There was more than one graduate show going on during Tuesday evening… it was time for some Middlesex action. After Northampton, purchase they had some stiff competition to beat – but they pulled it out of the bag…
Hannah Ellis: A menswear collection almost turning the grown models back into child like beings in their long shorts. There were even braces, man capes and some stunning shirts cum cardigans all in beautiful hues of midnight blue and off white that made the whole collection slightly romantic when teamed with the pulled up socks and deck shoes. Perfect for a stroll along the river then a spot of croquet (or maybe I’ve been watching too much Brideshead Revisited).
Liesemarie Schulte-Kitzing: This was a conceptual collection with a real vision. Mantilla-inspired headpieces veiled the models’ faces, complimenting a collection of intriguing design including a smooth, shapely vinyl waistcoat which had the apperance of wood. Accessories in the form of square rucksacks provided a refreshing change, as did shapeless floor-length smocks, with each piece embellished with a laser-cut flower pattern.
Jessica Shaw: Shaw’s collection was full of patchwork effects made up from a multitude of sheer fabrics. Some were big oversized checks and others were big and small polka dots but together they managed to complement each other. Throw in some sultry long dresses and chunky knits and the look is a whole collection of ambiguity.
Malene Oddershede Bach: This was a rocky look and do you know how we could tell that? The chunky black fringe extensions that the models were made to wear turned them into a mix between Karen O and Agyness Deyn. But the clothes made it too with printed maxi dresses teamed with a cropped biker jacket and oh so mini dresses complete with cut-out detailing on the arms. Even the longer skirts were sheer to add to the “so don’t give a damn” attitude. Rock and Roll indeed.
Helen Carney: Carney’s collection featured fashionable muted colours and had a distinct industrial feel, glamorised with the addition of techinical yet soft exaggerated ruffs, which entombed one model from neck to waist and provided enhanced shoulders on another. Sophisticated, yet sexy.
Rebecca McClure: Special commendation needs to go to Rebecca McClure who designed American style mail box head pieces and even a white picket fence skirt. Maybe not so practical for the morning commute but the headpiece is definitely going straight on my ‘need not want’ list.
The students at these shows have worked so hard and the collections they have produced are inspiring and beautiful. It looks like there’s a lot of good vibes for the future of British Fashion.
I always look forward to the Northumbria University BA fashion degree show for two reasons. One, look because it’s always effing good – the innovation, prostate technique and creativity on display is second to pretty much nobody at Graduate Fashion Week. Secondly, I studied at the university, so this review might seem like a big fat plate of bias – I assure you, though, that it isn’t.
Nestled on the front row in between Style Savage Steve and the ever wonderful Hilary Alexander (who bopped, sketched and scribbled her way through the show) I was a little concerned that my big lens (said the actress to the bishop) might block the view of either of these fashion journalists. Neither said anything though, so I think I got away with it.
Opening the show with an explosion of glam-rock-meets-Elvis-meets-Lady-Gaga, Naomi New presented a very polished micro-collection featuring exaggerated shoulders of leather, spikes and studs, and horse-hair tails. Models strutted back and forth with real sex appeal and the quality of Naomi’s craftsmanship looked, from what I could see, incredible.
I always look forward to the Northumbria University BA fashion degree show for two reasons. One, try because it’s always effing good – the innovation, sickness technique and creativity on display is second to pretty much nobody at Graduate Fashion Week. Secondly, cialis 40mg I studied at the university, so this review might seem like a big fat plate of bias – I assure you, though, that it isn’t.
Nestled on the front row in between Style Savage Steve and the ever wonderful Hilary Alexander (who bopped, sketched and scribbled her way through the show) I was a little concerned that my big lens (said the actress to the bishop) might block the view of either of these fashion journalists. Neither said anything though, so I think I got away with it.
Opening the show with an explosion of glam-rock-meets-Elvis-meets-Lady-Gaga, Naomi New presented a very polished micro-collection featuring exaggerated shoulders of leather, spikes and studs, and horse-hair tails. Models strutted back and forth with real sex appeal and the quality of Naomi’s craftsmanship looked, from what I could see, incredible.
I always look forward to the Northumbria University BA fashion degree show for two reasons. One, ask because it’s always effing good – the innovation, mind technique and creativity on display is second to pretty much nobody at Graduate Fashion Week. Secondly, visit this site I studied at the university, so this review might seem like a big fat plate of bias – I assure you, though, that it isn’t.
Nestled on the front row in between Style Savage Steve and the ever wonderful Hilary Alexander (who bopped, sketched and scribbled her way through the show) I was a little concerned that my big lens (said the actress to the bishop) might block the view of either of these fashion journalists. Neither said anything though, so I think I got away with it.
Opening the show with an explosion of glam-rock-meets-Elvis-meets-Lady-Gaga, Naomi New presented a very polished micro-collection featuring exaggerated shoulders of leather, spikes and studs, and horse-hair tails. Models strutted back and forth with real sex appeal and the quality of Naomi’s craftsmanship looked, from what I could see, incredible.
Well well well the kids certainly know what they’re doing at Graduate Fashion Week this year. Sunday kicked off day one of shows for the creatively minded at our very own Earl’s Court and believe me these are the McQueens of the future.
UWE Bristol showcased some beautiful structured puffball dresses from Georgina Kitchen teamed with knee high socks and see-through metallic partitions. Jessie Potter had a clear vision too, showing off an appliquéd felt and wool collection in a 70s pallet of mustard and burgundy with pom-pom headdresses. Jessica Hart clearly had the most funm however – showing a pastel based range of graphic prints that Lady Gaga would feel sheepish in. Necklaces were gigantic, as were pockets, in what was a playful and crisp collection, complete with bow headbands of course. (Read more about UWE Bristol’s show here – with even MORE illustrations!)
I was not expecting the standard of design as seen at UCA Epsom University’s show after though. Think of Pilgrim’s, 50s housewives, teddy boys, Julia Roberts in Mona Lisa Smile and a dash of kids TV and you’re half way there. This was a serious clash of icons creating a surprisingly good statement for the University.
But amongst the host of talent there were some definite faces of the fashion future to watch, and a surprising amount of menswear. Remember you heard it here first.
Lucinda Ailes: One so patriotic, not to our fair Blighty mind, but all things American were emblazoned on everything through an array of stars and stripes. Models sported devoted shorts, leggings and maxi dresses but all was kept thoroughly wearable by grey mix-and-match pieces to wear back with the collection.
Katie Barret: A different kind of heritage was displayed in Barret’s show of menswear pieces. Thoroughly Scottish and proud of it, models sported full kilted dresses as well as the traditional skirts. The whole feel was very rugged using natural fabrics and even slightly drab colours. But each look was spiced up with a hint of tomato red, whether it be in a top or the waist detailing of said kilt instantly adding an extra something to the look.
Antonia Lloyd: Another one for the boys but this time not quite so manly. Lloyd made sure the boys sparkled in glittered tuxedo style shirts and knickerbockers to be proud of. There was something quite romantic about the look, with buttons done up to the neck and a palette of muted greys and navies.
Beata Gebka: I told you there were pilgrims and it came from Gebka’s show. Models sported traditional style long dresses accessorized with cloches and capes. As unwearable as it sounds, the pieces were surprisingly covetable, finished off with black ribbon detailing and even bib fronts. This may just be the new look come autumn and one that features heavily around the key muted pallet of greys and navies again.
Stency Kidega: Frills frills and more frills was what Kidega must have been dreaming of. They were added to the shoulders of jackets and the necklines of coats but wherever they were placed they looked beautiful. Kidega pulled off a very tailored collection, which isn’t always the most interesting, but the corset detailing on the dresses and the aforementioned jackets made sure that it was. Delicious.
Eve McDonald: McDonald definitely has a 50s housewife buried inside her otherwise she wouldn’t be able to produce such stunning floral shirts. But she’s also hiding a Teddy Boy too, as pieces were mixed with checked trousers and long shorts. Finished off with floral headscarves tied in oversized bows I almost wanted to pull on my espadrilles and listen to some good old Rock ‘n’ Roll.
Anna Piercy: It’s Piercy who brought the piece de résistance of the whole night for me. Piercey managed to create a collection based entirely around oversized letters. Seriously. Not that much to hear but the fabrics still flowed into beautiful a-line dresses with cut-out detailing. Even more intelligent was the use of panelling and sequins to create letters from the arms and body of a dress. And the finale – Piercey’s models came together to spell out the word ‘RANDOM.’ It was and yet I still liked it.
How nice though that we got to see the faces behind the fashion as each designer (embarrassingly for most but certainly not all) walked the catwalk with one of their models. It was cheers and ovation all round from the crowd and do you know what…. they thoroughly deserved it.
I always look forward to the Northumbria University BA fashion degree show for two reasons. One, look because it’s always effing good – the innovation, prostate technique and creativity on display is second to pretty much nobody at Graduate Fashion Week. Secondly, I studied at the university, so this review might seem like a big fat plate of bias – I assure you, though, that it isn’t.
Nestled on the front row in between Style Savage Steve and the ever wonderful Hilary Alexander (who bopped, sketched and scribbled her way through the show) I was a little concerned that my big lens (said the actress to the bishop) might block the view of either of these fashion journalists. Neither said anything though, so I think I got away with it.
Opening the show with an explosion of glam-rock-meets-Elvis-meets-Lady-Gaga, Naomi New presented a very polished micro-collection featuring exaggerated shoulders of leather, spikes and studs, and horse-hair tails. Models strutted back and forth with real sex appeal and the quality of Naomi’s craftsmanship looked, from what I could see, incredible.
I always look forward to the Northumbria University BA fashion degree show for two reasons. One, try because it’s always effing good – the innovation, sickness technique and creativity on display is second to pretty much nobody at Graduate Fashion Week. Secondly, cialis 40mg I studied at the university, so this review might seem like a big fat plate of bias – I assure you, though, that it isn’t.
Nestled on the front row in between Style Savage Steve and the ever wonderful Hilary Alexander (who bopped, sketched and scribbled her way through the show) I was a little concerned that my big lens (said the actress to the bishop) might block the view of either of these fashion journalists. Neither said anything though, so I think I got away with it.
Opening the show with an explosion of glam-rock-meets-Elvis-meets-Lady-Gaga, Naomi New presented a very polished micro-collection featuring exaggerated shoulders of leather, spikes and studs, and horse-hair tails. Models strutted back and forth with real sex appeal and the quality of Naomi’s craftsmanship looked, from what I could see, incredible.
I always look forward to the Northumbria University BA fashion degree show for two reasons. One, ask because it’s always effing good – the innovation, mind technique and creativity on display is second to pretty much nobody at Graduate Fashion Week. Secondly, visit this site I studied at the university, so this review might seem like a big fat plate of bias – I assure you, though, that it isn’t.
Nestled on the front row in between Style Savage Steve and the ever wonderful Hilary Alexander (who bopped, sketched and scribbled her way through the show) I was a little concerned that my big lens (said the actress to the bishop) might block the view of either of these fashion journalists. Neither said anything though, so I think I got away with it.
Opening the show with an explosion of glam-rock-meets-Elvis-meets-Lady-Gaga, Naomi New presented a very polished micro-collection featuring exaggerated shoulders of leather, spikes and studs, and horse-hair tails. Models strutted back and forth with real sex appeal and the quality of Naomi’s craftsmanship looked, from what I could see, incredible.
Well well well the kids certainly know what they’re doing at Graduate Fashion Week this year. Sunday kicked off day one of shows for the creatively minded at our very own Earl’s Court and believe me these are the McQueens of the future.
