A mad dash to find the venue led to my great relief in realizing that I hadn’t missed tonight’s support act, Thomas Tantrum. Their captivating lead singer was perhaps one of the best things of the evening. Her voice is enriched with dry wit and British charm, and I found it difficult to take my eyes off her. There was a point in their set though when I was particularly worried for the safety of the bassist, he seemed only moments away from careering right off the stage and into me – which would have spilt my beverage for sure!

Born Ruffians seemed to gather on stage from all over the place. In fact the whole set was a somewhat magnificently ramshackle affair. Considering the first half compiled of only drums, bass and vocals (due to some technical difficulties) I found them so endearing I barely noticed. This band use vocals to full effect, layering their drawls, yelps and pirate-like garrrs to create something so effortlessly catchy that the crowd can’t help but attempt to sing along.

Fashionistas, contemporary art lovers and popular culture enthusiasts - be prepared to marvel alike as Pepe Jeans gets set to release a new stand alone collection inspired by the controversial art radical himself – Andy Warhol.

The new collection, which consists of two distinct lines – Pop and Factory, celebrates Warhol’s work, personal style and love for American popular culture and features much of the iconic imagery that he’s so famous for.

Inspired by his dramatic screen prints, Pop includes Marilyn Monroe and Campbell’s soup printed shirts and tee’s alongside vibrant shift dresses and a gorgeous Monroe inspired knit top, which, thinking about it, would team wonderfully with a denim skirt I have at home…hmmm….

Other pieces in the collection include studded blazer jackets, branded denim and fantastically bold metallic trousers that are bound to bring out the rebel in even the most conservative of us!

The full 250 piece men’s and women’s range is due to hit all Pepe Jeans stores in July, so run along and have a look if you feel brave enough, but be warned – it’s not for the faint hearted.

Whilst walking down Brick Lane in the early hours you often step on something unexpected, but I certainly did not expect to stand on an astronaut. Well it may only be a picture but it shocked and intrigued me all the same. Its glossy photo finish lead me to believe it was non-advertising material and was simply a memory that someone had lost. So in true British fashion I took it anyway, but made sure nobody saw!

It wasn't till I reached the safety of four walls and a roof, that I explored this exciting little find and found that there was yet further intrigue. todonnalovebob.org and an apparently random sequence of four digits where scribbled on the back.

So immediately I pulled out my laptop and hit todonnalovebob.org. After typing in the not so random digits, on a very minimalist page by the way, I was told to write my details on the back and send it back to the address provided.

So with my details provided and a stamp stuck on the back of Ozzies head I sit and ponder what to do. Send my name and address to a total strange (of course I'm hoping this stranger is Ozzie as he looks so sincere and normal!!) or simply keep my identity safe and never know what the next step is.

Well I guess curiosity wins at the end of the day, I'm of to the post. I do hope Ozzie writes back soon! I'll let you know if he does.

Brainlove Records were holding an all-day session at the Windmill, comprising of various (often slightly bonkers) artistes on their impressive roster. I’d wanted to catch the wonderful Tim Ten Yen (accompanied, as ever, by the Sinister Cat), as I’d seen him at the same venue some time ago, but sadly I’d missed him. However, the other main attraction for me, Napoleon IIIrd, did not disappoint.

Tonight he was playing the many highlights of his debut album, In Debt To - backed by a full band. Running through favourites like Defibrillator and Guys In Bands, the supporting line-up of bass, backing vocals and drums provided a much beefier sound than on record, with the often weird and frequently wonderful toytronica accompaniment that dots the album more in the background. The set finished, with the aid of a guest trombonist, on the marvellous Hit Schmooze For Me, probably the greatest, wittiest dissection of the daily 9-to-5 yet committed to vinyl. How can you argue with a song that reminds you that a day job is just that, and not your life?

The new section of amelia's blog will be online shortly!

The quintessentially English Bragg arrives on-stage in a vibrant Colston Hall this evening looking decidedly American – Elvis quiff, black and gold cowboy shirt and boots. It's a look he just about pulls off thanks largely to the fact that though now in his 50’s, Bragg’s looks have barely altered in over 20 years. The bard of Barking is here showcasing his first studio offering in 5 years, the rather good 'Mr Love and Justice', but tonight he cuts a lonely figure on-stage as he opts for a solo performance without long term backing band The Blokes, who's rugged musicianship on said album offered a nice clarity of depth. So, we are left with Bragg's no nonsense , one man attack approach for the best part of the next two hours.

