia are very thoroughly, and touchingly, explored; this is not an exhibition you simply look at, but one in which you participate fully with. You simply cannot help it. When I went to the exhibition, it literally took me a few attempts (and the knowledge that there was someone close by if I needed them) to allow myself to be entirely involved with some pieces; such was their unsettling effect on me. Others, however, I struggled to pull myself away from, and, in fact, revisited several times before I left.

‘Inside’ is a perfect name for a truly unique and very forward thinking exhibition, for once you are inside Blank Space, you enter a world that envelops and engulfs you. A world, which has literal, physical affects on you and which forces you, mentally, through a disturbing and enlightening range of emotional spaces.

Not content with simply putting on a fantastic exhibition, to accompany and compliment ‘Inside’, Blank Media Collective have produced a beautiful publication which is on sale there. Screen-printed and bound by the collective’s clever little hands, the ‘Inside’ booklet showcases the work of twelve emerging writers. The pieces are wide-ranging and unusual and offer the perfect accompaniment for the exhibition experience. The booklet is really fantastically designed, attractive, sharp and extremely stylish; a pure treat to indulge in.

On till the 29th April, I completely recommend that you go to ‘Inside’. Take the time to appreciate the pieces from different parts of the rooms; stand and stamp; kneel and be indulgently voyeuristic. Allow yourself to fully embrace all that it has to offer you. This is in Manchester, it is free and it is simply fantastic. ‘Inside’ is art at it’s most engaging.

Today I listened to: No Ceremony


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No Ceremony – just music worth making a fuss about

Posted on April 20, 2012 by

Having been sat waiting for a great new band/artist to come along for what seems like an aural age, suddenly three come along at once. One of these is No Ceremony. Now I know they’re from Manchester (as everyone who has ever written about them seems to say so, though where they’ve got that info from is beyond me) and apart from that I know absolutely nothing about her/him/them.

Not that this matters much; actually, it’s quite refreshing. A million miles away from the world of electronic press kits is something actually worth talking about. And it’s because people are talking about them that they seem to be spreading their delightful blend of melancholic and uniquely electro joy.

What I know of No Ceremony is via four tracks (one a remix of a Patrick Wolf’s Time Of My Life) uploaded as youtube videos, posted by CPR Agency. The fact that when you check out CPR’s site, the link to No Ceremony doesn’t actually work, only adds to the mystique surrounding their music. All four of their songs are available for free download from various places, one of which is their website.

The imagery on their website, along with that attached to some of their video uploads is scarily incongruous with the sounds they’re producing. Think rows of war graves/ hundreds of people in gas masks etc – somewhat death metal – where as No Ceremony are providing electronic dreamscape sounds that you can have on repeat for your entire summer (when it eventually arrives). I have looped it for almost a week without a thought as to looking elsewhere.

Think thin fuzzy blue lines, surreal and split up electronics, ethereal vocals and both lightly acoustic and ruffed up and distorted guitars. A comment posted on their HEARTBREAKER video on youtube sort of sums it all up” WHO ARE YOU!! and why is your music perfect!!!

I also want to know, but in the meantime will simply keep clicking repeat.

No Ceremony are set to play Manchester as part of the Future Everything Festival and I, for one, will be going!

Today I listened to: No Ceremony
Today I watched: Scott & Baily
Today I read: The Rough Guide To Berlin 

 

I played with various crops of this image, but ultimately kept returning to the original because I just liked the variety of colours, textures and lines.

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Vivienne Westwood Spring/Summer collection in Selfridges – not fast fashion, but trashy/clashy style!

Posted on March 20, 2012 by

Ooh I do love a bit of Vivienne Westwood. Very much like Alexander McQueen’s designs in ethic, Vivienne Westwood’s are ultimately, at their core, a little bit scruffy. Yeah, yeah, yeah, I know – exquisite tailoring, beautiful bold pattern, supreme workmanship. Ultimately, however, it has a messy, individual edge that makes is accessible to everyone, even a trash-fash, charity shop stalker like me.

