Amelia’s Magazine | Festival Preview: Latitude

Alternative Fashion Week Day 5 2010 Viveka Goyanes
Alternative Fashion Week Day 5 2010 Kim Seoghee
All photography by Amelia Gregory.

Kim Seoghee may not be Flemish (I’m gonna bet he isn’t) but his work sure as hell feels the touch of Belgium. With a team of skinny stoney faced pretty boy models and ethereal girls, visit web Kim showed us a classic example of the sulky European genre. Eyes emphasised with kohl, visit this the models lined up to show Another 7th Day, prescription a pick ‘n’ mix collection in black, grey and cream. Amongst the upbeat surroundings of Alternative Fashion Week their cool collective attitude stood right out, but they’d fit right in at Paris or London fashion weeks proper.

Alternative Fashion Week Day 5 2010 Kim Seoghee
Alternative Fashion Week Day 5 2010 Kim Seoghee
Alternative Fashion Week Day 5 2010 Kim Seoghee
Alternative Fashion Week Day 5 2010 Kim Seoghee
Alternative Fashion Week Day 5 2010 Kim
Alternative Fashion Week Day 5 2010 Kim Seoghee
Alternative Fashion Week Day 5 2010 Kim Seoghee
Kim Seoghee with his models.

Laura Panter showed a clever collection – ‘This collection cries adolescent’ – God knows what being a teenager had to do with it though. The clothes were a curve enhancing mix of pastel chiffon and wool with bondage inspired straps and belt features.

Alternative Fashion Week Day 5 2010 Laura Panter
Alternative Fashion Week Day 5 2010 Laura Panter
Alternative Fashion Week Day 5 2010 Laura Panter
Alternative Fashion Week Day 5 2010 Laura Panter
Laura Panter.

She was followed swiftly by the work of another Laura. Laura Fox had put together a cute series of outfits inspired by ‘British Heritage, Harris Tweed and Oilskin’ – with the aim of promoting manufacturing in the UK. Her love for classic British designers such as Christopher Bailey for Burberry were clear in what I thought was a sweet and mature collection, and that was before I discovered that Laura is wheelchair bound. She has a good web presence with a Carbonmade website and a twitter feed so she clearly hasn’t let a little thing like a disability stop her from keeping busy. And my friends over at Creative Boom have also blogged on her here. Dead impressed.

Alternative Fashion Week Day 5 2010 Laura Fox
Alternative Fashion Week Day 5 2010 Laura Fox
Alternative Fashion Week Day 5 2010 Laura Fox
Alternative Fashion Week Day 5 2010 Laura Fox
Alternative Fashion Week Day 5 2010 Laura Fox
Laura Fox had business cards to hand: the way it should be done!

Sarina Hosking showed a couple of pieces titled Beauty and the Beast. I have to say I’m not surprised by the title – during a week when titles often bore abstract relevance to the collections they were attached to (at best), this did exactly what it said on the tin. The girl that really got all the photographers salivating was a sexy grown-up version of Little Red Riding Hood, complete with red lacy veil. An elegant gent in wolf mask looked on. They were a distraction from the rest of the collection but heck, why not mix and match your fairytale references? According to her myspace Sarina is principally a theatrical designer, so it all begins to make sense.

Transform by Elizabeth Wilcox was described as ‘Sportswear creating capsule wardrobe’. It was certainly sporty but I am not sure I was feeling the marl grey highlighted with neon sculptural thing.

Viveka Goyanes put together cutesy cream printed shirts with carefully styled black and white tailoring to present a mature collection called Brummella the Dandella. I particularly loved all the little touches, like the ripped and accessorised socks. It always pays to look down!

The first festival I ever had the fortune to attend was Latitude 2007. Still a fresher at university, page still fresh-faced and just a little naïve; a small hatchback, viagra order four friends, and every nook and cranny jammed with our camping equipment. We were green, and we didn’t know that you wouldn’t need six sets of clothes, nor a full foldable mattress, nor (as one of our group, bizarrely, thought) a full set of crockery. It was only due to our general keenness that left us arriving early and managing to snag a camping spot both close to the site entrance and (crucially) within 600 yards of the car park. That was, I discovered, exactly the limit of my stamina for being able to carry my own weight in paperbacks and camping stoves (three!) and several pairs of shoes. Oh, idle youth! These days I can take five nights of living in muddy squalor like a medieval serf in my stride, but that’s only down to training myself; I had to ween myself off such modern luxuries as soap, razors, and fresh underwear.

But I digress – this is meant to be a preview of Latitude 2010. The background: Latitude occurs every year in July in Southwold in Suffolk, and operates under the banner of Festival Republic (formerly Mean Fiddler), that gargantuan promotions company with fingers in many pies and still perhaps best know for the carnival of the damned that is the Reading and Leeds Weekender. Latitude is something of a pet project for Festival Republic, who felt that British festivals had lost track of what made them so culturally important in the first place – not just the bands but the atmosphere, the vibe, the performers on stilts and the chance meetings in the dark under the boughs of some off-to-the-side willow. Glastonbury has become something of a behemoth, but it used to be a small and intimate affair; Latitude’s raison d’être is to mimic what Glastonbury is suppose to once have been. My verdict, taking my experiences of 2007 into account, is that they have succeeded admirably, though it would be churlish to say that it’s exactly as the same. Many of those ideals that the hippies celebrated at the solstice three decades ago – appreciation of the earth, appreciation of humanity – have arguably seeped into the larger (regular) festival-going public, but these days we’re much, much better at recycling.

Capacity is relatively small, as far as festivals go these days, capped at 25000 since 2008, and the wondrous thing about Latitude is that you can go the whole weekend without seeing a single band. There’s a strong lineup of comedy acts, theatre performances, literature talks and other cultural oddities that mark it out as unique in the British festival scene. I’ll run through some of the things to look forward to this year, for those that are going, and if you’re not then be quick, because it’ll sell out soon.

There are several music stages scattered about the site. The largest is the main Obelisk Arena, this year headlined by Florence & the Machine, Belle & Sebastian, and Vampire Weekend. Other artists worth seeing include folkster Laura Marling, indie legends Spoon, insanely talented Mexican acoustic duo Rodrigo y Gabriela, gorgeous melody act Dirty Projectors, and even a recently-reformed James. They’ll probably sing that song about sitting.

Move across to the second stage and you’ll find the Word Arena, headlined by the National, the xx, and Grizzly Bear. The first is one of the best bands in the world, without question, and if you go you’ll probably find me there too, undergoing some kind of trembling transcendental spasm attack. I love that band. Oh god how I do. The xx are an interesting choice of headliner as their music, so heavy with meaning and yet so utterly minimal, might struggle to hold a headlining slot on a festival stage. I’ve seen them live before and they were bloody fantastic, so I’m sure they’ll be fine; I won’t be seeing them at Latitude, though. My reasons involve a broken heart, a worn mixtape, and shattered promises – I won’t burden you any further than that, but know that it was horrid. Grizzly Bear are sick, and will absolutely suit the beautiful site that Latitude is situated within. Also playing the Word Arena are Wild Beasts, Richard Hawley, the Horrors, and Yeasayer, etc. etc..

Then you’ve got your Lake Stage, which is (no surprises here) situated next to a lake, as well as the Sunrise Arena deep in the woods on the edge of the site. Exactly who shall be playing where on these stages hasn’t been announced yet, but what is know is that artists and bands such as the Big Pink, Black Mountain, Girls, These New Puritans, Tokyo Police Club, and a bunch of others. I’ve been looking back through past years and Latitude 2010 looks like being potentially the best ever with regards to the music acts (though 2009 was also pretty sick – Nick Cave!). But it’s not all about the music, of course, otherwise it wouldn’t be quite as sweetly unique as it is.

