Amelia’s Magazine | A Crystal in the Rough

LuckyPDF is a new artist-led project based in Camberwell and Peckham, this web search South East London. LuckyPDF aims to promote and support new artists and creative talent within the area by finding innovative and effective ways to produce and exhibit work.

Recently taking up residence in the UNITY centre on the busy Peckham High Street, LuckyPDF will play host to a series of exhibitions, events and happenings over coming months, working within the restrictions of this unique space and around the other groups that share it.

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The current Exhibition features Molly Smyth’s Sculptures which tackle the difficult subject of fear in relation to the recent attacks in Mumbai. I asked her what initially inspired her;

“I originally wanted to create an overtly violent exhibition which highlights the horror of the terror attacks in Mumbai towards the end of last year. That’s however not what materialized. It became more to do with the fear involved.”

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An integral part of the show is a large piece entitled ‘Continuo’ which both propels the art to another level but also acts as an invasive field for the viewers.

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“It’s based on the the Basso Continuo rhythm within Baroque music which lies underneath the melody and both propels and holds back the music.”

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The exhibition continues tonight and tomorrow night @ UNITY, 39 Peckham High Street.

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The Norwegian artist Lise Bjorne Linnert has created a project in response to the tragic, viagra and ongoing situation in the Mexican border town of Juarez, discount which sits on the border of the USA. It is difficult to comprehend, sales but the statistics are chilling – over 560 women have been murdered, hundreds more have disappeared, their whereabouts forever unknown, but it is suspected that they have been kidnapped for trafficking.

Desconocida:Unknown has to date, traveled through 22 countries. The project is very much a participatory affair. Those who come to the exhibition are encouraged to become involved, and embroider two labels; one baring the name of one of the murdered women, and one with the simple word – ‘unknown’. These name tags are added onto a wall which becomes the central medium of the project. Until March 22nd, it will be showing at The Gallery at University for the Creative Arts Epsom. Here, visitors can embroider whilst watching a documentary about the situation, called Threading Voices, also made by the artist.

descondida4resized.jpgFrontera 450+, at the Station Museum of Contemporary Art, Houston Texas. A show dedicated to the women of Juarez and their situation. This inspired me to start the project. i had moved back to Norway at the time and I wanted to create a project that somehow diminished the distance, the physical distance to the place and the psychological distance to take in information of such difficult issues. I wanted to create a connection, because violence towards women is a global issue, happening in every society, rich or poor, far or near.The situation in Juarez is extremely complex and very difficult to describe using just a few words. But I think it is very important to share that despite the horror that still are happening and the increasing violence towards both men and women due to a war on drugs in the city, the women and the community I have seen and collaborated with is not a victimized community, it is a community of an enormous strength and ability to fight back and with a believe in change. Believe in change through working with the youth, education, support of the families so they can speak for themselves. It is all organized with the smallest means and in an environment of violence and mistrust. The government’s attempts on improvements are described by the activists as cosmetic.”

What inspired you to choose to have participants embroider the name of the murdered women onto the labels?

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” The idea of the embroidered nametags came after a long time researching and thinking. I wanted to use a female activity as a way to protest against the violence, I did not want to celebrate the violence. I wanted to establish a connection that would enable us to see the women and hear the stories told, see them as individuals. I also wanted an activity that had connections back to Mexico but yet were global, which embroidery is. We all have a relationship with names, it is the first thing we learn to write and by embroidering the names we would remember that name. By being embroidered, the mass of names each take on an identity again, a dual identity, that of the named and that of the embroiderer.”

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Other than the labels, have you been using any other art forms alongside the embroidery, and how to you feel that this compliments?

“The project has inspired me to work using different art forms. After visiting Juarez in 2007, I decided to go back to tell the story of Marisela Ortiz Rivera and the organization Nuestras Hijas de Regreso a Casa. I wanted to share the power and strength the women are fighting with and made the short documentary Threading Voices. When exhibiting the project I also show the video “Missing young women” by the Mexican filmmaker Lourdes Portillo. This film shares the stories about the murders, following the families in their search for their daughters and for justice.
For me it has been very important to show that women are not victims but have strength to fight back. During the openings of exhibitions where Desconocida has been shown, I have done a voice performance, Presence, where I give a tone, and then I give silence. I take away the words, the relation to music and this leaves the viewer and I with the purely the voice, the note and the silence, and I think this brings presence forward. There are “no escapes”
For the opening at the Gallery at the University for Creative Arts, Epsom, I made a sound installation based on my performance idea.”

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What has the response been to this project, and where would you like to see this project going (apart from bringing justice to these women, of course).

“The project has grown much larger than I imagined when I started this, it has almost taken on a life of its own. I have decided that as long as people want to be part embroidering and the situation in Juarez remains the same, the project will continue to run its course. I hope more venues would like to show the project and by this engage more communities. It is important for me though that the labels eventually do not end their journey in a drawer in my studio. I am currently researching different ideas of how to bring the labels back out to the communities where they have been created, and doing so through an action/performance in Ciudad Juarez.”
What do you do when even the charity shops turn their noses up at your second hand freebies? Have them stripped for parts just like you would your bike! Tracey Cliffe, find with a background in costume design, information pills knows exactly how to spin fresh dresses out of frocks non-grata. Check out her popping new boutique in Afflecks Place in Manchester.
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Polly Scattergood

Rough Trade

Saturday 28th Feb, approved 2009

The ethereal Polly Scattergood performed a short set at Rough Trade East on Saturday evening to a small but attentive crowd. Whether they had wandered in from hearing her sound or were hardened followers was difficult to determine, pharmacy but all were enthralled by what Scattergood had to offer.

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Scattergood is an open and candid storyteller with the adorable quirkiness of Kate Bush and the timid vulnerabilty of Bat for Lashes. Part vocal, part soliloquy, Scattergood‘s songs are honest and real. She was a little nervous on Saturday, resplendent in an metallic puffball number with slightly tousled blonde locks. Her vocals wavered, but it’s a bold move presenting your music in a space as stark as a record shop. There’s no production, no flashy lighting, and there are customers wandering aimlessly trying to find their would-be purchases.

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In between haunting melodies, Scattergood gave little away apart from song titles. From one track to another, she kept a rapid pace, backed by a three-piece band who spend far too much time looking in a mirror (I’d imagine). The songs are original, though – and her dulcet spoken tones blend smoothly with her powerful voice (she dips like a young Moyet and peaks like a more mature Goldfrapp). She has a fresh indie sound with a scrumptious catchy pop twang, best detected on the balladic Unforgiving Arms. Scattergood is also onto a winner with the short show’s closing track, Nitrogen Pink, born with a whisper and maddening as it reaches its climax.

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April sees Polly embark on a comprehensive tour around the UK, with the album Stateside Releases expected to hit the shops this week. With a nod, a huge smile and a timid curtsy, Polly‘s off, safe in the knowledge that she’s served up a teatime treat.
Aussie by heart, for sale New Yorker by nature, pills Deanne Cheuk is at the vanguard of her field in fashion illustration. Her work has already graced the pages of Nylon, ampoule Dazed and Confused,Vogue and Tokion.She is showered with accolades, recently she featured as one of the top “50 creative minds in the world” by Face Magazine.

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Cheuk’s utilises a myriad of mediums that beautifully unite to create ethereal and dreamy pieces.Whisking you away from the realms of reality into the fairy tale-esque utopia of Deanne’s mind. Like a trip to the realms of Willie Wonker’s chocolate factory her visions are inhabited by mushrooms and a whole spectrum of colours, rather reminiscent of hundreds and thousands ,yum!!!

I have to concede I am so utterly besotted by Deanne Cheuk that even the thought of approaching her made me blush. But I am pleased to say I shook off my anxieties and hunted down this astonishingly talented lady to squeeze in a quick chat!.

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1.What other artists inspire you?

I’m always inspired by what my friends are doing, artists like Chris Rubino, Rhys Lee, Dmote, Suitman, Rostarr, Jose Parla, photographers like Jason Nocito, Juliana Sohn, Coliena Rentmeester, Davi Russo

2. In the past few years you have worked more in fashion illustration, was this a natural progression?

Yes it was a natural progression, I started out with drawing the Mushroom Girls series, and then ended up getting commissioned to do variations on that style for fashion magazines and fashion brands. I don’t really do alot in the Mushroom Girls style anymore as it started to get copied alot and a really tacky shoe company on the West Coast ripped it off as their branding. I’ve been doing alot of textile prints for different designers including my favorite designer Sue Stemp.

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3. You published a book a few years ago entitled the Mushroom Girls Virus Book, is there any chance of this going back into press?

Unfortunately there isn’t much chance of my book getting re-printed. The embroidered covers were all hand glued and that was incredibly time consuming for the printers to put together, it took a long time to produce. Though, regardless of that, I’d be more interested in making a new book than revisiting something that was already out there.

4. Alot of your work features mushrooms, do you have a fungal fetish at all?

I’ve always absolutely loved the under-sides of mushrooms, how delicate, intricate and soft and unique that part is. I’m also fascinated by the incredible varieties of mushrooms and amazing colors that are found in nature – so yes there is some fetish there for sure!

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5. Alot of your work is multi-media based, what mediums do you usually use when you work?

I nearly always start with pencil and watercolor on paper and finish up in photoshop on the computer, I’m a bit of a perfectionist and like to be able to retouch and control the final image in that way.

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6. Are their any plans to publish any more books?

Yes, I have a bunch of ideas for a typography book, and an art book and some kids books.

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7. Have you been to any interesting exhibitions recently?

I went to the Works On Paper show in New York this week at the Park Avenue Armory, my work is all on paper so it was really inspiring to see . My favorites were old Warhol’s and Lichtenstein’s’.

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You get a awe-inspiring sense from Cheuk of her passion for design, ,not content in conquering merely the fashion sphere she has set her intentions further a field in the world of children’s literature and graphic design. I for one can’t wait to see how these ideas materialise!
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Going from a magazine to an online blog; we at Amelia’s Magazine know all about the wonders of the internet. However until an email from Mousse Magazine landed in my email box I had no idea how much the process has moved on. Although the magazine is printed in runs of 30, viagra sale 00 and available from museums and galleries across the world it’s also available to download entire issues (and back issues) online. The best bit is that it’s completely free!

Founded in 2006 and distributed internationally since 2008 Mousse Magazine is a bimonthly and bilingual, written in English and Italian, review “that contains essays, interviews, conversations, exclusive artists projects and columns by correspondents from the international art capitals.” They aim to, “surf the trends, offer in depth analysis meet with the hottest artists, and capture the latest currents and developments in the international scene.”

Eager to see whether I could give up the thrill of flicking through the glossy pages of an art magazine I downloaded Mousse straight from the website (no visit to the shop necessary!) and had a look.

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Ok so it doesn’t smell the same as a new printed magazine, but I was pleased to see that there were still lots of lovely images of art for me to treat my eyes to. These pictures are accompanied by over 100 pages of articles about big contemporary artists such as Phillip Lai and meaty interviews with people such as Peter Coffin. The only issue is that reading the magazine on Adobe Acrobat is a bit of a challenge if you don’t have a massive computer screen. But think about the trees you’ll be saving!

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Over the last three months, treat I’ve done a lot of traveling. I toured with a band for three weeks around America and Canada. I turned that band on to Deer Tick by playing “Art Isn’t Real” for them as we drove through Ohio. After the tour, mind I went to visit friends in Brighton, England, Scotland, and Wales. I listened to “Standing at the Threshold” on the train to Brighton. I woke up blissful on my best friend’s living room floor to the tune of “Ashamed” and I cried, listening to “These Old Shoes” the entire plane ride home from England back to New York. For three months I was continually barraged with new things, new cities, new friends, new sights, sounds, and tastes, with one constant – Deer Tick was with me the entire time. I had their album “ War Elephant” piping through my headphones, regardless of where I was. All of these facts I “forgot” to share with the boys of Deer Tick, seeing as how I’m a shy person, and slightly embarrassed about my ‘superfan’ status. I did, however, manage to find out a bit more when I nervously found myself face to face (to face to face – because there are four of them!) with the band at a Chinese food restaurant around the corner from Manhattan’s Bowery Ballroom, where they were about to play a headlining show, the first night of a 6 week tour around America.

Deer Tick had very humble beginnings,” explains John McCauley, Deer Tick‘s mustached front man. “A few years ago I started writing songs like this and recording them with my friend, Paul, on drums, and that kind of fizzled. I kept trying to create the band that I had named Deer Tick. It was kind of me for a while and I really didn’t like it that way. I didn’t like to be known as a singer songwriter with a moniker, I thought that was kind of stupid, but I was really patient and made sure I waited to find the right group of guys to play with.”

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John’s patience paid off and resulted in the formation of the band in its modern day incarnation: Dennis Ryan on drums, Andy Tobiassen- to whom James Felice refers as “the cute one”- on guitar, soft-spoken and self described “post-adolescent, geeky looking kid” Chris Ryan on base and of course, John himself is responsible for guitar and lead vocals as well as penning all of the group’s lyrics.

While “War Elephant” is the work Deer Tick is best known for at the moment, their upcoming album, “Born on Flag Day” will be the first that these 4 have played on together. “It sounds way different than War Elephant, and, stylistically, I think it’s much better than War Elephant too. War Elephant, to me, feels more like a greatest hits rather than an actual album, and this one feels like an album to me, and I’m really glad that I got to record it with a band, rather than multi-track mostly everything myself, which was the case with War Elephant.”

Deer Tick has received positive reactions to both their album, and their live shows. At the near sold out Bowery show, the crowd is singing along, and everyone I talk to in the crowd is genuinely excited to be there, indicative of Deer Tick‘s growing fan base. While the media is desperately trying to pigeonhole Deer Tick‘s sound (terms like “freak-folk,” indie-folk,” and “lo-fi” plague any literature you might find about them, as well as attempts to lump them in with other emerging Brooklyn bands, as John, originally from Providence, Rhode Island, is now living in Brooklyn) John insists that “We can fit in anywhere, from a dive bar to the Bowery Ballroom, like tonight. We’re not trying to be anything, I’m just writing songs in a variety of styles and they get pinned down as folk. And then you can’t just call anything done by a young person ‘folk’ anymore, you have to call it something stupid like “freak-folk.” I just don’t get a lot of labels that people give us. I like to think that rock and roll encompasses everything we do, and that’s where my heart is.”

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“Born on Flag Day” is scheduled for release in June 2009.

The world of neckwear has never looked so exciting. So say goodbye to the days of that tedious and generic tie lurking in the bottom of your wardrobe. I think as a general consensus every male has one, information pills right? Yes, sildenafil the one that only raises its ugly head for job interviews, weddings, or funerals. Well, cast that aside and end his tragic existence. Instead say hello and embrace the innovative, hopelessly stylish and nonchalant new accessory line from design collaborative Timo. Fashion Designer Timo Weiland originates from the bustling sidewalks of the Big Apple. He is no newcomer to the fashion sphere, having already enjoyed cult acclaim nationwide for his distinctive wallet designs and environmental conscious design ethos.

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Their kitsch Manhattan style exudes chic, and the brand have become regulars in hip fashion magazines such as Super Super. After the roaring success of the wallet designs ,Timo decided to set his sites higher and break into the broader world of accessories. Utilising a myriad of different fabrics from satin to cashmere the new AW O9 features beautiful and opulent neckwear.

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Weiland draws influence from all facets of design and genres. Reinvigorating class silhouettes from the bowtie to the skinny tie, and then racing up the spectrum to highly architectural draped collar pieces evoking a distinctly Elizabethan air. Then to top it all off he throws some traditional southern American western in for good measure.

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The unique feature of Timo’s designs is there ultimate use as a cross functional accessory. So that bland dress that hasn’t been out of solitary confinement for months could suddenly be unleased on the unsuspecting world with a whole new look.

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Weiland blurs the lines between gender with many unisex styles, so keep a close eye on that boyfriend of yours if you want to keep your bowtie to yourself!.
Prepare yourselves for quirky design group KIND! Injecting a healthy dose of cool to knitwear. The latest installment to their eccentric collections makes no exceptions fusing conceptual art with fashion, medicine in a burst of colour and activity.

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The Design collaborative are no newcomers to the knitwear sphere and have been in production since 2005. Each collection showcases new and innovative styles, continually pushing the boundaries in conceptual yet functional knitwear design. KIND have been avid followers of ours here at Amelia’s magazine and vis versa, we even featured them in issue 7 ( which is still available to get your mits on by the way!) We just can’t get enough of them, so I thought it important to unleash their new S/S collection on you. So prepare your eyes for a visual feast!

The new collection banishes all recollection of winter embracing the joyous arrival of summer with a myriad of warm colours and shapes.

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The brand are heavily involved in photography, interbreeding art with fashion is of paramount importance to these cool cats. Just one look at their S/S 09 lookbook validates this statement. Pieces are set against vivid tapestries reminiscent of the fundamental cubist painter Henri Matisse.

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KIND’s
focus is on functional and wearable clothing. The collection offers all your staples from dresses,tanks, to jumpers, all in lightweight cashmeres. So perfect for those cross seasonal periods, when its too cold for a t-shirt yet too warm for a jumper.

Kind has enjoyed universal success, having stocked their collections in Labour of Love, Tatty Divine, Liberty, Collette in Paris, UK style in Moscow, Isetan in Tokyo. Gosh its making me breathless just listing them all…….

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So keep your eyes open for KIND, I have a sneaking suspicion we haven’t seen the last from this eccentric bunch!
With a repertoire that boasts Blonde Redhead, page Stereolab, buy Pixies and the Cocteau Twins, approved 4AD rarely disappoint. The latest signing from the cult indie label, Kent four piece It Hugs Back, are no exception.

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Photo by Steve Double

Initially, you can’t help but notice how very young they all seem, which makes it all the more satisfying when they launch into such a mature set, cultivating a sound that is much older than their twenty three years.

Beautifully blended rhythmic guitars and soft Thurston Moore-esque vocals, they are clearly a group who have spent a lot of time cooped up in their bedrooms listening to shoegaze records. Although in essence, It Hugs Back are a product of their influences, this is not such a bad thing when your influences are so definably Sonic Youth, My Bloody Valentine, Yo La Tengo and potentially Wilco.

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Photo Coutesy of http://www.ithugsback.co.uk

Indeed, it’s their appreciation for music and sound that makes them so enjoyable and strangely refreshing. Clearly identifiable ‘Daydream Nation’ moments like in ‘Now and Again’ are juxtaposed with much more subtle melodies in tracks like ‘q’, where looped riffs and jangling guitars meet more industrial feedback sounds. In fact, many of the songs are indistinguishable, as they play with structure, breaking down more definable song narratives, so that the music remains continually listenable.

Definitely ones to watch.

‘Inside your Guitar’ is out on 6th April
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The Guinness World Record for it is 11 inches. Countless circus curios and lunchladies everywhere have caused us to stare guiltily at theirs over the years.
But not until illustrator Emily Mackey’s embroidered pieces have we seen such glorious and bewildering ladies’ beards. Argued to symbolize anything from wisdom and a pioneering spirit to shiftiness and eccentricity the beard remains a statement accessory. We speak with the artist about pistols, adiposity beards and women’s work.

Where did the idea for the bearded ladies originate?
I grew up in several different places, cialis 40mg locally and abroad, and constantly had to leave friends and make new ones. With each new environment I met a diverse range of people and their initial perceptions of me varied wildly. The bearded ladies are stating that people are not always what they appear to be. An initial perception of someone can be misleading, but if you take the time to look closely, you can usually see the truth in who they are.

Truer now than ever with the current cult of celebrity. Approach with caution though readers, in case the moustached madames are carrying one of these…

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What got you stitching the pistol series?
I abhor guns. They’ve brought horror to the human race. I’ve put images of guns through the process of a ‘women’s’ craft and converted them into harmless decoration.

We much prefer yours, and love the idea of subverting weapons into delicate threadwork. Where do you look to for inspiration and ideas?

From the age of ten, I’ve taken photo’s everywhere I go, so I have my own archive of images that I like to work from. I generally work from subjects that evoke my emotions. One my new projects will consist of a range of very powerful pieces that derive from a subject that I feel passionately about.

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Sounds mysterious and evocative, keep us posted!
How did you begin working with stitch?

I come from generations of weavers, embroiderers and lace makers, so as I was growing up, was often given a needle and thread to keep me occupied. I trained as a weaver and started to incorporate embroidery with my weaving…I got involved with free-machine embroidery about four years ago.

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Do you look to somewhere specific for inspiration or ideas?

My great grandmother has been a great inspiration to me. She used embroidery as a means of survival. She taught it to girls in the orphanage that she had grown up in and later set up many more orphanages that taught embroidery, among other things, to enable women to sell their work and earn a living.

How do you feel the medium relates to the subject matter?

What I love about stitching is that it can be such a controlled medium – ordered and solid and it can also be used in a loose, sketchy, expressive way. It can hold more depth than paint or pen and is more malleable.

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Where can we see your work?
I have a website www.maxemilia.com where you will be able to see examples of my work, past and present. I will soon be selling limited runs and one off woven, embroidered and printed pieces through the site too. I have some exhibitions planned for later this year – details will be posted on my website. A selection of my work is going to be published in ‘Illustration Now Vol.3‘ which will be out in the summer.

Thanks Emily, we will definitely keep our eye out for the book and can’t wait to see your upcoming show!
Three members of the Amelia’s Magazine team went down to the amazing venue Village Underground on Great Eastern Street yesterday to check out ‘100 minutes of Havana’, purchase a one off art battle. When we showed up a lovely lady from Havana Club, here who sponsored the event, no rx whisked us past the queue and handed us some drinks vouchers. After getting our rum on at the bar we went off to see the real reason we were there. A 200 foot white wall!

The group behind this event, Secret Wars, arrange guerrilla live art battles across the world. At this event the rules were simple. Two groups, Monorex and Intercity, battle it out to cover the massive wall with drawings, using only marker pens and coloured acrylic paint. While Monorex were the more experienced group, having done live shows for Secret Wars before, I didn’t fancy their chances against Intercity, which comprised of Concrete Hermit , and Amelia’s Magazine favourites Ian Stevenson and Andrew Rae.

At Half past seven the crowd counted the artists down from ten and then they were off! Team Intercity rather ingeniously attached a pen to some string in the centre of the wall and created a massive circle, which they hurriedly painted with red acrylic. While team Monorex got out the marker pens and started with some free style drawings.

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The event aimed to bring to life “the passion of contemporary Cuba to a London audience”. In honour of Cuba then, we headed to another bar for some free rum tasting and then looked around the venue at the other art works. Havana Club got some great illustrators to decorate some of their rum bottles and the results ranged from the sublime to the downright bizarre.

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With ten minutes left of the clock team Intercity pulled out all the stops and started firing paint bombs at their work covering their lovely doodles in watery red paint. The winner was decided by a combination of two guest judges and a crowd vote – whoever got the loudest cheers won!

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Monorex emerged victorious and Sabrina and I, fuelled on Mojitos and sheer cheekiness, went in search of some illustrators to grill.

While Sabrina headed off to chat up Josh Sutterby on the Monorex side.

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I went over to talk to the guys from the Intercity team.