With little way of introduction, 'The World Turned Upside Down' gets things under way, much to the delight of tonight's knowledgeable audience. It's a solid opening but soon, Bragg is bemoaning the fact that his voice is not quite 100% - the fallout of a St George's day inspired session on Stella just the day before. Correctly, he is reminded that people don't really come and see him for his voice, and the gripe is quickly forgotten. In between musings on Public Schools, Marmite – which is the source of a running gag throughout the show – and English breakfast tea, there is a workmanlike take on 'Farm Boy' from the new record and an excellent Woody Guthrie cover 'I Aint Got No Home In This World Any more.'

An acoustic rendition of 'Shirley' reminds us of Bragg's ability to write a brilliant piece of radio-friendly pop – something for which he receives little credit, albeit understandably given his commitment to the tireless promotion of weighty political and cultural ideals through his music. He returns to this ground with the engaging 'O Freedom' again from the latest record, which is preceded by a 5 minute introduction concerned with human rights and liberty. These type of soapbox moments are a staple part of the Bragg live show, and whilst he does tend to, on occasion hammer the point home a little too much, it's forgiveable given his staunch libertarian stance, and obvious pride and belief in what he is preaching.

He gushes about this years Rock against Racism, (which took place two days after this) and harks back to the personal effect the initial event had on his personality and beliefs 30 years ago. Whilst 'Power In The Union' is in homage to the teaching strike that took place across England and Wales earlier in the day, and Bragg's arms in the air youthful exuberance throughout this is refreshing.

Regrettably, a host of trite lyrical changes on 'Waiting For The Great Leap Forwards' manages to completely ruin what is one of Bragg's finest compositions, but a superb encore consisting of a lovely ballad version of 'Like Soldiers Do,' 'Sing Their Souls Back Home' – probably the best anti-Iraq war song of the newbies and an audience sing a long of 'A New England' mean things end on a high.

TONIGHT FROM 6PM - 9.30PM } WATCH AMELIA PERFORM AT THE ART VINYL GALLERY!

The Eel are launching Issue 10 of their Hackney based magazine; covering local issues and events with witty idiosyncrasy. Tonight will be particularly special however, as Amelia will be singing with the Hackney Secular Choir! Other contributors include Rosie from Tatty Divine and Rachael from Prick Your Finger, among a whole host of other great local creatives. The Eel also put on a community festival in August on Vyner Street that's well worth putting in your calenders - last year there was a right ol' fracas between the locals and artists.

And as for Amelia singing, expect undoubtedly dulcet tones alongside truly heartfelt renditions of Ian Drury's Sex & Drugs & Rock 'N' Roll, as well as Buzzcocks and Sham 69 songs (and they're open to suggestions). You can join the choir yourself, every Monday @ 7.30 St. Johns Church, Bethnal Green, anybody is welcome, particularly men, followed by debauched boozing down the local. Claiming to be a Punk Anarchist Choir, you're therefore not expected to have the voice of an angel but to simply want to be a part of it, so clear your throat and get singing!

Roll up roll up! Graduate Fashion Week is within sight, and this year it promises not only to be bigger, but even better.

Arguably the best place to spot the latest and greatest of new talent, this year's GFW has moved to Earls Court 2 and will celebrate more than 1000 of the finest BA Degree fashion students from 29 selected universities and colleges from around the UK. The event attracts some of the industry's biggest characters, with Victoria Beckham herself judging last year - ooh la la, we are blessed! - and other fashion incredibles such as Hilary Alexander, Sophia Neophitou from 10 Magazine, and Liberty's Design Director Tamara Salman; everyone who is anyone should be pencilling this grand event into their diary.