In the Comedy tent there are sets from Richard Herring, Emo Philips, Rich Hall, Phill Jupitus, Mark Watson, but also many smaller acts such as Mark Oliver and Doc Brown. In previous years this tent has had a propensity towards overcrowding when the bigger names have appeared, but hopefully they’ll have ironed out the creases there. We’ve already covered the Literature tent on Amelia’s Magazine, somewhat, but I’ll add that Jon McGregor is also giving a talk. He’s the author of If Nobody Speaks Of Remarkable Things, a novel that is in itself extraordinarily remarkable and one of the finest examples of prose-poetry I’ve read in the past decade. Also of note here is that Dan Kitson, who probably blushes when he gets described as, “perhaps the finest standup comic of his generation,” all time, will be telling a story for an hour every night at midnight on the Waterfront Stage. His work is rarely available on video as he doesn’t like the idea of his shows being pirated, so please take this opportunity to see him in the flesh.

John Cooper Clarke is in the Poetry tent – one of the towering figures of modern performance poetry in this country should be reason enough to raise some curiosity there, but there are also appearances from important figures on the British poetry scene like Luke Wright and John Stammers. Eddie Argos, of Art Brut fame, will also be doing a set – if you’re familiar with the man then you’ll know that’s an intriguing prospect.

I’ve barely scratched the surface here – there’s a Cabaret tent that parties on into the early hours of the morning, there’s the Film & Music Arena showcasing some unique new audiovisual shows (as well as more irreverent stuff from the likes of Adam Buxton and the Modern Toss crew), and there’s also a chance to wander into the woods to find both the opera performances and the In The Woods area, a woodland clearing set up for late night raving. There are numerous plays put on at the Theatre Arena, including performances from the Royal Shakespeare Company and Everyman Playhouse. There’s a huge childrens’ area that’s almost like a playground.

Hell, the whole thing is like some gaudy carnival from the middle ages transported through time for our enjoyment. There’s a parade at some point, there’s giant painting projects, you can row boats in the lake, you can watch a jazz band play all day on a floating stage on the lake, and so on, and so on. The beauty of the site just completes the package, and thankfully the Latitude team are very good at maintaining it. They’ve got a well-developed set of environmentally-friendly policies that have managed to recycle most of the waste from past festivals, including designated recycling bins, bags handed out to campers for sorting their recycling, and everything you can buy on site is sourced so that it won’t damage the environment both getting there and if it’s thrown away. Sorted.

So that’s Latitude 2010. Three days almost doesn’t seem enough, does it?

Categories ,2010, ,Adam Buxton, ,Art Brut, ,Arts, ,Belle & Sebastian, ,Black Mountain, ,Cabaret, ,comedy, ,Dan Kitson, ,dirty projectors, ,Doc Brown, ,Eddie Argos, ,Emo Philips, ,environment, ,Everyman Playhouse, ,festival, ,film, ,Florence & the Machine, ,girls, ,glastonbury, ,grizzly bear, ,ian steadman, ,James, ,John Cooper Clarke, ,John Stammers, ,Jon McGregor, ,latitude, ,Latitude Festival, ,Laura Marling, ,leeds, ,Luke Wright, ,Mark Oliver, ,Mark Watson, ,Modern Toss, ,music, ,Nick Cave, ,opera, ,Phill Jupitus, ,rave, ,Reading, ,Rich Hall, ,richard hawley, ,Richard Herring, ,rodrigo y gabriela, ,Royal Shakespeare Company, ,Spoon, ,Standup, ,the big pink, ,the horrors, ,The National, ,The XX, ,These New Puritans, ,Tokyo Police Club, ,Vampire Weekend, ,Wild Beasts, ,Yeasayer

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Amelia’s Magazine | Yeti Lane – S/T – Album Review

Yeti Lane rAll Photos Couresy of Sonic Cathedral

Yeti Lane should know what they doing; with three quarters of now defunct band Cyann and Ben making up the ranks they have all the experience and credentials for making reflective, cheapest dreamy music. But Yeti Lane are no limp reincarnation, instead they’ve taken on a new challenge in their self titled debut to produce a light yet layered sound, driven by an unavoidable love affair with the playful elements of pop and rock.

You’re more likely to see members Ben Pleng, Charlie Boyer and LoAc poring over their menagerie of synths, organs and drum machines than smashing guitars in a new found cliché rock madness but nevertheless Yeti Lane place their emphasis on the dazzling relationship between rumbling drumbeats and soaring guitars.

YETI_LANE_LJ2

Yeti Lane never insists on your attention, instead drawing you in slowly, hypnotized by a galaxy of layered electronic waves and hushes, but can at times appear in the wider context like a supporting cast to The Flaming Lips’ Oscar winning performance.

A naturally quiet subtlety runs through the songs of Yeti Lane but unless you can apply your full attention span to the task, the album sometimes slips away from your consciousness, an unfairly forgettable face in a crowd. First-Rate Pretender opens the album heralding the positives of Yeti Lane, all soft vocals that lead you by the hand into their world of delicate anti-romance.

first rate

The band are clearly eager to experiment with different avenues of sound and songs such as Only One Look and Lucky Bag catch glimpses of an interest in glitchy loops and synthesizers but they never truly announce themselves in the foreground. An indulgence in a fresh direction stirs an excitement for the record that is never quite satiated until standout track Lonesome George. The haunting echoes permeating previous tracks have momentarily disappeared as Yeti Lane indulge in a poignant dedication to youthful resilience and unfazed anticipation, led by stirring organs, xylophones and horns.

YETI_LANE_LJ1

The trio aren’t giving much away about their French origins and lean towards an unavoidable American sensibility, though Pleng’s sweet Parisian lilt adds a bonbon charm to darker edges. A contention with stereotypes doesn’t stop there as home for Yeti Lane is the traditionally shoegaze associated label Sonic Cathedral, though the band seem to have enough ideas to distance themselves from being pigeonholed too easily, even if these adventures can come across a little diluted. They bend and navigate the framework of a pop sound, but often this meandering leads to some indulgent deviations.

And so it seems Yeti Lane, overflowing with ideas in the second phase of their musical careers, aren’t quite sure where exactly they’re heading but are taking the road travelled more confidently by stalwarts of the New York scene of decades before. Plaudits for their own ability in melding the vast array of instruments with each other to a pleasant and intriguing effect should not be denied them, though perhaps in time Yeti Lane can mature this sound to a more arresting result.

Categories ,Cyanna and Ben, ,Sonic Cathedral, ,the flaming lips, ,Yeti Lane

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Amelia’s Magazine | An interview with singer songwriter Kyla La Grange

Eco Luxe Showroom Hipstamatic

Fair+True and Reluxe illustration by Andrea Kearney

The EcoLuxe exhibition was held at the ultra chic One Aldwych Hotel, sickness just across the road from Somerset House. Fresh from Esthetica, generic I wondered if the designers holed up over at One Aldwych would be able to compete with the level of talent I’d witnessed over at Somerset House, but my questions were quickly forgotten as I descended the staircase at the hotel and saw what waited for me.

Inevitably, there were a few brands and designers showcasing work that didn’t really float my boat, but I also saw some beautifully crafted clothes that really excited me. Here are just a few of my favourites.