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Despite being the losers the artists were in high spirits and had even sneaked some beers into the venue (there’s really only so much rum you can drink!). I grabbed Robbie Wilkinson for a chat and he told me that he got involved in the night through being one of a hundred artists to design a Havana bottle for a recent exhibition. The question I really wanted an answer to though, was, “Why do you think your wall is better than their wall?” Robbie confided in me that he wasn’t a fan of the graffiti style of Monorex.

I went over to talk to Andrew Rae and he told me that although he thought that the other team’s mural was one image that worked together, Intercity’s was much more fun to watch and “more of a performance”.

Next on my list were Andy Forshaw and Austin From New. They showed me their drawings and explained the idea behind the paint bombs was just to create a lot of mess and that they wanted the performance to be “Like a children’s party with jelly and ice-cream!”

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I’ll admit I got a little star struck when I finally found Ian Stevenson. I’m a massive fan after seeing his solo exhibition at Concrete Hermit in 2007.

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He was the most diplomatic of the group refusing to trash talk about Monorex but he did tell me about his next exhibition with Pictoplasma where 50 artists are taking part in a festival across the city of Berlin in March. Ok so we can’t all afford tickets to go to Berlin, but you can go and see the result of the nights events at The Village Underground until Tuesday 10th March.
It’s astounding what you can unearth when you delve through flickr. I exposed a complete hidden gem this week amidst the urban jungle of the internet. My gem came in the form of Italian Photographer Polly Balitro, treat and to tell the truth I have been left utterly in awe since my discovery. Her photos have a overwhelming quixotic feel, as if you have unintentionally stumbled upon her cherished diary. Every picture exudes sentimentality, charting Balitro’s exploration of love, loss and identity.

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Alas much to my displeasure I couldn’t warrant a trip to Italy for a interview with Polly so I decided a virtual email would have to suffice.

Your work seems very multi media based, what mediums do you usually use when making your work?

I am working mainly with analogic processes, darkroom printing and polaroid transfers, because I believe that art photography is a sort of performance that requires the rituals that just analog can give. But I always scan my work to put on social networks like facebook, myspace and flickr, to get people to know my pieces easily.

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What other artists have inspired you in your work?

I usually get inspiration from young unknown artists around me. I spend lots of time surfing the web through pages like flickr, deviant art and myspace. Young artists are fresh have really innovative and experimental ideas. I love how the combination between images, music and perfomance work perfectly together.

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Your work is quite nostalgic, do any of the images have particular sentimental value to you?

My work is certainly extremely nostalgic, because it’s totally based on feelings coming from my inner soul. I am currently working on my final thesis, for the end of my 3 years at photography school. It will be very intense work centering around the feeling of being hunted by someone. My photography aims to talk about some sort of ghostly presence that never leaves me totally alone, people from my past, present and future that are constantly affecting my mood and my action, even though they’re not actually here with me. I think this maybe can explain why I am truly attached to all of my images.

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You use a very subtle colours in your work, is there any particular reason for this?

The subtle colours in my work come with my love for the northern countries. I am strongly affected by the scandinavian taste for low saturation in colours, and I am extremely attached to my black and whites that I always process in my darkroom. I feel like low saturation and black and white make a perfect union with the theme of my photography.

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You work has a certain ethereal quality to it, would you agree with that interpretation?

The certain ethereal quality comes along with the soul theme of my whole work, as I said before: I am trying to speak about something that goes beyond the everyday material experience, to give away a sense of unknown and ethereal matters.

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What advice would you give emerging photographers to do if they want to break into the industry?

I really wouldn’t know what advice to give people like me. I am still trying to make my way to the world with my art works, and I don’t think it will be easy to get well known. I guess, the best you can do is to try hard and keep on believing that sometime you will find your place. A good way to start out is to try to get as much “audience” as possible: social networks are extremely good for that.

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It’s apparent Balitro has an abundance of talent within her sphere far beyond her years, I for one am going to keep my beady eye on her flickr account!
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Everyone loves a Rush don’t they? Well I do at least, search being a recent convert to the antics and actions of Climate Rush. Still it’s hard to not want to be involved in this particular case. When dear old RBS, in their infinite wisdom, gifted Sir Fred ‘The Shred’ with £16 million pounds of what amounts to taxpayers money, they couldn’t have possibly imagined the public outrage. And rightly so!

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I am one of the many millions who pays taxes, and I can’t remember being asked if my money could go towards one man’s pension. Or to help bail out a bank who have given £16 billion towards the dirty coal industry. (Did you know that 50% of CO2 in the atmosphere has come from coal?) This sordid scenario is just the kind of thing that makes Climate Rush‘s blood boil. If there are a few things that make them mad, it is irresponsible governments and a complete disregard for the environment. So when I found out that Climate Rush were popping down to the RBS building in the City to quite understandably ask for their money back, I felt that it was my duty to put on a sash and join them!

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Anticipating our arrival, the London police force had turned out in droves – on horses, in vans, on foot, and posted around the entrance of the RBS building. Still, I like to think that they were more on our side than on the banks. After all, it’s their taxes too that are going towards one mans retirement scheme. And how could they fail to be charmed by us? Many came dressed up, some as suffragettes, some as cleaners, a few as bank robbers. Everyone was good natured and friendly. And while we were obviously passionate about our rush, there is no reason to stop for lunch, so we all sat cross legged on a blanket eating bagels and biscuits while we were regailed with songs and speech. Now this is my kind of action group! At one point I noticed all the RBS workers inside watching us, and being the friendly girl that I am, I gave them a cheery wave, but no one waved back. How rude! I can imagine that many were curious about the commotion outside, perhaps they would have even wanted to come out and join us, and wouldn’t that have made for a good picture?

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After the lovely Amelia, Tamsin and Marina said some words about the reasons why we were all here, we gave out an award (shaped in the form of a dead canary) to Sir Fred – and he turned up to accept and say a few words! What a thoughtful man. Unfortunately, it wasn’t really him; the real Sir Fred was far away, counting his pots of money I would imagine, but the stand in got plenty of cheers.

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There was some more dancing to tunes with the theme of money, (plus Supergrasses Caught By the Fuzz; our way of doffing our cap to the rozzers)and afterwards, we disbanded. I walked through Spitalfields proudly wearing my sash, and I did notice that I was given a wide berth by plenty of business men who looked at me with slight alarm. What exactly did they think I was going to do to them? I left inspired, and feeling very much part of the group, the action, and the sentiment.
Born in Texas and living in New York City, seek via London Diego Vela has collaborated on a variety of fashion and art related projects. He found his calling and freedom with sculpture, clinic the sculptures in their own subtlety dictate the end results; the materials (paper mache’, what is ed plaster, glue, paint and found objects) give certain characteristics that inform that process. His work is a living process, rather than bodies of works in a form of a series; each new sculpture adds to the lexicon of his visual language. Currently, and for the next six months Diego will be focusing on new paintings.

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What inspires you in your work?

Most of my inspiration I draw from nature, I like to take walks and look for the natural world even in places like the middle of NYC, where man tries so hard to shelter itself from nature, and yet you see its effects always…grass growing in between side walks, cracks in walls caused by rain, and wind…it’s all so beautiful and scary. I tend to be drawn to the darker side of the natural world, drawn to things that some may not see as beautiful, of course which is a matter of opinion…and my opinion and aesthetic tends to be romanced by the underbelly of nature and the natural world.

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How did you get into art?

Art drew me in, like a moth to a flame…that is the romantic side of it, I studied it in uni, after many attempts at rational majors, majors that would probably have made a good steady career, with employment and everything that comes with it, but art finally won my heart in the end.

Who do you aspire to be like and who inspires you at present?

I aspire to be like many glamorous ladies of the past, Anita Berber, Bette Davis, Marlene Dietrich, Katherine Hepburn, at least the on screen persona, oh, the list goes on and on… recently I have been inspired by my mother, and men who I have fallen desperately in love with, but of whom I am left pining…I suppose I have been mostly inspired by my own desire…I have been inspired by passing boys on subway cars, who for a moment mend my little heart from all of that passion unreturned… my, I am dramatic, how could I not have been an artist.

Where do you see yourself in 5 years from now?

Satisfied, and doing exactly what I want to do…preferably, in Berlin or London

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What advice would you give to someone trying to get into the art?
Work hard! Always keep an open mind, you can find inspiration in everything… and look for your opportunities… Learn to balance your artistic romantic nature with the realistic business aspect of the art world…But most of all work hard!

Do you have a muse?

At the moment I do not have a muse, there have been many mini muses that have come and gone, but my muse tends to be a person that my romantic heart is attached too, well on second thought, I suppose at the moment there is a reluctant muse…it’s complicated…But he does inspire me…it’s so complicated.

For more information have a look at the artists website or blogspot.

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If you’re a wannabe illustrator or even just a secret bedroom doodler Lazy Oaf wants to hear from you!

Gemma Shiel has been creating wonderful illustrations for her label Lazy Oaf since 2005. In them inanimate objects (bananas, ambulance milk cartons, cupcakes, boomboxes!) come to life with rosy cheeks and smily faces. Or animals get a fun screen print make-over with googly eyes and cheeky pink tongues. If you fancy trying to take Gemma on at her own game this is the competition for you!

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To celebrate the launch of their much anticipated Spring/Summer collection Lazy Oaf are hosting The Lazy Oaf Drawing Club on Thursday 23rd April from 6-8pm. On entry to the to the event, which is being held at their shop in Kingly Court, visitors will be given one of three postcards specially designed for occasion. After your given a ‘picture frame’ all you have to do is fill it with your scribbles and then hand it in. Everyones pieces of art will be displayed proudly in the shop window and the owners of the best five entries will win “extra special prizes”. If you want to make extra sure that you do a good job the postcards can be downloaded from the Lazy Oaf website soon and you can pick them up now from the Kingly Court store now.

Even if you don’t know a pen from a potato head down to the store anyway as Lazy Oaf will be offering 20% off everything all night – just because they’re nice like that!

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Monday 9th March

Franz Ferdinand

Pop favourites and Glasweigan Lovies Franz Ferdinand wanna take you out, sildenafil of your house, and shuffle on to the Hammersmith Apollo. With Support from Californian Soft Pack before their appearance at SXSW.

Hammersmith Apollo

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Tuesday 10th March

Videopia with Shock Defeat!

Ever wanted to star in miniature versions of Hollywood classics? ‘What like in that film?’ Yeah. Then make sure you get yourself to Notting Hill Arts Centre nice & early this tuesday. However if the thought of being on screen turns your stomach settle it down with the chocolate fountain & candyfloss machine, and watch your pals corpse and bumble the night away.

Followed by live music & DJs including Shock Defeat! and The Momeraths.

Notting Hill Arts Club

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Night Fever II: Cosmic Jebubu’s Soul Noodle House Vs. Panjeen’s Rap Village

Noodles a plenty from 12pm at Jebubu’s Soul Noodle House (supplied by DIY apparel company) with some African funk and ethiojazz by Panjeen rap village DJ’s and Live music later on from Bangerz n Mash and Chechnya blast.

Unity, Peckham High Street

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Wednesday 11th March

Jeremy Jay (K records) + Lord Auch

Jeremy Jay of K records, Calvin Johnsons celebrated indie label, plays his only UK show at the Macbeth! Plus witness a special acoustic show from Lord Auch.

The Macbeth, Hoxton Street

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Thecocknbullkid

19-year-old Anita Blay aka Thecocknbullkid graces the mall stage at the ICA this wednesday bringing along her own vibe of sleazy synth pop. With support from a whole bunch of people including Plugs (LIVE) Your Twenties (LIVE) Florence and the Machine (DJ SET) NYPC (DJ SET), FRANKMUSIK(DJ SET) and SPARKLEMOTION.

Mall Stage, ICA, London

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Photo by Dan WIlton

Thursday 12th March

Up the Racket & WOTGODFORGOT present… Crystal Antlers

Fuzzy, lo-fi garage noise with the skill and integrity that so many others lose in the fug. All the way from Long Beach Crystal Antlers create a live experience only too rare in this climate. Support from Sycamore and Plank!

Retro Bar, Manchester

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Illustration by Mr Hallows

A Team present… Squallyoakes Fanzine Launch Night

The A Team Brings You: Wasp Display LIVE. Plus TDJ Sets From: DJ FTW, DJ Julio, Lord Rockingham XV and of course The A Team.

Catch, London

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Photo by James Smith

Friday 13th March

Q-Tip (A Tribe Called Quest) with Live Band

Old school legend Q-Tip is back with his new album The Renaissance. Support from DJ Tu-ki.

The Button Factory, Dublin

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Freitags
Joining the dots between Kraut, Baltimore Club, Techno, House, Indie, Electro, Outsider Pop, Disco, Cosmic Nonsense and forgotten gems with Manchester favourite DJ Wesley (Up The Racket)

Common Bar, Manchester

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Saturday 14th March

OK Crayola w/ Party Horse

Anglo Dutch comboParty Horse are in Manchester with support in the form of Thom Stone and the debut solo show of the awesome Matthew Ashworth (A Middle Sex).

Fuel Cafe Bar, Manchester

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Sunday 15th March

DOVES

Manchester stalwarts The Doves are back with a new album and on the road after over 3 and a half years. See them this week in Warrington (12th), Middlesborough (13th) and Glasgow (15th).

The ABC, Glasgow

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Rebecca Warren

The exhibition gives a twist to the traditions of sculpture, here she throws away its old typical associations with the human figure and introduces an abstract and almost child’s way of shaping clay. She’s the first to confess that her art is “not pretty”, Rebecca is a London based artist who was nominated for the Turner price in 2006, this will be her first major solo exhibition.

Serpentine Gallery, 10th- 1st April free admission

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Hussein Chalayan: Debate

A chance to see the ‘British Designer of the Year’ and find out more about his international fashion business and how he is still influenced by London, he will be joined by other key designers who are also based in London.

Shoreditch Town Hall £15, Wednesday 11th March, 7.15pm,

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Tonico Lemos Auad
: Cast graphite and burnt bread
Born in Brazil, studied at Goldsmiths college in London, the exhibition focuses on dimension and perception

Stephen Friedman Gallery, 13 March – 18 April 2009

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Dr Gunther Von Hagen: Body world and the mirror of time

The Doctor is back, as if the first time around wasn’t gruesome enough! With all the controversy surrounding the doc who freezes bodies and displays them, its a must see but not for the faint hearted. Your eyes continuously try to convince your brain that it can’t all possibly be real but after the second person in the exhibition faints it all gets a little too much to take in. The reality is that it’s all just a little too pristine and over varnished with an horror movie feel to it, is it science. Is it art? I’m still undecided but every time he is in town I can’t help but get curious and double check if I really did see, what I thought I saw last time.

The O2 Bubble SE10, the exhibition is on until Aug 23, £12, concs £9

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William Hunt: Perfomance
The Camden Arts center, 6.30pm 11th of March

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The Masques of Shahrazad
: Evolution and revolution through three generations of Iranian women artists.

A collection of masks from 28 Iranian women artists whose works span over three generations in the history of Iran. The works trace the development of Iranian art and artists over the past four decades during which Iran has gone through some dynamic changes. This exhibition is a very rare chance to see works by these respected women artists; it’s also been an opportunity for them to voice their opinion on issues that have concerned them over the last few years.
Artists include Golnaz Fathi, Shideh Tami, Maryam Shirinlou and Farideh Lashai.

Candlestar Gallery Hammersmith, 9 – 14th March 2009,

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Women in photography: South of the river

Celebrating the works of varied women photographers in South London, the exhibition is linked to International Woman’s Day (March 8th) and shows a worldwide celebration of women’s achievements aiming to reflect creativity and progression via photography.

Lewisham Art House New Cross, 11 – 22th of March 2009

Private View: Wednesday 11th March 2009, 19.00-21.00
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Featured Illustrator/ Artist

A G Brock

Born in 1970 in Fort Worth Texas US, Brock began drawing at a very young age using it to escape a childhood of bullying at school. Later on he was expelled from college after producing what teachers referred to as a “suggestive painting”, basically a painting of two women looking into each others eyes.

At 25 he was diagnosed with severe dyslexia and later in his 30′s found out that as a child he had a slight case of autism that had since manifested itself into O.C.D.
This diagnoses at least explained the communication problems he’d gone through growing up. Throughout the years he focused on art and used this talent as a means to escape various difficulties in his life.

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What inspires you in your work and why? Dynamic images, colours, sensuality, and of course martini

How did you get into Art? I was born like this its more of an addiction. I have a disorder called agoraphobia, which is an anxiety disorder that can lead to panic attacks so I rarely leave my home

Who do you aspire to be like and who inspires you at present? I guess Michael Angelo, or Da Vinci I don’t really follow the modern art world

Where do you see yourself in 5 years from now? Probably right where I am, I don’t know how to sell art; most of my paintings are rolled up in the closet at home

What advice would you give to someone trying to get into Art? I think you’re either born this way or you’re not, its a difficult way of life sometimes

Do you have a muse? Oh yes, my enchanting wife she gave me three beautiful children and the finest life I could ever have imagine

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Forget the weekend, click Thursdays are the big night out in the London art scene. While Sabrina headed off to glamorous Vyner Street for First Thursdays I headed to the depths of East London to Peckham, dosage for the private view of Rufus Miller’s new show at The Sassoon Gallery. The gallery is much easier to get to than you would imagine. It’s right next to Peckham Rye station and just a short bus ride away from New Cross Gate station.

To get to the gallery you first walk through Bar Story, a lively little bar full of Camberwell students. This threatens the unwritten code of the private view free beer, but luckily Bar Story has a rather impressive cocktail list to make up for the lack.

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Photography by Fabiana Delcanton

The Sassoon Gallery is under the new curatorial partnership of Holly Simpson and Katherine Finnimore and they tell me that their aim is, “to support and promote emerging young artists from a wide range of mediums”. Despite having only been involved in the gallery from January of this year the pair have already built up a good collection of young artists. Up now is the week long exhibition of recent Goldsmiths graduate Rufus Miller.

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I see Rufus looking very smart in a shiny new suit as I near the gallery. He’s with a group of people sat outside the gallery keeping warm in front of a fire. Private views at The Sassoon Gallery are among the most relaxed and mellow I’ve ever been too, precisely because of this. Having space outside the gallery means that people can socialise and make a mess there, leaving space and quiet inside the gallery for really looking and understanding the artwork.

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The lovely space is actually in a tunnel under a railway line so the ceilings are curved and everything rumbles when a train goes overhead. Rufus‘ paintings are like the dark sketches that goth kid in your class draws in the back of his exercise book. An image the artist actively encourages in his press release stating “These are shit paintings. I don’t paint. I just draw, like everone does. Someone wanted me to do a show so I just did the drawings bigger. In paint. Skulls are just an easy thing to do.” Going on to say, “What do you get from an enlargement of something done offhand, half-arsedly? Nothing, nothing more, just a disappearance of what I meant in the first place: Killing time.” Sucessfully demystifying the act of painting in a show of paintings? Rufus Miller is my hero.
After a perplexing hunt down various side streets I eventually chanced upon this bizarre venue. I think its safe to say an old fire station is a rather unorthodox choice of location. Upon arrival it was apparent that was not going to be the kind of gig to accumulate in a raucous . Gaggles of children in karate outfits greeted me, unhealthy not the usual cliental for a Wavves gig. My powers of presumption led me to the conclusion that this was a community centre and not a gritty underground music venue. Not surprisingly there was no bar, viagra 60mg I happened to notice a few gig goers gingerly slipping in with clanking blue plastic bags. So I decided to follow suit and headed out to the nearest corner shop to stock up!

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The location had all the atmospheric qualities of a school disco; the wooden benches, drugs the wonky banners, the copious amounts of balloons. The first band up to the microphone were Mazes, exuding 90′s nostalgia these northern lads sound is a concoction of Pavement-esque melodies fused with the vocals of the likes of Beat Happening and the infamous Lemonheads. Songs such as “bowie knives” shows a return to the depths of the 90′s grunge phenomena, erratic, fuzzy vocals are teamed with ranging baselines, this is timeless pop at its finest!

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Then came the turn of the energetic London three piece Pens, to say they brought flair and vigor to the evenings proceedings would be an understatement. Bursting into their set with furious drums, droning melodies all set against aberrant vocals and hap hazard key boards. Tracks such as “High in the Cinema” allures you into a trance with its repetitive vocals and abrasive guitars exuding all the dynamism of Soft Cell. The audience suitably revved up, out came Wavves to provide a perfect accumulation to the evening injecting a healthy dose of lo-fi pop melodies from Californian based singer songwriter Nathan Williams. Songs such as “So Bored” were uncontrollably catchy exuding a west coast surf grunge feel, with undercurrents of The Breeders and Sonic Youth.

Here at Amelia’s Magazine we managed to wangle ourselves some time with lively three piece Pens during their exciting tour.


How much did your parent’s record collection influence you and your music?

Amelia- My mum listens to all the girly stuff like Winehouse and Adele now, but growing up she listened to a lot of Joni Mitchell, Paul Simon and Leornard Cohen. I can remember requesting songs and spinning in the kitchen to it while she was cooking, probably has had an effect on what i listen to now, but don’t know how.
Helen – The three things I really remember from being little are Leonard Cohen (80s era), Terence Trent D’Arby and Fine Young Cannibals! I do have a massive soft spot for 80s production but I can’t really see that coming out in our music.
Stef – Well my ma only listened to 60s Italian pop songs (still does). My dad loves the Beatles, Buddy Holly & Roy Orbison, but I also remember him listening to Enya & Abba. Hmmm. I don’t think we sound like Enya.

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Do you think it’s fair to say the nofi scene seems to have a real sense of camaraderie, despite the fact that all the bands are spread out over the globe?

A- Yes, definelty. I think it’s great, and it’s nice to meet people that you look up to in music and hear their thoughts on your stuff. Also it works for like helping each other out, like when they come over here or us going to other countries. Looking after each other and stuff.
H – Yeah totally, I really think “DIY” or whatever you like to call it has a sense of “we give a shit about what we’re doing, and we know it’s rad to help other people out”. It’s not some stadium-rock, get-signed get-paid get-first-on-the-bill thing, it’s about sharing the bill with other bands you respect.
S – Yes that’s fair, i suppose it’s like a community cos it’s not so much about getting famous & making bucks but more about having fun with your friends & meeting new people. Also, one good turn deserves another.


How do you ladies spend your free time when you’re not doing music?

A- I like reading, drawing and vhs nights, but my favourite thing of all time is eating out with friends. i do that a lot.
H – Eating out has got to be one of my faves too. Particularly milkshakes, cheesy chips and good meat. Otherwise I take dumb SLR photos, and try and write whatever comes to mind. More free time please.
S – As above, plus added headbanging with friends, minus the photo-taking.

You’ve released several split records all ready, how goes the writing for the album? Any surprises in store?

A- Probably, i’m not really sure. The album is written and ready to roll. I think some songs are like crazy different and some are what people would expect. we mainly just write songs on how we’re feeling at the time based on who we like or dislike and that’s reflected in the songs. Haha.
H – I want to see what people think, we feel that we have a few different ‘sounds’ but people might be expecting us just to stay on one tip. We’re still a new band so we’re not getting formulaic.
S – Currently loving our new songs. Second album here we come!

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Who are your current tips? What are you listening to?