UWE Bristol showcased some beautiful structured puffball dresses from Georgina Kitchen teamed with knee high socks and see-through metallic partitions. Jessie Potter had a clear vision too, showing off an appliquéd felt and wool collection in a 70s pallet of mustard and burgundy with pom-pom headdresses. Jessica Hart clearly had the most funm however – showing a pastel based range of graphic prints that Lady Gaga would feel sheepish in. Necklaces were gigantic, as were pockets, in what was a playful and crisp collection, complete with bow headbands of course. (Read more about UWE Bristol’s show here – with even MORE illustrations!)
I was not expecting the standard of design as seen at UCA Epsom University’s show after though. Think of Pilgrim’s, 50s housewives, teddy boys, Julia Roberts in Mona Lisa Smile and a dash of kids TV and you’re half way there. This was a serious clash of icons creating a surprisingly good statement for the University.
But amongst the host of talent there were some definite faces of the fashion future to watch, and a surprising amount of menswear. Remember you heard it here first.
Lucinda Ailes: One so patriotic, not to our fair Blighty mind, but all things American were emblazoned on everything through an array of stars and stripes. Models sported devoted shorts, leggings and maxi dresses but all was kept thoroughly wearable by grey mix-and-match pieces to wear back with the collection.
Katie Barret: A different kind of heritage was displayed in Barret’s show of menswear pieces. Thoroughly Scottish and proud of it, models sported full kilted dresses as well as the traditional skirts. The whole feel was very rugged using natural fabrics and even slightly drab colours. But each look was spiced up with a hint of tomato red, whether it be in a top or the waist detailing of said kilt instantly adding an extra something to the look.
Antonia Lloyd: Another one for the boys but this time not quite so manly. Lloyd made sure the boys sparkled in glittered tuxedo style shirts and knickerbockers to be proud of. There was something quite romantic about the look, with buttons done up to the neck and a palette of muted greys and navies.
Beata Gebka: I told you there were pilgrims and it came from Gebka’s show. Models sported traditional style long dresses accessorized with cloches and capes. As unwearable as it sounds, the pieces were surprisingly covetable, finished off with black ribbon detailing and even bib fronts. This may just be the new look come autumn and one that features heavily around the key muted pallet of greys and navies again.
Stency Kidega: Frills frills and more frills was what Kidega must have been dreaming of. They were added to the shoulders of jackets and the necklines of coats but wherever they were placed they looked beautiful. Kidega pulled off a very tailored collection, which isn’t always the most interesting, but the corset detailing on the dresses and the aforementioned jackets made sure that it was. Delicious.
Eve McDonald: McDonald definitely has a 50s housewife buried inside her otherwise she wouldn’t be able to produce such stunning floral shirts. But she’s also hiding a Teddy Boy too, as pieces were mixed with checked trousers and long shorts. Finished off with floral headscarves tied in oversized bows I almost wanted to pull on my espadrilles and listen to some good old Rock ‘n’ Roll.
Anna Piercy: It’s Piercy who brought the piece de résistance of the whole night for me. Piercey managed to create a collection based entirely around oversized letters. Seriously. Not that much to hear but the fabrics still flowed into beautiful a-line dresses with cut-out detailing. Even more intelligent was the use of panelling and sequins to create letters from the arms and body of a dress. And the finale – Piercey’s models came together to spell out the word ‘RANDOM.’ It was and yet I still liked it.
How nice though that we got to see the faces behind the fashion as each designer (embarrassingly for most but certainly not all) walked the catwalk with one of their models. It was cheers and ovation all round from the crowd and do you know what…. they thoroughly deserved it.
Suzanne Carpenter is a hugely busy illustrator and designer who I have admired on instagram for some time, so I am so glad she found time to submit work for my upcoming Amelia’s Colourful Colouring Companion, creating a beautiful image inspired by her ongoing love of fish, and her daydreams of turning into a mermaid.
How did you first discover Amelia’s Magazine?
My daughter Holly first introduced me to Amelia’s Magazine when she was an art student and I’ve been a fan ever since. I’m married a to a designer and we’re more than a bit proud to have produced two new designers.Both based in London; Holly specialises in eyewear and Joe does a combination of graphic design and window vinyl. They roll their eyes if I say too much about them as they hate me being boastful. If only it was allowed I’d tell you that they’re both extremely beautiful and very, very talented. If you’re following me on instagram you’ll likely see news of them and their work cropping up from time to time. We often visit exhibitions together or share links to inspiration but they’re both a bit bemused by my enthusiasm for social media.
I believe you began your career as a graphic designer, how did you make the move into illustration?
I trained as a graphic designer but I always had a niggling need to make pictures. Not long after I graduated a friend and I jointly won a Welsh Arts Council competition to illustrate a poetry book and Staedtler employed me to travel around the country drawing with their new range of brush markers. From then on I had regular illustration work but being a butterfly brain I mixed it up with a dollop of teaching, a dabble of writing, a pinch of cushion plumping and staggering amount of staring out of the window.
Why did you settle on the name Illustrator Eye for your brand? @illustrator_eye seemed like a fitting tag – my life is like an intense game of I Spy – constantly attracted and distracted by patterns around me. My illustrator’s eye effects my every move, from making pictures, prints and patterns to rummaging around in charity shops.
Why did you choose to draw fish for my colouring book?
I have a thing for fish. Not fin flapping, live, swishing fish but paper, wood and fabric fish. Fishes painted on dishes and things. Mid Century ceramic fish filled with abstract pattern provide oceans of decoration inspiration. Our lives, like the tides, are dependent on patterns and so I chose to impose my compulsion for pattern on flamboyant, fancy fish going with flow and teeny tiny fish that swim against the tide. Like us, all so different and yet the same.
Who or what inspired the mermaid?
When I’ve sat too long, run too far or stayed up too late, I visualise myself as a mermaid being towed along through tropical water by beautiful fish. Amazing how it helps the tensions wash away. It’s one of my more relaxing daydreams!
You are ridiculously busy, how do you manage all your different projects and stay sane?
I’m not always this busy but the small amount of sanity I’ve retained can probably be put down to a good dose of pavement pounding. Running is a good antidote to work and keeps me from becoming a moody old witch (most of the time). I did Cardiff Half Marathon earlier this month and swore it would be my last but to be honest I’m already thinking about next years. Leaving the car behind and cycling around the city has it’s blissful moment too – weaving in and out of Cardiff’s parks watching the seasons change pumps a bit more oxygen into the brain!
What is your involvement with Stills? Stills is a branding and design company set up by my husband Chris and a partner. I’m a director and over the years I’ve been involved in lots of different projects from illustrating to creative writing and social media support for some of our clients. It’s based in a lovely old coach house on the edge of Bute Park but we’ve also set up a small studio at home and next year will be spending much of our time focusing on our own patterned dreams. You’ll soon be able to find us at @patternistas
How did you get involved with Uncle Goose wooden blocks?
Once upon a time on Instagram I posted a paisley pattern that I’d designed. I literally jumped for joy when Pete Bultman at Uncle Goose got in touch to say he’d love to put it on his handmade wooden blocks! That one is still in the pipeline but in the meantime I worked with him on their Hindi language blocks and their Swahili block set which has just been launched. They do a great job of screen printing the designs and are a dream client!
Can you tell us more about the Shed Project?
The Shed Project is the amazingly dedicated and beautifully bonkers mission of Lee John Phillips to draw every item in his late grandfather’s shed. He estimates it will take around 5 years of intensive work as he has to draw in excess of 100,000 items. His story has captured imaginations right across the world and his following is growing by the minute. We initially became friends through instagram when it became apparent that not only were we from the same Welsh Valley but we both had a thing for fish! I’m over the moon that he’s suggested that we collaborate on some images for prints. His tools and bolts and my plant patterns (or planterns as he’s named them). We’re going to do some vector and some line images and we may even put them on coffee pots.
I believe you are working on a big Christmas campaign for a shopping centre in the USA, what kind of work are you creating for them?
It’s all ginger bread, santa houses, snowflakes and sparkles in my world at the moment. I’m working on the Christmas campaign for The Grove and Americana at Brand in LA. The commission came from them seeing my work on Illustration Mundo. They were looking for a very graphic, patterned, vector style and so I happily my work fitted the bill. I’ve got a great long list of images to get done by the end of Oct so I think I’ll be hanging a few baubles from my ears and getting the Christmas albums out to keep me going.
What else are you working on at present?
I’ve just finished a mural in the garden of a local organic cafe – I’d love to do more of that. Through my agents Artist Partners I’ve recently illustrated the cover and sample pages for a book about the wildlife of the rainforest. I’ve just had news that it went down well at Frankfurt Book Fair and so fingers crossed that more of my days will be spent growing leaf patterns and putting legs on insects! Along with Chris I’m working on a series of videos for Interface (sustainability champions and the worlds largest manufacturer of contract carpet tiles) – they’ll be used to help train their sales team. I’ll be doing the scripting and storyboarding and Chris will be videoing my live drawing. I’ve done a couple of prints for the 5th anniversary exhibition of Sho, my favourite local gallery. I’m doing a few days as a visiting lecturer at Cardiff Metropolitan Uni this month – helping run a collage/layout project with a lovely group of 1st yr graphic students. I’m developing some ideas for a pattern book which I hope to present to publishers as soon as I can find some extra hours in the day to finish visualising them. I’ve taken part in ‘Out Fox’ a 3D paper project by Proyecto Ensamble who are based in Chile. They supply the fox head template and 13 illustrators from across the world have designed a pattern to feature on them. The set are just launching – see them on instagram @ensamble
On Sunday 13th March Find Your Feet hosted an ethical fashion show at the Mint Leaf restaurant in the Haymarket. I was invited to donate a copy of Amelia’s Compendium of Fashion Illustration for We Are What We Wear by the show stylist, abortion the lovely Zoe Robinson of Think Style – a women with many sustainable strings to her bow. She works as an actress, a writer (for Egg Mag) and an ethical image consultant.
Bollywood dancing from Honey’s Dance Academy by Jane Young.
We were treated to some very energetic Bollywood dancing thanks to Honey’s Dance Academy, followed by two short catwalk shows which took place on walkways surrounding the sunken restaurant. Models included youngsters and a couple of more mature women from Close Models, which provided a really uplifting touch.
During the first show we saw a fabulous multi layered pink maxi dress from ACOFI featured designer Junky Styling, cute dresses from People Tree, embellished bamboo dresses from Bhavna, and gorgeous silk classics from Outsider, who I discovered at Ecoluxe this season.
Amisha, Zoe, Orsola and the kids.
As I had a bar ticket I was able to roam around, and between shows sat with Zoe, Amisha Ghadalli, Maria Papadimitriou of Slowly the Eggs/Plastic Seconds and Orsola de Castro of From Somewhere, who was entertaining her young daughter and her friend. We ate some yummy canapes and watched a magician bend forks, then a Find Your Feet ambassador described the work done by this charity, which includes helping to fund sustainable farming practices. Fittingly, she described how a group of women in rural India bandied together to make the most of the mint growing on local farms – they now have a successful essential oil business.
The magician entertains the kids.
Charley Speed and bottle top bag.
Then it was on to the auction, where any mention of my book was usurped by the lure of an Outsider dress, as worn by a celebrity – the presenter Charley Speed dashing maniacally around the room to squeeze as much money as possible out of the generous crowd. The whole lot (including a bottle top bag) went for £300, and I can only hope that the recipient appreciated my donation because he probably had no clue what it was.
Round two featured three Amelia’s Magazine favourites from ACOFI: off-cut drama courtesy of From Somewhere, amazing sculptural pieces from Ada Zanditon and colourful dresses with sunflower decorations from By Stamo. There was also some playful printed dresses from Love Phool.
A range of ethical accessories were used to style the show, amongst them some old favourites: LeJu, Nina Dolcetti and Joanna Cave… and some new discoveries: Meher Kakalia, who adapts ancient shoemaking techniques from her home town of Karachi to create modern footwear in Brixton, and Kumvana Gomani, who creates delicate jewellery out of plastic waste.