I was excited to see that Fashion Conscience, my favourite ethical online retailer, had a stand. I quickly got chatting to their PR rep about how to encourage more mainstream use of ethical design principals and how to close the gap between the high end ethical and the affordable everyday ethical. Fashion Conscience, in my humble opinion, are beginning to fill this gap, but there is still some way to go. The Fashion Conscience stall was showcasing the work of two of my favourite labels, ReLuxe and Fair+True:

Reluxe oozes cool. The designs are fresh, colourful, relaxed and crucially AFFORDABLE. They use recycled fabrics which means many garments are completely unique, or in limited supply due to the limitations of the fabric. I have fallen in love with this slightly bonkers neon striped skirt and am just waiting for pay day to purchase it (don’t beat me to it!) Brands like Reluxe and Fair+True (below) make me excited and hopeful that ethical businesses CAN make it in to the middle market mainstream, can be affordable and can have mass appeal. YES.

Knitted Skirt by Reluxe. Photo via Fashion Conscience.

Fair+True are a brand new Fairtrade company that also make lovely, brightly coloured sporty brights that I would love to wear. All pieces are fairly made in the UK or Africa or created from sustainable and organic fabrics. LOVE.

Fair + True illustration by Fritha Strickland

I hadn’t  heard of Lowie and I’m most disappointed by this because I  loved their stuff. Their AW 2011  clothing and hand knitted accessories were brightly coloured and gorgeous. I adored their Turkish socks, ear muffs, cloche hats and cardigans. Their SS 2011 collection was also beautiful with some really interesting shapes and details.


Turkish socks by Lowie. Illustration by Faye West

I liked the moody colours, tailoring and detailing of HEMYCA‘s clothes. Their focus is on fine tailoring, with an emphasis on the waist, which I always love. Ethically, HEMYCA has an ‘Organic Tailoring’ range and manufactures all their garments in London, promoting local businesses and cutting down on carbon dioxide emissions.

Hemyca Dress.

I briefly saw Sanyukta Shrestha’s wedding accessories and dresses. However, it wasn’t until I saw models wearing the dresses online after the event that I truly appreciated their beauty. In fact I had a mouth a-gape, heart a-flutter moment when I saw this floor length, pleated dress with low cut back. It’s made from 100% organic silk and organic fair traded cotton sateen. If I could get married again (to the same man, I hasten to add!) it would be in this dress. Oh my. Head. Over. Heels.

Sanyukta Shrestha Wedding Dress illustration by Fritha Strickland

I always expected to be impressed by Esthetica and Eco Luxe, but I didn’t expect to be blown away, but I was.  I left both the show rooms with my brain whirring, a bag stuffed full of promo material, a camera full of more images than I knew what to do with and having talked at a million miles an hour to so many interesting and inspiring people. Eco Luxe has doubled in size since last year in what I assume  is a reflection of the increasing acceptance and awareness of ethical design. As ethical design and shopping with conscience become more mainstream,  I hope that ethical clothing designers wont be sectioned off in their own separate rooms. Instead they will be showcasing alongside all the other  London Fashion Week designers; proving that fashion with a conscience is not the exception, but the norm. One day indeed.

Fair+True and Reluxe illustration by Andrea Kearney

The EcoLuxe exhibition was held at the ultra chic One Aldwych Hotel, doctor just across the road from Somerset House. Fresh from Esthetica, page I wondered if the designers holed up over at One Aldwych would be able to compete with the level of talent I’d witnessed over at Somerset House, but my questions were quickly forgotten as I descended the staircase at the hotel and saw what waited for me.

Inevitably, there were a few brands and designers showcasing work that didn’t really float my boat, but I also saw some beautifully crafted clothes that really excited me. Here are just a few of my favourites.

I was excited to see that Fashion Conscience, my favourite ethical online retailer, had a stand. I quickly got chatting to their PR rep about how to encourage more mainstream use of ethical design principals and how to close the gap between the high end ethical and the affordable everyday ethical. Fashion Conscience, in my humble opinion, are beginning to fill this gap, but there is still some way to go. The Fashion Conscience stall was showcasing the work of two of my favourite labels, ReLuxe and Fair+True:

Reluxe oozes cool. The designs are fresh, colourful, relaxed and crucially AFFORDABLE. They use recycled fabrics which means many garments are completely unique, or in limited supply due to the limitations of the fabric. I have fallen in love with this slightly bonkers neon striped skirt and am just waiting for pay day to purchase it (don’t beat me to it!) Brands like Reluxe and Fair+True (below) make me excited and hopeful that ethical businesses CAN make it in to the middle market mainstream, can be affordable and can have mass appeal. YES.

Knitted Skirt by Reluxe. Photo via Fashion Conscience.

Fair+True are a brand new Fairtrade company that also make lovely, brightly coloured sporty brights that I would love to wear. All pieces are fairly made in the UK or Africa or created from sustainable and organic fabrics. LOVE.

Fair + True illustration by Fritha Strickland

I hadn’t  heard of Lowie and I’m most disappointed by this because I  loved their stuff. Their AW 2011  clothing and hand knitted accessories were brightly coloured and gorgeous. I adored their Turkish socks, ear muffs, cloche hats and cardigans. Their SS 2011 collection was also beautiful with some really interesting shapes and details.


Turkish socks by Lowie. Illustration by Faye West

I liked the moody colours, tailoring and detailing of HEMYCA‘s clothes. Their focus is on fine tailoring, with an emphasis on the waist, which I always love. Ethically, HEMYCA has an ‘Organic Tailoring’ range and manufactures all their garments in London, promoting local businesses and cutting down on carbon dioxide emissions.

AW2011 preview Hemyca .

I briefly saw Sanyukta Shrestha’s wedding accessories and dresses. However, it wasn’t until I saw models wearing the dresses online after the event that I truly appreciated their beauty. In fact I had a mouth a-gape, heart a-flutter moment when I saw this floor length, pleated dress with low cut back. It’s made from 100% organic silk and organic fair traded cotton sateen. If I could get married again (to the same man, I hasten to add!) it would be in this dress. Oh my. Head. Over. Heels.

Sanyukta Shrestha Wedding Dress illustration by Fritha Strickland

I always expected to be impressed by Esthetica and Eco Luxe, but I didn’t expect to be blown away, but I was.  I left both the show rooms with my brain whirring, a bag stuffed full of promo material, a camera full of more images than I knew what to do with and having talked at a million miles an hour to so many interesting and inspiring people. Eco Luxe has doubled in size since last year in what I assume  is a reflection of the increasing acceptance and awareness of ethical design. As ethical design and shopping with conscience become more mainstream,  I hope that ethical clothing designers wont be sectioned off in their own separate rooms. Instead they will be showcasing alongside all the other  London Fashion Week designers; proving that fashion with a conscience is not the exception, but the norm. One day indeed.

Fair+True and Reluxe illustration by Andrea Kearney

The EcoLuxe exhibition was held at the ultra chic One Aldwych Hotel, recipe just across the road from Somerset House. Fresh from Esthetica, I wondered if the designers holed up over at One Aldwych would be able to compete with the level of talent I’d witnessed over at Somerset House, but my questions were quickly forgotten as I descended the staircase at the hotel and saw what waited for me.

Inevitably, there were a few brands and designers showcasing work that didn’t really float my boat, but I also saw some beautifully crafted clothes that really excited me. Here are just a few of my favourites.