The 2008 event will be showcasing from Sunday the 8th of June until the 12th, and tickets are available online now for Gala Show One, which is scheduled for 5.30pm on Wednesday the 11th. This first show will allow visitors to see all student entries for the Gala Awards, but no winners will be announced at this performance; that's for the 'invite-only' Gala Show Two shown at 8pm on the same day - pah, that's showbiz for you! This second show will feature the best 16 collections from the week's shows, and include announcements of all prize winners. But don't be disheartened all you non-invite-worthy fashionistas, GFW is still THE only major international fashion event open to the general public and a chance for anyone to sit alongside the greatest fashion editors and talent scouts from around the world, to watch the finest professional catwalk shows. So what are you waiting for? GET YOUR DIRTY MITTS ON A TICKET NOW!

2007's joint River Island Gold Award winners - Jasper Chadprajong & Nicholas Thomas

Admissions for GFW days June 8th -11th:
Static exhibition only: £10.00 (no advance booking) / University Show: £10.00 + £2.50 handling charge (if purchased in advance) inc. admission to the exhibition / Gala Show One 5.30pm: (June 11th ONLY) £25.00 + £2.50 handling charge.

Tickets for all University shows and Gala Show One available NOW online: www.gfw.org.uk

Jenn face exhibiting the exclusive 'Amelia' badge

Lady Luck Rules Ok! understands one thing completely; my hesitation when it comes to attention-grabbing statements. First it was the range of skeleton jewellery which made it possible for me to getaway with forgetting (read: purposefully ignoring) fancy-dress on October 31st, and now for those of us who quietly admire the artwork adorning the skin of others but are just too much of a scaredy-cat to go under the needle ourselves, may we present, the Lady Luck Tattoo Parlour.

Perfectly timed for summer’s nautical trend, the new range of necklaces and brooches are personalised with your name and the kind of imagery usually associated with British Royal Navy nostalgia and a certain spinach-eating cartoon hero. Choose from anchors, hearts or swallows and Leona & co will provide you with the perfect accessory to wash away any cabin fever, with a 50s twist. For maximum impact try teaming them with vintage prom dresses and plenty of eyeliner. Ahoy!

If you're looking to fill up your gas tank, you've come to the wrong station, as the most you will get from these pumps are a few yards of yarn. Unlike anything I've ever seen, this once abandoned gas station in Dewitt, NY has been completely blanketed with colorful fiber panels from around the globe to make a statement about the world's dependency on oil.

Artist, Jennifer Marsh, a third year Master of Fine Art student from Syracuse University, was behind the project known as the International Fiber Collaborative. For the past year, Marsh has made the project known across the world. Participants from 15 countries and 29 states created fiber panels to cover the gas station's 5,000 square foot area. On April 12 the station was transformed with a reception to celebrate held on May 3.
As I approached the reception, the soft jazz sounds performed by Hannah Richardson and Phil Flanigan combined with the smoky aroma from Conella's BBQ grills gave the sense I was in the backyard of a thoroughly enjoyable family picnic. The casual group of guests ranged from children to grandparents, all circling around to view the crocheted, knitted, stitched, patched, photographed, silk screened and collaged panels.
The artists were requested to create something to express their countries use of oil. Open to interpretation, the 3-foot squares were quite contrasting from one to the next. People creatively crocheted shopping bags to display the dependency we have on petroleum-based products beyond that used for our cars. Other materials crocheted included VHS tapes, plastic sleeves from ink cartridges and labels from soda bottles.
While the tentative date to disassemble the gas station cover is this summer, the number of contributors will determine the future of the installation. If enough people continue to create panels, this has potential to cover more abandoned gas stations across the world. Whether you’re an amateur or professional artist, if you have interest in creating a panel please visit the International Fiber Collaborative website at http://www.internationalfibercollaborative.com/ for more information.

'A Home for Alice' is a world wide art project that started in 2008. The concept is very simple; Alice has asked people from all around the world to send her a Polaroid picture of their home, be it a flat, their childhood house, their friend's place, or any living place where they feel at home. Along with the Polaroid, Alice asks them to write why they feel home there.

The idea came to her as she was walking through the streets of Copenhagen at night. As she looked through the windows of these strangers 'homes', she felt a sense of loneliness. Originally from France, Alice has been living in Copenhagen for the past year, yet has still not felt like she has a 'real' home; kind of trapped in between two places.

As she got back to her flat later that same day, she wondered if this wasn't her home, where was it? She had to find it.

So far she has received Polaroids from the UK, France, USA, Australia, Canada... and they still keep coming. Once she receives them, she scans the photo, envelope and the text, and then posts them up onto her blog A Home For Alice and on her Myspace website.