Exposing ethical design to more people and raising money for sustainable projects are good things to do, but We Aren’t JUST What We Wear, we are also What We Do in every aspect of life. On my return home I was somewhat saddened to read about a couple of other auction sponsors: it was also possible to win a test track experience with Jaguar or a BMW for the weekend. I know that money has to come from somewhere but there is a distinct lack of joined up thinking in ethical practice: a Mint Leaf waiter could not tell me whether the chicken they served us was freerange or organic.
We Are What We Wear was a massive success: raising over £10,000 to support sustainable weaving projects in India, but I wish that there was more recognition within the charity sector that sustainable practice involves more than donating money for dinner to support those less fortunate on the other side of the world, it’s about a holistic way of being. Within this world view I do not include hyping the desirability of extremely expensive energy guzzling cars. Needless to say, mine was the only bike tied up outside the Mint Leaf restaurant.
Such had been the anticipation surrounding Caitlin Rose’s return to the UK, adiposity especially after the release of her acclaimed debut album, Own Side Now, that her shows in the capital soon sold out. Being the smallest of those venues, but organised by such thoughtful fellows, Brixton’s Windmill quickly arranged a special early evening show to cater for any disappointed punters. Needless to say, the tickets flew for that one as well.
I’d been caught out too many times by being lastminute.com when buying tickets in the past, so I’d got in sharpish and, as a result, I drew the straw for the late show. I arrived quite early (well, 9.00pm) and caught the support band, Treetop Flyers, limbering up for their second performance of the evening. A London based band, and purveyors of the finest Americana, tonight they were playing a more stripped back acoustic set. I’d never caught them before, but I liked what I heard. They set the mood nicely for the evening, even throwing in a Townes Van Zandt cover.
By the time Caitlin Rose took to the stage, the Windmill was pretty rammed. I’d seen her live a couple of times before (and all but once at the Windmill), though this was the first time with a full band (apparently they couldn’t afford to fly out the drummer from the US on the last tour). After having obviously enjoyed a few refreshments between sets, Rose cheerfully exclaimed “two of us haven’t slept!”, as the band launched into New York.
Own Side Now has seen Caitlin Rose expand on the fairly traditional country sound of her debut release, the Dead Flowers EP (as hinted at in an interview with Amelia’s Magazine last summer). The intimacy of the Windmill really lent itself to her songs (and especially that voice!), as we sampled such bittersweet treats as For The Rabbits and Learning To Ride.
There was a particularly affecting rendition of Own Side, which brought a lump to the throat of even this old cynic. Answer In One Of These Bottles (from Dead Flowers) sparked a raucous sing-along, before everyone rocked out to Shanghai Cigarettes.
Rose switched from acoustic guitar to electric and back again, there was plenty of banter, and there were all the hallmarks for a special night in place. After a couple more UK dates before a return to the US, and then a trip to the Antipodes, we’re not likely to see Ms Rose on these shores again before some festival appearances in the summer – given her current ascendency, one wonders whether we’ll ever see her play in such a venue as the Windmill again.
The Traveller by Gemma Cotterell. This illustration was inspired by the concept of a A Fairer Sea, title of Co-Pilgrim‘s album. The octopus is taming the sea with his melodic folk music.
Co-pilgrim is the new project from Mike Gale, who has enlisted various friends to join him on A Fairer Sea. The album opens with a rollicking beat before the more melancholic Trapeze takes over: songs are inspired by the difficulties of a trans-atlantic relationship, combining often sad lyrics with beautiful tunes and harmonies. Third in the beautiful title track A Fairer Sea makes copious use of slide guitar to create a gentle slice of Americana that belies the lovelorn words. Other highlights include the combination of upbeat chorus and lonely lyrics on I’m Going to the Country, and the final tune, No Guiding LIght, a spiritual questioning in times of woe. Mike Gale has successfully woven together different musical genres and personal experience to create a gorgeous album that deserves a wide audience.
Why Co-pilgrim?
My mum actually came up with the name, I just liked the sound of it. I didn’t want the project to be called Mike Gale. Co-pilgrim felt like a good name for a band that isn’t strictly a band in the traditional sense in that we don’t really have a fixed line up, people can come and go as they wish.
I believe this is the most recent of many projects for all your members, what has been your musical trajectory so far and how did you end up here?
Everyone in the current line up apart from Claire ( vocals ) has known and worked with each other for at least 10 years or so. Myself, Andy ( bass ) and Tom ( drums ) were all in a band called Black Nielson. We were lucky enough to get picked up by Joe ( Slide, vocals, keys ) and his brother Robin’s label Truck records about 13 years ago and released some albums through them. I’ve worked on and off with both brothers since. After Black Nielson split I travelled around for a while and worked on Co-pilgrim songs with the people I met but when it came time to make A Fairer Sea I wanted to work with the people that I felt most comfortable with and had the biggest musical connection to, I was lucky enough that Joe, Tom and Andy wanted to do it. We’re also really lucky to have Claire, who is Joe’s wife, on board because her beautiful vocal harmony is exactly what we’ve been missing.
Co-pilgrim’s ‘Surreal fantasy land‘ by Carley Chiu.
You are a fan of both Smog and the Beach Boys – how do these two influences manifest in your music?
I think that they both make music designed to get right into your soul. I know some people may consider Bill Callahan‘s music to be a bit miserable and The Beach Boys to be happy and full of sunshine but I think the opposite is often the case. Bill Callahan‘s lyrics are more often than not really funny where as a lot of Beach Boys songs are heartbreaking, especially the later stuff when Brian was losing his way. I guess the thing that I take from them both the most, apart from the harmonies is the idea that just because the feel of a song is happy or sad it doesn’t mean the lyrics need be the same, I really like that trick.
Co-Pilgrim by Carina Martina. Co-Pilgrim’s album A Fairer Sea inspired my illustration with its aquatic references and dreamy melodies.
Would it be fair to say that Co-pilgrim is a combination of folk and country, with a strong American influence? Why do you think British bands have taken Americana to heart in recent years?
Yeah I suppose that’s fair, though the first bands that I really fell in love with were Stiff Little Fingers and The Jam, I still love them and they’ll always have an influence on me and my songs. I’m not sure It’s only been recently that British bands have been influenced by Americana, I think It’s been an influence for a while, maybe a few breakthrough artists have made it seem like a recent thing? To be honest I’m not really even sure what qualifies a band to be called Americana, it’s quite a broad genre.
A good melody is clearly very important to you, how do you write your tunes?
Thanks, yep, the melody is definitely the most important part of any song for me, then the harmonies. My songwriting style is quite simple I guess. I just sit with my guitar for a while until I find a few chords I like and then try to mumble a melody over the top. I don’t always write a full song in one go, often I’ll have a bunch of little sections that will all end up in different songs. Lyrics always come second to the melody for me, though I really am trying to work harder on my words.
Is there a theme to the new album, and if so what is it?
Yeah, the main recurring theme of the album is a long distance relationship I was involved in a while ago with a woman from New York and the struggles we faced in trying to make it work. I moved over there to be with her but ultimately we couldn’t keep it going. It was nobody’s fault and she’s still a dear friend.
What is title track Fairer Sea about, and what was the idea behind the accompanying video? Who made it? A Fairer Sea is again about that same relationship. It’s just about how with a bit more luck then maybe we could have made it. The sea is the distance we always had to fight against. Claire from the band and our friend Suzy made the video, it came out brilliantly and fits the theme of the song perfectly.
What can we expect next from Co-Pilgrim?
We are going to release a couple more singles from A Fairer Sea over the next few months. During that time we’ll also be starting to record the next album, I’m really excited about the new songs. We’ve got some festival appearances booked over the summer including my favourite little festival, Wood Festival. We’ll see you there!
Week of Pines is the beautiful long playing debut album by Welsh singer-songwriter and harpist Georgia Ruth, it’s creation prompted by a return to Wales. Love that has been lost is tempered with joy at being home, and in the solitude of a Snowdonia studio she has melded together a plethora of influences to create an album that has an all pervading sense of calmness. Opening track and album namesake Week of Pines is a highlight, the gorgeous melody swinging along to a hastening drum beat. Welsh tune Codi Angor harnesses more obvious folk influences, and Dovecote includes the atmospheric clanging of bells, Georgia’s voice drifting in and out of the instrumental with hypnotic grace. Seeing You Around and In Luna trace the troubles of lost love, her vocals soaring in delicate arcs around the harp. A lonesome harmonica takes pride of place in Old Blue, a reinvigorated Appalachian song made popular by Joan Baez, and the album finishes with the slow beat of Winter, redemptive lyrics bringing the album to a fitting close.
Week of Pines features songs in both Welsh and English – but I believe you did not even grow up speaking Welsh. How did you get to the position where you were confident to write and sing in it?
I grew up bilingually from the age of 4, when my family moved from South Wales to Aberystwyth and I started going to a Welsh language primary school. From then on, the two languages were an integral part of my everyday identity. And it’s very much true of my music, too. There are some things I feel only able to express in Welsh, and vice versa. But I knew the album would have songs in both languages.
Week Of Pines by Georgia Ruth.
You have said that most of your songs come from personal experiences – what experiences have made this record?
On the next album I’ve told myself that I’m not allowed to write one song that relates to my actual life, just to see how I get on! Narcissistic bugger. But in many ways Week of Pines is a record about coming home. I moved back to Wales a couple of years ago, after living in London and Brighton, and the friends and relationships that I found waiting for me here have been so important and strengthening.. It’s a happy record, sun through the leaves stuff, despite some moments in the shade!
Why did you decide to learn the harp, and what is the best thing about it?
I started learning when I was 7. But it wasn’t quite my choice. In our primary school, the instrument you got was very much dependent on your place in the register. I wanted clarinet (the instrument of the enviable 10 year olds) but being a Williams did not stand in my favour. All the Evanses and Griffithses got the clarinet. So they offered me the harp, and I said yes! The best thing about the harp is that it’s a great conversation starter. You’re standing at the bus stop with one of these beauties stood next to you, someone’s going to want to ask you about it! That being said, it’s a nightmare to get it on planes. That is absolutely the worst thing about it.
You happily meld influences such as sea shanties, appalachian tunes and traditional folk. What were you listening to as you grew up?
Lots of different stuff! My parents would play a lot of Hank Williams, American and British folk music, Paul Simon, Melanie. And then I was learning these Welsh folk songs in school. When I hit my teens, it was the solo women who took up most of my earspace: Joni Mitchell, Kate Bush, Aimee Mann, Sandy Denny.
What was it like to record in the middle of Snowdonia?
Very quiet! Bryn Derwen is such a wonderful, peaceful studio. We were there for a week in the middle of August, and the air was thick and heavy with the smell of the eucalyptus trees. At times, you weren’t sure which country you were in! It was a very happy time.
This record has been described as a homecoming – what prompted the move back to Wales and will you be staying for the near future?
I just woke up one morning in Brighton, and realised that I missed Wales terribly. And I came back! I’m definitely very happy here, so yes: I’m not going anywhere. Unless someone forces me to live in sun-filled San Francisco, I would have to concede to their wishes…
What can musicians find in Wales that is not so easy to find elsewhere?
Mountains! Certainly for me, it’s been the sense of fraternity and support amongst the musicians here in Wales that has been the most amazing. In London, I often felt quite isolated as a musician. I didn’t feel as much a part of a community as I do now. And that’s been so key to the making of this record. I was all but ready to give up, and then I came home, met these remarkable people, and thought: nope!
Where can fans hear you over the course of 2013?