I was excited to see that Fashion Conscience, my favourite ethical online retailer, had a stand. I got chatting to their PR rep about how to encourage more mainstream use of ethical design principals and how to close the gap between the high end ethical and the affordable everyday ethical. Fashion Conscience, in my humble opinion, are beginning to fill this gap, but there is still some way to go. The Fashion Conscience stall was showcasing the work of two of my favourite labels, ReLuxe and Fair+True:

Reluxe oozes cool. The designs are fresh, colourful, relaxed and crucially AFFORDABLE. They use recycled fabrics which means many garments are completely unique, or in limited supply due to the limitations of the fabric. I have fallen in love with this slightly bonkers neon striped skirt and am just waiting for pay day to purchase it (don’t beat me to it!) Brands like Reluxe and Fair+True (below) make me excited and hopeful that ethical businesses CAN make it in to the middle market mainstream, can be affordable and can have mass appeal. YES.

Knitted Skirt by Reluxe. Photo via Fashion Conscience.

Fair+True are a brand new Fairtrade company that also make lovely, brightly coloured sporty brights that I would love to wear. All pieces are fairly made in the UK or Africa or created from sustainable and organic fabrics. LOVE.

Fair + True illustration by Fritha Strickland

I hadn’t  heard of Lowie and I’m most disappointed by this because I  loved their stuff. Their AW 2011  clothing and hand knitted accessories were brightly coloured and gorgeous. I adored their Turkish socks, ear muffs, cloche hats and cardigans. Their SS 2011 collection was also beautiful with some really interesting shapes and details.


Turkish socks by Lowie. Illustration by Faye West

I liked the moody colours, tailoring and detailing of HEMYCA‘s clothes. Their focus is on fine tailoring, with an emphasis on the waist, which I always love. Ethically, HEMYCA has an ‘Organic Tailoring’ range and manufactures all their garments in London, promoting local businesses and cutting down on carbon dioxide emissions.

AW 2011 preview. Hemyca

I briefly saw Sanyukta Shrestha’s wedding accessories and dresses. However, it wasn’t until I saw models wearing the dresses online after the event that I truly appreciated their beauty. In fact I had a mouth a-gape, heart a-flutter moment when I saw this floor length, pleated dress with low cut back. It’s made from 100% organic silk and organic fair traded cotton sateen. If I could get married again (to the same man, I hasten to add!) it would be in this dress. Oh my. Head. Over. Heels.

Sanyukta Shrestha Wedding Dress illustration by Fritha Strickland

I always expected to be impressed by Esthetica and Eco Luxe, but I didn’t expect to be blown away, but I was.  I left both the show rooms with my brain whirring, a bag stuffed full of promo material, a camera full of more images than I knew what to do with and having talked at a million miles an hour to so many interesting and inspiring people. Eco Luxe has doubled in size since last year in what I assume  is a reflection of the increasing acceptance and awareness of ethical design. As ethical design and shopping with conscience become more mainstream,  I hope that ethical clothing designers wont be sectioned off in their own separate rooms. Instead they will be showcasing alongside all the other  London Fashion Week designers; proving that fashion with a conscience is not the exception, but the norm. One day indeed.

Fair+True and Reluxe illustration by Andrea Kearney

The EcoLuxe exhibition was held at the ultra chic One Aldwych Hotel, viagra just across the road from Somerset House. Fresh from Esthetica, I wondered if the designers holed up over at One Aldwych would be able to compete with the level of talent I’d witnessed over at Somerset House, but my questions were quickly forgotten as I descended the staircase at the hotel and saw what waited for me.

Inevitably, there were a few brands and designers showcasing work that didn’t really float my boat, but I also saw some beautifully crafted clothes that really excited me. Here are just a few of my favourites.

I was excited to see that Fashion Conscience, my favourite ethical online retailer, had a stand. I got chatting to their PR rep about how to encourage more mainstream use of ethical design principals and how to close the gap between the high end ethical and the affordable everyday ethical. Fashion Conscience, in my humble opinion, are beginning to fill this gap, but there is still some way to go. The Fashion Conscience stall was showcasing the work of two of my favourite labels, ReLuxe and Fair+True:

Reluxe oozes cool. The designs are fresh, colourful, relaxed and crucially AFFORDABLE. They use recycled fabrics which means many garments are completely unique, or in limited supply due to the limitations of the fabric. I have fallen in love with this slightly bonkers neon striped skirt and am just waiting for pay day to purchase it (don’t beat me to it!) Brands like Reluxe and Fair+True (below) make me excited and hopeful that ethical businesses CAN make it in to the middle market mainstream, can be affordable and can have mass appeal. YES.

Knitted Skirt by Reluxe. Photo via Fashion Conscience.

Fair+True are a brand new Fairtrade company that also make lovely, brightly coloured sporty brights that I would love to wear. All pieces are fairly made in the UK or Africa or created from sustainable and organic fabrics. LOVE.

Fair + True illustration by Fritha Strickland

I hadn’t  heard of Lowie and I’m most disappointed by this because I  loved their stuff. Their AW 2011  clothing and hand knitted accessories were brightly coloured and gorgeous. I adored their Turkish socks, ear muffs, cloche hats and cardigans. Their SS 2011 collection was also beautiful with some really interesting shapes and details.


Turkish socks by Lowie. Illustration by Faye West

I liked the moody colours, tailoring and detailing of HEMYCA‘s clothes. Their focus is on fine tailoring, with an emphasis on the waist, which I always love. Ethically, HEMYCA has an ‘Organic Tailoring’ range and manufactures all their garments in London, promoting local businesses and cutting down on carbon dioxide emissions.

AW 2011 preview. Hemyca

I briefly saw Sanyukta Shrestha’s wedding accessories and dresses. However, it wasn’t until I saw models wearing the dresses online after the event that I truly appreciated their beauty. In fact I had a mouth a-gape, heart a-flutter moment when I saw this floor length, pleated dress with low cut back. It’s made from 100% organic silk and organic fair traded cotton sateen. If I could get married again (to the same man, I hasten to add!) it would be in this dress. Oh my. Head. Over. Heels.

Sanyukta Shrestha Wedding Dress illustration by Fritha Strickland

I always expected to be impressed by Esthetica and Eco Luxe, but I didn’t expect to be blown away, but I was.  I left both the show rooms with my brain whirring, a bag stuffed full of promo material, a camera full of more images than I knew what to do with and having talked at a million miles an hour to so many interesting and inspiring people. Eco Luxe has doubled in size since last year in what I assume  is a reflection of the increasing acceptance and awareness of ethical design. As ethical design and shopping with conscience become more mainstream,  I hope that ethical clothing designers wont be sectioned off in their own separate rooms. Instead they will be showcasing alongside all the other  London Fashion Week designers; proving that fashion with a conscience is not the exception, but the norm. One day indeed.

Fair+True and Reluxe illustration by Andrea Kearney

The EcoLuxe exhibition was held at the ultra chic One Aldwych Hotel, sildenafil just across the road from Somerset House. Fresh from Esthetica, I wondered if the designers holed up over at One Aldwych would be able to compete with the level of talent I’d witnessed over at Somerset House, but my questions were quickly forgotten as I descended the staircase at the hotel and saw what waited for me.

Inevitably, there were a few brands and designers showcasing work that didn’t really float my boat, but I also saw some beautifully crafted clothes that really excited me. Here are just a few of my favourites.