A- Oujia – some american lofi grunge punk it’s awesome and cute. The dude sent us the lyrics and now i’m hooked and singing it all the time.
H – I’ve been listening to SALEM a lot, dark electronic stuff. I bought their EP last year but I think I melted it by the radiator, which is upsetting.
S – The ones in our top friends

I’m looking forward to seeing you on tour with Wavves soon. How have you found touring so far? Any good stories? Have you found yourselves eating garage food and kebabs?

A- I can’t wait to play with Wavves. I’m so happy he’s getting good press over here because he’s the best band around at the moment in my opinion. We’ve only been on a short tour with a band called Friendship, was fun to ‘get in the van’ for the first time. the first night ended with a hella lotta jagerbombs and an icing sugar fight. messy.
H – I finished Amelia’s Pot Noodle on our South Coast trip, I think this is a bad omen ’cause I haven’t had one of them in years and we were only away for like a day.
S – The short trip with Friendship was tons of fun, so I’m really excited to be going on an extended road trip with my best friends.

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Riotgrrrl and third wave feminism were very vocal in the early 90′s, there’s nothing quite so forward right now. Do you think things finally balanced out?

A- Maybe, I reckon girls just have different things to rant about now, and i think women in all girl bands can be as tough as boys.
H – Not really. I have a huge amount of ranting in me, but there’s a certain degree of wanting to be known as a band first before coming out with my opinions on all and sundry.
S – I dunno, i think a part of me is (figuratively) sticking two fingers up to whoever makes me angry.

Jade Goodie has this week hinted her death will be filmed and broadcast by Living TV, will it also be the footnote in that kind of celeb media or a new dawn in awful?

A- I’ve never really disliked Jade that much. i think i was probably the only person who thought she wasn’t a racist just a little ignorant. I feel really sorry for her at the moment. i mean, what’s she’s going through is tough for anyone, especially if your a mum. I read in the paper that she is doing it to raise money for her kids after she’s gone. i won’t be watching it, but i do kinda respect her of her choices.
H – If people want to see it, then there’s not much you can say. I don’t think Jade has created anything by herself, the demand is there so why not exploit it? People are massively screwed up, but that said I really don’t get what 90% of the population does for entertainment so I’m not out to try and understand it. This is the stuff of a million undergrad Media dissertations though…
S – It’d be weird if it was shown on TV. But her haters are possibly forgetting that she’s leaving 2 very young children behind, & those kids are gonna grow up without a mum, so perhaps people should just have a little bit of consideration for her as she’s trying to generate a future for them while she still can.

On Valentine’s day I drank too much energy drink and ended up spending my evening asleep in the bath. Did you have a better one then me?

A- My valentines day was sick. Helen and i woke up and went for a burrito, followed by a trip to oxfam where we found Edward Sissorhands. Then we went back home to watch it in bed. haha. we ended the night by going to a Male Bonding and Graffiti Island show at the lexington. was pretty fun.
H – Yeah as above except I was totally ill, had to go home early and almost got run over on the way to AND from The Lexington. Pretty HML stuff but I’d forgotten it was Valentine’s Day by then.
S – I ate, napped, spooned, & played Pictionary.

So if you want to see these cool cats in action, they are playing Smash and Grab in London this thursday, you will be in for a treat!.
The ethereal Pumajaw are back with retrospective album “Favourites” with the label, malady Fire. It follows last years “Curiosity Box” album, and is no less wierd and wonderful than the previous four records released by band members Pinkie Maclure and multi-instrumentalist/ producer John Wills themselves.

“Favourites” is an eclectic compilation of fourteen of the duo’s own favourite tracks and, if you had to describe Pumajaw in fourteen tracks this would be it. Pinkie’s bewitching voice sails over the haunting, earthy melodies of Will’s musical talents. Pumajaw kick off the album with a melting pot of eerie noises, conjuring up feelings of wonderment, and images of being in quite another place than a smoky grey city. “The Wierd Light” is an eerie howl of a Siren over what seems like animal calls and screeches, yet it’s not scary. In a way it is calming and peaceful and undoubtedly beautiful. Later down the album listing is “Downstream”, a sea-shanty love song, but true to the nature of Pumajaw, is distorted by squealing guitars and what can only be described as a didgeridoo drone.

The Scottish-duo present something akin to a Pagan travelling guide through the highlands of the country. It is rythmic, melodious and trancey and has echoes of nothing you have heard before. I tried to find something to liken them to, but in all honesty it is a near impossible task. They branch out to the outermost confines of the wierd and wonderful, think psychedelic folk music in the middle of the woods, and you’re there. In the last track on the album, “Outside it Blows”, Maclure asks “how many like us in the world,” and the answer is most probably none.

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It wasn’t surprising to find Passion Pit listed as one of the buzz-bands at last years CMJ festival in New York. Their bleepy twinkling electro is just the thing to get any nu-raver moving their neon hi-tops. The Chunk of Change EP was written by front-man Michael Angelakos as a Valentines Day gift for his (now ex-) girlfriend. It’s sweetly romantic in a child like “follow-me-as-we-run-through-the-city” kind of way.

We kick off the record with I’ve Got Your Number, this site a zappy little number which sounds like a young Broken Social Scene, patient not as complex but delightful in its simplicity. It’s got a kind of euphoric mystical quality to it, decease and Angelakos’ trembling falsetto really does get you dancing.

Further down the list we move to cutesy Cuddle Fuddle. It’s soft like a pink mohair jumper and the lyrics are the epitome of high school romance awkwardness, “now I feel silly, selfish and dizzy/ I’ve got this feeling, that you’ll forgive me…”

The final tune on the EP is Sleepyhead, which I must add has been remixed several times and all are fantastic. It starts of with Kanye West-esque sampling but then swiftly dives into a sort of euphoric Japanese sounding cyber feel. It’s music to smile to. The sparkling xylophone and constant drumbeat make it an instant dancing classic.

Overall the EP has everything, and although it incorporates existing elements of music, it manages to achieve a very unique sound. It’s not quite electro, it’s not quite pop, it’s not quite indie. It’s bloomin’ superb is what it is, if you are loving the Go! Team or MGMT right now you will love this.

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Here at Amelia’s Magazine we don’t just zone in on our homegrown talent, viagra 40mg we scout our overseas counterparts in search of innovative new creatives. As always our quest bore fruit in the shape of Parisian based freelance graphic designer Sandrine Pagnoux. Living right in the centre of Paris’s artistic epicentre between The Musee Picasso and the Centre Pompidou, price Pagnoux isn’t short of artistic inspiration. It’s easy to see how this culturally diverse area manifests in Sandrine’s work.

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Her work has a distinctly raw feel that synthesises popular culture. It draws influence from the many facets of post-modernism from art, order music and literature. Sandrine is heavily influenced by music, which she claims is the core stimulus for her work, distinct favourites being the punk rock femme fatale Patti Smith and the serene obscurity of Bjork to name but a few. In conjunction with music, the works of the late Oscar Wilde are a constant influence to the romantic moodiness of Pagnoux’s work.

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Pagnouxs is not only causing a stir back home but is making waves internationally. Boasting features in such a extensive list of publications it’s hard to cram them all in. There’s Wig Magazine, Marie Claire, Zoot, Blond, and XLR8R. Her most commercial being for Le Coq Sportif Not content on conquering merely the fashion sphere Pagnoux has set her sites further a field recently doing in advertising, publishing and record labels.

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Sandrine’s work is a myriad of multi media, fusing calligraphy, photography and illustration to create pieces that exude urban cool. The pieces have a distinct textural quality that insinuates an almost two dimensional feel to her work. Her work evokes a sense of reality that isn’t over polished, it’s intuitive often violent and authentic.

With such an innovative approach to illustration and ability to adapt her skills to so many facets of design, I think it’s safe to say we haven’t seen the last of Sandrine Pagnoux. I think this lady has got a whole lot more hidden up her sleeve.
Intra-band love is always a joy to behold. Ike and Tina. The Carpenters. The usual mechanics of musicians performing with each other is converted by the mind’s gossip-gland into a lusty, cialis 40mg passionate romp-and-roll across the futon of musical possibilities.
Omer and Carole are in love. He stands and strums. She wiggles and sings and fingers the synth. Then they glance at one another. The laptop likes to watch. And later, website after the show, dosage we presume they go and make love, while listening to themselves on an iPod dock adorned with discarded undergarments.
And it’s good to see (I mean the first bit). They are both partial to a sincere wail of yearning. Hers is coquettish, with eyelash-fluttering pitch-bends as she writhes about. His is a growly shout, like a horny panther who’s waited too long. With a few costume-changes and a bit of a plot, you could easily make an opera out of this pair.
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An alt-electro opera, that is. Influences are not hidden here. It’s an overt celebration of the dark furrows of the 80s synth-twiddling scene (think of early Tears For Fears and Depeche Mode), filtered through some more recent song-screwdriving a la dEUS or the Dresden Dolls. Each song develops artfully, with peaks and troughs on each spectrum. The gentle sultry singing over bowow basslines accumulates percussive taps, then hi-hats, then a catchy chorus, then synth arpeggios, things dropping in and out all over the shop. Their cover of Paul Young’s Stay For Good This Time (that’s right, Young Paul do a Paul Young song) is beautiful. They’ve changed the chorus melody into a sinister evocation of Glenn Close in Fatal Attraction and it works scarily well. Carole takes over for a lovely, bloody song called Mock Kiss, which has a Sneaker Pimps kind of hateful independence feel to it. Majore is a strange tune that grumbles and growls and eventually turns into a faintly-Ibiza dancefloor heave. There’s nothing background about any of this. It’s a work of communication, not just mood-providing. And some of it is really dry and intense – you’re either hypnotically staring into the abyss on a neuromantic vampire trip, or you’re a townie with a puzzled look on your face, muttering “eh?” and “what?” and “piss off!”.
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What I really enjoyed about seeing Young Paul was that lack of compromise. They’ve found their darkly pop, crowd-dividing identity, they really mean it, and they’re sticking with it. Young Paul is a brilliant toxic shock of sci-fi future TOTP, delivered playfully and integrally by two young lovers. Surrender yourself.

You can see Young Paul for free at Zigfrid on Wed 8th April, or at The Legion on Wed 22nd. And you can hear their demos on the ol’ myspace.
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Monday 09th March. 7pm

The Nature Darwin Debate 2: What Price Biodiversity?

Kings Place
90 York Way
London
N1 9AG

Part of Words on Monday 
Curated by Nature
Professor James Lovelock, sildenafil independent scientist, tadalafil author of “Revenge of Gaia.”? , dosage Michael Meacher, MP (Labour) & former Minister of State for the Environment, ?Sir Crispin Tickell, Director of the Policy Foresight Programme at the James Martin 21st Century School at Oxford University
We pay for our food, water, healthcare and energy, so why not pay for the many ‘services’ currently obtained for free from biological diversity? Services such as insect-pollination, central to food production; or healthy forests, which we need for clean water and to stop soil erosion. Shouldn’t we invest now in our biodiversity in order to secure our future needs? Join three leading names from science and politics as they debate the need to put a price on the Earth’s ecosystem services. Organized by Nature, the leading international weekly journal of science, in association with Kings Place.

http://www.kingsplace.co.uk/spoken-word/words-on-monday/the-nature-darwin-debate-2-what-price-biodiversity

Tickets cost £9.50. Call 0207 841 4860 for more details

 Tuesday March 10th
7.45pm

Greenwash and Garters
OneWorld UK
Orange Tree Theatre,
1 Clarence Street,
Richmond, Surrey, TW9 2SA

Greenwash and Garters is a political farce, complete with custard pie and didactic dialogue.

The set up is fine: a high-level US public relations guru who works for Big Oil (“that’s just above child molester”) falls for an environmental activist, and hosts a small gathering to help her alcoholic brother, a former presidential hopeful.

The subject matter is worth tackling: the values and meaning of US democracy, and the role of corporate interests

Go to http://www.orangetreetheatre.co.uk/ for more details

Wednesday 11th March – 7pm.
‘Cranks and Revolutions’ with Mark Gold

Housmans Bookshop
5 Caledonian Road
LONDON,
England
N1 9DX,
UK

Mark Gold discusses the inspiration behind his latest novel, “Cranks and Revolutions” a light-hearted drama-documentary of the last fifty years of radical protest in the UK. ? ?Cranks and Revolutions is a light-hearted drama documentary of the last fifty years of radical protest in the UK. It is a funny and sympathetic book, full of quirky and amusing events and characters – such as unreconstructed Marxist Aunt Helen, kindly, radical vicar Tony Swallow, suburban High Priestess Denise Oakley and zealous vegan anarchist Septimus the Severe. An alternative political history in the tradition of John O’Farrell’s ‘Things Can Only Get Better’ or Jonathan Coe’s ‘The Closed Circle’. ??About the Author – Mark Gold was Director of Animal Aid for eleven years and still works part-time for the organisation. He also works for Citizens’ Advice.
Call 020 7837 4473 for further details

Thursday 5 March 2009,
6-9pm
EAST 2009 HISTORY
Geffrye Museum,
Kingsland Road,
London E2 8EA

?Credit Crunch Kitchen?.
? An opportunity to visit the museum after hours and listen to a talk exploring how to be thrifty in our gardens and kitchens this spring. Go to Geffrye Museum for further information.


Friday 13th Marc
h
12.45pm -2pm
Centre on Global Change & Health
50 Bedford Square, WC1, Room G3
Talk:
Climate Change and Global Food Security: Even Worse News For The Poor?,
by Dr Colin Butler. Info: 7927 2937/ ela.gohil@lshtm.ac.uk

Saturday 14th March
2pm -9pm
GATEWAY to PEACE

Eton Road, nr Chalk Farm tube,
London

NEW TOOLS FOR PEACEWORKERS: Experiential workshop exploring how the arts can support peace and reconciliation processes. Elements include song, movement, poetry and nonverbal communication.
Trish Dickenson works with the Ministry For Peace and leads workshops in nonviolent communication and conversation cafés. Stefan Freedman is celebrated worldwide for intercultural events with dance and song, particularly bringing together Jewish and Arabic traditions.
 
Price
£25 – £45

Contact Person
Stefan Freedman
Contact Telephone
01473 415496
Contact email
stefan@freedmans.fsbusiness.co.uk

Saturday 14th (9.30-5.30) and Sunday 15th March (9.00-5.00)
Caribbean Community Centre,
416 Seven Sisters Road, Manor House,
London N4 2LX
Cost: £100 per person

Training for Transition: 

How to set up, run and maintain a transition initiative

Learn the essential tools to make a thriving and resilient Transition Initiative.

• Understanding the context for transition
• The Transition Towns model – from inspiration to working groups
• Identify the main steps of transition
• Plans for yourself and your locality
• Inner and outer aspects of transition
• Provides the elements of an inspiring talk on Transition Towns

The Trainers:

May East – member of the community at Findhorn, May is an activist for the Brazilian social change movement and has many years experience in the environmental movement.

Ann Lamont – From the Centre for Alternative eneryy in Machynlleth in Wales, co-founder of Transition Bro Ddyfi Trawsnewid.

Booking: please contact Jo Homan, tt@jo.homan.me.uk
I will admit that until a few years ago, ask I was slightly cynical about the concept of planting trees as a carbon emissions offset, erectile or as a novel ‘gift’. I imagined that at best, it was a case of too little, too late, and at worst, a gimmicky concept dreamt up by London advertising boys, keen to cash in on the green theme. But in these strange days of global unrest, the gentle notion of planting a tree now seems like one of the most effective and simple ways to counteract the chaos. Personally, I still feel that pledging to plant a tree to make up for a round the world plane trip is a bit pointless (it will take more than a couple of trees to make up for that damage!) However, TreeTwist, and their partner Trees For Life have come up with a way that we can all contribute towards planting tree’s – and we get a gift out of it too! (I’m all for altruism, but I do like to receive as well as to give.)

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Put simply, TreeTwists are fabric handmade designs, which can be used in multiple ways; as accessories for bags or clothes, worn as jewellery, even to adorn fire places or Christmas trees. They come in vivid, strong colours, and are charmingly playful. Behind the gentle whimsy of wearing a TreeTwist is this fact – a tree or seedling will be planted in the Caledonian Forest on your behalf when you purchase it.

I asked the founders of TreeTwist, Kate and Sez to explain a little more about this concept;

Why was TreeTwist established?
 
“We launched TreeTwist in an attempt to do our bit for the planet.  We didn’t feel that as consumers we were being offered the opportunity to do something simple and effective, which could be easily absorbed into our everyday lives.  Present giving was a particular frustration.  Several Christmases with entirely disposable presents and without the option of giving something different, stylish and good for the world highlighted the opportunity. TreeTwist is based on the premise that small steps make a difference.”

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“TreeTwist Ltd was established in 2007 to help everyday individuals and families do something positive to help combat climate change by making it easy to plant a tree.  We are different because not only do we plant the tree, we acknowledge the purchase by giving a TreeTwist to act as a talisman and a reminder of the tree.
 
The trees are planted by TreeTwist partners, Trees for Life in the Caledonian Forest in the North West Highlands of Scotland.  Trees for Life are multi award-winning and recognised as world experts in reforestation.  In addition, Trees for Life propagate seedlings gathered on the forest floor for TreeTwist allowing the cycle of life to continue.
 
Put simply, every TreeTwist represents a tree. Our success criterion is the planting of many, many thousands of trees.”

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The TreeTwist’s themselves are also locally conceived and created as well?

“Yes, We have managed to create an entirely UK based project: the TreeTwists are designed and made in the UK and the trees planted in the UK.
 
Our current TreeTwists are designed by Ingrid Tait of Tait & Style, and handmade largely by outworkers in the Shetland and Orkney Islands.  The collection includes woollen scarves, bracelets and clips each with leaves, bobbles flowers or hearts.  Colours vary from earthy and masculine to the most vivid shades.  The scarves in particular have never been seen before – metre long tubes of wool.
 
Using British designers is a mandate for TreeTwist along with the use of sustainable materials. Although this is a UK based project, sales of TreeTwists are global.  Countries we have delivered to include Australia, New Zealand, Canada, USA, Denmark, Bahrain, Slovenia and Spain.”
We get an awful lot of people sending us pictures of their illustrations and Brooklyn based illustrator Morgan Blair was one such person. After checking out her website I was immediately attracted to her incredible skill and draftsmanship. It seems to me to be such a departure from the English scenes obsession with naïve, prostate childlike scrawls of illustrators like David Shrigley. I felt compelled to get more information on this (in her own words) “illustrator, fine artist and sometimes-desperado.”

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Diamond Collection.

Tell me a little bit about yourself Morgan?
Well I have brown hair that I cut impulsively, and I strongly prefer open windows to air conditioning.

Your pieces have a really interesting textural quality, what mediums do you use when making your work?
I usually work in acrylic and gouache, which I like to keep really flat, but sometimes I layer paint and then sand it for texture. If I’m using markers or pen I like to see the line direction and variation in ink.

What other artists inspire you?
Last night I was drawing on some blank pages in an old sketchbook of my dad’s. I started looking through the other pages again and he had done a bunch of technical drawings of cars with their parts labeled like an anatomical diagram, there were also some of architectural, birds-eye view landscape drawings. My mom’s old drawings seem very trippy, like repidiograph drawings full of minutia and weird transforming landscapes. I’m sure I’ve been influenced and inspired by both camps. Some contemporary artists I really appreciate are Maya Hayuk, Henrik Drescher, Brendan Monroe, Stephen Gammell, Jacob Magraw. I came across an artist recently named Jackie Tileston whose work blows my mind. The list is endless.

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How would you describe your drawings?
I guess they are like daydreams, exploring hypothetical situations and memories. Often when I draw I am starting to think about a larger idea before it has fully developed in my mind.

How important is technical accuracy and ability to your work?
I’ve always been kind of naturally tight and nervous in the way I draw, so I like to be in the right mindset when I work in order to counterbalance that compulsion. I had a drawing teacher freshman year of college who taught us about drawing how the nature of a thing feels, rather than how it looks to the eye. That idea took a long time to soak in, but in the last couple of years I haven’t been trying to make everything look so technically accurate, but rather just so that it feels right.

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Pussing Donut Mushroom.

How long does something like Pusssing Donut Mushroom Cloud take to do from conception to finished product?
It depends on how much time I have. I can work as quickly as I need to if I have a deadline, but that piece was one I started for myself when I moved to New York, and I just worked on it off and on until I decided to be done the other day. In terms of conception, ideas mostly come into my head while I’m in the shower or when I’m in between being awake and asleep. Unless I have a deadline, in which case I spend a couple of days tearing my hair out until I have a decent idea to go with.

How would you describe the New York illustration scene for us londoners?
Actually I don’t know too much about the illustration scene here yet. I feel like I’ve barely gotten my feet wet, so I’m nervous to say my perception of this place. There are so many galleries, publications, art fairs and events going on that it’s incredibly intimidating and motivation at once, and I get a sense of freedom from the variety of work I see. I know of a lot of amazing illustrators who live or work here, so it feels good to be in their company, and to know that awesome stuff is going on all around.

You experiment a lot with many facets of art and design such as printmaking and photography), which would you say is your favourite?
Drawing and painting have always been my favourite, but I waffle around with other stuff depending on my mood. I go through more or less intense phases of picture-taking depending on whether I have film. Printmaking was fun while I had the facilities, but I realized I enjoyed the immediacy of drawing and painting straight onto paper without any preparation or process. But I would like to get back into screen-printing.

You seem to work a lot with forms and shape, how important is that to your work?
I like getting in over my head with endless fields of pattern and interlocking shapes with dizzying color. It’s important to me to have some element of tedium and obsessiveness in a piece. In general, the more time I’ve spent in a meditative trance during a piece the better. But I have to force myself to do it in ways that make sense for the overall image, so I’m not just drawing wallpaper. Not that I’d be opposed to doing that.

Have you done any commercial work and if so what have you been doing recently?
I have done a handful of commissioned pieces for some financial magazines called PlanAdvisor and PlanSponsor, which have been fun because the art director has given me articles with topics that require more abstract illustrations. I also do small black and white spot drawings for a newspaper in Rhode Island, so those are usually fun exercises to accompany disparaging articles about pop culture. Right now I’m working on the album art for The States forthcoming third album.

What would your dream project be?
I would love to paint all the walls, ceiling and floor of a room in dense pattern with vibrating color and make the space as confusing as possible.

On her website Morgan Blair describes her ambitions for the present and future as “adventure, survival, being in the presence of mama and making art forever.” I sincerely hope at least the last part of that list comes true.

In the excitement surrounding Hussein Chalayan’s current exhibit at London’s Design Museum I was reminded of a piece in the Royal College of Art’s Works-In-Progress show this winter that triggered the same wonder and excitement I felt upon first seeing the cool rigidity of Chalayan’s airplane wing inspired dress. Only this time it was textile student Claire McClachan who presented something with all the structure and intrigue of the iconic fiberglass airplane dress, more about only this time it was brilliantly executed in a mysterious combination of finely knit and woven yarns. I mined the epic pile of inspirational scribbles and paper scraps on my desk for the notes that would lead me to this innovative young designer from Aberdeen.