So, having heard it was now in stock, I merrily trotted along to Selfridges Manchester to check out the new Spring/Summer 2012 collection. With hair swinging and teeth shining (I didn’t quite look like this but I’m enjoying the vision) I skipped up to the second floor where they’re stocking the Anglomania collection. Considered very much as a way into Westwood (which sounds like a grand road lined with large oak trees), Anglomania is an affordable way, in designer terms, of buying into the brand.

Each season is based around the same set of staple items – drape dresses (which can be worn as long t-shirts), wide necked blazers, angled skirts, slim cut trousers etc – simply refreshed and re-vamped for the new season’s style. Only Westwood doesn’t ever follow trends and therefore does not produce collections that include, what you thought was, this season’s style. Subsequently, despite the Mystic Meg’s of fashion foreseeing a S/S 2012 that is laced in pastel shades, Westwood’s collection includes black, sparkled velour, shades of beige, moss green and navy blue and more heavy printed tassels than you can shake a golden orb at.

Consequently, if your S/S is donned in Westwood, you will not blend into the crowd. But I don’t think that is ever Dame Viv’s intention. Stamping itself all over the collection is a heavy use of sharp Oxford stripes, a light spattering of check and gingham (of course), the introduction of a bold tassel motif and the re-emergence of her squiggle design particularly in the accessories.

The squiggle is also repeated in the jeans Westwood created in collaboration with Lee (have now trotted down to the men’s department). It lines the inside of a jet-black pair of denims that is blazoned with a diamond studded Westwood orb on the back pocket – all yours for a bargainous £125.  In my chazzer shop terms, this is pricy, in designer terms, it’s bargain of the century. In the world of ‘fashwan’ (which is sometimes on a slightly different planet), the entire Anglomania collection is extremely reasonably priced. In a way, it depends on how much you intend to buy.

Westwood, a long-term campaigner against the ecological and ethical side effects of fast fashion, has repeatedly said “Buy less choose well”. It was in fact printed across her S/S 2011 gold label campaign t-shirt (this year it’s “Trees Save Lives”). For somebody whose business is to sell clothes, Dame Viv is telling us to buy less.

Recently, and widely, reported to have said “People have never looked so ugly” her design principle is very much based on individuality, buying well and making it last. Despite my obsession with second hand and vintage, I totally agree with Viv here. I have a Westwood Red Label classic white, angled shirt. It is about three years old yet looks as sharp as ever and could comfortably sit alongside her S/S 2012 collection. This isn’t because Westwood is old fashioned, but rather because she is all style.

There is a recognizable and distinctive Westwood style that embraces individuality (does not follow fashion) and encourages you, in wearing it, to do the same. Alongside the black Lee’s are several updated MAN classics (her male Red Label) alongside some key Gold Label pieces. These well-made, mixed-up, unisex items really sum up Westwood. For example, her MAN Gold Label Heart Gaia T-Shirt – a long, oversized, angular cut, black t-shirt awash with a huge red heart – would look just as good on a woman, belted in with heels or boots as on a man, quiffed-up in skinny jeans. Less ‘one size fits all’, more ‘these are my designs, now go and make them your own’!

To accessories this dandy lot is the reliably outlandish collection of bold checked bags and purses, some impressive and deathly jewelry designs and an unusual set of cufflinks (I thought they were taps till I heard the person nest to me laugh at their phallic shape and I realized they were in fact penis’s, and so swiftly moved my staring face away from the glass cabinet). There are also some truly honey-pot heels (sculpted and smooth like they were made for Miss Piggy) and almost Regency style plastic pumps.

So off I skipped on my merry way – full of stylistic inspiration and feeling a strong urge to button up all my clothes at a jaunty angle. I didn’t buy anything, but I fully intend to and I have worn my Red Label shirt three times since, each in a very, very different way. I think Dame Viv would approve. No fast fashion for me but rather trash/clash/more dash than cash style and a piggy bank with Vivienne Westwood’s name on.