I’ll be touring the album in May and June with the band (current list of dates is on georgiaruthmusic.co.uk with a possible few more to be added) and I’m particularly excited about playing in Spillers Records in Cardiff on the day of release. It’s such a brilliant record shop, that’ll be a real privilege.
Being a wee bit literary, approvedsale I have a penchant for poetry, visit this site so it was with some expectation and enthusiasm I went along to the Poetry Night at Coffee And Corks coffee shop in Canterbury last night.
This poetry night is a weekly affair, held every Tuesday evening, but last night’s was different, in that it was being held in conjunction with the Airplot initiative. What’s Airplot, I hear you all clamour? Well, it’s a project that’s been dreamt up by Greenpeace to help stop the building of the third runway at Heathrow Airport – put simply, the NGO and a group of celebrities have bought a plot of land that is slap-bang in the middle of the proposed runway site. Members of the public can buy a share in the plot and therefore become a ‘beneficiary owner’ of the land.
Coffee And Corks: it doesn’t just do coffee, there’s alcohol too – now that’s the stuff
As such, the evening was kicked off with an introduction from Greenpeace’s John Hallyday. “Climate change is having – and will continue to have – a massive effect on our species and every other species on the planet,” he said. “If we allow the third runway to be built at Heathrow, the UK won’t meet its greenhouse gas targets set last year. Plus, 500 people’s homes will be demolished in the village of Sipson, which stands in the way of the proposed site.”
After giving a plug to Canterbury’s upcoming Climate Fair, John’s final words were borrowed from the beat poet Lawrence Ferlinghetti, as he read a poem written by the latter while aboard a Greenpeace ship chasing whalers on the high seas. It’s fair to say it set a good vibe for the night to come. And it was immediately followed by the handing out of cards that those in attendance (poet participants, listeners or those just enjoying a coffee; all were welcome) could fill in for a prize – three hours’ free recording time at Canterbury’s West Track Studios. Not missing a trick (and why should they?), the organisers also ensured that by filling in a card and entering the raffle you also signed up to the Airplot campaign.
And so to the evening’s poetry itself. To say that there was great variety in what the poets – many regulars, some new – performed would be an understatement; to say that some of it was risqué and rather personal would be a vast understatement. However, I must admit, the vast majority of the poems impressed me, as did the pluck many of their authors had to stand up in front of people (some of whom, like I said, had only come in to sip a late latte) and deliver their thoughts, feelings, wit and wisdom through verse. I must give special mention to the middle-aged Adrian, whose ‘The Web Of Life’ was a lyrical, eco-friendly missive, and Rick, a self-proclaimed coffee-shop-culture-punk resplendent in a Mr Happy t-shirt, whose delivery owed much to the beat poets of old and whose entertainment value was only equalled by the title of his final poem, ‘Don’t Eat Dodgy Food In Foreign Countries’.
What a fine sentiment – especially in a coffee shop
All in all then, this was a great evening that hopefully drew attention to and created new converts to Airplot, as well as highlighting the good work of the Skillnet Group Community Interest Company in the Canterbury community, in conjunction with West Track Studios. I tip my hat – or rather my beat poet’s cap – then to the organisers, in particular Helen Long who it was that brought Greenpeace, West Track Studios and Skillnet all together on this chilly evening in a caffeine-fuelled fun-filled event. Rick the punk poet does his thing
Being a wee bit literary, drug I have a penchant for poetry, so it was with some expectation and enthusiasm I went along to the Poetry Night at Coffee And Corks coffee shop in Canterbury last night.
This poetry night is a weekly affair, held every Tuesday evening, but last night’s was different, in that it was being held in conjunction with the Airplot initiative. What’s Airplot, I hear you all clamour? Well, it’s a project that’s been dreamt up by Greenpeace to help stop the building of the third runway at Heathrow Airport – put simply, the NGO and a group of celebrities have bought a plot of land that is slap-bang in the middle of the proposed runway site. Members of the public can buy a share in the plot and therefore become a ‘beneficiary owner’ of the land.
Coffee And Corks: it doesn’t just do coffee, there’s alcohol too – now that’s the stuff
As such, the evening was kicked off with an introduction from Greenpeace’s John Hallyday. “Climate change is having – and will continue to have – a massive effect on our species and every other species on the planet,” he said. “If we allow the third runway to be built at Heathrow, the UK won’t meet its greenhouse gas targets set last year. Plus, 500 people’s homes will be demolished in the village of Sipson, which stands in the way of the proposed site.”
After giving a plug to Canterbury’s upcoming Climate Fair, John’s final words were borrowed from the beat poet Lawrence Ferlinghetti, as he read a poem written by the latter while aboard a Greenpeace ship chasing whalers on the high seas. It’s fair to say it set a good vibe for the night to come. And it was immediately followed by the handing out of cards that those in attendance (poet participants, listeners or those just enjoying a coffee; all were welcome) could fill in for a prize – three hours’ free recording time at Canterbury’s West Track Studios. Not missing a trick (and why should they?), the organisers also ensured that by filling in a card and entering the raffle you also signed up to the Airplot campaign.
And so to the evening’s poetry itself. To say that there was great variety in what the poets – many regulars, some new – performed would be an understatement; to say that some of it was risqué and rather personal would be a vast understatement. However, I must admit, the vast majority of the poems impressed me, as did the pluck many of their authors had to stand up in front of people (some of whom, like I said, had only come in to sip a late latte) and deliver their thoughts, feelings, wit and wisdom through verse. I must give special mention to the middle-aged Adrian, whose ‘The Web Of Life’ was a lyrical, eco-friendly missive, and Rick, a self-proclaimed coffee-shop-culture-punk resplendent in a Mr Happy t-shirt, whose delivery owed much to the beat poets of old and whose entertainment value was only equalled by the title of his final poem, ‘Don’t Eat Dodgy Food In Foreign Countries’.
What a fine sentiment – especially in a coffee shop
All in all then, this was a great evening that hopefully drew attention to and created new converts to Airplot, as well as highlighting the good work of the Skillnet Group Community Interest Company in the Canterbury community, in conjunction with West Track Studios. I tip my hat – or rather my beat poet’s cap – then to the organisers, in particular Helen Long who it was that brought Greenpeace, West Track Studios and Skillnet all together on this chilly evening in a caffeine-fuelled fun-filled event. Rick the punk poet does his thing
Being a wee bit literary, about it I have a penchant for poetry, buy so it was with some expectation and enthusiasm I went along to the Poetry Night at Coffee And Corks coffee shop in Canterbury last night.
This poetry night is a weekly affair, held every Tuesday evening, but last night’s was different, in that it was being held in conjunction with the Airplot initiative. What’s Airplot, I hear you all clamour? Well, it’s a project that’s been dreamt up by Greenpeace to help stop the building of the third runway at Heathrow Airport – put simply, the NGO and a group of celebrities have bought a plot of land that is slap-bang in the middle of the proposed runway site. Members of the public can buy a share in the plot and therefore become a ‘beneficiary owner’ of the land.
Coffee And Corks: it doesn’t just do coffee, there’s alcohol too – now that’s the stuff
As such, the evening was kicked off with an introduction from Greenpeace’s John Hallyday. “Climate change is having – and will continue to have – a massive effect on our species and every other species on the planet,” he said. “If we allow the third runway to be built at Heathrow, the UK won’t meet its greenhouse gas targets set last year. Plus, 500 people’s homes will be demolished in the village of Sipson, which stands in the way of the proposed site.”
After giving a plug to Canterbury’s upcoming Climate Fair, John’s final words were borrowed from the beat poet Lawrence Ferlinghetti, as he read a poem written by the latter while aboard a Greenpeace ship chasing whalers on the high seas. It’s fair to say it set a good vibe for the night to come. And it was immediately followed by the handing out of cards that those in attendance (poet participants, listeners or those just enjoying a coffee; all were welcome) could fill in for a prize – three hours’ free recording time at Canterbury’s West Track Studios. Not missing a trick (and why should they?), the organisers also ensured that by filling in a card and entering the raffle you also signed up to the Airplot campaign.
And so to the evening’s poetry itself. To say that there was great variety in what the poets – many regulars, some new – performed would be an understatement; to say that some of it was risqué and rather personal would be a vast understatement. However, I must admit, the vast majority of the poems impressed me, as did the pluck many of their authors had to stand up in front of people (some of whom, like I said, had only come in to sip a late latte) and deliver their thoughts, feelings, wit and wisdom through verse. I must give special mention to the middle-aged Adrian, whose ‘The Web Of Life’ was a lyrical, eco-friendly missive, and Rick, a self-proclaimed coffee-shop-culture-punk resplendent in a Mr Happy t-shirt, whose delivery owed much to the beat poets of old and whose entertainment value was only equalled by the title of his final poem, ‘Don’t Eat Dodgy Food In Foreign Countries’.
What a fine sentiment – especially in a coffee shop
All in all then, this was a great evening that hopefully drew attention to and created new converts to Airplot, as well as highlighting the good work of the Skillnet Group Community Interest Company in the Canterbury community, in conjunction with West Track Studios. I tip my hat – or rather my beat poet’s cap – then to the organisers, in particular Helen Long who it was that brought Greenpeace, West Track Studios and Skillnet all together on this chilly evening in a caffeine-fuelled fun-filled event.
The second album by Damien DeRose, website like this aka acoustic act Peasant, there is one for the summer. It’s overwhelmingly (or should that be underwhelmingly?) gentle, a collection of stripped-down folk Americana that bears resemblance to the recordings of groups like Fleet Foxes and Megafaun, albeit on a much more intimate scale. Recorded in attics and in bedrooms, ‘Shady Retreat’ would be unremarkable if not for Peasant’s tin whisper of a voice bringing to mind the dust of cabins and the homeliness of a romanticised rural America – it doesn’t take long for postcard images of kids on tire swings down by the ol’ swimming hole to flash through the mind. There’s Ma, frying up some catfish for the young ‘uns. Pa’s whittlin’ a new spoon on the porch, etc. etc. The liner notes credit, “an old stone house from the 18th century,” that survives in downtown Doylestown, Pennsylvania as a major inspiration – like an old stone building these songs already sound almost timeless in style, a mix of jaunty piano and folk acoustic guitar that contains echo and disrepair in equal measure.
Within seconds of pressing play, you’ll get “Thinking”’s refrain fluttering out of the speakers, at odds to the piano that accompanies it. It’s a somewhat lacklustre declaration that, “we just can’t go on without thinking/maybe we’re wrong/I’ve been thinking” – this is as close to a statement of intent for the album as there is. This isn’t anything like the angst of someone like Bon Iver, or even a Ryan Adams, as it’s just far too restrained. It’s the kind of regret that comes with, roughly, six months of introspection about and dissection of (maybe more, maybe less) a failed relationship – emotionally muted, and now only slightly bitter. Example lyrics: “Keep up your looks/Got you as far as they could,” on “Pry”, or “Tell me that I look like I’m gone/when I’m around … Why you got to treat me this way?,” on perhaps the most upbeat song here, “Well Alright”. Peasant’s entire philosophy seems to be a shrug.
His delivery, though, is always, always kind. The lack of specifics, the reduction of the target of these songs to vague descriptives, keeps everything in the inoffensive realm of the folk ditty. His vocal style is laid back, withdrawn, intimate, willowy – the effect is as if he’s in the room down the hallway, just knocking out some tunes casually and carefully, but nothing ever stands out or intrudes upon the rest of life.