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Can you tell me about the captivating skirt you displayed at RCA’s Works-In-Progress Show?
The piece I displayed at the was the culmination of my pre-collection work which focuses on the relationship between curve and angle. It is made of a knitted fabric I’ve developed which has some interesting properties; it is stiff yet has stretch, doctor it has memory and can be moulded into different shapes. It allows me to create sculptural shapes for the body and challenges pre-conceptions of knitwear.

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Alot to ask of the humble methods of knit and weave. Your fabric and its propertieswere so attractive and mysterious, with no visible structures to support it. Approaching it I thought it might even be textured clay.
People have preconceived notions about knitwear. That it’s dowdy, or crafty… done by your granny while on the sofa watching tellie. Only recently have we seen those really challenged in mainstream fashion by people like Azzadine AlaiaLouise or Louise Golden. Although my Grandma did teach me how to knit, I didn’t pick it up again until much later.

So what did you start out focusing on in art school?
In my BA program they stressed a traditional drawing base. So I did quite a lot of that.

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Do you feel that skill has directed some of your textile work?
When I started in textiles I was more of a printer. After my BA in textiles I knew that I wanted to progress into fashion and approach fashion from this direction.
How might that background help cultivate a better fashion designer?
I think that some really interesting fashion comes from designers with textile backgrounds. The difference being that fabric tells you what to do instead of the other way around.

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Are there places you typically look to for inspiration?
I am generally inspired my man made structures, I love architecture, engineering, aeroplanes, mechanics, technical drawings, plans etc.

Many may not realize but knitting and weaving, unlike other immediate or fluid forms of art require quite a bit of mathematics and calculating. Hear that kids? Maths may be useful yet, even for you aspiring artists!
Yes, it’s almost ritualistic and that is something I like about the process. It’s systematic, requires planning. This is image of Eden Project is from my sketchbook.

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Any fashion designers you find particularly exciting at the moment?
There are several new designers out there doing interesting things. However, my true loves are the modern couture of Dior, the innovation of Chalayan, the consistently knock out collections of McQueen and the couture knitwear of Azzedine Alaia.

You’re currently designing a capsule collection for the RCA gradutate show which opens June 26th. Will we see more of this extraordinary fabric?
I’m going to continue to push the fabric I’ve developed here to see what it can do. I’ll probably include other weights of fabrics too and a range of shapes.

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Thanks for letting us get to know more about you and your work Claire. Happy knitting!
I can’t wait to see what forms sprout from this designers imaginarium. She will be one to watch.

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On Thursday I headed down to Nolias Gallery to the opening of Being and Nothing-ness an exhibition featuring three Korean artists, this web curated by JW Stella.
After a few issues with navigation (I went to the wrong Nolias Gallery first) I arrived to see the small gallery was already filling out. I poured myself some orange juice and grabbed as many crisps and nuts as I could fit in my hands, find before going to have a look around.

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The literature for the exhibition declares that we live in a world of dualisms – good and evil, mind and body. These dualisms are traditionally the way we make sense of the world, but it’s often the case that, “perception and reality can turn out to be yet another dualism, in a hall of mirrors where nothing finds a finite definition”. The artists in Being and Nothing-ness all aim to explore the ‘uncertainties and mysteries’ of this fact.

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It’s at once easy to see why Youngmi Kim has been featured in this exhibition, the artist adds physically nothing, instead cutting away from an existing material – the canvas. By rejecting the long historical tradition of adding to the canvas to create illusion, Youngmi Kim aims to truly understand the object of the canvas. After seeing the ‘paintings’ I can really see how in them the artist’s ideas that, “Emptiness can ironically express fullness.”

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Close up of The Canvas

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In a great bit of curating Kiwoun Shin’s video works are shown on tiny television screens creating a level of intimacy with the viewer, as only one or two people at a time really able to watch the video piece. Whether intentional or not the small screens act as a way to draw people in from across the gallery to look at them closer. Some of the screens are placed together in twos, one work Superman 1 shows the iconic figure of Superman being ground down to dust. Echoing “we come from dust and go to the dust” from the book of Genesis. A few inches away another screen shows almost the mirror image, the dust slowly merges together to completely build Superman up again.

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Still from video Superman 1

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Like the other artists Seunghyun Woo sites Buddhism as an inspiration for her mixed media sculptures and paintings. The nothing-ness in the work comes from her creation of it, she has produced a technique called Marbeling-isness which apparently “plays on the unconsiousness of my [the artists] work’s creation” hmm. Nonetheless there is certainly something attractive and captivating about the texture of the pieces, created with paint and plaster.

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Installation view of Untitled and Against Gravity
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The exhibition is open 10.30am – 6pm until 7th April.
JW Stella’s next project is curating an inaugural exhibition titled SU:BISORI for The Museum of Art in Jeju Special Self-Governing Province, South Korea, it opens 26th June.
FUN Magazine is a truly anarchic collection of words, visit letters, website pictures and sentences that follows no pre-ordained format and which does not fit within the boundaries of polite society. It features things that are almost unpublishable but its all right there in print and has been now for just shy of one year. I had a quick word with the boss, Ben Freeman to find out where it all began.

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So when and how did all the FUN begin? Is there an ideology?

We started FUN about a year ago, April 2008. Ideologies are for people who never do anything. We pretty much do what we feel like.

I noticed that there isn’t much info on the website apart from a wall of text under ‘archive’. Are you purposefully elusive?

Not really. That’s every word we ever published. It just seemed a bit easier than hiring a programmer, setting up some complicated site and blah blah blah.

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What inspired you to put this magazine together?

The dawning realisation that there weren’t many magazines that we liked any more, and boredom.

Has your own history been deeply involved in magazines?

I started making magazines when I was eleven. They had this big anorexic green monster on the cover. In the 90s I made a few zines in the hardcore noise scene I was into. One of them was called The Recovery Position and it had interviews with people like Nasenbluten by fax and loads of gay porn collages and general filth. Deano played in straightedge bands when he was young and impressionable and he made some zines too. Now I do some work for Vice and edit FUN. Deano runs Real Gold and publishes the magazine.

To date there have been 3 issues, is that right? Can you tell me a little bit about each issue?

The first two issues were fold out posters printed on coloured paper. Issue one had a big interview with a Falun Gong teacher about torture and spirituality, with a load of pictures of Chinese people being painfully subjugated, drawn by Falun Gong members in China. We also interviewed a schizophrenic guy. Issue two had a big piece on the growth of web based paedophilia and Bob Foster’s miserable sex stories.

We pulled our thumbs out of our asses for issue 3 and printed a whole bound 32 pages of interviews, articles and other fun stuff. Jim Goad wrote something for us about black Confederate soldiers.

Issue 4 is out in about a month.

With a large number of zines and mags around at the moment what makes FUN stand out from the crowd?

We don’t give that much thought.

What kind of FUN can we expect in the future?

We’re getting bigger, thicker and more widely distributed, but not more colourful. It will still be FREE. The next issue has stuff from Philip Best and Antoine Bernhardt, loads of articles and tons of illustrations by people who can actually draw. That’s our mission for next year: To eliminate the talentless bastard offspring of David Shrigley. Airbrushing’s going to be massive.

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Hype: Where does it come from? Where will it go? Nobody ever seems to know. Right now, mind there are tiny little shards of the infosphere that are offering very certain-sounding decrees about a band called Gold Teeth, this web but how do they know? The Telegraph reckons they’re going to conquer 2009, ampoule Zane Lowe and John Kennedy are giving them airplay that any other unsigned band would kill for and saying “whoop whoop” just enough. Maybe that’s it. The self-fulfilling prophesy effect. Little bit of hype here and there and look: I’m listening to them.

So what sits in the eye of this embryonic hype-tornado? It depends on how you hear them. On record, you’ll first be pulled in by the groove. Drummer Will Ritson is an afrobeat wizard, bouncing crystal clear hollow-sounding chicky-chicks, bap-baps, ker-brups and the occasional puh-chap-chah, tight as a particle accelerator. The combination of this with Jonny Tams electronic beeps and hoobs takes you to a land of 80s Casio demos (except the grooves are more lushly driving than annoying). Slap on some up-the-fretboard guitar work, slow-strummed sugary chords for a while, then kicking into discrete repetitive noodles, played as if they’re samples, that add more detail to Ritson’s drumbeat skeleton. It gets very addictive around this time, and your head jerkdoodles back and forth the way it can only do when you’ve got Afrobeat Inside. On their best songs, around this point, you’re totally into it. The tightness of these three chaps alone is a thrill. Start thrashing your imaginary whip against your imaginary racehorse now.

But I’ve forgotten someone… Mr. Joe DaCosta, unencumbered by an instrument, works the vocal chords, and he loves it, like a hatchling loves worms. His lines are barked in a Saaf London tequila slammer, with no lemon for afters: “bread and butter, my son”, “you ain’t even all that funny”, these little snatches of sharp, dog-track, flat cap conversation cracked suddenly into your head, instantly memorable and singbackable. But this singer is the big difference between a gig and a recording. There isn’t a microphone in the galaxy that can capture the way he leaps around the stage. The man is a bundle of monkey energy. He leaps, lunges, jiggles, and wiggles his lithe monkey-acrobat bod around the stage, like a cross between 50 Cent and Tigger and (I’ll say it again) a monkey. With all of his high energy jiggerypokery and gurning, he verily works the crowd like Rod Hull working Emu (except without the arm). So go, musiclover, go get all the mp3s or 7”s cos they’re good, but know you’re getting a very different experience if you see a gig. If you’re just listening to their demos or their single, you might want to play Donkey Kong or watch Battle for the Planet of the Apes as a way of simulating the full experience.

And now look! Dear reader, I’m part of the hype. I guess that’s how it works. But what can I do? I actually want you listening to these people. Their music is really just plain fun. The most obvious association is Vampire Weekend, just because of the hooky bounce that you’ll find in both, but with the synths here, it’s a bit closer to hearing some happy Plaid ideas, converted to catchy pop format by that guy who wrote all the music for the SNES. There’s no soul-searching here, no poetry or pain; it’s a passport to funtime. Even when they play with dark chords, it fun darkness, like Grand Theft Auto. Frown while you pogo.
I get the impression that the single, Everybody, is really just a taster of what these boys can do. It’s a nifty tune with a great b-side, and if you’re a hype-sucker, a good investment. But listen to the demos. Songs like Tasty, The Film, and Bread And Butter have such a perfect meld of songcraft and pure spacious grooveriding, with interplay of instruments and sounds that you almost never hear in live bands. Which leaves us with a few ifs. If the hype is right, if the demos develop into great recordings, if they keep the songs coming this good, and if their newly added bassist squeezes into it ok, then Gold Teeth is a perfect breezeblock dropped into London’s rock-pond. They deserve to make waves. And if you have the dance in your pants, like a bit of catchy, and get Nintendo-nostalgia, my friend, you will let the monkey and his friends make you jerkdoodle your head back and forth in 2009.
Gold Teeth are playing The Paradise in Kensal Green on Thursday 19th March. Everybody is out now on 7”.
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Photography by Jason Rodgers

When you name your band “Fun, more about ” there’s one question you’re bound to get asked a whole lot, link so let’s just get that out of the way first. The answer is yes. They are. In addition to being fun, they are funny, enormously talented, and preparing to embark on a tour across America with Manchester Orchestra in April and to release their debut album in spring 2009.

Fun is lead singer and lyricist Nate Ruess, whose previous band, The Format, released two critically acclaimed albums and toured with the likes of Guster and the All American Rejects. On guitar, there is Jack Antonoff, the curly coiffed frontman of Steel Train, and Andrew Dost, previously of Anathallo, whose musical talents include, but are not limited to, guitar, piano, flugelhorn, melodica, and humanatone (it’s a nose flute). These three musical maestros have teamed up, in the wake of The Format’s break up, to form pop supergroup, “Fun.”

“After I found out that the Format was no longer,” Nate says, “I called up the two musicians I knew that I had always wanted to work with most.. Fortunately, nobody was too busy and Andrew and I flew to New York and spent a month with Jack in his parents’ living room, making demos.” Andrew goes on to explain, “My old band had toured quite a bit with the Format, and a few of us had played horns and percussion for some of their songs. I thought Nate was a great guy, and clearly really a gifted singer and songwriter, and we stayed in touch. We played with Steel Train along the way too, and I thought Jack was fantastic as well. The three of us just had a mutual admiration for each other, and knew that someday we’d like to work together.”

Before work on their forthcoming album had even been completed, Fun was asked to open for Jack’s Mannequin on a three week tour that took them around America and into Canada. The band made new fans along the way, as well as being greeted by some old ones, fans of their work in their other respective bands. “My favourite part,” Andrew says, “is getting to hear people sing along to sounds that were in my head a few months or years before. The sounds I want to get out of my head can reach other peoples’ ears and, hopefully, mean something to them.”

After the tour ended, the primarily New York City based band reunited in Los Angeles to finish their album. “Because it’s my voice, and I wrote a lot of the Format songs as well as the Fun songs, it can certainly sound like the Format upon first listen, but, to me at least, it’s a lot more in depth, mature, and musically sharper than I thought the Format was. That’s not a diss to anyone involved in the Format, I believe it’s just the natural progression of a songwriter.”

With a February gig opening for Jason Mraz in front of 7,000 people already under their belts, in addition to more than 200,000 plays of their myspace song, “Benson Hedges” and the internet buzzing about their new song, “At Least I’m Not As Sad (As I Used To Be)” the boys of fun could be feeling on top of the world right now. None of these are small feats for a band to have accomplished before even releasing a CD, but none of it seems to have gone to Nate Ruess’ head, “I’m very fortunate to be surrounded by creative people,” he says, “Sometimes i just sit back and watch in awe.”

When a new bar opens in Hoxton, prostate it is a dead cert it will be a big night, there with some of the hottest new stars just bursting at the seams. The Queen of Hoxton had it’s PR launch on Wednesday, a star studded event that debuted new and up coming artists as well as musicians. Henry Holland was the DJ and Pixie Geldof was just one of the celebrity guests attending. Among the artists were photographers George Ramsay and Hunter Skipworth of East End Aperture, one’s to watch for the East End photojournalism scene and the band was Crystal Fighters.

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All the way from Spain, Crystal Fighters are winning the hearts of us Londoners with their hit I Love London, kindly remixed by the prestigious Kid Cola. They were featured on XFM’s John Hillcock’s New Noize Best of 2008 show and were voted number 91 in MIXMAG‘s top tunes of 2008, impressive as they were the only unsigned band on the list.

It all started for the Fighters when frontwoman Laure discovered a manuscript of an unfinished opera in her grandfather’s home in Basque, and inspired by the untidy scrawls the band decided to complete the work.

Incorporating the traditional sounds of Basque with a synth over the top to create a nu-rave minimalistic, dirty squat party sound.

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Amelia’s Magazine | A Divorce Before Marriage: a film about I Like Trains and the music industry

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A Divorce Before Marriage by directors by Matt Hopkins & Ben Lankester follows the Leeds based band I Like Trains following their rejection by the mainstream music industry. During this time they grow older, gain families and ‘real’ jobs… whilst remaining passionate about producing the music they love. As someone who is a long time fan of I Like Trains and a supporter of musicians working on the fringes of the commercial music industry I was most intrigued to hear about this feature length film, and asked director Ben to explain more…

A Divorce Before Marriage – Official Trailer from A Divorce Before Marriage on Vimeo.

A Divorce Before Marriage is a documentary three years in the making. The film charts the lives of Leeds based I Like Trains following the loss of their record deal. We really wanted to shine a light on those bands working away in the middle, those bands positioned somewhere between superstardom and complete obscurity. We felt this was an overlooked and unrepresented portion of the industry, particularly within the world of music documentary.

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The film aims to reveal with brutal honesty the difficulties but also the rewards of balancing creative endeavour with earning a living. We hope the trailer speaks to creatives in all types of professions who are forced to do the same thing, particularly as you approach that delicate time in your 30s when life appears to take over. The film was shot over three years in order to capture those small but powerful moments of change that happen in our lives during this transformative period.

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As filmmakers we have been working with I Like Trains for five years now, from initial music videos and live performance films to this, a feature film documenting their lives over a long period. It really feels like the culmination of the journey we’ve all been on together, and the success of our ongoing Kickstarter campaign is testament to our belief that this band’s story is universal.’

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You can support the Kickstarter campaign to raise money for A Divorce Before Marriage here. They have already exceeded their first goal, but any extra money raised will allow them to make an even better film. The campaign closes on 14th October 2014.

Categories ,A Divorce Before Marriage, ,Ben Lankester, ,film, ,I Like Trains, ,Kickstarter, ,Matt Hopkins

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Amelia’s Magazine | A garden fit for Adam and Eve

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Rolling through the beautiful countryside of Cambridge, pulling over for directions every ten minutes (it’s location is secret after all) with guitars, fancy dress, snacks and booze covering the laps of my back seated allies, our excitement was hard to contain as good old Bob Marley (there is no control over the drivers choice of tunes from the back seat) tingled our ears.

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The lake by day

After several picturesque wrong turns and about two hours constructing a mansion sized spangly new tent my organised friend had lost the instructions for, we were finally ready “to participate in anything and everything” as instructed by the Secret Garden handbook. Setting up camp on the Thursday, we kept our sensible hats on and opted to keep this the first night of four gentle. Strolling round the grounds we were bombarded by the beauty of the landscape sparkling before our eyes.

Awaking on Friday with a spring in our step, we were ready to indulge in the enticing surreal world. An afternoon stroll took us past Granny’s Gaff. Notorious for their whacky behaviour, these chaps are not to be messed with. Hosting The Granny Prix, my associates and I joined the crowd of onlookers as brave characters tackled the zestful fancy dressed elderly. Ramming their pesky stabilisers and poking with walking sticks as the competitors attempted to dodge to the finish line, we drifted onto the next spectacle having witnessed the lesson never judge a book by its cover.

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The Granny’s Gaff

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The Granny Prix

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On looking Pagoda from the bridge

Tucked away like a magpies treasure chest was the stage on water, Pagoda. Not only was this quite a spectacle but there were some rather top class sets from the likes of Firas and Sugarfoot Stomp, giving an excuse for a rave, even at lunchtime!! When the pace got too much and our dancing feet began to wilt, a dawdle to The Great Stage allowed some seated, cross legged entertainment with Absentee floating across the valley of mayhem.

Revived, a leisurely stroll along the banks led us to some very unstable modes of transport lining up. Having spotted these dodgy vehicles being created earlier, I did have an inkling they may be for a further purpose. My concern however lay in the fact that we were about to witnesses to what looked like a fatal event. Fair enough, grown men can look after themselves but when children began to line up alongside them, the sensible side (20%) of me echoed in my head “where the heck are their parents?” Constructed from reclaimed materials including wheel chairs, children’s toys and prams these bold nippers had created the most eclectic array of wheels. Sure, they looked like beautiful trash sculptures but that menacing slope looked like it may be the end of them, and their passengers!!

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The workshop of reclaimed wheels

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The starting line of the Down Hill Race

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The aftermath of the Mud Olympics

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A spot of hula hooping

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The zebras of Zebra World getting ready to run around their assault course

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Row your boat gently down the stream

After many spectacles we settled in the Fish Seeks Bicycle tent, who served up ska, swing, and disco with a dollop of dirty beats. Offering the likes of The Crafty Rascals to Dan Spinney this tent was certainly the space to remain for any retro kids. If that didn’t rock your boat (pardon the pun) then the Sparkly Nuts tent provided constant crazy vibes with electro and house, as long as you weren’t bothered by being surrounded by what seemed like a mass killing at a teddy bears picnic. Stuffed toys body parts ripped off, replaced with dolls torsos, eyes dangling out with arms and legs falling off were at every angle you glanced. Finishing at one o’clock in the morning, low and behold anyone who was getting sleepy. Night time at the garden is when all the sights become alive. The Playhouse by Joanna Rogers, which had seemed intriguing by day now took on a new character, glowing invitingly with lights wrapped around its bizarre cardboard construction. The perfect place for a cosy chat or time out to admire the views.

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The safe haven of inside the Playhouse

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An evening view on looking the lake from the Playhouse

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A gathering deep in the woods

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Beware of the high in the tree tops

Wrapped up in my sticky tent early on Saturday morning I had the strangest dream, that I was a godparent and it was my nephews christening. Abruptly awaking to my alarm, I realised this was not my imagination, it was true. I won’t bore you with the details. But I made it all the way to Bristol. That was not my final farewell to the garden mind, I just had to come back. Having missed the likes of Esser, Zero 7, Ratatat and the Infadels, there was no way I was gong to miss the finale.

Sunday, the day of rest. Exactly what was needed after my struggle of a journey back. Although excited to return to my associates for the last 24 hours of secret fun, I was keen to stroll around in a calm fashion, to take in what would be my last sights of the Secret Garden 2008. Scrap Shack had caught my eye many a time as I had passed by, and a quiet afternoon without my head punishing me for antics the night before seemed like the perfect chance to go and get creative.

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The Scrap Shack front desk

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Scrap Shacks contributors had made some delightful installations to entice the punters

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My allies for the weekend Helen and Verity getting stuck in

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The girls from Scrap Shack modelling some of the creations of the day

The idea for Scrap Shack was to invite the quirky festival types to get involved, selecting rubbish from cans to cartons and making any item they desired. Once finishing their masterpiece, the inventors either left their work of art behind and moved onto the next attraction or took it with them as fancy dress attire, a must have accessory or simply a memory of their talent in return for a small donation. Any pieces which were left behind would then be sold at the kiosk the following day. From rings made from pill packets to tin can hats, this clever collaborative group Passing Clouds were not only providing a wonderful event for all ages to join in and encouraging recycling but making a few coins here and there for the evenings booze.

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Some beer mugs ready for sale the following day

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Lykke Li the little groover

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Florence and the Machines belting ‘em out

That evening we settled in Where the Wild Things Are to see that adorable little Swede Lykke Li. With such a tone of innocence in her voice it’s a little surprising to hear of her tales of heartache. Yet, how can anyone go wrong with undertones of Bjork and Marissa Nadler? Not only can this girl dab hand with a megaphone on stage, she’s a bit of a mover as well. Following up her act later was Florence and The Machine, or perhaps with the way she can belt out those notes, Florence the machine. A top class vibrant and moving performance was had, with even the chaps of the audience down with her vibes.

From 10 ft tall birds nests and doodle dens, poetry to conspiracy theories; the garden catered for all tastes, ages, passions and levels of quirkiness. Music lovers, artists and party animals were all united and spoilt with persistent entertainment 24 hours a day. The Secret Garden Party of 2008; a modern day scene fit for Adam and Eve, a psychedelic garden of temptation and beauty must be visited atleast once in a lifetime.

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Amelia’s Magazine | A letter to Kings of Leon

My climate camp adventure started with the realisation that I’d have to spend a night in camp alone after a little mis-communication with my fellow interns. While the prospect of sleeping in a tent, sildenafil rx alone, pill for the first time in my life scared the hell out of me, I’m glad I didn’t bottle out, as I would have missed out on a once in a lifetime experience.

Wednesday evening at camp started off with a surprisingly filling slap-up vegan meal supplied by the hardworking volunteers in the London tent.