At the end of this project, Alice would like to collect all the best homes, and publish them in a book; a collation of her adventure.

Since starting the project, Alice has come to realise that she doesn't really want to live in just one place. She is a citizen of the world, with so many other creatives inviting her into their homes. Let's say she feels 'half way home'.....

A Home For Alice is going to be showing in Melbourne at Rosie Gallery in August. So she needs to get as many people as possible to participate. So if you wish to, all the information is on her site A Home for Alice.

Changes have been afoot in the Tindersticks camp ahead of tonight’s show, the band’s first in London since their appearance in the Don’t Look Back series of retrospective gigs a couple of years ago. The original line-up is in somewhat reduced circumstances, now comprising a core of singer Stuart Staples, keyboard player Dave Boulter and guitarist Neil Fraser, whilst their first album as a three-piece, the Hungry Saw, provided the bedrock for this performance in the reverential hush of the Royal Festival Hall.
The new album sounds fresher than their last couple of outings, though there are no radical departures, musically or lyrically. There are still the sweeping strings, as well as the more soulful inflections that have characterised their sound since the late ‘90s, whilst the interjection of jarring, off-tempo guitar during Mother Dear is a nod to their murkier, edgier (untitled) debut album. As always, there are the dolorous tones of Stuart Staples, whose delivery has in the past been unfavourably compared in some quarters to Vic Reeves’ pub singer!
As a long term fan of Nottingham’s finest, and having seen them a couple of times before, I wasn’t sure quite what to expect from the new look band. We began with a solo Dave Boulter playing the simple piano motif of the album’s opening track, the rather sensibly titled Introduction, a piece very reminiscent of a score from a French indie film (in which Tindersticks have form, having twice collaborated in the past with French director Claire Denis). Gradually he was joined onstage by the various additional musicians (including a full string section and a horn section led by the redoubtable Terry Edwards) and the rest of the band.
The Hungry Saw was played in its’ entirety, and though not exactly a Year Zero style statement of intent, it did make sense to focus on the restructured Tindersticks’ present and future, rather than dwell on the past. There was a brief intermission of older songs, including the aching Travelling Light from the masterful second (again, untitled) album and the gorgeously laidback cover of Odyssey’s If You’re Looking for A Way Out from 1999’s Simple Pleasures, by which time the audience were feeling brave enough to cheer on their heroes rather than offer polite applause between numbers (though between-song banter with the crowd was never the band’s forte).
Tindersticks lit up two encores with the blackly humorous My Sister (always a favourite with this reviewer) and the playful She’s Gone, but on the strength of their new material, I’d say the future for the new band looks bright.

From the music of delightfully eccentric GaBLé comes a darkly humourous video made by Yannick Lecoeur.

GaBLé / Drunk fox in London from Yannick Lecoeur on Vimeo.

7 Guitars With A Cloud of Milk is out on Loaf on the 19th of May.
Full of short ditties, none lasting more than two and a half minutes; this album reminds me of listening to short stories being read on tape - but the musical version. 7 Guitars With A Cloud of Milk is a thoroughly engaging album; taking you on a journey through a number of different scenes - all coloured in with GaBLé's swinging accents; at times distinctively French, and at others almost Cockney, innit. The songs move quickly; trotting away with you before you even know that you're following, wreaking havoc just like their drunken fox in the video by Monsier Lecoeur of the so-named ten minute album closer.

Not the usual suavé Frenchies - but alluring and captivating all the same...Vive le GaBLé (and their drunk fox in London).

A Monday night venture into an extremely damp Soho led me to the welcoming bosom of Madame Jo Jo’s, hosting a single launch by up-and-coming band The Outside Royalty. Sheltering from the elements, we were treated to two other acts in support, so a big “big up” to the wonderful Penny Black Remedy and their mix of psychobilly country skank and to the powerful voice and big piano sound of Ciara Haidar.

A couple of years ago the Outside Royalty took an almighty leap of faith and moved from their native Pittsburgh to London, acquiring an English bassist and French cellist along the way. They’ve quickly built up a sizeable and dedicated following, garnered some favourable reviews and late last year supported Young Knives on tour. Tonight we were promised the last airing of some favourites from their current repertoire before they disappear on a mini UK tour, road testing some new material.