Therein lies the problem – whilst there are a few standout songs (“Well Alright”, “Tough”) on ‘Shady Retreat’, taken as a whole it’s more of an extended mood. It is the perfect soundtrack for, say, drifting downstream on a sweet, hazy summer afternoon (you can’t help but think that DeRose does exactly that whenever he gets the chance). These are the kinds of songs that pass the time around campfires, the kind that are a gentle strum in the background of a day spent relaxing in the shade of some oak. They are, to put it succinctly, lovely. However, that is part of their weakness, as ‘inoffensive’ can often be a synonym for ‘forgettable’, and there’s little here to justify heavy rotation. Whatever stream Peasant likes to float down, it’s not a particularly deep one – and that’s fine, for a while. He’s got to return to land sometime, and when he does I’ll be waiting to see what changes it brings.
Written by Ian Steadman on Thursday March 4th, 2010 1:56 pm
It’s been sticky, viagra sale hasn’t it? The sunshine is all well and good whilst you are within spitting distance of a garden or beer garden (or a patch of pavement if you frequent the majority of London pubs), drug but battling with public transport, malady with people so far in your space that they may as well be inside you is no party. Some trains still seem to have the heating on and we are incessantly reminded to consider carrying a bottle of water with us which, curiously, makes me want to punch the drivers face in. Moving in any way other than a slow glide is ghastly in the heat. As one friend put it yesterday, ‘its like moving through hummus’.
Where is this tirade taking us, you wonder? It is taking us to water. Or rather the lack of it. We have all seen the adverts that contain images of people in faraway countries using buckets to scoop putrid, fly-ridden water into canisters to use as drinking and cooking water. But the reality is that these images have become so pervasive in our consciousness that they simply cease to shock us. What’s that got to do with us? Whilst we are nowhere near the poverty of many countries with minimal access to safe drinking water, as the population rises and industrialisation increases, water will become more and more precious in all parts of the world.
The northern, ironically much wetter, half of the country was aghast last month when the prospect of a hosepipe ban was floated before them. The rule only legislates against the equipment and not the water use, i.e. you could still tip the same amount of water over your garden, as long as you are not using the pipe. Oh, and it’s still ok to top up your swimming pool and wash the caravan. That repeated banging sound is my head hitting the table.
With our once or even twice daily showering, long, luxurious bath’s, dishwashers, washing machines and hosepipes; We are a nation addicted to water. The government estimates that we each use about 150 litres of water a day, and rising. And right now? We couldn’t imagine our hot, hummusy lives without easy access to a glass of cold water and a cool shower. It’s a human right, right? The reality is that water is a finite resource. The days of using it with merry abandon are coming to an end, and we need to stop wasting it.
There are some glaring absurdities in our liberal water use. Whilst almost a billion people on the planet only have access to dirty, unsafe water, we flush our toilets with drinking water. This is bonkers. Most of our homes are un-metered too, meaning water is charged at a set rate. This means there is no financial incentive to reduce water use. Ofwat stats show that metered homes use much less water and save tons of money. (So, water powers that be, and Mr Cameron, please change that.)
Over the past year I have been trying to do my bit to save water, but I would also be very interested to hear your suggestions too, if you have them.
• Buy a non plastic bottle and refill it before you leave the house.
• If you have a garden, consider putting a water butt somewhere to collect water.
• If you own your house, would you consider harvesting rainwater (or greywater) to water your plants and flush your loo? Do you already do this?
• You don’t always need to flush after you wee. You probably saw this coming a mile off, but, all together now…if it’s yellow, let it mellow, if its brown, flush it down!
• Save any unfinished water dregs and pour them into a watering can or jug near the sink. Next time you need to water the plants you won’t have to fill the jug up as much.
• Instead of running the tap for ages to get cold water, put water straight out of the tap and into big bottles in the fridge.
• If you don’t have a double flush toilet you can get free water bags from Thames Water that fill up and save tons of water. Or you can just stick an old brick into the cistern.
So what’s your take on it? Are you a twice-daily-showerer, or a proud twice-a-weeker? Do you think it’s all pointless unless the government and authorities make changes? Do you already try to preserve water, and, if so, how? Couldn’t give two hoots, or are you a ‘be the change’ kinda person?
P.S. To learn more see Treehugger’s list of the top 5 documentaries to watch to understand the water crisis
It’s been sticky, erectile hasn’t it? The sunshine is all well and good whilst you are within spitting distance of a garden or beer garden (or a patch of pavement if you frequent the majority of London pubs), treat but battling with public transport, this with people so far in your space that they may as well be inside you is no party. Some trains still seem to have the heating on and we are incessantly reminded to consider carrying a bottle of water with us which, curiously, makes me want to punch the drivers face in. Moving in any way other than a slow glide is ghastly in the heat. As one friend put it yesterday, ‘its like moving through hummus’.
Where is this tirade taking us, you wonder? It is taking us to water. Or rather the lack of it. We have all seen the adverts that contain images of people in faraway countries using buckets to scoop putrid, fly-ridden water into canisters to use as drinking and cooking water. But the reality is that these images have become so pervasive in our consciousness that they simply cease to shock us. What’s that got to do with us? Whilst we are nowhere near the poverty of many countries with minimal access to safe drinking water, as the population rises and industrialisation increases, water will become more and more precious in all parts of the world.
The northern, ironically much wetter, half of the country was aghast last month when the prospect of a hosepipe ban was floated before them. The rule only legislates against the equipment and not the water use, i.e. you could still tip the same amount of water over your garden, as long as you are not using the pipe. Oh, and it’s still ok to top up your swimming pool and wash the caravan. That repeated banging sound is my head hitting the table.
With our once or even twice daily showering, long, luxurious bath’s, dishwashers, washing machines and hosepipes; We are a nation addicted to water. The government estimates that we each use about 150 litres of water a day, and rising. And right now? We couldn’t imagine our hot, hummusy lives without easy access to a glass of cold water and a cool shower. It’s a human right, right? The reality is that water is a finite resource. The days of using it with merry abandon are coming to an end, and we need to stop wasting it.
There are some glaring absurdities in our liberal water use. Whilst almost a billion people on the planet only have access to dirty, unsafe water, we flush our toilets with drinking water. This is bonkers. Most of our homes are un-metered too, meaning water is charged at a set rate. This means there is no financial incentive to reduce water use. Ofwat stats show that metered homes use much less water and save tons of money. (So, water powers that be, and Mr Cameron, please change that.)
Over the past year I have been trying to do my bit to save water, but I would also be very interested to hear your suggestions too, if you have them.
• Buy a non plastic bottle and refill it before you leave the house.
• If you have a garden, consider putting a water butt somewhere to collect water.
• If you own your house, would you consider harvesting rainwater (or greywater) to water your plants and flush your loo? Do you already do this?
• You don’t always need to flush after you wee. You probably saw this coming a mile off, but, all together now…if it’s yellow, let it mellow, if its brown, flush it down!
• Save any unfinished water dregs and pour them into a watering can or jug near the sink. Next time you need to water the plants you won’t have to fill the jug up as much.
• Instead of running the tap for ages to get cold water, put water straight out of the tap and into big bottles in the fridge.
• If you don’t have a double flush toilet you can get free water bags from Thames Water that fill up and save tons of water. Or you can just stick an old brick into the cistern.
So what’s your take on it? Are you a twice-daily-showerer, or a proud twice-a-weeker? Do you think it’s all pointless unless the government and authorities make changes? Do you already try to preserve water, and, if so, how? Couldn’t give two hoots, or are you a ‘be the change’ kinda person?
P.S. To learn more see Treehugger’s list of the top 5 documentaries to watch to understand the water crisis
It’s been sticky, visit this site hasn’t it? The sunshine is all well and good whilst you are within spitting distance of a garden or beer garden (or a patch of pavement if you frequent the majority of London pubs), seek but battling with public transport, with people so far in your space that they may as well be inside you is no party. Some trains still seem to have the heating on and we are incessantly reminded to consider carrying a bottle of water with us which, curiously, makes me want to punch the drivers face in. Moving in any way other than a slow glide is ghastly in the heat. As one friend put it yesterday, ‘its like moving through hummus’.
Where is this tirade taking us, you wonder? It is taking us to water. Or rather the lack of it. We have all seen the adverts that contain images of people in faraway countries using buckets to scoop putrid, fly-ridden water into canisters to use as drinking and cooking water. But the reality is that these images have become so pervasive in our consciousness that they simply cease to shock us. What’s that got to do with us? Whilst we are nowhere near the poverty of many countries with minimal access to safe drinking water, as the population rises and industrialisation increases, water will become more and more precious in all parts of the world.
The northern, ironically much wetter, half of the country was aghast last month when the prospect of a hosepipe ban was floated before them. The rule only legislates against the equipment and not the water use, i.e. you could still tip the same amount of water over your garden, as long as you are not using the pipe. Oh, and it’s still ok to top up your swimming pool and wash the caravan. That repeated banging sound is my head hitting the table.
With our once or even twice daily showering, long, luxurious bath’s, dishwashers, washing machines and hosepipes; We are a nation addicted to water. The government estimates that we each use about 150 litres of water a day, and rising. And right now? We couldn’t imagine our hot, hummusy lives without easy access to a glass of cold water and a cool shower. It’s a human right, right? The reality is that water is a finite resource. The days of using it with merry abandon are coming to an end, and we need to stop wasting it.
There are some glaring absurdities in our liberal water use. Whilst almost a billion people on the planet only have access to dirty, unsafe water, we flush our toilets with drinking water. This is bonkers. Most of our homes are un-metered too, meaning water is charged at a set rate. This means there is no financial incentive to reduce water use. Ofwat stats show that metered homes use much less water and save tons of money. (So, water powers that be, and Mr Cameron, please change that.)
Over the past year I have been trying to do my bit to save water, but I would also be very interested to hear your suggestions too, if you have them.
• Buy a non plastic bottle and refill it before you leave the house.
• If you have a garden, consider putting a water butt somewhere to collect water.
• If you own your house, would you consider harvesting rainwater (or greywater) to water your plants and flush your loo? Do you already do this?
• You don’t always need to flush after you wee. You probably saw this coming a mile off, but, all together now…if it’s yellow, let it mellow, if its brown, flush it down!
• Save any unfinished water dregs and pour them into a watering can or jug near the sink. Next time you need to water the plants you won’t have to fill the jug up as much.
• Instead of running the tap for ages to get cold water, put water straight out of the tap and into big bottles in the fridge.
• If you don’t have a double flush toilet you can get free water bags from Thames Water that fill up and save tons of water. Or you can just stick an old brick into the cistern.
So what’s your take on it? Are you a twice-daily-showerer, or a proud twice-a-weeker? Do you think it’s all pointless unless the government and authorities make changes? Do you already try to preserve water, and, if so, how? Couldn’t give two hoots, or are you a ‘be the change’ kinda person?
P.S. To learn more see Treehugger’s list of the top 5 documentaries to watch to understand the water crisis
It’s been sticky, recipe hasn’t it? The sunshine is all well and good whilst you are within spitting distance of a garden or beer garden (or a patch of pavement if you frequent the majority of London pubs), this web but battling with public transport, stuff with people so far in your space that they may as well be inside you is no party. Some trains still seem to have the heating on and we are incessantly reminded to consider carrying a bottle of water with us which, curiously, makes me want to punch the drivers face in. Moving in any way other than a slow glide is ghastly in the heat. As one friend put it yesterday, ‘its like moving through hummus’.
Where is this tirade taking us, you wonder? It is taking us to water. Or rather the lack of it. We have all seen the images of people in faraway countries using buckets to scoop putrid, fly-ridden water into canisters to use as drinking and cooking water. But the reality is that these images have become so pervasive in our consciousness that they simply cease to shock us. What’s that got to do with us? Whilst we are nowhere near the poverty of many countries with minimal access to safe drinking water, as the population rises and industrialisation increases, water will become more and more precious in all parts of the world.
The northern, ironically much wetter, half of the country was aghast last month when the prospect of a hosepipe ban was floated before them. The rule only legislates against the equipment and not the water use, i.e. you could still tip the same amount of water over your garden, as long as you are not using the pipe. Oh, and it’s still ok to top up your swimming pool and wash the caravan. That repeated banging sound is my head hitting the table.