I was excited to see that Fashion Conscience, my favourite ethical online retailer, had a stand. I got chatting to their PR rep about how to encourage more mainstream use of ethical design principals and how to close the gap between the high end ethical and the affordable everyday ethical. Fashion Conscience, in my humble opinion, are beginning to fill this gap, but there is still some way to go. The Fashion Conscience stall was showcasing the work of two of my favourite labels, ReLuxe and Fair+True:

Reluxe oozes cool. The designs are fresh, colourful, relaxed and crucially AFFORDABLE. They use recycled fabrics which means many garments are completely unique, or in limited supply due to the limitations of the fabric. I have fallen in love with this slightly bonkers neon striped skirt and am just waiting for pay day to purchase it (don’t beat me to it!) Brands like Reluxe and Fair+True (below) make me excited and hopeful that ethical businesses CAN make it in to the middle market mainstream, can be affordable and can have mass appeal. YES.

Knitted Skirt by Reluxe. Photo via Fashion Conscience.

Fair+True are a brand new Fairtrade company that also make lovely, brightly coloured sporty brights that I would love to wear. All pieces are fairly made in the UK or Africa or created from sustainable and organic fabrics. LOVE.

Fair + True illustration by Fritha Strickland

I hadn’t  heard of Lowie and I’m most disappointed by this because I  loved their stuff. Their AW 2011  clothing and hand knitted accessories were brightly coloured and gorgeous. I adored their Turkish socks, ear muffs, cloche hats and cardigans. Their SS 2011 collection was also beautiful with some really interesting shapes and details.


Turkish socks by Lowie. Illustration by Faye West

I liked the moody colours, tailoring and detailing of HEMYCA‘s clothes. Their focus is on fine tailoring, with an emphasis on the waist, which I always love. Ethically, HEMYCA has an ‘Organic Tailoring’ range and manufactures all their garments in London, promoting local businesses and cutting down on carbon dioxide emissions.

AW 2011 preview. Hemyca

I briefly saw Sanyukta Shrestha’s wedding accessories and dresses. However, it wasn’t until I saw models wearing the dresses online after the event that I truly appreciated their beauty. In fact I had a mouth a-gape, heart a-flutter moment when I saw this floor length, pleated dress with low cut back. It’s made from 100% organic silk and organic fair traded cotton sateen. If I could get married again (to the same man, I hasten to add!) it would be in this dress. Oh my. Head. Over. Heels.

Sanyukta Shrestha Wedding Dress illustration by Fritha Strickland

I always expected to be impressed by Esthetica and Eco Luxe, but I didn’t expect to be blown away, but I was.  I left both the show rooms with my brain whirring, a bag stuffed full of promo material, a camera full of more images than I knew what to do with and having talked at a million miles an hour to so many interesting and inspiring people. Eco Luxe has doubled in size since last year in what I assume  is a reflection of the increasing acceptance and awareness of ethical design. As ethical design and shopping with conscience become more mainstream,  I hope that ethical clothing designers wont be sectioned off in their own separate rooms. Instead they will be showcasing alongside all the other  London Fashion Week designers; proving that fashion with a conscience is not the exception, but the norm. One day indeed.

Fair+True and Reluxe illustration by Andrea Kearney

The EcoLuxe exhibition was held at the ultra chic One Aldwych Hotel, order just across the road from Somerset House. Fresh from Esthetica, viagra approved I wondered if the designers holed up over at One Aldwych would be able to compete with the level of talent I’d witnessed over at Somerset House, but my questions were quickly forgotten as I descended the staircase at the hotel and saw what waited for me.

Inevitably, there were a few brands and designers showcasing work that didn’t really float my boat, but I also saw some beautifully crafted clothes that really excited me. Here are just a few of my favourites.

I was excited to see that Fashion Conscience, my favourite ethical online retailer, had a stand. I got chatting to their PR rep about how to encourage more mainstream use of ethical design principals and how to close the gap between the high end ethical and the affordable everyday ethical. Fashion Conscience, in my humble opinion, are beginning to fill this gap, but there is still some way to go. The Fashion Conscience stall was showcasing the work of two of my favourite labels, ReLuxe and Fair+True:

Reluxe oozes cool. The designs are fresh, colourful, relaxed and crucially AFFORDABLE. They use recycled fabrics which means many garments are completely unique, or in limited supply due to the limitations of the fabric. I have fallen in love with this slightly bonkers neon striped skirt and am just waiting for pay day to purchase it (don’t beat me to it!) Brands like Reluxe and Fair+True (below) make me excited and hopeful that ethical businesses CAN make it in to the middle market mainstream, can be affordable and can have mass appeal. YES.

Knitted Skirt by Reluxe. Photo via Fashion Conscience.

Fair+True are a brand new Fairtrade company that also make lovely, brightly coloured sporty brights that I would love to wear. All pieces are fairly made in the UK or Africa or created from sustainable and organic fabrics. LOVE.

Fair + True illustration by Fritha Strickland

I hadn’t  heard of Lowie and I’m most disappointed by this because I  loved their stuff. Their AW 2011  clothing and hand knitted accessories were brightly coloured and gorgeous. I adored their Turkish socks, ear muffs, cloche hats and cardigans. Their SS 2011 collection was also beautiful with some really interesting shapes and details.


Turkish socks by Lowie. Illustration by Faye West

I liked the moody colours, tailoring and detailing of HEMYCA‘s clothes. Their focus is on fine tailoring, with an emphasis on the waist, which I always love. Ethically, HEMYCA has an ‘Organic Tailoring’ range and manufactures all their garments in London, promoting local businesses and cutting down on carbon dioxide emissions.

AW 2011 preview. Hemyca

I briefly saw Sanyukta Shrestha’s wedding accessories and dresses. However, it wasn’t until I saw models wearing the dresses online after the event that I truly appreciated their beauty. In fact I had a mouth a-gape, heart a-flutter moment when I saw this floor length, pleated dress with low cut back. It’s made from 100% organic silk and organic fair traded cotton sateen. If I could get married again (to the same man, I hasten to add!) it would be in this dress. Oh my. Head. Over. Heels.

Sanyukta Shrestha Wedding Dress illustration by Fritha Strickland

I always expected to be impressed by Esthetica and Eco Luxe, but I didn’t expect to be blown away, but I was.  I left both the show rooms with my brain whirring, a bag stuffed full of promo material, a camera full of more images than I knew what to do with and having talked at a million miles an hour to so many interesting and inspiring people. Eco Luxe has doubled in size since last year in what I assume  is a reflection of the increasing acceptance and awareness of ethical design. As ethical design and shopping with conscience become more mainstream,  I hope that ethical clothing designers wont be sectioned off in their own separate rooms. Instead they will be showcasing alongside all the other  London Fashion Week designers; proving that fashion with a conscience is not the exception, but the norm. One day indeed.

Fair+True and Reluxe illustration by Andrea Kearney

The EcoLuxe exhibition was held at the ultra chic One Aldwych Hotel, cost just across the road from Somerset House. Fresh from Esthetica, I wondered if the designers holed up over at One Aldwych would be able to compete with the level of talent I’d witnessed over at Somerset House, but my questions were quickly forgotten as I descended the staircase at the hotel and saw the stalls.

Inevitably, there were a few brands and designers showcasing work that didn’t really float my boat, but I also saw some beautifully crafted clothes that really excited me. Here are just a few of my favourites.