Musically, the Outside Royalty blend electro-acoustic guitar, violin, cello and synths to create a euphoric blend that is by turns reminiscent of Arcade Fire, Pulp and early Roxy Music (amongst others), and vocalist Adam Billings’ voice has a definite hint of the Ferries and Bowies about it. Before launching into their renowned version of Eleanor Rigby, they joked that they haven’t yet made it to Liverpool, so they don’t know what sort of reception their cover would receive round those parts. The debut single, Falling, is an insistent track with a memorable chorus that quickly embeds itself in the little grey cells and, after a bit of a false start of an encore, they finished with the driving Liquid.

Stepping back into the sodden Soho streets, I think it is time for people to welcome in the Outside Royalty. Watch this space.

Reviews for the Sheffield band’s second long player, “Couples”, have been decidedly mixed, to say the least, but The Long Blondes faithful were out in force at the Forum tonight. Flanked by a phalanx of female mannequins (a post-modern twist on Kraftwerk, perhaps? Maybe not). Kate Jackson and co took to the stage and opened the set with probably the most off-kilter of the new tracks, Round The Hairpin. To me it sounded better than on record (as did most of the “Couples” tracks aired tonight), though the audience largely seemed a little unsure with the new material, only really springing to life with the more familiar territory of 2006’s debut, Someone To Drive You Home.

Whilst lyrically the Long Blondes cover pretty much the same ground as before (though the “Couples” in the title refers ironically to the Abba-esque situation of the two inter-band relationships coming to an end), musically they have opted-for a smoother, more disco-punk sound reminiscent of Parallel Lines/Eat To The Beat era Blondie. Certainly, Kate Jackson’s vocals on the new songs have a distinct hint of Debbie Harry about them, especially on Century. The band’s detractors have often focussed on her often one dimensionally bombastic delivery in the past, though she is much more nuanced and controlled on the new songs.

A quick encore of Lust In The Movies sent the audience home happy into the Kentish Town night, and though “Couples” may not be a great album, it certainly shows a rare willingness for a (reasonably) new band to change direction stylistically so quickly.

Thanks to the Victoria Line (or lack thereof), I was running late for my inaugural Guided Missile night at the Buffalo Bar, at the very upper end of Upper Street. The main attraction for me tonight was the Outside Royalty, who I’d seen a number of times over the last year or so, but I’d also heard good things about Official Secrets Act, who were headlining.

I’d missed the opening act but, after squeezing up to the bijou bar, settled down with the help of a bottle or few of the Czech Republic’s finest to enjoy the rest of the night. Almost immediately, the stage was taken (in more than one sense) by the rather improbably named Ape Drape Escape. Hailing from Sheffield, they were a heady blend of glam and electro punk, and like many of their predecessors from the Steel City, from the Human League to Pulp to Arctic Monkeys, they drew from the same wellspring of wit and attitude (and in Phil Oakey’s case, hair styling tips and eyeliner). Their frontman, Martin Clark, when not engaging in witty banter, was busy thrashing about the stage and often disappearing into a sometimes bewildered audience (once on all fours!), like some weird hybrid of Iggy Pop, Ian Curtis, Jarvis Cocker and, er, Peter Kay.

The Outside Royalty’s star is very much in the ascendency. Having taken part in the Road To V competition and toured with Young Knives during the last year, whilst garnering lots of favourable reviews along the way, this Pittsburgh-born but London-based band have an imminent single release on Bloody Awful Poetry Records and were tonight having a video filmed for said single, Falling. As it was, we ended up with Falling being performed twice, for the benefit of the cameramen (not that we were complaining). The Outside Royalty have been compared to Arcade Fire, but in a positive sense, due to their driving acoustic guitar mixed with cello, violin and synth accompaniment, and they never fail to be uplifting, especially with a rousing and unexpectedly energetic cover of, of all things, Eleanor Rigby.

Similarly, headliners Official Secrets Act appear to have a bright future in store, with words of encouragement of from the likes of Steve Lamacq and Marc Riley behind them. They played a fast and furious set of angular guitars, lyrical waxing, pulsing synths (with what looked suspiciously like a harmonium thrown into the mix) to get the crowd going. They even snuck in a cover of The Ronettes’ Be My Baby which, in the immortal words of the Fast Show, was nice. A good line-up overall from this well-established club night.