Today I read: The Handmaid’s Tale by Margaret Atwood
Today I listened to: My heart, it carries the sound by Last Harbour

 

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The Gospel According to….. (Part 1) – 30th Anniversary of The Smiths at the Holden Gallery

Posted on March 16, 2012 by

This spring marks the 30th anniversary of one of the most critically acclaimed and influential bands in modern musical history, The Smiths. What better way to celebrate the musical mark they have made than with a singing, refrigerated bear, a conspiracy theory about the death of Diana and a whole lot of tap dancing; all in the name of art.

Lucienne Cole’s Dance To Music, Lars Laumann’s Fortelling the Death of Diana and other alternative and interesting pieces have been brought together to pay tribute to the band as part of an exhibition at The Holden Gallery, Manchester. The Gospel According To… (Part 1) is curated by CUBE’s Creative Director Jane Anderson. The aim of the exhibition is to explore The Smiths and their cultural impact by bringing it into a contemporary context.

Formed in Manchester, The Smiths made a massive global impression. This is marked by the fact that the artists and where the art was made spans several countries, adding an international twist to the affair. These artists have individually, and quite uniquely, re-interpreted the band’s cult status into a variety of mixed media pieces as part of the anniversary celebration. And The Holden Gallery offers a beautifully clean and open space in which to explore the pieces.

In the middle of the room, on top of a table is Lucienne Cole’s piece. Tap dancing to Heaven Knows I’m Miserable Now, her performance, recorded at the Fabaret event and full of technicoloured tremors and transmission interference, is captured and played on a tiny grey TV.

There’s an expansive collection of original images by photographer Stephen Wright whose iconic portrayal of the band has become synonymous with how they are visually perceived. His widely applauded ‘Salford Lads Club’ image of the four members appeared inside The Queen Is Dead and now hangs in the National Portrait Gallery.

Displayed alongside his history defining collection is a humorous, and oddly nostalgic, collection of modern day equivalents. Their grimy colour pose an interesting contrast to the original monochrome set. Jeremy Deller has included a couple of his luminously bold prints and Jan Timme has painted his work 5 Words, straight onto the gallery wall. A piece that is almost invisible but very there, you have to walk the width of it to read “Work is a four letter word’ recalling the B-side of Girlfriend in a Coma.

Laumann’s Fortelling the Death of Diana occupies an entire mini theatre booth inside which, spliced cinematic clips are played on constant loop. This is over-laced with a recording of the artist explaining his theory of how Morrissey foretold Princess Diana’s death in God Save The Queen. Another piece, Bootleg Booth, again offers you solace in the darkness of replayed video clips, digitalised and repeated in all their lo-fi glory courtesy of Brave Music Agency.

Striking a counteractive display is Andrew Bracey’s Karhu This Charming Man. Created in Helsinki, the piece features the Finnish traditional god, the bear, transformed into a karaoke singing, symbol of a beer company. Sat, as a box of beer inside a fridge, the bear mouths This Charming Man beside jars of pickles and cartons of fruit juice.

The Gospel According To… (part 1) runs from 16th March till 4th May. In conjunction, (Part 2) will be held at Cornerhouse, Manchester on April 12th. This panel discussion will look in retrospect to a 1980’s Manchester as inhabited by The Smiths. It will explore the social and cultural politics of the time and discuss how this affected the formation of the band and the music produced, which went on to have such global resonance. The grand weight and impact of their cultural legacy is what the artists in (Part 1) have re-evaluated into something fresh and new that represents where the band sit in the present.

An absolute must for fans of The Smiths, drummer Mike Joyce, who was at the preview, accurately summed things up. When I asked him if he was enjoying the exhibition he replied “Very much so. It’s thought provoking, funny and at times, a bit scary! Just like the records. Perfect.”

Today I listened to: Your heart, it carries the sound, Last Harbour
Today I read: The Independent Online 

 

This is a composite of two images taken from The Gospel According To (Part 1) exhibition. In a way it is my re-interpretation of the exhibition itself.