I was excited to see that Fashion Conscience, my favourite ethical online retailer, had a stand. I got chatting to their PR rep about how to encourage more mainstream use of ethical design principals and how to close the gap between the high end ethical and the affordable everyday ethical. Fashion Conscience, in my humble opinion, are beginning to fill this gap, but there is still some way to go. The Fashion Conscience stall was showcasing the work of two of my favourite labels, ReLuxe and Fair+True:

Reluxe oozes cool. The designs are fresh, colourful, relaxed and crucially AFFORDABLE. They use recycled fabrics which means many garments are completely unique, or in limited supply due to the limitations of the fabric. I have fallen in love with this slightly bonkers neon striped skirt and am just waiting for pay day to purchase it (don’t beat me to it!) Brands like Reluxe and Fair+True (below) make me excited and hopeful that ethical businesses CAN make it in to the middle market mainstream, can be affordable and can have mass appeal. YES.

Knitted Skirt by Reluxe. Photo via Fashion Conscience.

Fair+True are a brand new Fairtrade company that also make lovely, brightly coloured sporty brights that I would love to wear. All pieces are fairly made in the UK or Africa or created from sustainable and organic fabrics. LOVE.

Fair + True illustration by Fritha Strickland

I hadn’t  heard of Lowie and I’m most disappointed by this because I  loved their stuff. Their AW 2011  clothing and hand knitted accessories were brightly coloured and gorgeous. I adored their Turkish socks, ear muffs, cloche hats and cardigans. Their SS 2011 collection was also beautiful with some really interesting shapes and details.


Turkish socks by Lowie. Illustration by Faye West

I liked the moody colours, tailoring and detailing of HEMYCA‘s clothes. Their focus is on fine tailoring, with an emphasis on the waist, which I always love. Ethically, HEMYCA has an ‘Organic Tailoring’ range and manufactures all their garments in London, promoting local businesses and cutting down on carbon dioxide emissions.

AW 2011 preview. Hemyca

I briefly saw Sanyukta Shrestha’s wedding accessories and dresses. However, it wasn’t until I saw models wearing the dresses online after the event that I truly appreciated their beauty. In fact I had a mouth a-gape, heart a-flutter moment when I saw this floor length, pleated dress with low cut back. It’s made from 100% organic silk and organic fair traded cotton sateen. If I could get married again (to the same man, I hasten to add!) it would be in this dress. Oh my. Head. Over. Heels.

Sanyukta Shrestha Wedding Dress illustration by Fritha Strickland

I always expected to be impressed by Esthetica and Eco Luxe, but I didn’t expect to be blown away, but I was.  I left both the show rooms with my brain whirring, a bag stuffed full of promo material, a camera full of more images than I knew what to do with and having talked at a million miles an hour to so many interesting and inspiring people. Eco Luxe has doubled in size since last year in what I assume  is a reflection of the increasing acceptance and awareness of ethical design. As ethical design and shopping with conscience become more mainstream,  I hope that ethical clothing designers wont be sectioned off in their own separate rooms. Instead they will be showcasing alongside all the other  London Fashion Week designers; proving that fashion with a conscience is not the exception, but the norm. One day indeed.

Fair+True and Reluxe illustration by Andrea Kearney

The EcoLuxe exhibition was held at the ultra chic One Aldwych Hotel, sickness just across the road from Somerset House. Fresh from Esthetica, I wondered if the designers holed up over at One Aldwych would be able to compete with the level of talent I’d witnessed over at Somerset House, but my questions were quickly forgotten as I descended the staircase at the hotel and saw the stalls.

Inevitably, there were a few brands and designers showcasing work that didn’t really float my boat, but I also saw some beautifully crafted clothes that really excited me. Here are just a few of my favourites.

I was excited to see that Fashion Conscience, my favourite ethical online retailer, had a stand. I got chatting to their PR rep about how to encourage more mainstream use of ethical design principals and how to close the gap between the high end ethical and the affordable everyday ethical. Fashion Conscience, in my humble opinion, are beginning to fill this gap, but there is still some way to go. The Fashion Conscience stall was showcasing the work of two of my favourite labels, ReLuxe and Fair+True:

Reluxe oozes cool. The designs are fresh, colourful, relaxed and crucially AFFORDABLE. They use recycled fabrics which means many garments are completely unique, or in limited supply due to the limitations of the fabric. I have fallen in love with this slightly bonkers neon striped skirt and am just waiting for pay day to purchase it (don’t beat me to it!) Brands like Reluxe and Fair+True (below) make me excited and hopeful that ethical businesses CAN make it in to the middle market mainstream, can be affordable and can have mass appeal. YES.

Knitted Skirt by Reluxe. Photo via Fashion Conscience.

Fair+True are a brand new Fairtrade company that also make lovely, brightly coloured sporty brights that I would love to wear. All pieces are fairly made in the UK or Africa or created from sustainable and organic fabrics. LOVE.

Fair + True illustration by Fritha Strickland

I hadn’t  heard of Lowie and I’m most disappointed by this because I  loved their stuff. Their AW 2011  clothing and hand knitted accessories were brightly coloured and gorgeous. I adored their Turkish socks, ear muffs, cloche hats and cardigans. Their SS 2011 collection was also beautiful with some really interesting shapes and details.


Turkish socks by Lowie. Illustration by Faye West

I liked the moody colours, tailoring and detailing of HEMYCA‘s clothes. Their focus is on fine tailoring, with an emphasis on the waist, which I always love. Ethically, HEMYCA has an ‘Organic Tailoring’ range and manufactures all their garments in London, promoting local businesses and cutting down on carbon dioxide emissions.

AW 2011 preview. Hemyca

I briefly saw Sanyukta Shrestha’s wedding accessories and dresses. However, it wasn’t until I saw models wearing the dresses online after the event that I truly appreciated their beauty. In fact I had a mouth a-gape, heart a-flutter moment when I saw this floor length, pleated dress with low cut back. It’s made from 100% organic silk and organic fair traded cotton sateen. If I could get married again (to the same man, I hasten to add!) it would be in this dress. Oh my. Head. Over. Heels.

Sanyukta Shrestha Wedding Dress illustration by Fritha Strickland

I always expected to be impressed by Esthetica and Eco Luxe, but I didn’t expect to be blown away, but I was.  I left both the show rooms with my brain whirring, a bag stuffed full of promo material, a camera full of more images than I knew what to do with and having talked at a million miles an hour to so many interesting and inspiring people. Eco Luxe has doubled in size since last year in what I assume  is a reflection of the increasing acceptance and awareness of ethical design. As ethical design and shopping with conscience become more mainstream,  I hope that ethical clothing designers wont be sectioned off in their own separate rooms. Instead they will be showcasing alongside all the other  London Fashion Week designers; proving that fashion with a conscience is not the exception, but the norm. One day indeed.
Kyla La Grange by Anna Casey
Kyla La Grange by Anna Casey.

A couple of weeks ago I met with angsty new folk popstrel Kyla La Grange at her management offices in central London. Her slight figure was easily missed as I walked through to the glass walled meeting room, dosage but I greeted her warmly when she came through to join me. Kyla la Grange performed on my hastily assembled Climate Camp (RIP) stage at Glastonbury last summer, gamely playing a beautiful semi-acoustic set in the sweltering summer heat. Today she releases her first official single – the anthemic Walk Through Walls – so let’s find out a bit more about this intriguing new musician…

Kyla La Grange at Glastonbury 2010 on the Climate Camp stage
Kyla La Grange at Glastonbury 2010 on the Climate Camp stage. Photography by Amelia Gregory.

Kyla La Grange by Rukmunal Hakim
Kyla La Grange by Rukmunal Hakim/YesGo Illustration.