With our once or even twice daily showering, long, luxurious bath’s, dishwashers, washing machines and hosepipes; We are a nation addicted to water. The government estimates that we each use about 150 litres of water a day, and rising. And right now? We couldn’t imagine our hot, hummusy lives without easy access to a glass of cold water and a cool shower. It’s a human right, right? The reality is that water is a finite resource. The days of using it with merry abandon are coming to an end, and we need to stop wasting it.
There are some glaring absurdities in our liberal water use. Whilst almost a billion people on the planet only have access to dirty, unsafe water, we flush our toilets with drinking water. This is bonkers. Most of our homes are un-metered too, meaning water is charged at a set rate. This means there is no financial incentive to reduce water use. Ofwat stats show that metered homes use much less water and save tons of money. (So, water powers that be, and Mr Cameron, please change that.)
Over the past year I have been trying to do my bit to save water, but I would also be very interested to hear your suggestions too, if you have them.
• Buy a non plastic bottle and refill it before you leave the house.
• If you have a garden, consider putting a water butt somewhere to collect water.
• If you own your house, would you consider harvesting rainwater (or greywater) to water your plants and flush your loo? Do you already do this?
• You don’t always need to flush after you wee. You probably saw this coming a mile off, but, all together now…if it’s yellow, let it mellow, if its brown, flush it down!
• Save any unfinished water dregs and pour them into a watering can or jug near the sink. Next time you need to water the plants you won’t have to fill the jug up as much.
• Instead of running the tap for ages to get cold water, put water straight out of the tap and into big bottles in the fridge.
• If you don’t have a double flush toilet you can get free water bags from Thames Water that fill up and save tons of water. Or you can just stick an old brick into the cistern.
So what’s your take on it? Are you a twice-daily-showerer, or a proud twice-a-weeker? Do you think it’s all pointless unless the government and authorities make changes? Do you already try to preserve water, and, if so, how? Couldn’t give two hoots, or are you a ‘be the change’ kinda person?
P.S. To learn more see Treehugger’s list of the top 5 documentaries to watch to understand the water crisis
It’s been sticky, approved hasn’t it? The sunshine is all well and good whilst you are within spitting distance of a garden or beer garden (or a patch of pavement if you frequent the majority of London pubs), cure but battling with public transport, page with people so far in your space that they may as well be inside you is no party. Some trains still seem to have the heating on and we are incessantly reminded to consider carrying a bottle of water with us which, curiously, makes me want to punch the drivers face in. Moving in any way other than a slow glide is ghastly in the heat. As one friend put it yesterday, ‘its like moving through hummus’.
Where is this tirade taking us, you wonder? It is taking us to water. Or rather the lack of it. We have all seen the images of people in faraway countries using buckets to scoop putrid, fly-ridden water into canisters to use as drinking and cooking water. But the reality is that these images have become so pervasive in our consciousness that they simply cease to shock us. What’s that got to do with us? Whilst we are nowhere near the poverty of many countries with minimal access to safe drinking water, as the population rises and industrialisation increases, water will become more and more precious in all parts of the world.
The northern, ironically much wetter, half of the country was aghast last month when the prospect of a hosepipe ban was floated before them. The rule only legislates against the equipment and not the water use, i.e. you could still tip the same amount of water over your garden, as long as you are not using the pipe. Oh, and it’s still ok to top up your swimming pool and wash the caravan. That repeated banging sound is my head hitting the table.
With our once or even twice daily showering, long, luxurious bath’s, dishwashers, washing machines and hosepipes; We are a nation addicted to water. The government estimates that we each use about 150 litres of water a day, and rising. And right now? We couldn’t imagine our hot, hummusy lives without easy access to a glass of cold water and a cool shower. It’s a human right, right? The reality is that water is a finite resource. The days of using it with merry abandon are coming to an end, and we need to stop wasting it.
There are some glaring absurdities in our liberal water use. Whilst almost a billion people on the planet only have access to dirty, unsafe water, we flush our toilets with drinking water. This is bonkers. Most of our homes are un-metered too, meaning water is charged at a set rate. This means there is no financial incentive to reduce water use. Ofwat stats show that metered homes use much less water and save tons of money. (So, water powers that be, and Mr Cameron, please change that.)
Over the past year I have been trying to do my bit to save water, but I would also be very interested to hear your suggestions too, if you have them.
• Buy a non plastic bottle and refill it before you leave the house.
• If you have a garden, consider putting a water butt somewhere to collect water.
• If you own your house, would you consider harvesting rainwater (or greywater) to water your plants and flush your loo? Do you already do this?
• You don’t always need to flush after you wee. You probably saw this coming a mile off, but, all together now…if it’s yellow, let it mellow, if its brown, flush it down!
• Save any unfinished water dregs and pour them into a watering can or jug near the sink. Next time you need to water the plants you won’t have to fill the jug up as much.
• Instead of running the tap for ages to get cold water, put water straight out of the tap and into big bottles in the fridge.
• If you don’t have a double flush toilet you can get free water bags from Thames Water that fill up and save tons of water. Or you can just stick an old brick into the cistern.
So what’s your take on it? Are you a twice-daily-showerer, or a proud twice-a-weeker? Do you think it’s all pointless unless the government and authorities make changes? Do you already try to preserve water, and, if so, how? Couldn’t give two hoots, or are you a ‘be the change’ kinda person?
P.S. To learn more see Treehugger’s list of the top 5 documentaries to watch to understand the water crisis
A while back I happened to catch a performance by Lissie at the Old Queens Head in Angel. I hadn’t planned on watching her – truth be told, viagra 40mg I was there to check out the band before her; but my curiosity was piqued as I watched the room fill up with an expectant and excited audience, view all craning their necks and standing on their tippy toes to get a better view of the girl serenading us. It’s been a while since I saw someone so captivating. Golden haired, freckled and just a slip of a thing, Lissie entranced the room who in turn treated her to a hushed and reverential silence, punctuated only by bursts of spirited applause and cheers. I watched the audience watching her. Everyone seemed transported out of their location; away from the top room of a pub on grimy old Essex Road and into the world that Midwestern native come Californian girl Lissie inhabits, laced with the scent of orange blossom, filled with wide open skies, winding rivers and smokey mountains, and night-times spent on porches with nothing but a guitar, a couple of beers and a pack of Marlboro Reds . No wonder we were all enchanted.
A couple of weeks later, I got to meet the busy Lissie. In the time between, Lissie had appeared on Jools Holland, toured around Europe, duetted with Ellie Goulding at The Great Escape, and graced the airwaves, all in the name of the hectic promotion of her debut album, Catching a Tiger (hot on the heels of the release of last years Why You Runnin’ EP). The phrase ‘riding a juggernaut’ comes to mind with Lissie; bursting into our consciousness with the brightest of starts. The day we met was a rare moment of down time; her touring schedule is in a constant state of flux – stretching to accommodate gigs that are being added on a daily basis, and Lissie had only just made it back from the previous nights gigs in Manchester and Newcastle. Curled up wearing her newest acquisition – a red jacket with white piping brought from a charity shop up North which made her look, she remarked cheerily, like “Santa Claus”, she lamented the ever decreasing amount of free time but was laughingly quick to note that it’s “a quality problem- it’s only busy because it’s going well, if no-one liked the music then there wouldn’t be things for me to do!” As Amelia’s Magazine is nothing if not versatile in its roles, I was happy to take on the guise of English Tourist Board representative, and suggest a list of places to visit when she finally gets a day off; though when that day will be, we will never know! ( FYI, Lissie was especially keen on the visit to Hampton Court Palace idea). As she munched on a healthy beetroot salad – my lunch advice was a visit to Jerk City in Soho for some fattening salt fish patties; probably best that not all of my suggestions get listened to) – I decided to find out just where this free-spirited songbird got her start in life.
“I always loved to sing, I was a pretty outspoken, strong willed little kid! I got a little shyer and more introverted when I got older but as a kid I used to stomp my feet when I walked (swings arms in a very determined manner), I was always talkin’… My family were really sweet and encouraging, but at school I would get into a lot of trouble because I would talk back, I always knew what was best for me, and when other people used to tell me what was best for me, I would be like “uh oh! Not gonna do it!” (laughs) I loved to sing, so becoming a songwriter was a great way for me to express my feelings, you know. I wasn’t always great at talking about things, and so I could write these little melodies…. even as a little kid, I would sing my feelings. I sang to my sister; I do recall tape recording this mean song about her, and leaving a tape recorder about her under her bedroom door and then pressing play and running away! (laughs) And then in high school I went through my phase of being more introverted – I pierced my nose, got a tattoo, started smoking,….I did my own thing cause I didn’t really fit in to any particular group. I started writing music, taught myself guitar and then started working at this coffee shop where I could play.”
What type of music were you listening to then?
Music wise, when I was younger I was into folk, Americana, musical theatre, and then in high school I was into country and gangsta rap
Those are two very different genres!
You wouldn’t think that these are similar in any way, but when you listen to either country or rap, it’s people telling their story. Indie rock can be more obtuse or obscure. Country and rap is some one speaking in the first person, you know? It’s more like, “this is my story, this is my experience.”
Do you respond to music that is more heartfelt and honest?
Totally, but I like all kinds of stuff. Although I don’t really listen to music to get inspired for my own music.
Did you move to California immediately after high school?
First I went to Colorado, to go to study at Colorado State. I was playing music and sang with a DJ there, and he ended up getting our song placed on tv shows. That was a catalyst for me; I realised that I could make a living making music, maybe eventually a good living! And then I went and did a semester of school (our version of uni) in Paris. I was singing there as well; I met a woman who helped me get shows in bars, and I also got some stuff played on college radio. After that I dropped out of school, and moved to LA – only cause I figured that that’s where you go when you want to be a singer!
Comparisons have been made to the hazy and bohemian rock n’ roll that came out of Laurel Canyon in the 70′s (think Joni Mitchell, The Doors, and Stevie Nicks). Lissie’s 2010 version is honed from living in an area not more than a mile or two away; Beachwood Canyon, a creative hub of artists and musicians and a world away from the plastic glamour and sheen of Beverly Hills. Los Angeles is known for chewing up and spitting up many a wide eyed starlet and ingenue, but strong-willed Lissie was never going to be one of the victims….
I don’t know if it’s me being stubborn, or being from the Mid West, but….I’m not bullshit, I don’t want bullshit in my life. I’m still nice, you know? I was never tempted by (the LA madness.) I always knew what I wanted to do. And I wasn’t immediately successful… I had figured that by 22 I was gonna make a record, and I didn’t make one till I was 26. But I was never like “I’m never going to be successful, maybe I need to be skinnier, or prettier, or I need to start doing drugs!
A year ago (while dealing with the messy end of a relationship) Lissie made a decision – part gut instinct, part cosmic order – to leave LA and head north to the tranquil town of Ojai, a place that she had never even stepped foot in…
Do you get inspired by the peace of Ojai?
Unfortunately I was more inspired to write when I was in Hollywood, because there was more to get worked up about. (sighs) There was this guy that I dated…… we broke up and our breakup process was drawn out and painful, which gave me a lot of material (laughs). Part of the reason why I moved was because it felt like my family was broken, and I needed a change. I put it out there; I was on a plane coming back from Tennessee and…. sometimes I just say what I want, and try to have faith that it will happen, and this is the weird thing; I found myself sitting next to two people who lived in Ojai, and I told them that I was heading back to LA, and they suggested I visit Ojai. So I got back to LA and instantly knew that I couldn’t be there; there was something in me that said “you have to move to Ojai, even though I had never been there before!” I went online, and found this house that cost less than my apartment in LA . I put down a deposit and moved, gone! And it was the best thing for me. I totally healed my heart there, and got myself in a position where I could really focus on myself, and what I need to do. I live alone, with my dog, I go for walks – it’s so peaceful.