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Volunteer making food and wearing one of the aprons made by Emma

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Me chumping down on my food

After bidding a brief farewell to fellow intern, Emma, I gathered with the rest of the campers under the stars to listen to the captivating words of performance poet Ben Mellor. As we sat absorbing his witty words on society and the mind numbing nature of television, whilst watching the sky light up with flashes of lightening, I couldn’t help but feel a sense of pride at the strong feeling of community and goodwill shared by all the campers.Wednesday evening was Latin American night at Climate camp, so after Ben’s words of wisdom, we all made our way to the main tent to dance the rest of the night away with the help of a brilliant Bolivian band.

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The brilliant band which kept us on our feet all night

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A Bolivian dance group


Emma and a couple other campers practiced a Bolivian dance routine earlier on in the day

I was up bright an early on the Thursday morning after a bit of rough night alone in the tent. Thankfully Kate had left her sleeping bag behind as quite stupidly I’d completely forgotten to bring any bedding of my own. Unfortunately after warning shouts of a police raid at 5:30 in the morning (which turned out to be a false alarm), I found it a little hard to get back to sleep.

There were absolutely loads of workshops that I liked the sound of, each of them employing different angles to tackle the issue of climate change. I went along to one organised by the Student Climate Project called Guerilla Art, which promised to illustrate how we could use creative means, such as art, to fight against climate change. Unfortunately in order to protect the SCP I can’t go into exact details on everything that we discussed. What I will say, however, is that I went in there expecting a discussion on producing traditional artwork that incorporates messages of environmental dangers, but was delighted at the more contemporary, dare I say radical, approaches that we examined. The coordinators started off by discussing artists such as Banksy who have used more direct means to raise public awareness of social issues, before instructing us to get into groups and produce some artwork of our own. I loved the proactive nature of this workshop, particularly because passive attempts to change public opinion can often feel a little futile in my opinion.

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Myself, and the remaining members of Team Amelia said our goodbyes and made tracks to leave late Thursday afternoon. I couldn’t help, but feel a funny sense of nostalgia – in a strange way, it almost felt like I was leaving home. I have to admit the whole experience of being at protest was pretty new to me – but I loved being a part of it.

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Myself, Kate and Sarah packing up the tent – it felt like we were leaving home!

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There was a time when I used to watch, see point and laugh at eighties music videos on MTV… oversized shoulder pads, viagra leg warmers, ed parachute pants need I go on?!
I remember this as I catch myself gazing longingly at the golden silvery lead, admiring his Esser-outdoing mop, and instead a smile to cross my face as the Spandeau Ballet video for True springs to mind.

The sound quality at The Macbeth certainly is awarded a 10/10 (even if these trendy bums and their clumsy footsteps do begin to grate on me). After a couple more tunes (and beers) my moves loosen up and I could even be accused of stamping on their feet a couple of times. Effortlessly punching the keys of his keyboard, dreamily humming his tales of love and loss there is no doubt these tunes are as catchy as velcro yet, perhaps a little limited in content. After all, there is more to life than just girls, boys and heartache (or perhaps that’s because I’m a bitter spinster)?

Golden Silvers sound like a splash of Duran Duran mixed with sugar sweet melodies, rippled with spicy synth action, a dash of Talking Heads and a slight pinch of Pete Doherty’s voice… shaken up in a disco ball. Great live acts, but possibly not the most varied poetry to have on your headphones.

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The finale of Arrows of Eros with a guest guitarist

What a wonderfully British week we’re having; deceptively sunny mornings followed by torrential rain, recipe thunder, there lightning and flood warnings by tea-time. As we say goodbye to the sad excuse for a summer we’ve had, we can at least look forward to investing in one of this winter’s fashion staples; tights. I’m maybe slightly over enthusiastic about tights thanks to a deprived childhood where my mother would make me wear socks with my school uniform well into January, when she would finally acknowledge that it was cold enough for tights. As a result, I get really excited about autumn/winter fashion, particularly when tights feature as prominently on the catwalk as they do this season.

Top of my wish list would have to be a pair of Chanel’s two tone stockings; not only do they go with everything, but they are also ridiculously slimming as the black section makes your calves seem narrower. What more could you want?

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London Fashion week saw tights worn as a statement piece in Emma Cook’s Autumn/Winter 08 collection. Like most of her designs, they were richly textured and feminine, laced with stars and intricate abstract patterns.

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?Designers Mhairi McNichol and Chloe Patience have collaborated to bring us an innovative take on modern hosiery at The Shop Floor Project. One pair of their handprinted stockings will set you back £54, but they are a genuine works of art. Embellished with beads and sequins, the tights feature quirky and intricate drawings by Chloe alongside Mhairi’s intricate embroidery.

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Sisters Kate and Laura Mulleavy of New York fashion label Rodarte have managed to cross breed the classic fishnet with thick cable tights, creating their large weave hosiery, reminiscent of a spiders web. The Gothic take on knitwear was inspired by Japanese horror films, and is bang on trend for those wanting to have a go at that ‘good girl gone bad’ look set to be big this autumn.

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Last, but not least, for all your hosiery needs, the one stop shop has to be the Tights Please website, where you can find all the best brands and styles, including industry staples such as Falke and Jonathan Aston. £20 may seem a lot to spend on one pair of tights, but it’s definitely worth investing in well made labels that can transform a whole outfit and will last all winter, snag-free. Besides, think of all the money you’re saving on waxing and fake tans.

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Lunch time gigs are something I’ve very rarely experienced, approved but if there is one thing I know about them it’s that unless the band are more than captivating you’ll find your mind will drift off into thoughts about sandwiches. I will therefore remember Cut Off Your Hands as being more entertaining than lunch; quite an accolade I think.

Kate and myself arrived at puregroove to find a nice little turn out for a daytime gig. Cut Off Your Hands are not the most known of bands, and I couldn’t help but think how almost criminal this is. What they may lack in originality, they make up for by simply offering perfectionist pop punk that rivals The Cribs.

Their hyperactive stage presents could strike some as sickly, they certainly appear to have eaten one too many smarties, bouncing around like children full of E numbers. Being twee always seems to split the crowd, and I’m often left feeling that presenting yourself in such an inoffensive manner isn’t necessarily a bad thing, it just makes creating music that interesting a lot more difficult.

With want of a better expression, they could definitely make a record label a lot of money quite easily. There’s a market for them, and although it’s ever so slightly saturated, they are a lot better than most bands they would sit alongside. Put it this way, if people who love The Pigeon Detectives loved these instead, and there were an awful lot more canvas bags with their faces on, and the number of cd-r’s made by local indie disco djs had their tracks on increased – then I’d find the NME ever so slightly more readable.

I got an email a while ago tempting me to go to the ‘Art in mind’ exhibition at Brick Lane Gallery. What drew me were Sarah Beetson‘s illustrations, ampoule which contain a dollop of fun, viagra order a spoonful of neon attack and a dash of imagination. So after work I convinced the crew to join me in some arty fun, hospital after all the gallery is only round the corner from work, which is handy!

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Peter Ellison‘s mixed media pieces involve photography, printing and painting resulting in expressive pieces, which are inspired by fashion and advertising images.

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peter ellison art work

Steve Rack‘s friendly world of acrylic creations allowed us to momentarily return to our childhood; to remember a simpler world where crayola colours, hope, happiness and bouncy characters littered children’s tv. He describes his work as containing a ‘glimpse into a magical world where anything is possible’.

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steve rack

Donald Cameron’s black and white photography is really quite beautiful. Silence, surfaces and textures are documented to serenade your senses.

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david camero

Sarah Beetson‘s illustrations were the best thing in the exhibition. Small illustrations hung from the wall. Her naughty sense of adventure was pungent in the half naked figures parading perfectly perky breasts adorned with neon gell colours. Some frisky fun indeed!

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sarah beetson illustrations

Downstairs there wasn’t that much to see. Whilst upstairs felt modern, downstairs felt like a trip to the past-to galleries where the sort of art you’re meant to ‘appreciate’ for your GCSE projects.

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gary monitto

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‘internal bleeding’ by Jaufran

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esti eini

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us posing for the camera

If you do happen to go to ‘Art in mind’ make sure you keep an eye out for Beetson’s illustrations.

You know how it goes, find first the slowness, then the grinding and eventually the total no show of anything. Shit, hard drive where have you gone?! Thus it went with my Powerbook laptop early on Sunday morning as I was trying to upload wedding photos onto Facebook. Rats! I took it to show my dad who can sometimes take computers apart, but he laughed and said I need to go to the Mac fixer, whoever that magic little gnome might be.
Luckily I live close to Mac1, an eccentric little repair shop opposite Spitalfields market which is perversely housed underneath a messy antiques shop. But it turned out that most of their staff were away on holiday and thus I found myself peddling like a mad woman into town to visit their West End branch first thing on Monday morning.

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And spending most of the day reading a fine book by Doug Macdougall, Frozen Earth: The Once and Future Story of Ice Ages, whilst sat on a lovely wooden rocking chair underneath an oversized ficus plant (real and all). Sure, I desperately needed that computer back online, but hell, it’s not often that I get to immerse myself in a good book for any length of time, well at least not without feeling unnecessarily guilty and that I should be doing something else. So the experience was not altogether bad.
After several false starts the pesky business of transferring info hard drive to hard drive began, but once that was all completed the fan started whirring away again like a noisy little gremlin in my keyboard, prompting us to wonder if that had been the problem all along. No matter, a fan transplant later all seemed to be okay, except now of course my desktop is all wierd and not how it used to be.
Mac1 director Marc was extremely pleasant to me even though I took up most of his day, and I witnessed him time and again tending to customers with ridiculous queries with the utmost grace and patience, whilst artfully tending to my sick computer with one hand. Meanwhile his son Julian played quietly on his game, having been dragged unceremoniously from the surf in gorgeous Cornwall and plonked down in grotty central London.

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Mac1 serves as a handy alternative pit stop for all the frustrated Mac customers who have just been told that there will be a 10 day wait if they put their beloved in for treatment at the Regent Street Mac store. At Mac1 you are likely to get your problem sorted within in the day, and with none of the tedious corporate bollocks that Mac likes to peddle as a unique experience. Mac1 sounds to me like something you do in a fighter plane, oooh I’m coming over all Top Gun all of a sudden – but for all your Mac problems, it is definitely the way to go.

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For those who like to enjoy their tasty treats without having an unsavoury impact on those involved in the production of their sweeties, cost Burnt Sugar is set to become a firm favourite. Lauded by all and sundry (the Telegraph had said that they ‘may be set to do for the sweet market what Green & Blacks have done for chocolate’) the FairTrade certified brand, set up by Justine Cather in 2001, seems to be going from strength to strength. This should be no surprise really as, for starters, their ethical stance is exemplary. Sourcing their unrefined sugar (no nasty chemicals used this way!) from West Kenyan sugar farming co-operative WEKO, the company supports small local businesses and provides premiums so that communities can enrich their villages with water pipelines and electricity. Burnt Sugar has also become ‘Carbon Zero’ by offsetting their carbon dioxide emissions through energy efficiency projects, such as providing Solar Stoves and energy efficient light bulbs to communities in Africa. Even their West Kenyan sugar mill is energy self sufficient, since the sugar cane (once crushed and squeezed of it’s sugary juice) can be burnt to provide heat for the evaporation process.

Now, this is all well and good and fine and dandy, but a sweet company will never get far if it’s goodies aren’t so good. This is why I insisted on a few taste tests before bigging up Burnt Sugar (it’s a perk of the job, what can I say?). I’m not usually one for fudge but The Observer Food Monthly deemed Burnt Sugar’s ‘Original Crumbly Fudge’ to be the world’s best fudge, so I put aside my preconceptions and popped a piece in my mouth. The verdict? I’m a fudge convert! This grown up fudge has a surprisingly malty smell, like snuffling at a slice of Soreen or a particularly dense Christmas cake. It’s juicy as well, something I wasn’t expecting, with treacly, syrupy juice lending each chunk a really dark copper tone. It’s crumbly and melt in the mouth; like eating home-made biccies but with all of the sugar and none of the substance.

We were also given a packet of ‘Original Chocolate Honeycomb’ which Amelia sampled and deemed ‘lovely’. A little research on the Burnt Sugar site reveals that their confectionary collection is almost as big as Willy Wonker’s; There’s chocolate crumbly fudge, dark chocolate covered caramel crunch, strawberry and white chocolate crumbly fudge, coconut ice… I could go on, but I’d start dribbling on my keyboard. Burnt Sugar have packaged their products in larger pouches and tubs for sharing (yeah, right!), smaller trinket sized boxes for giving (what!?) and little bars to indulge in all alone (that’s more like it!).

I’ll definitely be keeping an eye out for Burnt Sugar when I’m next grocery shopping. I may even take Burnt Sugar’s advice and indulge in their not-so-guilty pleasures whilst I’m curled up with a good book, a past-time the company love so much that they even created their own online book club! But, wouldn’t you know it, this is yet another initiative to make the world a better place; they simultaneously use the book group to draw attention to Book Aid International (who support literacy, education and training in the developing world). Burnt Sugar founder, Justine Cather, says; “I love the idea that our book club is a fun thing for our consumers to join and at the same time it helps promote the great work that Book Aid International are doing in the Sub-Saharan African communities, especially as this is where our Fairtrade sugar is grown”.

Burnt Sugar look to be a confectionary company with delicious products and a wholesome work ethic. Could it get any sweeter?
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Tuesday 26th August

Be Your Own Pet and The Hot Melts – Dingwalls, viagra approved London
We Are Scientists – Empire, viagra approved Middlesborough
The Miserable Rich, patient The Sleeping Years and BB & The Dead Dog – Betsey Trotwood, London
Crystal Castles – Exeter University
Dirty Pretty Things and Florence and the Machine

Wednesday 27th August

Yacht – Barfly, Glasgow
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Yacht is the R&B tinged pop jewel in the DFA crown. I’d really like to see just how effective his tracks are at getting a crowd moving live.

Conor Oberst and The Mystic Valley Band – Electric Ballroom, London
Turbowolf – Thekla Social, Bristol
Ra Ra Riot and The Daves – Monto Water Rats, London

Thursday 28th August

The Week That Was, School Of Language and Absentee – The Barfly, London
Maths Class – Underworld, Edinburgh
Bombay Bicycle Club – End Bar, Newcastle upon Tyne

Slow Club – Hoxton Bar & Grill, London
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If Slow Club aren’t worthy of being your entertainment for a Thursday evening, then I’m not sure we can be friends.

Skream – East Village, London
The Week That Was – Barfly, Glasgow
Yacht and Sportsday Megaphone – ICA, London

Friday 29th August

Gig of the week

The Faint – Cargo, London
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So long as the number of new tracks is limited then this would be so awesome. I hate when bands play loads of songs off new albums that nobody has heard. Why do they do that?

Saturday 30th August

Offset FestivalYoung Knives, XX Teens, Chrome Hoof, Little Boots, Ox.Eagle.Lion.Man and more – Hainault Forest Country Park, London
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A festival in a wood, just 30 minutes out of London, with animals. I am officially there!

Bass Clef, Leonie and Brass Roots – Vibe Bar, London
So So Modern – The Freebutt, Brighton
Ladyhawke, The Checks and Nathan Haines feat Vanessa Freeman and Mike Patto – Koko, London
Capitol K, Micachu and Untitled Musical Project – The Monarch, London
The Chemical Brothers – Olympia, London
Eugene McGuinness and Agaskodo Teliverek – The Macbeth, London

Sunday 31st August

Offset FestivalGang Of Four, Blood Red Shoes, Hot Club De Paris, So So Modern, Metronomy, Slow Club, Prinzhorn Dance School, Ipso Facto, Radioclit and more – Hainault Forest Country Park, London
José González and Juana Molina – Open Air Theatre, Regent’s Park, London
Future Of The Left, Working For A Nuclear Free City and Dinosaur Pile-Up – The Harley Sheffield
The Clik Clik, Eliza Doolittle and Mpho Skeef – Wonky Pop at The Lock Tavern, London

I saw Stephen Fry on that road parallel to Oxford Street once. I nearly walked into a lamppost. It’s all that smart-ness in his brain that does it for me, information pills nothing like a man who can recite Shakespeare and what-not to make me go weak at the knees. So it was only natural that Miss Bruno’s limited edition ‘My so-called dress collection’ caught my four-eyes, ask fusing what would probably be my two favourite things ever: A wee bit of intellect and fabulous fashion darling. Perfect.

It helps that the garments are bloody cool as well. Deep earthy tones and exotic prints are paramount to the collection which combines an American city slickness with an African laid-back country style. Each individual piece is hand-cut using vintage and recycled fabric so no two items are ever the same.

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The sisters that form the collective duo known as Miss Bruno not only believe in making things for sustainable living, abortion but for other ‘unassuming revolutions’ as they put so poetically. The two list their influences as the countryside, old french and spanish architecture, conservative buildings that are vibrantly designed and the DIY culture found in counties such as Haiti where creative and sustainable living is a natural way of life. This becomes apparent in the shape of their ‘The Farming of Us’ blog, exploring thoughts on fabrics, musik, film, and general philosophies of life mixed in with memories of youth and happy chatter.

As a side dish to the Miss Bruno collection, the blog gives you a real sense of their commitment to the arts, ap sense of lifestyle and closeness to the product that makes viewing the clothes all the more believable and personal. Clearly the art of fashion blogging is of the highest calibre, if I say so myself.

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Long ago, page or so it feels now, salve when I was living as an art student in Leeds there was nothing that I’d like better than to get myself down to the Brudenell Social Club and take in some anti-folk. Aaah, page the wonderful anti-folksters that I was lucky enough to see perform in front of that glittery back wall! Moldy peach Kimya Dawson was always a thrill, as was Jeffrey Lewis and his wonderful ‘lo-fi music videos’. Diane Cluck would send us to sleep, but -ultimate favourites- Dufus would always set our hearts on fire again.

And then there was the lovely Herman Dune. Herman Dune stole the hearts of my friends and I on our first encounter with them at the Brudenell. It was probably their laid back indie-pop folk sound, conjuring up summer trips and friendly gatherings. Then again, it could have been their rather endearing manner, as the two lanky, bushy bearded brothers supported each other’s nasal voices with skilled guitar plucking whilst the drummer clip clopped along behind. Or maybe it was the playing-two-recorders-at-once technique during Red Blue Eyes.

Whatever it was, Herman Dune very soon became our sing-along soundtrack to happy summers and laid back bonding sessions. That’s the kind of music that Herman Dune make; joyous little ditties that seemingly promote togetherness and understanding. We’d listen to ‘Not On Top’, ‘Jackson Heights’ and ‘Mas Cambios’ on rotation. Though there were songs of loss and nostalgia, it was all a bit fluffy and rainbow coloured really.

As my life changed from the creative wonderland that was art-studentdom and became the decidedly less fluffy affair that comes with the 9-5 existence, I had all but forgotten about Herman Dune. I let their albums Giant (2006) and 123 Apple Tree (2008) completely pass me by. Even more crucially, I had no idea that Andre Herman Dune had left the band! This fact only became apparent as I stared down at Herman Dune’s new album sleeve…featuring only David-Ivar Herman Dune and Néman Herman Dune looking slightly lonely and incomplete.

Wikipedia imparts this information; “On December 13th, 2006, André Herman Düne played his last show with the band, and subsequently changed his name to Stanley Brinks.”

“Herman Dune lost the two dots on their “U” the day Andre Herman Dune left the band after the recording of the album GIANT” the band’s myspace page tells me. For a band I had once held so dear, this actually feels heartbreaking. With rumours of ‘artistic tension’ causing the split, I am actually dubious about popping the CD into my laptop in case what I hear isn’t Herman Dune at all but something that will shatter all my precious memories of the band.

But the truth is, I needn’t have worried. ‘Next Year in Zion’ is what we’ve come to expect from Herman Dune; lovely indie folk pop. Sure, it’s all gone a bit more cutesy pie – the departed Andre always seemed to be the more intellectual/introverted/cynical brother. With him out of the picture, David-Ivar is free to sing about his ‘baby’ and well, take a look at this. Hmm, perhaps that’s a bit unfair, because these songs are definitely full of substance and there are even a few sad ditties (‘My home is nowhere without you’). Still, with the harmonized lady singing and a good dose of schmaltz ( ‘My best kiss’ and ‘Baby baby you’re my baby’) there’s no denying that David-Ivar enjoys constructing his pop around romantic themes.

With this album, the nostalgic in me longs for a few of Andre’s more pained songs, or even just to hear the two brothers nasal harmonies once more. But hey, that’s just my being an old stick in the mud looking back to what once was. Such nostalgia shouldn’t detract from this album – which is great, by the way. I’m so glad that Herman Dune, in whatever form they now take, are back in my life simply because they craft perfect sing-along pop. Pop that reminds us of good times and sunny days. And we all need a bit of that, I’m sure. Bring on the fluffy rainbows!
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Having proved myself to be the resident Micachu maniac at Amelia towers, about it it was presumed that I’d like nothing better than to go to every Micachu event happening and dissect each and every one for your reading pleasure. What can I say? I like this gal’s music, buy more about but I’m no stalker. Honest.

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Besides, Micachu and the Shapes are keeping a pretty busy schedule right now, in preparation for a super stardom that seems to be promised to them. I’d applaud anyone that could keep up with this busy bunch! Feeling it too big a challenge, I opted out of Micachu’s single launch on the 11th and instead dragged fellow interns Mel and Tanya along with me to the Pure Groove record store a couple of days later to watch the band perform in store.

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As we arrived to a packed out Pure Groove I was suddenly so glad that I hadn’t let this in store performance pass me by. As I had whinged about a teeny-tiny bit before, Micachu’s addition of a flesh and blood backing band seemed to me to have changed the dynamic of her performances from intimate and intriguing to something a little less inviting. Perhaps I should just be getting with the programme and not harping on about ‘the good old days’ (ummm, the one time I had seen her with a mini tape player as backing) but in any case, the more recent live performance I witnessed at Hoxton Bar and Kitchen had left me somewhat frustrated at having to strain to hear lyrics and guitar under layers of fuzzy keyboards and clattering drums.

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Not so at Pure Groove! Naturally, this relatively small shop makes for an uber intimate setting for live music. Not only that, but the sound quality was pretty lovely – especially considering that the obviously keen audience kept as quiet as church mice throughout the entire performance. This was great because all the intricacies that I love about Micachu’s music, those skipped beats and background beeps, could be heard loud and clear. And lyrics too! Pure Groove punters were priviledged indeed…

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This instore performance meant that I had to eat all my own words too, since it proved exactly why The Shapes are an asset to the Micachu set-up. Playing this electronic bedroom music live lends it a whole other quality, which is what seeing an act live should be all about (after all, it gets dull watching bands who are so formulaic that you might as well be listening to them on your itunes). With The Shapes Micachu’s music becomes more immediate and driven. The innovative percussion was a joy to behold too (check out the wine bottle and table top drumming combo in ‘Guts’ as recorded by Pure Groove themselves).

“I’ve never done one of these instore things before…” Micachu admitted to the audience early on, “it’s…unusual.” She seemed to take to it like a duck to water though and I’m hoping this won’t be the last time we will get to see her and the Shapes in such a setting, as it really is the best way to hear this music.

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Familiar favourite ‘Golden Phone’ was pulled out towards the end to much foot tapping (interesting to hear that this track will be polished by production until ‘squeaky clean’ on the album). Mel tells me this track was her least favourite, however, much preferring the whining electronic guitars and bassy buzz of ‘Lips’ instead.