Winding my way from the general hubbub of Old Street on a chilly Tuesday, sanctuary was sought in the welcoming environs of the Macbeth, which was playing host to an album launch by Lynch Rider Lulu, coupled with a launch for the band’s label, Alien Frequency Productions. I’d seen a bewitching set by Lynch Rider Lulu at the Vibe Bar some weeks ago, so my expectations were high, and I knew I wasn’t to be disappointed.

In front of an appreciative and attentive audience, the evening opened with a solo set of Americana-tinged acoustica from Sam Semple. Hexicon offered a mix of jaunty lo-fi pop and mellow alt-country, backed variously with wistful harmonies, a French horn and a wobbly Farfisa which was reminiscent of Stereolab’s fluffier moments.

The night, though, belonged to Lynch Rider Lulu, showcasing their debut album, Who’s Gonna Live There Now? The intimate setting of the Macbeth, with its’ suitably ambient decor, provided an ideal environment for their distinct sound. A bassless three-piece led by the deceptively delicate voice of Lucy Underhill, they blend brooding lo-fi twin guitars, melodies that can explode when you least expect them to and lyrics that swoop from the achingly tender (It’s You) to the macabre (Lady Betty, recounting the tale of a notorious 18th century hangwoman). The line-up was augmented for a couple of numbers by a guest bassist, but just as a trio they produced a remarkable, atmospheric set. Believe me, they’re well worth checking out.

A friend of mine recently asked me, "What is it with Swedish bands and 'heartbeat'? Both Annie and Robyn have tracks called 'Heartbeat', while The Knife wanted to be different and called a track 'Heartbeats'." Now, obviously the track I'm about to review is not called 'Heartbeat' or even 'Heartbeats', but the fact that my British friend could not only name three contemporary Swedish groups but also three of their songs without feeling as if he was exposing a guilty pleasure indicates how much our opinion Swedish music has changed (Ace of Base, anyone?).

Little Dragon are more Dance-orientated and a good deal less retro than the 'Heartbeat-ers', but still know how to craft a Pop song you can be proud to love. 'Test' opens with a clanging not dissimilar to the 1950s musique concrete of Stockhausen, as if to remind the listener of electronica's avant-garde origins, before immediately introducing today's most irreverent application of such Classical techniques: the 4/4 Dance beat. Punctuated by the most minimal Ska-styled guitar/keyboard I've ever encountered (is that just one note?), driven by a Dub-bassline that becomes beautifully indistiguishable from the kick drum and featuring a Jazz interlude, like all great Pop songs 'Test' shamelessly steals from the best.

However, the undeniable highlight of the track is singer Yukimi. Recalling Matthew Herbert's work with Dani Siciliano, her multitracked laidback delivery effortlessly transports the listener to the centre of a dancefloor at an indeterminate post-midnight hour. Soulful without forced vocal gymnastics and Bluesy without being cliched, much like the music itself, her voice is able to take in all that 20th century music had to offer and exhale something cohesive, contemporary and copious.

A chic dancefloor-filler.

While I am possibly the only person who thinks their music often sounds more like daft punk than Daft Punk, there is no denying that Justice WERE 2007 for many people. Having burst into public consciousness back in 2006 with their remix of Simian's 'We Are Your Friends' and made all of us D.A.N.C.E. (sorry!) in early 2007, later that year they decided to give us † (that's their album title, by the way).

On their debut LP 'New Jack' sits comfortably between the full-blown Jackson Five-esque pop of D.A.N.C.E. and 'Phantom', a track showcasing the Electro-Rock sound that the duo's reputation (especially as a live act) is being built upon. As such, it is an apt metaphor for Justice themselves - part kiddie-friendly pure Pop delight and part something more adult.

Beginning with a now all-too-familar French Electro favourite - a kitsch, forgettable/'never remembered in the first place' Disco-Pop sample - the track swiftly disinitigrates into a rhythmic storm of digital malfunction. The aforementioned sample is cut and pasted with decisive abandonment to resemble a skipping CD, carefully arranged distorted clipping introduces microscopic bursts of rhythmic silence, while random MP3-style glitches can be heard beneath the cacophony seemingly at random. And this is all before the listener's audio equipment appears to give up and switch to another track.