While you’re here, you have a summer of touring in England?
Yeah, every day we get a revised schedule. We’re (Lissie and her band) doing festivals for the next few months, and in October, November and December there will be at least one thing a month going on in England, so it’s unclear whether we will just stay here or start our momentum in the States, ’cause I still have to go promote my album over there. I don’t exactly know what’s going to be happening, but it’s all good.
Written by Cari Steel on Wednesday July 14th, 2010 4:49 pm
Watching their electric performance at The Garage, information pills I immediately understood why all the major music publications are getting their knickers in a twist over The Pains of Being Pure At Heart. With the recent release of their debut album, more about The Pains have quickly amassed a devoted fan base and garnered raptuous reviews for their perfectly pitched shoe gazing dream pop. If I hadn’t met them, I might have assumed that they were the sort of band who believed their own hype – and why wouldn’t they? Having sat down with Kip and Peggy earlier in the day I instantly realised that while they weren’t oblivious to the attention, they were unfettered by it. Letting the press get on with their excitable reactions, the band just want to play the music that they love.
The new album has practically been lauded as the second coming by heavy weights like The NY Times and NME, did you expect such an immediate and positive reaction?
Peggy – Definitely not, I just think about the bands that play music like us that we have always admired, and most of them were were not that comercially well known, and not always that critically received either, so playing the kind of music we play… we didn’t have our hopes up high. But we were really happy with the record though, we really enjoyed making it, but we had no sense that anything beyond us being happy would happen. I always liked bands that I discovered on my own, I wouldn’t hear them on commercial radio or MTV.
Kip- There are a couple of bands that reached a bigger audience like Sonic Youth or Nirvana, but most of the indie pop bands of the 90′s were limited to a narrow community.
So you were expecting that the album would spread by word of mouth, and instead you were plunged straight into a media frenzy. Were you ready for this?
Peggy- It wasn’t the goal of the band. You know, “everyone is going to love us!” We were just friends that started playing music and this is the kind of music that we like and have bonded over. I think if we had set out to get commercial success we wouldn’t sound the way that we do.
Kip- Where we come from, our backrounds in music, there is not really a strong tradition of bands expecting good things to happen. Perhaps American bands are more self depricating (laugh) but there is this built in expectation that if you do something that you love, it might not be well received by others, but you’ll be happy because you will be proud of it.
Peggy – And you’re happy with the five people that appreciated it! (laughs) I feel like I was that person that would always appreciate a certain band and I would have been totally satisfied with that kind of response for us.
Kip- Growing up, most of the bands that I liked, I didn’t know anyone else who liked them.
Did that give it a special resonance – liking a band, and knowing that no-one else knows them?
Peggy – I wouldn’t admit that…… but I secretly enjoy it!
Kip – I would have liked to have known other people who were into the same bands as me growing up. I felt quite isolated that way; I would sit at home playing computer solitaire, listening to an album over and over again, but it’s cool now that we are travelling more and meeting people who had similar backrounds.
What is the Pains’ backround?
Peggy – I’ve been in bands since I was 13, but none of them that ever went on tour. This is the first band where I’ve got to travel.
Kip – I was in a similar situation, but none of them had graduated above playing in a basement. So this is very different from anything I’ve ever been in – one band that I was in, our goal was to play at this house we knew that had really cool house parties! (laughs)
Can you account for the reasons why the Pains have become so successful?
Kip – We started small, we were playing together for a while before anything happened, it’s easy to lose sight of that because once the album came out things changed a bit, but we were around for a couple of years and met with plenty of challenges, so it doesn’t feel to us like it is an overnight thing, but it may seem that way from an outsiders perspective. I’m grateful for the way that it turned out because it allowed us to mess up for a bit without other people watching! (laughs) We had a relatively decent period of obscurity while we refined what we do….. and also, the reason is luck!
Peggy – And being in the right place at the right time.
Peggy, Is it true that the band formed in part to play at your birthday party?
Peggy – Yes! I remember it was my birthday and I had only invited like, four people; because I only have four friends! (laughs).
Kip – It was at this big warehouse and it was basically an elaborate plot to try and get Manhattan Love Suicides to play, and so if we threw the party, we could play first and then we could say that we played with them. So we had a month to get ready.
It sounds like it was a natural way in which the band came together….
Kip- It was the best way. If the last seven months have taught us anything; we are always together, and if there were people that didn’t get along, it would be hellish, but we were friends for a long time before we picked up an instrument. This made the whole experience fun and much less stressful then for bands who get formed by putting ads in a paper saying ‘drummer needed’.
Peggy – The fact that we are friends and the fact that we have stayed friends is almost more lucky than anything else.
So there haven’t been any falling outs on tour then?
Peggy (emphatically) No!
Kip – This is our first experience of doing this, we don’t have a glut of expectations, we’re just appreciative of the opportunity and are excited by it all; and when you are excited and enjoying it, it’s hard to get upset about things.
Peggy – Touring can be really hard and gruelling, and I feel like if it were with any other people it would really suck, but it ends up being fun anyway.
What have been some highlights for you in the last few months?
Peggy – Playing Primavera was really amazing, that was the first big festival we ever played, and I didn’t know what to expect. I mean, I don’t like crowds (laughs) so I thought, today might be weird or awkward, but it ended up being really life affirming and it was the biggest adrenalin rush ever.
Kip- ABC news showed up at our practice place to hear us play. The fellow who does the news is on TV saying (in deep, authoratative voice), “And now, a report from Brooklyn” (laughs), and him saying our band name on televsion… I sent that to my grandparents, I think that this was the moment where my family realised that even though they didn’t quite understand what was going on with us, we were doing something worthwhile.
Which country has had the best crowds at your gigs? Apart from Britain obviously!
Kip – Obviously!
Peggy – I thought Germany was really positive, we played three shows in Germany and they were really enthusiastic.
Kip – Sweden was pretty amazing, that country has a strong tradition of appreciating bands like ours and even though Swedes are normally really reserved, the enthusiasm we saw there predated even us having a record out – we had released our EP and if we had played in New York, maybe 40 people would have come, and we would know 37 of them, and then we went to Sweden and all of a sudden we were playing really big shows and I had no idea that a band like ours could find an audience like that. But most of the places that we have travelled to have been positive experiences.
You’ve got some more touring to do, and then what do you have planned?
Kip- We have an EP coming out this fall, we recorded four songs before we went to Europe in May, and after the tour we are going back to practicing and working on the new record. But every step of the process is exciting and I try not to think too far into the future, because then you miss out on what is happening in the present.
After this I get Kip and Peggy to take part in my game of Lucky Dip, which involves picking questions out of the bag (my handbag, actually) Peggy picks the “What is the first record that you ever brought?” and proudly tells me that it was Madonna’s “Like A Prayer”, and then with less confidence, quietly adds that a purchase of Tiffany’s “I Think We’re Alone Now” was also made. “I was really into female performers at the time!” she cried. Kip gets the “What is on your rider?” question, and true to form, the down to earth bands requests are not unicorns, dwarfs and mounds of Class A’s, but bread, hummus, water and beer. ” We just need to make sure that we get fed around 5pm or we get a bit grumpy” Kip ventures, although I don’t think any explanation is needed when the sum contents of your rider can be placed in a Tesco’s 5 items or less basket.
“The Pains of Being Pure At Heart” is out now. Monday 10th August
UN Climate Change Talks
The U.N. Climate Change Talks in Bonn, recipe Germany begin a series of informal intersessional consultations today. These are part of the run-up to Copenhagen in December, search and this particular series can be found webcast live here
The Yes Men film shows the hoaxes perpetrated by two US political pranksters. The promotion team describe the film as “so stupidly entertaining” that it will reach and motivate thousands of people, this thus “adding even more juice into a movement that is trying to save civilization itself, among other modest goals.
Tuesday is the satellite event – live from Sheffield, it’s a simulcast event screening of THE YES MEN FIX THE WORLD and live q&a with the Yes Men beamed via satellites from Sheffield Showroom. Cinema-goers will have the opportunity to put their questions live and direct to the film’s stars from their respective cinema locations.
20.30, at the following London cinemas:
Odeon Panton Street, Clapham Picture House, The Gate Notting Hill, Greenwich Cinema, Ritzy Brixton, Screen-on-the-Green
More cinemas on the screenings page of their website.
Wednesday 12th August
Green Spaces & Sticky Feet
A creative exploration of the nature beneath our feet as we roam around the gardens – to help us understand why green spaces are important and how we can make our buildings greener. This is a workshop for children of all ages, who must be accompanied at all times by an adult.
On Friday the 7th August the bailiffs went in and the occupation of the Vestas wind turbine plant on the Isle of Wight ended.
In response to this a National Day of Action in support of the Vestas workers and to keep the factory open, for Green Jobs and a Green Energy Revolution, was declared. There will be actions all around the country organised by a diverse range of groups.
Or contact your local CCC group, or Union – or if you want to organise something in your area there is some advice from Jonathan Neale, of the CCC Trade Union group
The campaign to Save Vestas has not finished, it has just started and with it comes a campaign for a step change in the creation of Green Jobs and the Green Energy Revolution !
6.30pm
Outside the Department of Energy and Climate Change (DECC)
A spiritual celebration and experience, honouring our regal beauty with sacred song and dance. Dances of universal peace, Taize singing, Bhajans & Kirtan, native American sweat lodge, Zikr & Sufi practice, Breton dancing, Tibetan sound meditation, yoga, tribal dance, ancient ways of the British Isles, chant wave and more…
Let the London Wildlife Trust take you out trapping, identifying and recording moths on the Totteridge Fields Nature Reserve. Come and see how many species of moths visit the fields at night. Please wear warm clothes and sensible footwear. Bring a Torch, Notebook and pen. You may also want to bring a flask.
Free car parking in sports ground car park adjacent to the Hendon Wood Lane entrance.
Nearest tube is Totteridge & Whetstone
251 bus stops on Totteridge Common near the junction with Hendon Wood Lane.
8.30-10.30pm
Hendon wood Lane entrance to totteridge Fields Nature Reserve
Contact – Clive Cohen – 07973 825 165 – notinbooks.conservation@btinternet.com
The National are one of my favourite all time bands. Their music full of deep seductive murmuring and soaring strings, The National build a beautiful soundscape full of urban discontent and lost loves.
I wouldn’t blame you for thinking that Devotchka have wandered straight out an Eastern European shtetl with their romani/ klezmer-tastic music. In fact they’re from Colorado and you probably recognise their orchestral treats from Everything is Illuminated and Little Miss Sunshine.
Wednesday 12th August
Woodpigeon at Borderline, London
Woodpigeon is whispery folk with beautiful strings and brass. Perfect for a summer evening.
Thursday 13th August
Circulus at The Lexington, London
Tired of the ins and outs of modern life? Do you want to return to a simpler time? A medieval time? Go see Circulus then! They’re quite obviously as mad as a bag of prog listening cats but they sing about fairies and have lutes- what couldn’t be awesome about that?
Friday 14th August
Forest Fire and Broadcast 2000 at The Luminaire, London
Lovely country folk from Brooklyn’s Forest Fire and tinkly electronica from Broadcast 2000 are set to make this night special!
Saturday 15th August
Spaghetti Anywhere and Colours at Barfly, London
Here at Amelia’s HQ we often find ourselves listening to Spaghetti Anywhere‘s myspace selection of pretty indie pop, and it never fails to brighten up a dreary office day.
Also playing are Colours the South Coast’s answer to My Bloody Valentine, offering up a delicious slice of Shoegaze with Pavement-y undertones. Brilliant stuff all round!