She may look very young but don’t be fooled by Kyla’s youthful exterior – she’s actually a 24 year old Cambridge University graduate. It wasn’t until her uni years that she finally found the guts to make music, performing at an open mic acoustic night called Songs in the Dark. “It was a good place to cut my teeth.” The process was very organic. She met other musicians, formed a few bands and played in some Battle of the Bands competitions. “Basically it was all very low pressure.” She loved studying philosophy, and admits that she misses the academic stimulation. “Being at Cambridge was like living in a magical piece of history… but I am incredibly grateful to be making music now.”

Kyla La Grange by Rebecca Strickson
Kyla La Grange by Rebecca Strickson.

When the outside world of work beckoned she found herself working long hours in a high end bar, making it hard to go into the studio every morning and be creative. That and the odd bit of secretarial work kept her afloat until she was discovered by management company ATC via Rollo of Faithless fame, who discovered her songs on Myspace. She is eager to emulate the likes of Mumford and Sons and do things her own way, without the controlling hand of a label. “ATC let their artists go away and get on with it. They don’t view me purely as a money making machine; they are in it for the long haul. But I don’t anticipate selling a lot of records, ever,” she blithely tells me.

Kyla La Grange at Glastonbury 2010 on the Climate Camp stage
Kyla La Grange at Glastonbury 2010. Photography by Amelia Gregory.

The last year has been devoted to the creation of her debut album which so far hosts “too many songs” including the luscious Vampire Smile, a darkly beautiful blast of longing. But she’s in no rush. “The album will come out as and when it’s finished; the worst thing I could do would be to rush its release.” She expects it will finally see the light of day in early 2012.

YouTube Preview Image
Vampire Smile.

All Kyla’s influences come from “sad music”. Having been introduced to Cat Power by a former boyfriend, You Are Free is a constant presence in her life alongside Joni Mitchell and Leonard Cohen. But she also likes a lot of modern bands – Elliott Smith, Bright Eyes, Yeasayer, Matthew And The Atlas, Marcus Foster, Alex Winston and Band of Horses. “I only write because I’m often quite sad…” she tells me. “I don’t think I’d write if I was a genuinely happy person.” In the age old tradition of the angst-ridden artist, writing music has become Kyla’s best form of catharsis, “like running into a big open field and screaming until you feel better.” It’s as if she feels an unstoppable need to release her feelings out into the open.

Kyla la Grange by Gemma Smith
Kyla la Grange by Gemma Smith.

I wonder what has prompted such a downbeat personality. “Some people just have a default mode,” she explains. “They wake up and feel a bit black inside.” She admits that this is something she has battled for a long time but insists that her mood is not affected by the outside world… she just tends to feel down most of the time. “Most people fall into one of two camps – they are either upbeat or see life from behind a big grey cloud. Everyone is a product of their genes and their experiences when they are young.” But she is absolutely clear that she doesn’t blame her parents for the way she has turned out. “Even though I wasn’t a very happy child my parents were both fantastic.” Her parents had been involved in the anti-apartheid movement in South Africa before settling in Watford, and she felt very different from everyone else at her school. “Kids can be vicious.” They were massive music fans, between them inspiring her to listen to many different genres. “Dad loved folk, blues and country. Mum loved classical, rock and indie.” She now lives between Stockwell and Vauxhall. “I like the mix of people and place, the beautiful old squares next to housing estates… it’s unpretentious.”


Just click here to hear Walk Through Walls.

I wonder if such a sensitive personality will still be able to write songs from the heart if she becomes famous. She has thought about this. “I don’t think the drive to write songs will be lessened just because people like them,” she says, “it’s not the only reason I write. I think all the best artists write primarily to get something out of the experience and I want to convey raw honest emotion because that makes the most meaningful music.”

Kyla La Grange in February 2011
Kyla La Grange in February 2011. Photography by Amelia Gregory.

It comes as no surprise that lyrics are hugely important to Kyla, although she likes the odd “non-sensical song by The Beatles.” She can’t really describe her writing process, although it is the part she loves the most. “It’s such a strange, solitary thing. You get so swept up in what you’re feeling, engrossed in emotion.” She can’t tell me what comes first, melody or lyric. “They tend to come together.”

Kyla doesn’t want to be pigeon-holed into any musical movement, so it’s no surprise to find that she lists herself as Black Metal/Children/Grindcore on Myspace. “There have been so many genres flung at me but I never think about what I belong to – the songs just come out.” I think she has a kind of dark indie pop sensibility that is all her own, and not fitting in to any musical clique suits her well. “I suppose my music is a bit all over the place, like me.” She gets thoroughly annoyed by the suggestion that women must fit into any type of separate musical category. “Music is not a sport so why do there need to be different categories and awards?”


Kyla La Grange performing on the Climate Camp stage at Glastonbury.

I ask her whether she is in general quite a solitary person, although I think I already know the answer. “Definitely. I’m not terribly good with people and I much prefer talking one to one. Groups of people are scary.” But she has grown accustomed to working with her band of four and she’s easy and down to earth when talking to me, even if an overwhelming undertow of sadness never quite leaves the room.

You can access a free download for Walk Through Walls from SoundCloud right here. The official launch party is at Notting Hill Arts Club tomorrow night, Tuesday 8th March, with the brilliant Daughter providing a support set and DJing from the Maccabees. After that she’s off to SXSW in Austin, Texas to play the Neon Gold show and she’s sure to be playing some festivals in the UK this summer. Make sure you catch Kyla La Grange soon, before she hits the big time.

You can read my review of Kyla’s performance at Glastonbury last summer here.

Categories ,Alex Winston, ,Anna Casey, ,ATC, ,austin, ,Band of Horses, ,Bright Eyes, ,Cambridge University, ,Cat Power, ,Climate Camp, ,Daughter, ,elliott smith, ,Faithless, ,Gemma Smith, ,glastonbury, ,Indie, ,Joni Mitchell, ,Kyla la Grange, ,leonard cohen, ,Maccabees, ,Marcus Foster, ,Matthew And The Atlas, ,Mumford and Sons, ,Neon Gold, ,noir, ,notting hill arts club, ,pop, ,Rebecca Strickson, ,Rollo, ,Rukmunal Hakim, ,Songs in the Dark, ,SoundCloud, ,South Africa, ,Stockwell, ,sxsw, ,texas, ,Vampire Smile, ,vauxhall, ,Walk Through Walls, ,Watford, ,Yeasayer, ,YesGo Illustration

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Amelia’s Magazine | Yeasayer at Heaven, Feb 23rd – Live Review

Mirror Mirror

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

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

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

irrepressibleslive

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

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

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

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

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

irrepressibleslive

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

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

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

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

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

irrepressibleslive

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

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

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

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

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

irrepressibleslive

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

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

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

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

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

irrepressibleslive

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

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

There are few men like Jamie McDermott. A man of his calibre is seldom found in the 21st century. His affection for cheeky baroque arrangements, information pills outlandish but hypnotising woodland performances and a theatrical charm that belies his context in our often over-starched popstar era marks McDermott as one of a very different breed indeed. As the master of ceremonies to the 10-strong orchestral collective The Irrepressibles, viagra 100mg McDermott offers pure carnal delight in a debut that is never once short of imagination, viagra sale gusto or surprise. Ladies and gentlemen, welcome to the cabaret.

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

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

irrepressibleslive

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

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

Being signed to Mogwai’s label certainly sends out indicators to what’s in store. Much in the same way that Rock Action’s inceptors have long become a hardy perennial of having a very particular sound over forking down any new roads, viagra dosage the new album from Glasgow based 4 piece Errors doesn’t take any big risks or curveballs. Two years on from their debut It’s Not Something But It Is Like Whatever, we have more of the same sharp, clean and medically precise electro rock – yet, this is no bad thing.