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As the crowd dispersed, I was so pleased that I had decided to go along to this performance rather than the single launch. It may have been a much more low key affair but that’s what made it so great. The music came across so much better in this lovely little venue and I was reminded of everything that had excited me about Micachu’s music the first time I saw her. I was also feeling quietly confident that I’d made two new Micachu fans of Tanya and Mel (am I right, ladies?). Okay, who can I convert next?

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Stepping into the Water Rats last night felt like stepping back in time to one of the awful rock club nights I used to frequent aged sixteen. This didn’t bode well. I felt rather out of place waiting for Fighting With Wire to go on, viagra approved being as I was the only person there not shod in a studded belt and a popular make of skater shoes. Things got more ominous when the sound system started blaring old favourites by The Clash, approved At the Drive-In and Incubus. Incubus, medications I kid you not.

As Fighting With Wire started it sounded like they would blow the cobwebs out of the crowd’s badly dyed red and black hair. Unfortunately, after a forceful start, the music slowed to a banal, sing-along chorus reminiscent of Biffy Clyro or Foo Fighters’ duller moments. This was a pattern that could be heard in almost every song of their tired sounding set.

The singer seemed to be emulating the look of Dave Grohl too, with his checked shirt and dark wavy hair falling in his eyes. Regrettably, what this young whippersnapper failed to realise is that thrashing around stage with your guitar uncontrollably and singing really quite loudly does not a rock god make. You’re never going to be ‘rock’ with song titles like ‘Last Love Song’ and a chorus that has the energy of a limp lettuce leaf.

Thank the lord that Future of the Left pulled us out of the 2002-sounding time warp we were in. By contrast, when they started with the fantastic ‘Wrigley Scott’ nothing sounded more fresh and straining with energy. Until something went wrong with the bass amp and they had to stop playing. The singer, Andrew Falkous (formerly of Mclusky), kept things ticking along with some amusing banter; usually this sort of thing really grates on me but the wit evident in Falkous’ lyrics thankfully shined through, until the gig was in danger of morphing into a stand-up routine.

Every song that followed was perfectly succinct; sounding like a more aggressive, stripped down Les Savy Fav. Nothing in the music was superfluous; everything had been considered but still sounded artlessly spontaneous. The use of both the lyrics and the driving, infectious sound was almost annoyingly clever – yet Falkous and the gang could never be labelled the kind of musicians that act like intellectual poseurs, the music is too raw and fun-filled.

The deceptively simple sounding melodies had me breaking out the classic uncle-at-a-wedding heeltap and head nod, while everyone else in the venue was jerking around with not quite the same amount of grace. The fact that the set was being recorded added to the already dynamic atmosphere, the sound had to pulse its way through the sweat-filled air.

I, like everyone else, was rapt for the whole set. The mantra from the brilliant ‘Manchasm’ encapsulates Future of The Left’s ethos: ‘Audience please! Every minute matters!’ And it did.

Tuesday 26th August
Vegas Gallery, hospital ‘The house of Pain’: Pascal Rousson: 21st August-14th September
64-66 Redchurch Street, London E2 7DP
Elements from flea markets and charity shops, American pulp fiction and artists as rock stars all feature, with a D.I.Y slap dash feel. Mixed media pieces highlight modernist American artists as self-obsessed figures, whose works echo the ‘low aesthetics of amateur home improvement projects.

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The bluecoat, ‘Green Spot‘: 19th August-3rd September
School Lane, Liverpool L1 3BX
By installing solar powered audio-visuals in a courtyard, Green Spot aims highlight the importance of green spaces in urban environments.

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Wednesday 27th August
The Others, ‘Venusts Effercio’: Paul Banks, Jennifer Brown, Timothy Dixon etc
6 and 8 Manor Rd, Hackney, London N16 5SA
Venustus Effercio (lovely stuff) explores the notion of carnivals and festivals. 8 artists and three live acts: Richard Wigglesworth, Liberation jumpsuit, Society present their work.

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A&D Gallery, ‘Artefacts from the Dumpling Dynasty’: Fiona Hewitt: 13th August-12th September
51 Chiltern Street, London W1U 6LY
Illustration which fuses traditional imagery with digital techniques transport you back to your childhood. Illustrations full of rich colours and iconographic Chinese art mixed with commerce and fairytales are sure to tickle your fancy.

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Theprintspace, ‘A Motorcycle Adventure’: Iain Crockhart: Wednesday 27th August: 7pm-10pm
74 Kingsland Rd, Shoreditch, London E2 8DL
Book launch of Crockhart’s new book detailing his adventre to Himachai Pradesh/India.

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Thursday 28th August
Barbican Gallery, ‘Frolic’: Huang Yong Ping: 25th June-21st September
Barbican Centre, Silk Street London, EC2Y 8DS
Combining contemporary western art with traditional Chinese aesthetics and philosophy, Huang Yong Ping’s installations and sculptures use avant-guard elements to explore culture difference, identity and colonialism that characterise Chinese history.

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Barbican Gallery, ‘Dolls Night Out: Club Night with Viva Cake’: Party: Wednesday 27th August: 6:30-10pm
Barbican Centre, Silk Street London, EC2Y 8DS
Join Viva Cake for a dolly’s tea party. There will be rock n’ roll for all you cool cats, beauty bar and parlour games for active types and free cakes and tea served by the wonderful Viva Cake roller tea girls (for everyone- come on who doesn’t like tea?!). One not to miss. See you there.
To avoid disappointment, book an ticket in advance for event entry.

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Newlyn Art Gallery, Bedwyr Williams (Chydig Back Yn Too Much): 28th June-30th August
New Road, Newlyn TR18 5PZ
Exploring the notion of place and being born in North Wales, his photos resonate with rural connections. Video, photography, performance, drawing and text are also the many other forms of expression he utilises.

Trolley Gallery, ‘Romance is dead’: Isabelle Graeff and Le Gun
73a Redchurch St, London E2
A collaboration between Trolley Gallery and collective Le Gun will commence a week long exhibition and temporary arts space.

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Friday 29th August

The London Book of Dead Exhibition: The Real Tuesday Weld,?Catherine Anyango,?Eva Bensasson etc.
Antique Beat ?PO Box 58132?London?SW8 4YN: 29th-31st August
Antique Beat is celebrating its launch with a short multimedia exhibition of manipulated photography, painting, film, collaged tableaux and music in the extraordinary surroundings of the crypt beneath the historic St Pancras Church in London. The show brings together a group of contemporary artists whose work reflects themes of death, dreams and the city for the first time.? The show will also celebrate the UK launch of the latest album: ‘The London Book of the Dead’ by art-pop musical collective the Real Tuesday Weld.

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Store, ‘The moon is down’
: Margaret Salmon: 28th August-4th October
27 Hoxton St, London N1 6NH
Haunting black and white photography and film highlighting time’s transitional quality.

Shoreditch Town Hall, ‘Rapunzel Rapunzel’: Sarah Cooney, Sarah Gillham, http://www.franciskylegallery.com/sites/Gorick.htm etc: 29th-31st August
Shoreditch Town Hall (Basement), 380 Old St, London, EC1V 9LT
Rapunzel Rapunzel uses printmaking, painting, sculpture, collage and drawing from eight exciting new female artists in London to reference themes of fairytales, dreams, mythological visions, memories, creatures, domestiv interiors and other vividly imagined worlds.

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Saturday 30th August

Madame Lillies, ‘MUCALYD’ Paintings by David Fletcher & Ben Birch: 30th August-7th September
10 Cazennove Rd, London N16 6BD
Whilst Fletcher demonstrates an archetypal style towards subjective imagery, Birch focuses on stream of consciousness in drawings; involving motifs which lead to subtle narratives.

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Dear Kings of Leon, store

How are you? I’m good, see made all the better by listening to your latest single Sex on Fire (although with that title have you been listening to much Metallica of late?). What though I wonder are you trying to tell us? Too much sex leads to a fire in your pants, which if the rumours are to be believed you are all no strangers to. Oh no, I’m being overly literal aren’t I, its probably something really deep. But with your gravelly voice Caleb, its difficult to make out what your lyrics are. That Southern drawl is most definitely on top form.

As much as I like you all I can’t let that cloud my critical judgement of your musical endeavours. So I find myself thinking Sex on Fire is not quite the sex. Sure, it ticks all the right scratchy Americana rock boxes, but it sounds more like it should be track 6 or 7 of the album, hidden away between the other more stand out tracks. Its your typical style boys, but perhaps a bit too typical. That said though Caleb, Jared, Matthew and Nathan I do like this offering, even if the old saying springs to mind, ‘if it ain’t broke, don’t fix it’.

Looking forward to hearing the rest of the album!

Much love,

Derv

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Amelia’s Magazine | Lightspeed Champion – Life Is Sweet! Nice To Meet You – Album Review

J Maskrey shone through at London Fashion Week as one of the most individual shows I saw during my time there; no doubt a favourite. Producing a collection of ‘body jewellery’ is no doubt an original idea, treatment but the works of art presented were so much more than that.
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Stunning creations combining leopard print, more about names, symbols and glitter swept down the catwalk in an array of twinkling designs and pumping music. Clothing-wise black dominated the colour palette, whilst the sparkling jewels added a playful, brightening edge. Statement shoulders popped up once again, as did pleating, incorporated into waist tied and bandeau mini dresses. Menswear combined huge fur headdresses with little else except J Maskrey’s stunning compositions of crosses, hearts, stars and more; all made up of the same shimmering body art. One item that caught my eye was a cute ‘love’ and ‘hate’ set that had been carefully presented across one of the female models’ hands.

As J Maskrey’s inspiration was primarily a 1932 film called, ‘The Mask of Fu Man Chu’, it came as no surprise to see aspects of the geisha tradition. Extravagant head pieces in the nature of fans dominated the second part of the women’s wear pieces, alongside major aspects of the sheer trend and a mini skirt with an incredibly manipulated hem. Where menswear consisted of a little more coverage there were black, cosy jumpers combined with elegant golden chains and clasps holding the front together. As the show progressed out came small 1920s style sequin caps, and what appeared to be strips of plastic around dresses that accentuated the female form. This was juxtaposed strongly against softer pieces, with heavy knitwear influences and aspects of crochet.

A female torso decorated with body jewellery that looked like splatters of dripping paint, and a rather revealing leopard print strip mini dress that glistened away throughout the finale were definitely outstanding pieces. J Maskrey’s originality is definitely something that many designers lust after, after all nobody wants to be the same. It was one show that definitely caught people’s attention, and as the show came to an end it was clear many had seen nothing like it before.

J Maskrey shone through at London Fashion Week as one of the most individual shows I saw during my time there; no doubt a favourite. Producing a collection of ‘body jewellery’ is no doubt an original idea, abortion but the works of art presented were so much more than that.

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Photography throughout courtesy of Camilla Sampson

Stunning creations combining leopard print, view names, buy symbols and glitter swept down the catwalk in an array of twinkling designs and pumping music. Clothing-wise black dominated the colour palette, whilst the sparkling jewels added a playful, brightening edge. Statement shoulders popped up once again, as did pleating, incorporated into waist tied and bandeau mini dresses. Menswear combined huge fur headdresses with little else except J Maskrey’s stunning compositions of crosses, hearts, stars and more; all made up of the same shimmering body art. One item that caught my eye was a cute ‘love’ and ‘hate’ set that had been carefully presented across one of the female models’ hands.

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As J Maskrey’s inspiration was primarily a 1932 film called, ‘The Mask of Fu Man Chu’, it came as no surprise to see aspects of the geisha tradition. Extravagant head pieces in the nature of fans dominated the second part of the women’s wear pieces, alongside major aspects of the sheer trend and a mini skirt with an incredibly manipulated hem. Where menswear consisted of a little more coverage there were black, cosy jumpers combined with elegant golden chains and clasps holding the front together. As the show progressed out came small 1920s style sequin caps, and what appeared to be strips of plastic around dresses that accentuated the female form. This was juxtaposed strongly against softer pieces, with heavy knitwear influences and aspects of crochet.

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A female torso decorated with body jewellery that looked like splatters of dripping paint, and a rather revealing leopard print strip mini dress that glistened away throughout the finale were definitely outstanding pieces. J Maskrey’s originality is definitely something that many designers lust after, after all nobody wants to be the same. It was one show that definitely caught people’s attention, and as the show came to an end it was clear many had seen nothing like it before.
We’re telling you, treatment this Pam Hogg review nearly didn’t happen. The tickets were hierarchically graded in insidiously gradual decline from two gold stars, information pills one gold star, silver, bronze, green, red and right down to a paltry black dot, and then nothing at all. And THEN there were even those without the very tickets themselves– a sort of complex modern-day feudal system testament to the patience of the On/Off staff dealing with a practically feral audience desperate to catch a glimpse of Peaches Geldof, or at least what you could see of her beneath those Rapunzel hair extensions of hers.

Illustration by Jenny Robins

Illustration courtesy of Jenny Robins

We got in eventually, though, and squeezed in at the back next to a cosy concrete pillar and spotted Nick Cave, Pearl Lowe and Nick Knight hidden amongst the throng of transvestites and somebody dressed as a giant inflatable woman in a Union Jack dress, presumably sweaty as hell. Featuring a front row resembling the entire cast of a Terry Gilliam movie gone to Ascot, the venue was rammed to maximum capacity by a crowd in such close quarters that it wouldn’t have been surprising if we’d all begun absorbing into one another via osmosis.

Images courtesy of Catwalking

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With a typically spirited collection, Hogg proved that romance in fact was not dead, even if it looked like it had been hacked at with a pair of scissors by Catwoman: here was a vision of sumptuous naughtiness with furry collared tulle capes, girly sequins and white bows combined with platform heels, bondage straps, sheer panels plunging right below the midriff – and neat little fluffy merkins (yep). Catsuits came in gold and silver metallics paired with mean-looking hooker boots, which evolved into chic cocktail dresses that you could comfortably man a spaceship in, a dual purpose of course characteristic of Hogg’s designs that has made her the favourite of wacky dressers across the land. We particularly liked the iridescent black trenchcoats, and goggled at the pants constructed entirely from ribbon.

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The raucous applause that followed might have been led by celebrities letting the rest of us know what jolly good mates they are with Hogg, but purely as a brand, Hogg’s energetic vision – in an industry increasingly bereft of leaders – is pretty valuable to fashion lovers everywhere. Even if we could only see half the catwalk.
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Illustrations by Zoe Barker

Sustainable Fashion, viagra 60mg what does that mean? This was the question posed by Vanessa Friedman at the beginning of London Fashion Week’s Estethica guide. I approached LFW with a fair amount of scepticism. Despite wearing my UK Press Pass with the secret pride reserved for a total LFW novice like moi, more about bien sûr, and being in total awe of how much work our fashion ed Rachael, all the writers, photographers and illustrators had put into it all, I was hesitant.

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Is fashion that great? One part of me thinks it’s essential to be constantly re-inventing and changing things, challenging what we take as a given and celebrating new creativity. And that fashion is another form of individual and social expression and even a tool for rebellion against restrictive archaic norms. But another part thinks that the fashion industry is responsible for an attitude that waste is OK as long as it provides a fleeting moment of self-centred happiness, and that we need to be constantly re-inventing the way we look. That fashion stands for endless buying, and the sanctioning of a kind of mass egomania. Alternatively, it means the production of things that are so well made they will last forever, but which are destined for an elite few whose monthly wages allow for it. So should this kind of thinking now be greened and made sustainable? Hmm…it doesn’t really appeal. And, while it admittedly takes a very narrow view of fashion, I loved Tanya Gold’s blunt, honest piece on ‘Why I Hate Fashion’ in The Guardian a few weeks ago. It does raise the question though: what does fashion, let alone sustainable fashion, even mean?

The concept of eco-fashion has always grated a bit, probably because my purse-strings don’t stretch so far (and of course never will do if I try to pursue writing as a career), but also because, at the upmarket end, it smacks of elitism and the opportunity to not only redeem yourself, but to then preach to others about how fantastic it makes you feel. Oh great, we can still carry on buying loads of expensive crap, because now it’s ‘organic’. Dear 90% of the planet, don’t worry! We will save you with our brand new ethical consumer habits! One fabulous certified organic fair-trade handbag at a time. It’s a typical voting with our credit cards kind of scenario, and it leaves those that can’t or don’t want to buy into the consumer ‘revolution’ (i.e. the vast majority of human beings on the planet) somewhat disenfranchised.

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Once upon a time I used to make and wear almost all my own clothes. Charity shops on the high street near my school were my Topshop. My thinking was, I can spend a fiver and get lots of unexpected random things from the clearance rail of a charity shop, have some fun cutting it up and sewing it back together, and wear it with pride even if it’s falling apart, or spend £30 (which represented a whole day’s work in my Saturday job) in Topshop on something made in a sweatshop and that there are 20 identical versions of on the rail. A battered old Singer sewing machine helped me to produce most of my 6th form wardrobe, and, admittedly, a trail of fashion disasters whose only purpose became household rags.

I loved sitting at my sewing machine, attacking things with scissors, making bags out of skirts, skirts out of dresses, dresses out of huge shirts, going to the bargain haberdashery stalls at markets and hunting out what I needed that week. None of my creations were planned or measured, so it was hardly difficult! My sister and I put on a crazy fashion show at school which consisted of t-shirts with massive holes, paint splodges, mini skirts made of tracksuit bottoms, dresses made of old saris, ripped tights, and asked our friends, our catwalk models, to just dance to The Hives album we decided would be the full volume soundtrack to our show.

Our music teacher loved it, but I think the rest of the Senior Management Team would have preferred something a little more conservative. Only recently have I discovered that what I was doing could technically have been called upcycling, and that an increasing amount of designers are turning to it, with much greater skill and expertise than I had when I was 16, clearly. There were a few designers using upcycling that I really liked in the Estethica rooms. Notably Goodone who collaborate with Heba Women’s Project, and Lu Flux. Kudos also to Izzy Lane with their beautiful wares and their strong animal welfare message (they use wool from sheep that have been saved from slaughter), extending our concept of equality beyond the human realm.

Britain generates 1 million tonnes of textile landfill every year. Textile recycling companies like LMB in London and I and J Cohen in Manchester collect between 170 and 200 tonnes of unwanted clothes and materials each week! Humans have been ‘upcycling’ since the beginning of time, making do with what’s there and improving it if need be. But it’s only recently that we have the opportunity and need to deal with quite such vast mountains of junk. So having it officially adopted as a fashion movement is a no-brainer, really. Companies will soon be jumping on the bandwagon left right and centre trying to prove that they have included a scrap of reclaimed materials in their collections.

This is why it is important, in my opinion, to remember that this should be an opportunity to move away from normal fashion consumption. One of the reasons I like upcycling is that it means we can be involved in the evolution and life cycle of an object rather than just being consumers of it. The designer also gains a much broader significance. This should definitely be an opportunity to get more people interested and able to partake in the production of clothes, rather than purely their ‘consumption.’

Upcycling, on a small scale, isn’t an expensive venture. Hopefully more people will be inspired to stop looking at products as a finished thing that can be bought, used, then thrown away, whether by DIYing and attending workshops, or supporting designers for whom upcycling and recycling is a central issue. Upcycled fashion is ecologically and socially conscious without being righteous or moralistic. It challenges our perception of waste and shows how it can be transformed into something beautiful and useful. It is a way to reclaim ‘fashion’, rethink our notion of eco-fashion, and bring ecology into yet more creative hands, rather than leaving it as an issue to debate over while scientists, politicians and lobbyists bicker it out to infinity. We don’t have to go far to find these ecological textiles, they are in recycling centres, charity shops, and our wardrobes and cost next to nothing. And second hand sewing machines aren’t hard to find either. For now though, I leave fashion writing well and truly to the pros. 
Diamante2

Illustrations by Zoe Barker

Sustainable Fashion, try what does that mean? This was the question posed by Vanessa Friedman at the beginning of London Fashion Week’s Estethica guide. I approached LFW with a fair amount of scepticism. Despite wearing my UK Press Pass with the secret pride reserved for a total LFW novice like moi, bien sûr, and being in total awe of how much work our fashion ed Rachael, all the writers, photographers and illustrators had put into it all, I was hesitant.

Handle_with_care

Is fashion that great? One part of me thinks it’s essential to be constantly re-inventing and changing things, challenging what we take as a given and celebrating new creativity. And that fashion is another form of individual and social expression and even a tool for rebellion against restrictive archaic norms. But another part thinks that the fashion industry is responsible for an attitude that waste is OK as long as it provides a fleeting moment of self-centred happiness, and that we need to be constantly re-inventing the way we look. That fashion stands for endless buying, and the sanctioning of a kind of mass egomania. Alternatively, it means the production of things that are so well made they will last forever, but which are destined for an elite few whose monthly wages allow for it. So should this kind of thinking now be greened and made sustainable? Hmm…it doesn’t really appeal. And, while it admittedly takes a very narrow view of fashion, I loved Tanya Gold’s blunt, honest piece on ‘Why I hate Fashion’ in The Guardian a few weeks ago. It does raise the question though: what does fashion, let alone sustainable fashion, even mean?

The concept of eco-fashion has always grated a bit, probably because my purse-strings don’t stretch so far (and of course never will do if I try to pursue writing as a career), but also because, at the upmarket end, it smacks of elitism and the opportunity to not only redeem yourself, but to then preach to others about how fantastic it makes you feel. Oh great, we can still carry on buying loads of expensive crap, because now it’s ‘organic’. Dear 90% of the planet, don’t worry! We will save you with our brand new ethical consumer habits! One fabulous certified organic fair-trade handbag at a time. It’s a typical voting with our credit cards kind of scenario, and it leaves those that can’t or don’t want to buy into the consumer ‘revolution’ (i.e. the vast majority of human beings on the planet) somewhat disenfranchised.

Make_do

Once upon a time I used to make and wear almost all my own clothes. Charity shops on the high street near my school were my Topshop. My thinking was, I can spend a fiver and get lots of unexpected random things from the clearance rail of a charity shop, have some fun cutting it up and sewing it back together, and wear it with pride even if it’s falling apart, or spend 30 squid (which represented a whole day’s work in my Saturday job) in Topshop on something made in a sweatshop and that there are 20 identical versions of on the rail. A battered old Singer sewing machine helped me to produce 90 per cent of my 6th form wardrobe, and, admittedly, a trail of fashion disasters whose only purpose became household rags.

I loved sitting at my sewing machine, attacking things with scissors, making bags out of skirts, skirts out of dresses, dresses out of huge shirts, going to the bargain haberdashery stalls at markets and hunting out what I needed that week. None of my creations were planned or measured, so it was hardly difficult! My sister and I put on a crazy fashion show at school which consisted of t-shirts with massive holes, paint splodges, mini skirts made of tracksuit bottoms, dresses made of old saris, ripped tights, and asked our friends, our catwalk models, to just dance to The Hives album we decided would be the full volume soundtrack to our show.

Our music teacher loved it, but I think the rest of the Senior Management Team would have preferred something a little more conservative. Only recently have I discovered that what I was doing could technically have been called upcycling, and that an increasing amount of designers are turning to it, with much greater skill and expertise than I had when I was 16, clearly. There were a few designers using upcycling that I really liked in the Estethica rooms. Notably Goodone who collaborate with Heba Women’s Project, and Lu Flux. Kudos also to Izzy Lane with their beautiful wares and their strong animal welfare message (they use wool from sheep that have been saved from slaughter), extending our concept of equality beyond the human realm.