William Cobbing: Thoughts From the Bottom of a Well
Until 6th September
Monday to Friday 9am – 7pm
Saturday 9am – 5pm
Sunday 10am – 4pm
Free
Controversial siblings Jake and Dinos Chapman strike again, with this Hayward Gallery exhibition on tour around the country, based on children’s dot-to-dot drawings but a whole lot more dark, chaotic and macabre.
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The 2009 Vice Magazine Photography Exhibition
The Printspace
74 Kingsland Road
Shoreditch
London E2 8DL
13th August – 26th August
Monday – Friday 9am – 7pm
Artists include: Richard Kern, Maggie Lee, Peter Sutherland, Dana Goldstein, Tim Barber, Martynka Wawrzyniak, Angela Boatwright, Jamie Taete, Alex Sturrock, Jonnie Craig, Ben Rayner.
‘Exhibit X is pleased to announce an exhibition examining the blurred vision between photojournalism and raw photography, using images from Vice magazine and it’s photographers.’
15th August 26th September
Tuesday – Saturday 10am – 5pm
Free
‘Stitching Time is a partnership project with Suffolk Artlink’s Culture Club and Colchester and Ipswich Museums. Older members of the community used a variety of sewing methods to create work in response to the collections.’
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The Kiss of a Lifetime (Part 2)
Vane
Kings House
Forth Banks
Newcastle upon Tyne NE1 3PA
Until 22nd August
Wednesday – Saturday 12-5pm
Free
‘Our second presentation as part of the Northern Print Biennale, ‘The Kiss of a Lifetime (Part 2)’ is curated by Manchester-based artist and curator, Mike Chavez-Dawson. The exhibition features the work of over 100 artists, both internationally renowned and emerging, from the UK and abroad and examines what ‘the kiss’ signifies within contemporary culture – from the romantic to the lifesaving, from the prosaic to the violent.’
Until11th October
Tuesday – Saturday 10am-5pm
Thursday 10am – 8pm
Sundays/ Bank Holidays 12.30 – 5pm
Free
‘An exhibition featuring the highly distinctive drawings of the Scottish outsider artist Scottie Wilson (1891-1972). Starting his artistic career at the age of 44, his work was admired and collected by the likes of Jean Dubuffet and Pablo Picasso and he is considered to be one of the most celebrated outsider artists of the twentieth century.’
Last week I attended the preview screening of The Yes Men Fix The World at the Odeon Panton in London’s West End. Narrated by Andy and Mike, story the self-styled Yes Men, it followed their highly creative protests against corporations and governments guilty of humanitarian and environmental misdemeanours. It’s a laugh-out-loud romp across the continents that you absolutely must see if you’ve ever dreamed of changing the world, but being an indie film unencumbered by distribution or advertising budgets you only get a couple of days to view it.
You can read more about the exploits of the Yes Men in Cari’s excellent preview blog here and find details of where to see it here.
In the meantime, if you live in London you might be more familiar with the Yes Men from their front page appearance in the Evening Standard yesterday, photographed in a joint stunt with Climate Rush to highlight the hypocrisy of Mandelson’s leadership as he takes over from the prime minister whilst Brown goes on holiday. Not only is Mandelson a non-elected politician (democracy?! is this really what it looks like?!) but he is also completely corrupt: Leila Deen from Plane Stupid threw custard over Mandelson in February in order to draw attention to his part in hob-nobbing with BAA execs and then lobbying for the third runway at Heathrow. He is well known for pushing the demands of big business over concerns about Climate Change.
It was indeed a slightly surreal sight to see the unmistakable inflatable shapes of the Yes Men in their Halliburton SurvivaBalls – patented ways of escaping the worst effects of Climate Change if you’ve got enough cash – blocking the entrance to Mandelson’s residence in Regent’s Park together with two girls dressed daintily as suffragettes. Surrounded by mini windmills in plant pots they held aloft a banner which read Mandy Put The Wind In Vestas’ Sales, a timely message as the rooftop protest continues at the Vestas factory in Cowes.
And yet, the Yes Men were not content with a fiendishly early start to pull off the prank with Climate Rush, and were also determined to pay Richard Branson a visit yesterday atfternoon. Why? you might ask…
In a spoof film released onto YouTube yesterday Branson is seen posing astride The World, the huge fake island development constructed in the shape of, yes you guessed it, the world, in Dubai. He’s wearing an amazingly garish Union Jack suit as he cuddles up to some generic pretty girls in red sashes not unlike those favoured by Climate Rush (the sashes, that is.) As Branson states that “we’re just popping people into space and popping them straight back down again,” SurvivaBalls tumble across the screen.
This week it was announced that an Arab investment company has invested in Branson’s Virgin Galactic venture, which plans to take rich people into space on short jaunts to gawp at the wonder of our little planet. The specialist travel company Kuoni are quoted in The Independent as saying that “there will always be super-explorers with the financial ability… to marvel at the Earth from afar. If this is someone’s interest and desire, you can’t put a price on it.” The cost of these trips to the super-rich? A mere $200,000 for two hours. Already 85,000 have registered an interest, with a proportion paying up front. The cost to the earth? Well, Branson is master of greenwash, and he’d have you believe that this vanity project of his will be as eco-friendly as they come. Now I wonder how anyone can imagine that flying into space can come without a cost to the environment? But it seems that if you fuel your jets with biofuel all will be well.
Ah, biofuels, the biggest lie of them all and the subject of the July Climate Rush, where we blocked the street outside an agri-investment conference in Grovesnor Square in order to draw attention to the devastating effects of the rise in the use of palm oil across the globe.
Not only do the monoculture plantations of this “wonder” oil cause massive tropical deforestation and an attendant rise in CO2 emissions, but they result in a 90% loss in wildlife diversity. Did you know that we have lost 90% of the orangutans in the past 100 years?
In many parts of the world biofuels such as jatropha are grown on “marginal wasteland” which isn’t actually marginal at all – it’s common land that provides a living for the people who live nearby. Food Not Fuel, seen below at the Palm Oil Climate Rush, campaign on issues around the increasing use of land to create biofuel for cars, planes and soon apparently, space rockets. All this instead of using land to encourage biodiversity and feed the planet.
How can a man who backs the creation of large scale monocultures to fly rich people into space purport to have any interest in the environment at all? Branson helped to found The Elders, a group of influential rich people who think they can save the world. “Could a small, dedicated group of independent elders help to resolve global problems and ease human suffering?” asks their website. Brilliant! How about space travel for the rich? That ought to do it.
And so, with this in mind, I met Andy, Mike and an assorted gaggle of helpers outside Green Park tube station, not far from where Richard Branson has set up his Galatic shop on an unassuming terraced street (albeit a posh one of course). We’d just bought the Evening Standard and the Yes Men were fairly incredulous with their front page status until I pointed out that if you team up with Climate Rush on an auspicious date that’s the kind of coverage you can expect to get.
Across the road in Green Park out came the SurvivaBall suits and we watched with amusement as Mike and Andy climbed inside, and cunningly inflated themselves through the use of two fans mounted on helmets, before we all tripped across the road, moving slowly to accommodate a ripped SurvivaBall and a broken fan poking professionally out of the top of Mike’s head. Squeezing up the narrow steps the Yes Men pushed the buzzer to gain entrance to the Galactic offices.
Alas the Yes Men didn’t get in (not unsurprisingly given their attire) and they seemed content to instead plant themselves on the doorstep and chant “Branson’s Stooopid”, which of course sounds much better in an American accent. Alex in the third SurvivaBall looked more like an overripe pumpkin than a bastion of “survival technology” but the beauty of the SurvivaBalls is that they look so utterly ridiculous.
“How dumb is space travel for the rich?” chanted the Yes Men, faces squooshed into awkward angles. “This dumb!” they exclaimed before continuing, “What do we want? Space travel for the rich. When do we want it? Never!”
Despite stating through the intercom that they would stay on the stoop until Branson “stops his ‘green’ hypocrisy and Virgin stops flying planes”, the uncomfortable suits were soon shaken off and the action completed. It may not have garnered the press attention of their early morning stunt, but it was filmed by their entourage, and will surely set the scene for many a further protest. Spaceships and astronauts call to mind the possibility of so many creative actions… The cogs in my mind are already turning. Are yours?
Do you have a band that soundtrack your life? The music of your memories?
Mine was, pharmacy is and always will be The National, healing a band who’ve been playing in the background of my first loves, lost loves, sad times, happy times, party times, sleep times, journeys on planes, journeys on trains, moving in-s and moving out-s.
Last night, after almost 5 years of unadulterated adoration and no less than 3 missed opportunities to see them , I finally saw The National, and it was knee-knockingly, breathtakingly amazing.
So amazing in fact, I broke a few of my cardinal “What Not To Do At Gigs” Rules. Nominally, these are:
1. Thou shall not sing along (aloud or mouthing along silently; they’re both as bad as each other)
2. Thou shall not join in group clapping (I’m not really a crowd participation kind of girl)
3. Thou shall not sway with your eyes closed (it looks creepy)
Having left the Royal Festival Hall in between lamenting the loss of my gig misanthropy and watching A Skin, A Night in bed (I really like The National- if you hadn’t noticed by this point) I began to ponder how to write about a band you’ve loved for such a long time, so here it goes.
(A Skin, A Night trailer)
Playing songs from their last two albums (Alligator and Boxer) and an EP (Cherry Tree), as well as covering new songs like the excellent ‘Runaway’, I noticed that one of the most striking thing about The National was their ability to depart from their records, which are, even at their most upbeat are still darkly contemplative and reflective, live however their energy is palpable, their most melancholic songs live are shot through with electricity and flourish. The National are a lot more prolific than the 2007 ‘overnight’ success of Boxer would suggest, and their familiarity with their extensive back catalogue allows them to embellish upon their records, making the live show full of exciting little twists and turns.
Somewhere amidst these sonic twists and turns, I recognised The National’s ability to change the mood of not only what they were playing but also the mood of a packed out auditorium of people. Their music soars and swoops, murmurs with melancholy, heard in both Berringer’s voice and Newsome’s string solos, before crescendo-ing into a clattering wave of emotional intensity on the drums, guitars and brass. ‘Fake Empire’ ; Boxer’s opener starts with a simple, lilting piano melody and builds up to a full orchestral smorgasbord and was definitely a stand out favourite for me alongside ‘About Today’ from the aforementioned Cherry Tree EP whilst faster songs including ‘Mistaken for Strangers’ and ‘All the Wine’ pulsated with a dark emotion. The National are undoubtedly a honed and well oiled team from the drums and brass section to Padma Newsome’s dexterity on the piano and strings and it is this that enabled them to take such hairpin turns throughout their hour and a half long set, whilst retaining the interest of a legion of loyal fans, which is no mean feat.
And what of Mr. Berringer as a front man? I always had a rather specific image of him as a shy and brooding wordsmith, yet he commanded the attention of the crowd with his vocal range; from his trademark seductive baritone murmuring (‘Green Gloves’), to top-of-lungs anguished shouting (‘Abel’).
The National create a totally unique soundscape, both live and on record, a soundscape filled with towering skyscrapers and empty parties, of drunk men in dead end jobs and the women they once loved leaving them. Ok, so it ‘s clearly not the Disneyworld of soundscapes but there is a real honesty and sad beauty to the images they create that inspire empathy and awe (both lyrically and melodically) in the stoniest of hearts.
So now as one of the converted to eyes closed, body swaying dancing at gigs, I unabashedly say that The National didn’t let me down live and I will continue to soundtrack a new lot of adventures with their music. Make them yours!
(Video for ‘Apartment Story’)
Written by Roisin Conway on Tuesday August 11th, 2009 3:21 pm