Whereas a few years back a similar approach was to be heard in more obscurist music by everyone from Aphex Twin to sound artists like alva.noto, Justice have made these sounds a whole lot more accessible (and D.A.N.C.E.-able... sorry again!) without dumbing them down.

The young design duo going by the name of If You could present their May set of prints by NODE and Kate Moross. As with previous months these prints will be available to pre-order for the entire month of May and never again thereafter. All prints will be dispatched after the edition has been confirmed at the end of the month and they are printed and signed by the artists.

For those of you whose heads have been in the sand, or the wrong magazines for the past year or so Kate Moross is the new hot stuff in the design and illustration world. And NODE is a Berlin and Oslo based graphic design studio, founded in 2003. Both Moross’ and NODE’s May designs are silkscreen printed on white heavyweight B2 paper using red and black ink - in classic If You Could style.

NODE’s contribution ‘Just Zang Tuum Tumb It’ (above) is sharp and bold, consisting of strong black type over a tilted red square. Moross’ print (below) takes a more illustrative approach. ‘I Would Run Away To New York’ is a whirlwind of sixties psychedelia with almost unreadable spiralling words.

To own one of these unique prints would be a special thing, and if I could I would frame it, hang it and name-drop Kate Moross when people visited.

I missed Pre. But I am sure they were suitably stirring and pleasurable and that Akiko got partially naked. They are like a Fun Park. Always there and always frequented. But next on where Skeletons, who I definitely did not plan on missing. Grungy and demin clad, Matt Mehlan former solo project, were instantly charming. Mehlan is a co-founding member of Shinkoyo records, an advocate of collaboration, experimentation, his Skeletons project does not disappoint. Percussion like drums, metronomic bass lines they have a mid-Seventies sound with late 80s slower tempos, dissonant harmonies, and more complex instrumentation. With lyrics like, “Every day he falls in love with the gorgeous backsides of every girl he sets his eyes on/ Follows them home to catch a glimpse/ But they never, they never, they never turn around” on Fake Tits delivered with wavering and delicate vocals. They have tribal rhythm and punchy brass, experimental instrumentation and inventive arrangements. They are inescapably endearing. Next. HEALTH, who for one have an insane drummer. Insane defined as ‘extended in time or space beyond what is consideration normal, reasonable, or desirable’ not legally incompetent. He was truly terrifying. Scratchy and rhythmic yet undeniably tight, HEALTH make you feel lazy. There are controlled moments though, with long hair being rhythmically swung about in a routine manner. But they do not last. As we return to feedback, which microphones being put on guitar amps and reverb-laden vocals teamed with an abundance of power. They are like a sped up version of Liars. In short, pretty incredible.

Planet Patrol is a series of ongoing live urban art events held at various venues in and around London. The concept behind Planet Patrol is to present some of today's most in demand and sought after urban artists, in an environment which allows people to witness live art/music & visuals all under one roof. Aside from the regular London events, Planet Patrol recently held it's first global sessions tour of Japan, Bruno 9LI one of Brazils most talented street artists was invited over to create live art whilst DJ Aya provided the necessary musical back drop.

Screen prints & original pieces from the likes of Eelus, SheOne, Dan Malone & Adam Koukoudakis were also on show. Planet Patrol held a total of three live events, these included Tokyo, Osaka & Fukuoka. Bruno 9LI created three mind-blowing canvases, one for each event, these took up to a total of fours each to complete. The lucky few who had been invited to these events witnessed live art from a truly dedicated and highly skilled master of his art!

Planet Patrol have Just released a very limited, signed, numbered & embossed silk screen based on an original piece that Bruno created for the Tokyo event! Bruno's next exhibition will be taking place in August at the Annno Domini gallery in California, Planet Patrol will also be exhibiting the new silk screen & an original canvas from the Japan tour at the Burning Bridges group exhibition to be held from Friday 13th June - 22nd at the Bricklane gallery, 196 Brick lane, London.

Mr Bruno Novelli has also designed the cover of Issue 9 of Amelia's Magazine.....

Silk screen available from www.planetpatrol.co.uk
Tour photos: www.flickr.com/photos/planetpatrol