Britain generates 1 million tonnes of textile landfill every year. Textile recycling companies like LMB in London and I and J Cohen in Manchester collect between 170 and 200 tonnes of unwanted clothes and materials each week! Humans have been ‘upcycling’ since the beginning of time, making do with what’s there and improving it if need be. But it’s only recently that we have the opportunity and need to deal with quite such vast mountains of junk. So having it officially adopted as a fashion movement is a no-brainer, really. Companies will soon be jumping on the bandwagon left right and centre trying to prove that they have included a scrap of reclaimed materials in their collections.

This is why it is important, in my opinion, to remember that this should be an opportunity to move away from normal fashion consumption. One of the reasons I like upcycling is that it means we can be involved in the evolution and life cycle of an object rather than just being consumers of it. The designer also gains a much broader significance. This should definitely be an opportunity to get more people interested and able to partake in the production of clothes, rather than purely their ‘consumption.’

Upcycling, on a small scale, isn’t an expensive venture. Hopefully more people will be inspired to stop looking at products as a finished thing that can be bought, used, then thrown away, whether by DIYing and attending workshops, or supporting designers for whom upcycling and recycling is a central issue. Upcycled fashion is ecologically and socially conscious without being righteous or moralistic. It challenges our perception of waste and shows how it can be transformed into something beautiful and useful. It is a way to reclaim ‘fashion’, rethink our notion of eco-fashion, and bring ecology into yet more creative hands, rather than leaving it as an issue to debate over while scientists, politicians and lobbyists bicker it out to infinity. We don’t have to go far to find these ecological textiles, they are in recycling centres, charity shops, and our wardrobes and cost next to nothing. And second hand sewing machines aren’t hard to find either. For now though, I leave fashion writing well and truly to the pros. 
Diamante2

Illustrations by Zoe Barker

Sustainable Fashion, website like this what does that mean? This was the question posed by Vanessa Friedman at the beginning of London Fashion Week’s Estethica guide. I approached LFW with a fair amount of scepticism. Despite wearing my UK Press Pass with the secret pride reserved for a total LFW novice like moi, pilule bien sûr, unhealthy and being in total awe of how much work our fashion ed Rachael, all the writers, photographers and illustrators had put into it all, I was hesitant.

Handle_with_care

Is fashion that great? One part of me thinks it’s essential to be constantly re-inventing and changing things, challenging what we take as a given and celebrating new creativity. And that fashion is another form of individual and social expression and even a tool for rebellion against restrictive archaic norms. But another part thinks that the fashion industry is responsible for an attitude that waste is OK as long as it provides a fleeting moment of self-centred happiness, and that we need to be constantly re-inventing the way we look. That fashion stands for endless buying, and the sanctioning of a kind of mass egomania. Alternatively, it means the production of things that are so well made they will last forever, but which are destined for an elite few whose monthly wages allow for it. So should this kind of thinking now be greened and made sustainable? Hmm…it doesn’t really appeal. I’ll never forget what Nikki, an old Capoeira teacher once said to our class – ‘you are beautiful in what you do, not in how you appear’. And, while it admittedly takes a very narrow view of fashion, I loved Tanya Gold’s blunt, honest piece on ‘Why I hate Fashion’ in The Guardian a few weeks ago. It does raise the question though: what does fashion, let alone sustainable fashion, even mean?

The concept of eco-fashion has always grated a bit, probably because my purse-strings don’t stretch so far (and of course never will do if I try to pursue writing as a career), but also because, at the upmarket end, it smacks of elitism and the opportunity to not only redeem yourself, but to then preach to others about how fantastic it makes you feel. Oh great, we can still carry on buying loads of expensive crap, because now it’s ‘organic’. Dear 90% of the planet, don’t worry! We will save you with our brand new ethical consumer habits! One fabulous certified organic fair-trade handbag at a time. It’s a typical voting with our credit cards kind of scenario, and it leaves those that can’t or don’t want to buy into the consumer ‘revolution’ (i.e. the vast majority of human beings on the planet) somewhat disenfranchised.

Make_do

Once upon a time I used to make and wear almost all my own clothes. Charity shops on the high street near my school were my Topshop. My thinking was, I can spend a fiver and get lots of unexpected random things from the clearance rail of a charity shop, have some fun cutting it up and sewing it back together, and wear it with pride even if it’s falling apart, or spend 30 squid (which represented a whole day’s work in my Saturday job) in Topshop on something made in a sweatshop and that there are 20 identical versions of on the rail. A battered old Singer sewing machine helped me to produce 90 per cent of my 6th form wardrobe, and, admittedly, a trail of fashion disasters whose only purpose became household rags. I loved sitting at my sewing machine, attacking things with scissors, making bags out of skirts, skirts out of dresses, dresses out of huge shirts, going to the bargain haberdashery stalls at markets and hunting out what I needed that week. None of my creations were planned or measured, so it was hardly difficult! My sister and I put on a crazy fashion show at school which consisted of t-shirts with massive holes, animal rights messages and paint splodges, mini skirts made of tracksuit bottoms, dresses made of old saris, ripped tights, and asked our friends, our catwalk models, to just dance to The Hives album we decided would be the full volume soundtrack to our show. Our music teacher loved it, but I think the rest of the Senior Management Team would have preferred something a little more conservative. Only recently have I discovered that what I was doing could technically have been called upcycling, and that an increasing amount of designers are turning to it, with much greater skill and expertise than I had when I was 16, clearly. There were a few designers using upcycling that I really liked in the Estethica rooms. Notably Goodone who collaborate with Heba Women’s Project, and Lu Flux. Kudos also to Izzy Lane with their beautiful wares and their strong animal welfare message (they use wool from sheep that have been saved from slaughter), extending our concept of equality beyond the human realm.

Britain generates 1 million tonnes of textile landfill every year. Textile recycling companies like LMB in London and I and J Cohen in Manchester collect between 170 and 200 tonnes of unwanted clothes and materials each week! Humans have been ‘upcycling’ since the beginning of time, making do with what’s there and improving it if need be. But it’s only recently that we have the opportunity and need to deal with quite such vast mountains of junk. So having it officially adopted as a fashion movement is a no-brainer, really. Companies will soon be jumping on the bandwagon left right and centre trying to prove that they have included a scrap of reclaimed materials in their collections. This is why it is important, in my opinion, to remember that this should be an opportunity to move away from normal fashion consumption. One of the reasons I like upcycling is that it means we can be involved in the evolution and life cycle of an object rather than just being consumers of it. The designer becomes so much more than someone who can keep us desiring more. This should definitely be an opportunity to get more people interested and able to partake in the production of clothes, rather than purely their ‘consumption.’

Upcycling, on a small scale, isn’t an expensive venture. Hopefully more people will be inspired to stop looking at products as a finished thing that can be bought, used, then thrown away, whether by DIYing and attending workshops, or supporting designers for whom upcycling and recycling is a central issue. Upcycled fashion is ecologically and socially conscious without being righteous or moralistic. It challenges our perception of waste and shows how it can be transformed into something beautiful and useful. It is a way to reclaim ‘fashion’, rethink our notion of eco-fashion, and bring ecology into yet more creative hands, rather than leaving it as an issue to debate over while scientists, politicians and lobbyists bicker it out to infinity. We don’t have to go far to find these ecological textiles, they are in recycling centres, charity shops, and our wardrobes and cost next to nothing. And second hand sewing machines aren’t hard to find either. For now though, I leave fashion writing well and truly to the pros. 
J Maskrey shone through at London Fashion Week as one of the most individual shows I saw during my time there; no doubt a favourite. Producing a collection of ‘body jewellery’ is no doubt an original idea, price but the works of art presented were so much more than that.

P2200136

Photography throughout courtesy of Camilla Sampson

Stunning creations combining leopard print, names, symbols and glitter swept down the catwalk in an array of twinkling designs and pumping music. Clothing-wise black dominated the colour palette, whilst the sparkling jewels added a playful, brightening edge. Statement shoulders popped up once again, as did pleating, incorporated into waist tied and bandeau mini dresses. Menswear combined huge fur headdresses with little else except J Maskrey’s stunning compositions of crosses, hearts, stars and more; all made up of the same shimmering body art. One item that caught my eye was a cute ‘love’ and ‘hate’ set that had been carefully presented across one of the female models’ hands.

P2200109

As J Maskrey’s inspiration was primarily a 1932 film called, ‘The Mask of Fu Man Chu’, it came as no surprise to see aspects of the geisha tradition. Extravagant head pieces in the nature of fans dominated the second part of the women’s wear pieces, alongside major aspects of the sheer trend and a mini skirt with an incredibly manipulated hem. Where menswear consisted of a little more coverage there were black, cosy jumpers combined with elegant golden chains and clasps holding the front together. As the show progressed out came small 1920s style sequin caps, and what appeared to be strips of plastic around dresses that accentuated the female form. This was juxtaposed strongly against softer pieces, with heavy knitwear influences and aspects of crochet.

P2200111

A female torso decorated with body jewellery that looked like splatters of dripping paint, and a rather revealing leopard print strip mini dress that glistened away throughout the finale were definitely outstanding pieces. J Maskrey’s originality is definitely something that many designers lust after, after all nobody wants to be the same. It was one show that definitely caught people’s attention, and as the show came to an end it was clear many had seen nothing like it before.
J Maskrey shone through at London Fashion Week as one of the most individual shows I saw during my time there; no doubt a favourite. Producing a collection of ‘body jewellery’ is no doubt an original idea, viagra 60mg but the works of art presented were so much more than that.

P2200136

Photography throughout courtesy of Camilla Sampson

Stunning creations combining leopard print, names, symbols and glitter swept down the catwalk in an array of twinkling designs and pumping music. Clothing-wise black dominated the colour palette, whilst the sparkling jewels added a playful, brightening edge. Statement shoulders popped up once again, as did pleating, incorporated into waist tied and bandeau mini dresses. Menswear combined huge fur headdresses with little else except J Maskrey’s stunning compositions of crosses, hearts, stars and more; all made up of the same shimmering body art. One item that caught my eye was a cute ‘love’ and ‘hate’ set that had been carefully presented across one of the female models’ hands.

P2200109

As J Maskrey’s inspiration was primarily a 1932 film called, ‘The Mask of Fu Man Chu’, it came as no surprise to see aspects of the geisha tradition. Extravagant head pieces in the nature of fans dominated the second part of the women’s wear pieces, alongside major aspects of the sheer trend and a mini skirt with an incredibly manipulated hem. Where menswear consisted of a little more coverage there were black, cosy jumpers combined with elegant golden chains and clasps holding the front together. As the show progressed out came small 1920s style sequin caps, and what appeared to be strips of plastic around dresses that accentuated the female form. This was juxtaposed strongly against softer pieces, with heavy knitwear influences and aspects of crochet.

P2200111

A female torso decorated with body jewellery that looked like splatters of dripping paint, and a rather revealing leopard print strip mini dress that glistened away throughout the finale were definitely outstanding pieces. J Maskrey’s originality is definitely something that many designers lust after, after all nobody wants to be the same. It was one show that definitely caught people’s attention, and as the show came to an end it was clear many had seen nothing like it before.
J Maskrey shone through at London Fashion Week as one of the most individual shows I saw during my time there; no doubt a favourite. Producing a collection of ‘body jewellery’ is no doubt an original idea, approved but the works of art presented were so much more than that.

P2200136

Photography throughout courtesy of Camilla Sampson

Stunning creations combining leopard print, information pills names, buy information pills symbols and glitter swept down the catwalk in an array of twinkling designs and pumping music. Clothing-wise black dominated the colour palette, whilst the sparkling jewels added a playful, brightening edge. Statement shoulders popped up once again, as did pleating, incorporated into waist tied and bandeau mini dresses. Menswear combined huge fur headdresses with little else except J Maskrey’s stunning compositions of crosses, hearts, stars and more; all made up of the same shimmering body art. One item that caught my eye was a cute ‘love’ and ‘hate’ set that had been carefully presented across one of the female models’ hands.

P2200109

As J Maskrey’s inspiration was primarily a 1932 film called, ‘The Mask of Fu Man Chu’, it came as no surprise to see aspects of the geisha tradition. Extravagant head pieces in the nature of fans dominated the second part of the women’s wear pieces, alongside major aspects of the sheer trend and a mini skirt with an incredibly manipulated hem. Where menswear consisted of a little more coverage there were black, cosy jumpers combined with elegant golden chains and clasps holding the front together. As the show progressed out came small 1920s style sequin caps, and what appeared to be strips of plastic around dresses that accentuated the female form. This was juxtaposed strongly against softer pieces, with heavy knitwear influences and aspects of crochet.

P2200111

A female torso decorated with body jewellery that looked like splatters of dripping paint, and a rather revealing leopard print strip mini dress that glistened away throughout the finale were definitely outstanding pieces. J Maskrey’s originality is definitely something that many designers lust after, after all nobody wants to be the same. It was one show that definitely caught people’s attention, and as the show came to an end it was clear many had seen nothing like it before.
J Maskrey shone through at London Fashion Week as one of the most individual shows I saw during my time there; no doubt a favourite. Producing a collection of ‘body jewellery’ is no doubt an original idea, buy but the works of art presented were so much more than that.

P2200136

Photography throughout courtesy of Camilla Sampson

Stunning creations combining leopard print, no rx names, symbols and glitter swept down the catwalk in an array of twinkling designs and pumping music. Clothing-wise black dominated the colour palette, whilst the sparkling jewels added a playful, brightening edge. Statement shoulders popped up once again, as did pleating, incorporated into waist tied and bandeau mini dresses. Menswear combined huge fur headdresses with little else except J Maskrey’s stunning compositions of crosses, hearts, stars and more; all made up of the same shimmering body art. One item that caught my eye was a cute ‘love’ and ‘hate’ set that had been carefully presented across one of the female models’ hands.

P2200109

As J Maskrey’s inspiration was primarily a 1932 film called, ‘The Mask of Fu Man Chu’, it came as no surprise to see aspects of the geisha tradition. Extravagant head pieces in the nature of fans dominated the second part of the women’s wear pieces, alongside major aspects of the sheer trend and a mini skirt with an incredibly manipulated hem. Where menswear consisted of a little more coverage there were black, cosy jumpers combined with elegant golden chains and clasps holding the front together. As the show progressed out came small 1920s style sequin caps, and what appeared to be strips of plastic around dresses that accentuated the female form. This was juxtaposed strongly against softer pieces, with heavy knitwear influences and aspects of crochet.

P2200111

A female torso decorated with body jewellery that looked like splatters of dripping paint, and a rather revealing leopard print strip mini dress that glistened away throughout the finale were definitely outstanding pieces. J Maskrey’s originality is definitely something that many designers lust after, after all nobody wants to be the same. It was one show that definitely caught people’s attention, and as the show came to an end it was clear many had seen nothing like it before.
life_is_sweet_nice_to_meet_you

I’m a big fan of Dev Hynes’ hair. The singer-songwriter, purchase operating under the moniker Lightspeed Champion since going solo after the dissolution of the group Test Icicles, purchase has the most incredible piece of follicular engineering balanced upon his bonce – a dense mass of pitch-black hair that resembles some kind of alien being, engrossed in a symbiotic relationship with his host. The hairspray that must go into maintaining that every morning, my lord…

The thing that really sells it, though, is that in every official photo Hynes looks extremely pensive, as if he’s a ‘serious’ singer-songwriter with songs about relationships and heartbreak and politics and stuff that’s important and so on. That hair, though… it swats all those silly notions right away. He’s definitely a chap with a sense of humour – look no further than songs like ‘Everyone I Know Is Listening To Crunk’ off his debut LP Falling Off The Lavender Bridge for evidence of that (and I did mention that he was in a band called Test Icicles, right?). For his latest release he’s back with a greater sense of eclecticism, perhaps a slight tendency towards sombreness, but still retaining a distinctive and unique style. Gone are the country and folk leanings of the debut, and in their place come generous lashings of chamber pop, surf rock, and glam camp.

Opener ‘Dead Head Blues’ begins as a sedate number, reminiscent of the kind of nu-folk practised by fellow Londoner Emmy the Great – the kick comes at around the 2:00 minute mark with a Sunset Rubdown-like shredding riff of a solo that’s as striking as it is unexpected. From then on this kind of unexpected turn defines LIS!NTMY . Straightforward indie pop number ‘Marlene’ repeats the trick with an even more extreme midway solo, which then segues into the chanting balladry of ‘I Miss You’; ‘The Big Guns of Highsmith’ has harmonies that bring to mind some of Queen’s wackier back catalogue, but it sits on the same album as live favourite ‘Madame van Damme’ and its strange blend of musical narrative and Hawaiian surf pop, which is in turn followed in due course by the cowboy western stomp of ‘Sweetheart’.

The overall style is clearly ‘Lightspeed Champion’, even if each song can have its own influences picked out with ease – the wry self-acknowledgement, the intellectual curiosity and the lyrical unsettledness that you would expect to come with such a carefully constructed tapestry is very much present. As he bemoans that it, “hurts to be the one that’s always feeling sad,” his backing singers chant back, in unison, “oh, just stop complaining,” like the chorus in a West End musical ticking off the hero for giving up hope too early. Hell, he even sings, “oh, my big head,” on ‘Dead Head Blues’, managing to simultaneously tick himself off for questionable hair (as some would, I suppose, argue) and questionable decisions in love.

lightspeed-champion

This lyrical trick grows tiresome quickly, however. Despite the clever little quirks, and as much as Hynes tries not by being self-deprecating, he comes across as attempting to appear cleverer than he really is – he’ll reference geometry and Pythagoras, Socrates and classical composers. At times it’s like a parody of Morrissey’s more embarrassing moments, and whilst Hynes may make it clear that it very much is parody with lines like, “kill me baby, oh, won’t you kill me,” it doesn’t necessarily make it any easier to love. Like a lot of pastiche and parody, the irony and the joking get in the way of the sincerity.

So despite the admirable production from Ben Allen (whose most notable work has been in the field of hip-hop, and on the increasingly canonised Merriweather Post Pavilion), despite the Chopin influence in the string sections, despite the stabs at orchestral grandeur that occasionally pop up, LIS!NTMY feels like a pale imitator of modern classics like Sufjan Stevens’ Illinois. Perhaps next time he’ll manage to fully synthesise all these varying influences and achieve a work more whole and more loveable.

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Amelia’s Magazine | Album Review: The Irrepressibles – Mirror Mirror

Mirror Mirror

There are few men like Jamie McDermott. A man of his calibre is seldom found in the 21st century. His affection for cheeky baroque arrangements, doctor outlandish but hypnotising woodland performances and a theatrical charm that belies his context in our often over-starched popstar era marks McDermott as one of a very different breed indeed. As the master of ceremonies to the 10-strong orchestral collective The Irrepressibles, information pills McDermott offers pure carnal delight in a debut that is never once short of imagination, gusto or surprise. Ladies and gentlemen, welcome to the cabaret.

‘Mirror Mirror’ is a soaring, inquisitive and arresting debut that conjures the ethereal atmosphere of theatre in a swell of tempting arrangements and remarkable rhythmic pace. A chorus of strings rises from each song, perhaps to best effect in opener “My Friend Jo”. As the curtain rises, urgent sharp violins introduce the listener to the ‘crazy bitch’ Jo, the finest of introductions to the irreverent humour and talent of The Irrepressibles. As we slip and slide through the first act of ‘Mirror Mirror’, the fits and starts of strings and guitars are bolstered by McDermott’s unnervingly impressive vocal range. Keen to show he does not merely masquerade in the comic, “In Your Eyes” is typical of the vulnerability and touching emotion which McDermott’s voice projects. For all the showmanship there is no hesitation to allow the matters of the heart to take precedence and in moments of lucidity we are granted a glance through the keyhole guarding such secrets.

But everything is not quite what it seems in the wonderfully animate world of ‘Mirror Mirror’; “Knife Song” purrs with the allure of a lover as flutes flirtatiously tiptoe through the verses but the revelation that, “Jamie, it’s such a shame you disappoint me,” marks a song of personal confusion and searing but very human honesty. More than a voice on a record, more than a character paraded on stage, McDermott is a man who has poured not only his creative energies into The Irrepressibles but his heart and soul. We become intermingled in the melt of his thoughts in ‘Nuclear Skies’ as layers of light keys, wailing strings, intensifying reverberations and angelic calls become an otherworldly whirlwind.

irrepressibleslive

Despite a willingness to expose the raw emotion of the heart, The Irrepressibles show a devilish streak. Never shy to taunt, tease and tempt, McDermott takes on Elvis himself to declare, “take my hand, take my whole life too, because I can’t help what I do to you,” in “Splish! Splash! Sploo!”. Crashing cymbals and scaling plucked violins punctuate a mocking warble to the publicly jilted. A complicated man indeed. Undoubtedly the finest moment of ‘Mirror Mirror’ arrives at the tail end in the form of “In This Shirt”, its beauty compounded by glitchy electronic stutters that chatter like birdsong, organs and the rolling expectancy of the cello. Feeling like fresh sun on your face, the finale is truly worth waiting for as it unravels itself in pure mastery.

McDermott’s exuberant performances dance on the border of disturbing, but an ability to melt between the light and the dark with such mesmerising grace has led to comparisons to Anthony Hegarty, though the heights McDermott’s voice can reach sometimes suggest a male Joanna Newsom, minus the folk. The time for the rise of the Irrepressibles is surely upon us. The somewhat poperatic tendencies undoubtedly catch your attention but the flamboyancy can sometimes seem more like a child starved of affection. The positive side to this is The Irrepressibles’s contagious spirit and exuberance for sticking a tongue out or a lithe finger up to convention. McDermott and his cohorts relish the playful charm of Anvil, a galloping soundtrack to a horseback race across the backdrop of twisted romances. The finesse of the orchestral arrangements and assault on the boundaries of musical genres mark ‘Mirror Mirror’ as an album that deserves to be given your time; not only is it a lot cheaper than a ticket to the theatre, but it offers you so much in return.

Categories ,album review, ,irrepressibles, ,music, ,Nina Joyce, ,the irrepressibles

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Amelia’s Magazine | Interview: Kirsty Almeida

My name is Miranda. I was born in Peterborough but I managed to escape to London after a 3 year stint studying in the wild terrain of Wales. I was sent away after years of noise abuse on my family, malady reciting poem after poem on very uninterested ears. Now, approved by day, I am an assistant-extraordinaire, helping to keep the retail industry alive. At night, I enjoy scouting out events and secret gigs with my friend Mel, to see how much we can blag. A perfect day would be a festival, with some great bands and cold cider. I like mint tea, vintage playsuits, F. Scott Fitzgerald novels, and hunting for treasure in charity shops around the Fens. I am always late, left-handed and nosey. I recently fell in love with London all over again whilst taking a walk through Kensington Gardens on a warm day and enjoying a perfectly whipped ice cream. One day I plan to write my memoirs in Barcelona, but until then I will continue to build up a collection of vintage clothing, worthy of a wing in the V&A.