What they have learnt is a honing in of their craft, they’ve locked it tight, made it solid. Hermetically sealed almost. Admirable though it was, their debut had a feel of studiousnous, of meticulous “rock school” perfectionism that left the end product somewhat cold. Here, much of what flawed their debut works to their advantage.

Errors love clean sounds, precisions, crispness and angles. This is music that could only ever be made after someone had already made Tortoise: that Chicago band born out of an intense one night stand between a Hardcore that can no longer suppress its futuristic inclinations, and its old nemesis musicality, itself tired of the dullness of its own knowledge.

Errors are direct descendents of this spiky yet somehow eggheaded family tree. Cousions of Pivot, nephews of Kieren Hebden and Tyondai Braxton and grandchildren of Mogwai, great grandchildren of Slint, somehow along the way blood ties with Mike Patton and Richard James remain strong.

1273338733_l

Although, perhaps just as their great forebeares Tortoise did one hot night, Errors now have a massively aroused horn, a swollen crush on records from Manchester with serial numbers like FAC451, they are eyeing up cocktails at the bar, cocktails with neon tinged 80s names drank to make one feel like your on a yaught. They will go home tonight lusting after these sexy items as they spoon their mathematically precise post rock partners. A few years ago M83 transformed their dreamy layers of synth into something more sparkly, in a similar, if more visible way, here Errors begin a slow, subtle shift.

The 7” A Rumour In Africa is sunny, optimistic and almost sounds like a festival band, clean shiny guitars lay the signature down weaving in and out of the crispy, quantised beats. The stand out comes third in, Supertribe is a beautifully rendered collision of old and new – early nineties clean synths and drum patterns like acid era Factory records mechanically but sensitively rebooted into a post – emo, post – electro, post – post rock world.

This is not a groundbreaking record. It does not move mountains. Yet it is the satisfying site of seeing a previously uptight friend fall in love. In a small way, Errors have found their own mutation of post rock.
errors_come

Being signed to Mogwai’s label certainly sends out indicators to what’s in store. Much in the same way that Rock Action’s inceptors have long become a hardy perennial of having a very particular sound over forking down any new roads, physician the new album from Glasgow based 4 piece Errors doesn’t take any big risks or curveballs. Two years on from their debut It’s Not Something But It Is Like Whatever, more about we have more of the same sharp, clean and medically precise electro rock – yet, this is no bad thing.

What they have learnt is a honing in of their craft, they’ve locked it tight, made it solid. Hermetically sealed almost. Admirable though it was, their debut had a feel of studiousnous, of meticulous “rock school” perfectionism that left the end product somewhat cold. Here, much of what flawed their debut works to their advantage.

Errors love clean sounds, precisions, crispness and angles. This is music that could only ever be made after someone had already made Tortoise: that Chicago band born out of an intense one night stand between a Hardcore that can no longer suppress its futuristic inclinations, and its old nemesis musicality, itself tired of the dullness of its own knowledge.

Errors are direct descendents of this spiky yet somehow eggheaded family tree. Cousions of Pivot, nephews of Kieren Hebden and Tyondai Braxton and grandchildren of Mogwai, great grandchildren of Slint, somehow along the way blood ties with Mike Patton and Richard James remain strong.

1273338733_l

Although, perhaps just as their great forebeares Tortoise did one hot night, Errors now have a massively aroused horn, a swollen crush on records from Manchester with serial numbers like FAC451, they are eyeing up cocktails at the bar, cocktails with neon tinged 80s names drank to make one feel like your on a yaught. They will go home tonight lusting after these sexy items as they spoon their mathematically precise post rock partners. A few years ago M83 transformed their dreamy layers of synth into something more sparkly, in a similar, if more visible way, here Errors begin a slow, subtle shift.

The 7” A Rumour In Africa is sunny, optimistic and almost sounds like a festival band, clean shiny guitars lay the signature down weaving in and out of the crispy, quantised beats. The stand out comes third in, Supertribe is a beautifully rendered collision of old and new – early nineties clean synths and drum patterns like acid era Factory records mechanically but sensitively rebooted into a post – emo, post – electro, post – post rock world.

This is not a groundbreaking record. It does not move mountains. Yet it is the satisfying site of seeing a previously uptight friend fall in love. In a small way, Errors have found their own mutation of post rock.
Mirror Mirror

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

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

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

irrepressibleslive

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

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

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

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

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

irrepressibleslive

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

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

Illustration courtesy of Harry Williams

Yeasayer kicked off their show at the very hot and sweaty Heaven with ‘Odd Blood”s opener track “The Children”. This seemed like a bit of an odd choice to start with, more about considering that it’s the least poppy track of an album that’s an homage to beautifully executed pop. It also seemed like the audience were decidedly underwhelmed to begin with, nurse and weren’t really sure what to do with a less well known song. In fact I’m sure half of them were there only for the purposes of hearing “Ambling Alp” and going home.

In a strange way the sinister distorted vocals of “The Children” set the scene for them to launch into the more upbeat songs from ‘Odd Blood’, information pills and things only improved from there on out. Their set was heavily focused on newer songs, and high points of the night included “Strange Reunions”, “Mondegreen”, “Love Me Girl”, “Ambling Alp”, “I Remember” and “ONE”. By the time they had got to “ONE” the crowd seemed to know what was going on, and had generated some enthusiasm for them at last. To help matters, Yeasayer were accompanied on stage by some trippy flashing light-boxes, which resonated pretty much perfectly with their own somewhat trippy hippy sound.

Photo courtesy of Rachel Lipsitz

I was a little concerned, having listened to ‘Odd Blood’ so much, that the live vocals would be a let down. The singing on the album sounds, at times, as if it’s ventured into the dreaded realm of autotune. However what I discovered is that in amongst all the weird noises and bird calls, there are actually three very talented singers playing off each other. Keating, Tuton and Wilder are practically seamless in their live performance. All of them have a capacity to sing far above the pitch of most normal human men, but it works for them, and it’s actually pretty impressive to witness. Keating really stole the show though. He managed to maintain what might normally be a comical level of Bee Gee-esque crooning without his voice breaking, cracking or dropping notes. In addition to the man being an amazing singer, he was inventive with his voice, throwing in snarls, shouts, and all kinds of bizarre vocal noises which he still managed to blend into the song. Not only that but for a skinny white boy in a suit, he had some some serious rhythm, and could have definitely taught the lacklustre crowd how to throw a shape or two.

The sound of ‘Odd Blood’ was replicated in the best way possible. The tracks obviously didn’t sound identical to the album, and they weren’t always easy to identify at the start, but hearing it live made it far easier to appreciate each individual musician’s contribution. It’s fair to say that the few older songs Yeasayer played sounded smoother to the ear, especially when set aside ‘Odd Blood”s more choppy sound. They also seemed to generate more enthusiasm from the onlookers as well. When they came back for their encore and played Sunrise, it was probably the best song of the night. Although I love ‘Odd Blood”s pop credentials, Sunrise has a sound all unto itself.

The charm of Yeasayer is how many bits there are to it. They’re not content with the standard instruments, they have to throw in extra singers, extra sound effects, and bizarre noises that I don’t even know how to begin to identify. Having heard much of Odd Blood live, all I wanted to do was go home and listen to it again, and that to me seems like the best indication of a night well spent.

Categories ,gig, ,heaven, ,live, ,Odd Blood, ,review, ,Yeasayer

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