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The Slow Show Brother EP – both summer and shade and beautifully rueful

Posted on March 15, 2012 by

It always pleases me when artists I abuse the virtual hell out of online, actually bring out a real hard-copy-something I can own and play for real throughout the rest of my life. Following on from their fantastic performance at The Ruby Lounge (review here), I have myspaced The Slow Show to within an inch of their dust-bowl life.

Despite being driven by up-tempo, indie-type stuff (preferably electro based, because in my head I am an 80’s, false eyelash wearing, robot), I am currently consumed by all that is darkly filmic and soulful. Last Harbour, Ren Harvieu (review here) and The Slow Show have joyously – or actually quite lamentingly ­­– sung me into early spring. I would really love to see a gig of all three together in fact.

Fortunately I own Last Harbour’s newly released Your heart, it carries the sound, fantastic it is too. This means they are loaded into my iPod and can soundtrack me on the go. Ren remains on virtual loop (until her album release in April) as did The Slow Show until this morning when I received a real hard copy of their Brother EP through the post.

Beginning with God Only Knows, the EP welcomes you with the beautiful northern brass horns that I remember so fondly from the gig. It quickly opens out into a more expansive swing with sweeping drums and a lightly twangy, country-esque guitar before the delightful syrup-sponge vocal tones of Rob Goodwin. He drawls you through a tale of change and uncertainty, over such whisperingly repetitious horns, that you are soon swayed into a state of summer-hazed sleepiness.

The title track Brother, wakes you up from your lazy lay with a sharp, echoing, piano intro that sounds as though it is playing from down the corridor of a large and empty house. This is a more romantically sorrowful affair, heavily aided by the beautiful use of Adrianne Wininsky on Cello and a larger use of musical space, particularly in the first half of the song. The second half lifts into something slightly less introspective, but equally reflective. Lyrics move on from “You’re to young to leave me brother” to the sharply emotive “Oh brother, you’re just another story” as it musically swells into an almost dirge-like impact, before imploding into a whispery nostalgic conclusion.

Dirty Little Secret seems at first to be a lighter, less melancholy, track with elegant cello and simple piano over a straight but effective beat. However, despite the increased heartbeat pace, we soon return to themes of uncertainty; this time of a man and his “dirty little secret”, as sang with understated haunting by Zoe Chiotis behind Goodwin’s appeals of being on “that slippery slope”. They then vocally join forces as lovers who battle it out with the lines “another late night, another drunken fight, another lover’s poor and desperate call for redemption”. Another musically bitter pill you aurally and indulgently swallow.

We have more of Zoe’s delicate backing on closing track Goodbye Rose. This gently eases you back into yourself with even more musical space than was used in the earlier parts of Brother. Here, Chiotis’s backing is even lighter and more airy in contrast to Goodwin’s vocal crawl, which he delivers with an even heavier laze as he suitably sings “And so, now it’s all gone, goodbye”.

Moving on from spring, the Brother EP cover certainly has more than a touch of summer to it. It pictures a young boy, holding his nose, mid icy-splash in a lake. However, this being The Slow Show, the lively scene is washed over in subtly dark, green-grey hues. It is an image of both summer and shadow, visually and emotionally. It perfectly suits the EP, which is, at all times, looking forward with a nostalgically strong heartstring attached to the past. The four beautifully balanced tracks, recorded and mixed by Keyboardist Fredrik Kindt at Blueprint Studios Manchester, demonstrate a confident use of musical space that gives full respect to the instrumentally considerate composition.

Again I am left eager for their next show. Fortunately, for an over-obsessive like myself, I do not have to wait long.  They are launching the Brother EP (available to download and buy on May 7th) this Sunday 18th March at The Deaf Institute, Manchester. And I, for one, will be attending, with suitably rueful bells on and a gloriously ‘woe is me’ look on my face.

Today I listened to: Brother EP, The Slow Show and My heart, it carries the sound, Last Harbour
Today I read: Handmaid’s Tale, Margaret Atwood

 

We don’t smoke, but we love this Vimto ash tray. I bought it for my other good half from Vintage Village and gave it to him as a valentines gift. It’s yellow with ‘Drink Vimto’ on it, what could be more suitable.

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