Photograph by Hannah Kinver Miles

There is nothing generic about Kirsty Almeida; she was not artificially created from a record labels wish-list, for sale nor manufactured during an X Factor audition. Navigating her own path, she is very much the modern Renaissance Woman: artist, experimenter and a true creative. Before meeting Kirsty to chat about her new album Pure Blue Green – a rich tapestry of blues, folk and jazzy pop – I watched video clips of her performances. Singing live, she is mesmerizing, a powerhouse! Free spirited and alive, at times she is an enigmatic chanteuse, and other times she is a ringleader to a raucous vaudeville troupe. She sings with a passion that leaves us in no doubt that her music come from an honest and heartfelt place. Her voice is tender with sparkles of underlying inquisitiveness and humour and it only takes a minutes listening to see that her life, thoughts and loves are entwined within her lyrics, revealing an existence lived to the full and one that is continuously questioned. So it comes as no surprise that our conversation becomes an all-encompassing discourse that occasionally touches on her album and then soars off in the direction of magic, art, self-development, women’s rights and the dubious ethics of the music industry….

I love how visual your shows are…..
I love the big show thing, I think that people want to be entertained; because music is so accessible, and more downloadable now, people really like going out to live shows. I like to do something thats entertaining, but I also love the little live acoustic shows, those are some of my favourite gigs to do. I’m doing a gig soon that will be just me with a guitar and a girl called Lucinda Bell on harp. I’ve had a six foot bird cage designed and built for me, and we’re going to do a series of exhibitions and art galleries where I will play sat in the cage that will be suspended from the ceiling!

There is a lot of creativity in your performance…
Truthfully I am a visual artist, so I can’t help but look at things and go “well if you just stuck a massive big flower there, and that was attached to an umbrella with a bath chain and then water came out of it…. ” (laughs) and thats just how my mind works; it’s really visual and my work is really visual, I can’t help it!

What do you see first?
When I’m writing a song, I always see colours. I see music in colours and textures. so the first thing that will happen will be that I will be playing guitar and then the colours will come together and at that point I will know that it’s right and then I just have to close my eyes and wait and then the lyrics come.

So the song arrives together?
Always!

Do the visuals come at the same time?
No, when I write, it is just about the song and being a channel of creativity. I try and let the song happen, and then afterwards when it’s on loop I get the visuals.


Photograph by Hannah Kinver Miles

Where does your inspiration come from?
I’m inspired by a day, every day there is a million things that inspire me. I’m inspired by clothes, people, situations, conversations that I hear from other people, situations that I get into, trouble, butterflies, birds, nature, trees….. everything!

Do you paint?
Yeah, I paint a lot. But, (sighs) there is never enough time. I also run a collective called Odbod. I set it up in Manchester where there’s a very strong support network of artists, musicians and composers who work together but because you don’t normally get paid to do original music, you have to call in a lot of favours, and in the Manchester scene there are a LOT of favours, people calling each other all the time and helping each other out on each others projects, but there is no set network so there is no way of getting funding or help and I realised that a lot of the artists needed support and advice and people were coming to me for advice, so I thought if we had a collective, we can all get together and say to each other, ‘what do you need, how can I help?’

It’s a genius idea! Would you consider expanding the Odbod’s collective to London?
I would love to! It’s hard to contain it, there are so many people who want to be involved and to everyone who wants to get involved, I just say, come along, support us and we will support you. Hopefully none of the Odbods will be there in a year, they will have flown the nest and it will be time for the next lot of artists to come in. I’m also managing an Irish singer called Rioghnach Connolly, she’s amazing, that girl blows my mind! I’ve watched her and given her advice along the way; I’m quite good at keeping peoples motivation up and helping them to see where they are messing up, and where they are putting in energy where they don’t need to be putting energy in. The whole psychology of being an artist is quite self destructive and I really recognize that so I’m good at pulling someone out.

Do you have that self destructive side to you?
Yeah, there is an element of that in all of us. To be an artist you have to stare at yourself in the mirror every day and to be a true artist you have to get to a place where you actually see what’s not in the mirror, and then separate that from yourself and that’s really hard. You judge yourself very harshly and artists are especially hard on themselves. I have a lot of issues with balance, so I spend most of my time trying to achieve that balance in my life.

If there are particular issues that are bothering you, do you ever find the answers in your songs ?
Definitely! I usually find out what’s going on in my life when I write a song, I have no idea otherwise! Most of the time I don’t know what day it is!

Are you on the road a lot?
Not as much as I would like to be. I would really like to go around the whole world, that would be great…

You are quite a wondering spirit (born in the UK, brought up in Gibraltar, Kirsty grew up travelling the four corners of the globe) Do you feel like an outsider, or can you fit in anywhere?
I empathize with people, I find it easy to talk to anyone or any culture; I’m just fascinated by people. I never felt like I didn’t fit in, it was only as I got older that I thought, I don’t fit in anywhere, I’m the wrong shape for everything! And it took me a long time to work that one out.

How did you reconcile that?
By being really honest with myself. I did a course called The Artists Way. One of the tasks that you have to do is write every morning; first thing you do is write all of your thoughts, and you write out your negativity, all those thoughts that say “I’m not good enough, I’m not happy…” and at the end of that you rip up the paper and throw it away and after a few months you notice that what you write is more creative; you are writing more positive thoughts. You cease the negative voices, and those are the words that say that you don’t fit in. And through that and meditation, I just kind of found out who I was and realised, you know, I am different, and everyone is different, and that is something to be celebrated.


Photograph by Hannah Kinver Miles

I read you saying that the future of women worries you, can you explain that? What specifically concerns you?
We still have so many issues in our sexist world, we still have so many places where men are in charge of things that women should be in charge of, and that concerns me. I am most concerned by the fact that magazines and newspapers are airbrushing us out of existence, and airbrushing us into mental hospitals! I’m really worried about the next generation of girls and how they will deal with this; their idols aren’t real – they are not real human beings! They don’t have curves, they don’t exist… It’s a unreal ideal. I’m really worried about the music industry too – especially what Simon Cowell has done to it! When I go to someone’s house and there is a TV on and they have X Factor or Idol, and I go, “is this what people are watching?” It’s a mind numbing existence for people who should be out living rather than watching.

And the music industry certainly has some interesting ideas about how to market their female artists!
There are a lot of issues and struggles; it is incredibly difficult for women in the record industry; it drives me mad! No matter how good you are, you are solely competing with say, KT Tunstall, Corrine Bailey Rae, Amy Winehouse, Imelda May; the labels always pit us up against each other and say “You have to be the new….” You are not out there and being celebrated as a good musician. If people can’t pigeonhole you, you are seen as a bit of an oddity. Had I been a man in this industry I would have been dealt with differently; I would have been celebrated for the way that I handle myself, but if you are a female, and you have opinions then you are seen as being difficult.

It must be hard to maintain your confidence, and sanity and creativity, whilst these obstacles come your way.
If you realise that creativity, well this is my perception of it; that creativity comes from creation, and that it’s all already there and you just have to become the channel and keep that as your focus and centre. Then none of that other stuff can touch you.

Categories ,acoustic, ,blues, ,collective, ,folk, ,Kirsty Almeida, ,live, ,manchester

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Amelia’s Magazine | 6 Day Riot Album Launch at the Jazz Cafe

Long Story Short, erectile look 2010

Since graduating from Wimbledon College of Art in 2009, Alice Browne has exhibited her paintings at Foremans Smokehouse Gallery’s Divergence exhibition and opened her shared studio to the public during the recent installament of Hackney Wicked. In 2010 Alice Browne was selected to participate in Bloomberg New Contempories, which is currently at the ICA. Earlier this week, Amelia’s Magazine had the pleasure of interviewing Alice Browne.

How did it feel to be selected for New Contemporaries?

Very exciting, and it really boosted my confidence in the studio. It has been great to meet other artists through the show.

What attracts you to the medium of paint?

I think, I’ve always found that paint was the medium which allowed me, the most experimentation. It involves more collaboration than mastering.

Production Still, 2010

What were you first experiences of art or if you had to, which artist(s) have had the greatest effect on your work to date?

Early experiences of art included the Greek and Roman pottery and sculpture in the Ashmolean and treasure trove of oddities at the Pitt Rivers in Oxford. I was introduced to painting through trips to the National Gallery. I was very influenced by an exhibition of Max Beckmann’s work which I saw in New York when I was at school. Artists who have had the greatest effect on my work include Francis Bacon, Pieter Claesz, Philip Guston and Prunella Clough.

Club, 2009

What are the financial implications after the decision has been made to start out as a painter?

It’s a constant weighing up of time, really. I need a studio – so that increases costs, so I need to work more to pay for it, but have less time to spend in there! Eventually I hope it will pay for itself.

Do you work in a gallery or maintain a part time job?

I work at Jerwood Space part time and worked at the National Gallery until recently.

The paintings submitted to Bloomberg New Contemporaries will almost be a year old, by the time the exhibition opens, what are your thoughts and these paintings now and what are their relation to the works you are producing today?

Some of the paintings in the show were made at the end of my degree and represent the focus of a very intense studio-time, so they are quite important and I think about them often. Pink Black Pink is one of the most confident paintings I’ve made. I’m very much still exploring the grounds in which they operate, though I understand it better now.

Pink Black Pink, 2009

What’s an average day in your studio?

I try to keep lots of paintings on the go (10-20 or more) so that I don’t get bogged down in the appearance of any particular painting. I expect a fair few to fail- which usually comes from overworking. I tend to go from one to the next, putting things away after I’ve worked on them. The less confident I feel, the longer I spend on each so on a really good day I could work on up to 10 paintings.

What type of paint (oil, acrylic) do you use and why?

I mostly use oil as it is so flexible and sometimes un-predictable. I use a lot of transparent colours which oil is very suited for. I do also use acrylic but usually for the more predictable priming and under-painting. If I’m not painting, my favourite medium is colouring pencils and paper.

Hellion II, 2009

Your statement discusses your paintings relation to “historical notions of depth relating to the flat painting surface and depth that we relate to visual experience” was there a particular painting or text which sparked your playful exploration?

My exploration was really fuelled by an interest in the range of ways that painters have represented visual space across history; from Masaccio to the trompe l’oeil of Gijsbrechts and still life painters such as Claesz, Cotan and Morandi, to de Hooch and Vermeer to Francis Bacon, Mary Heilmann and Phoebe Unwin.

I’m also interested in the way that photography and moving image represents visual space and how it changes our first hand experience of looking.

Day In, 2010

What was your relation to painting objects during your time at Wimbledon?

At Wimbledon I made quite a few paintings and photographs which described still life objects. Eventually I found that the objects got in the way; they were always charged with associations. I wanted to explore the space of the canvas or photograph rather than create an image.

How do you name your paintings?

I start with a sort of word association game and go from there.

Obstacle No. 2 2010

What does the sub-title of the exhibition “painting between representation and abstraction” mean to you?

For a while I’ve felt uncomfortable with using these terms – I don’t find it so useful to be defined as ‘representational’ or ‘abstract’, so being somewhere in-between sounds about right.

Had you met any artists before deciding to be one?

A family friend is a photographer who works in Hong Kong, taking pictures of the landscape. I always thought it was amazing that anyone could do something so beautiful for a job.

What was it like to study at Wimbledon?

Very supportive with a real sense of community. I loved being in a green and quite residential part of London.

Watch Me, 2010

Favourite contemporary painters?

Lots! I enjoyed Caragh Thuring’s recent exhibition at Thomas Dane gallery and Robert Holyheads show at Karsten Schubert.

How did you become to be involved in Transition Gallery’s exhibition Fade Away?

Alli Sharma curated the exhibition. Its great to be included in such an amazing selection of paintings.

Alice Browne’s paintings will be on display as part of Bloomberg New Contemporaries 2010 at the ICA until January 23rd 2011 and Transition Gallery’s Group Show: Fade Away until the 24th December, 2010.

The Compass Road by Iain Sinclair illustrated by Faye West

The decision to wear one of Mr Jones’ Watches is to accept the designer’s challenge to a modern concept of time being a series of fixed units, more about through which the day is neatly compartmentalised. A concept most succinctly visualised by the watch The Average Day watch. This piece was originally produced for The Muses. The watch-face illustrates the average activities undertaken at particular points throughout the day. The information was digested from sources researching how time is spent by an average person throughout the day. The hours are replaced by words, recipe for example 6pm becomes social life and 11 am becomes work.

The Average Day, Photograph by Chris Overend. The Muse for this particular watch was Jonathan Gershuny, Director of the Centre for Time Use Research and who Mr Jones stipulates has “750,000 time-use diaries.”

Continuing to dispense with Western Modernity’s accepted measurement of time, Mr Jones developed Cyclops, a watch with no hour, minute or second hands. Instead a circular disk mimics the movement of shadows across a sundial, as the passage of time is meditatively documented. Encouraging the wearer to reevaluate their relationship to capitalist time in which every precious second counts.

Cyclops

On Wednesday 3rd November 2010 Mr Jones’ Watches launched The Masters of Time a collaboration with five unique professionals who share an unique and personal concept of time.

During the launch Iain Sinclair, author and psycho-geographer, Greame Obree, record breaking cyclist and artist Brian Catling discussed the ideas behind their watches and the process of negotiating whilst collaborating with Mr Jones. The final two watches were developed with Comedian William Andrews, and DJ Tom Middleton.

Iain Sinclair Photograph by Emilie Sandy

Iain Sinclair’s (Author of Hackney That Red Rose Empire) Compass Watch relates to 90 minutes of film time, rather than your usual TV time of 60 minutes. Sinclair discussed the relation of time to walking, the layers created as time passes both between an event and the walker’s presence, within the walker’s own time.

Iain Sinclair – Compass Road interview from Mr Jones on Vimeo.

Fittingly Sinclair’s watch replaces the units of time with authors whose experience was shaped both by the influence of both geographic location and a complex understanding of time. In his 15 minutes Sinclair discussed the breakdown of the poet John Clare after the enclosure of the landscape to JG Ballard’s experiences as a prisoner of war before his arrival in Suburban England.

Compass Road by Iain Sinclair and Mr Jones Watches

The performance artist and sculptor Brian Catling, introduced the ideas behind Dawn West Dusk East via an art historical slide show. Original paintings and performances explored and expanded on the concept of ‘the Cyclops’. The watch –in the words of the artist- was designed to be “enigmatic, subtle and poetic.” The single rotation of this exquisite design is a silent request to return to a slower pace. The dial gradually measures the 12 hours between Dawn and Dusk.

Brian Catling Photograph by Emilie Sandy

The final speaker of the evening was the twice claimant of the toughest cycling challenge The Hour – a race between the cyclist, distance and the clock. Fittingly the title chosen for Graeme Obree’s timepiece is The Hour. As the hand rotates each hour reveals a different word encouraging the wearer to question emotions experienced during a variety of daily activities. Obree described The Hour as the best, worst, most exhilaratingly painful amount of time imaginable, each second a step closer to achieving or failing a lifelong obsession.

The Masters of Time launch was a fantastic introduction to an individuals complex relation to time. Sadly William Andrews and Tom Middleton were unable to attend, their watches The Last Hour and BPM played with the idea of ‘death’ on stage and a DJ’s relation to the beats per minute respectively. BPM comes complete with a specifically designed animation to help the nocturnal DJ keep count of each record’s BPM prior to the moment of a live mix.

Tom Middleton Photograph by Emilie Sandy

William Andrews Photograph by Emilie Sandy

William Andrews The Last Laugh functions as a symbol of the performer’s need for the last laugh and a momento mori, a reminder that life is brief as time flashes past on the moving teeth of the skull illustrated watchface

The Last Laugh by William Andrews and Mr Jones Watches

Mr Jones Watches are available from the website or you can visit Mr Jones Design, Unit 1.11 Oxo Tower Wharf?Southbank London SE1 9PH.
Compass Road and The Last Laugh are available today.

The Compass Road by Iain Sinclair illustrated by Faye West

The decision to wear one of Mr Jones’ Watches is to accept the designer’s challenge to a modern concept of time being a series of fixed units, adiposity through which the day is neatly compartmentalised. A concept most succinctly visualised by the watch The Average Day watch. This piece was originally produced for The Muses. The watch-face illustrates the average activities undertaken at particular points throughout the day. The information was digested from sources researching how time is spent by an average person throughout the day. The hours are replaced by words; 6pm becomes social life and 11am becomes work.

The Average Day, patient Photograph by Chris Overend. The Muse for this particular watch was Jonathan Gershuny, buy information pills Director of the Centre for Time Use Research and who Mr Jones stipulates has “750,000 time-use diaries.”

Continuing to dispense with Western Modernity’s accepted measurement of time, Mr Jones developed Cyclops, a watch with no hour, minute or second hands. Instead a circular disk mimics the movement of shadows across a sundial, as the passage of time is meditatively documented. Encouraging the wearer to reevaluate their relationship to capitalist time in which every precious second counts.

Cyclops

On Wednesday 3rd November 2010 Mr Jones’ Watches launched The Masters of Time a collaboration with five unique professionals who share an unique and personal concept of time.

During the launch Iain Sinclair, author and psycho-geographer, Greame Obree, record breaking cyclist and artist Brian Catling discussed the ideas behind their watches and the process of negotiating whilst collaborating with Mr Jones. The final two watches were developed with Comedian William Andrews, and DJ Tom Middleton.

Iain Sinclair Photograph by Emilie Sandy

Iain Sinclair’s (Author of Hackney That Red Rose Empire) Compass Watch relates to 90 minutes of film time, rather than your usual TV time of 60 minutes. Sinclair discussed the relation of time to walking, the layers created as time passes both between an event and the walker’s presence, within the walker’s own time.

Iain Sinclair – Compass Road interview from Mr Jones on Vimeo.

Fittingly Sinclair’s watch replaces the units of time with authors whose experience was shaped both by the influence of both geographic location and a complex understanding of time. In his 15 minutes Sinclair discussed the breakdown of the poet John Clare after the enclosure of the landscape to JG Ballard’s experiences as a prisoner of war before his arrival in Suburban England.

Compass Road by Iain Sinclair and Mr Jones Watches

The performance artist and sculptor Brian Catling, introduced the ideas behind Dawn West Dusk East via an art historical slide show. Original paintings and performances explored and expanded on the concept of ‘the Cyclops’. The watch –in the words of the artist- was designed to be “enigmatic, subtle and poetic.” The single rotation of this exquisite design is a silent request to return to a slower pace. The dial gradually measures the 12 hours between Dawn and Dusk.

Brian Catling Photograph by Emilie Sandy

The final speaker of the evening was the twice claimant of the toughest cycling challenge The Hour – a race between the cyclist, distance and the clock. Fittingly the title chosen for Graeme Obree’s timepiece is The Hour. As the hand rotates each hour reveals a different word encouraging the wearer to question emotions experienced during a variety of daily activities. Obree described The Hour as the best, worst, most exhilaratingly painful amount of time imaginable, each second a step closer to achieving or failing a lifelong obsession.

The Masters of Time launch was a fantastic introduction to an individuals complex relation to time. Sadly William Andrews and Tom Middleton were unable to attend, their watches The Last Hour and BPM played with the idea of ‘death’ on stage and a DJ’s relation to the beats per minute respectively. BPM comes complete with a specifically designed animation to help the nocturnal DJ keep count of each record’s BPM prior to the moment of a live mix.

Tom Middleton Photograph by Emilie Sandy

William Andrews Photograph by Emilie Sandy

William Andrews The Last Laugh functions as a symbol of the performer’s need for the last laugh and a momento mori, a reminder that life is brief as time flashes past on the moving teeth of the skull illustrated watchface

The Last Laugh by William Andrews and Mr Jones Watches

Mr Jones Watches are available from the website or you can visit Mr Jones Design, Unit 1.11, Oxo Tower Wharf? Southbank London SE1 9PH.
Compass Road and The Last Laugh are available today.

6 Day Riot by Karina Yarv
6 Day Riot by Karina Yarv.

We arrived at the Jazz Cafe just in time to catch the promising tail end of blues infused folk maestro Ian King, medicine who was followed by a set from comedian Richard Herring, trudging out the same old jokes (last heard at Latitude this summer) about his sad child less bachelor life. Is he in fact happily married, I wonder? Is it all just part of the comic schtick? He had clearly come prepared for a slightly more rowdy pre gig audience, with some poetry that he had written as an 18 year old virgin during his gap year “they called it a year out in those days”. Lines such as “The only water that was pure was from an orphan’s tears,” elicited plenty of giggles.

6 Day Riot-Tamara Schlesinger photo by Amelia Gregory
Tamara Schlesinger. All photography by Amelia Gregory.

6 Day Riot songstress Tamara Schlesinger bounced on stage in a huge red and purple feathered headdress, explaining that she’d had to do a whole rehearsal to check she could get her various instruments over her head without pulling it off. Because of course Tamara is the antithesis to your showgirl Kylies and Rhiannas, adeptly playing a plethora of instruments whilst singing up a storm in a stage grabbing outfit.

6 Day Riot-Tamara Schlesinger photo by Amelia Gregory

Also on stage were an energetic double bass played by Edd Harwood, the talented strains of Rachel Coleshill on violin, Gabriel Lucena on guitar, and at times two trumpeters, one of whom was indeed Rowan Porteous, the very same who has played with my band and who persuaded 6 Day Riot to play an intimate gig for Climate Camp at Glastonbury last year.

6 Day Riot-Tamara and Edd photo by Amelia Gregory

From introspectful to energetic 6 Day Riot swung through a great selection of tracks from the new album On This Island plus some older crowd pleasers, Tamara nimbly swapping between the various stringed instruments slung from her gold flower bedecked mike stand, including a sleek black electric ukelele. At one point the rest of the band left the stage whilst she dueted with her drummer Daniel Deavin, who paused to accompany her with the lightest of strums on his banjolele.

6 Day Riot  photo by Amelia Gregory
6 Day Riot-Tamara S photo by Amelia Gregory

For the finale 6 Day Riot pulled out their bestest klezmer influenced tunes, Tamara twirling her arms like a Notting Hill Carvinal dervish. It was a delightful end to a joyous launch, marred only by the loss of my favourite red sparkly scarf. Still, a small price to pay for a much needed dose of quality live music.

Tamara spoke excitedly of some recently confirmed dates with her favourite band, Belle and Sebastian, but in the meantime you can catch 6 Day Riot at a few remaining shows if you’re fast. Full listing info here. Read my review of new album On This Island here.

6 Day Riot-Edd Harwood photo by Amelia Gregory
Edd Harwood.

6 Day Riot-Rachel Coleshill photo by Amelia Gregory
Rachel Coleshill.

6 Day Riot-Gabriel Lucena photo by Amelia Gregory
Gabriel Lucena.

6 Day Riot-Ian King photo by Amelia Gregory
Ian King.

6 Day Riot-Richard Herring photo by Amelia Gregory
Richard Herring.

Categories ,6 Day Riot, ,Album Launch, ,Alex Bezzina, ,belle and sebastian, ,Daniel Deavin, ,Edd Harwood, ,Gabriel Lucena, ,Ian King, ,Jazz Cafe, ,Karina Yarv, ,klezmer, ,Kylie, ,latitude, ,On This Island, ,Rachel Coleshill, ,Rhianna, ,Richard Herring, ,Rowan Porteous, ,Tamara Schlesinger

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