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Amelia’s Magazine | Thumpermonkey Lives! : “We Bake Our Bread Beneath her Holy Fire‏” : An Album Review

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We don’t often review works of the Metal category in Amelia’s. The reason for that is that it’s dominated by emotionally retarded angries who didn’t get on all that well with puberty. (For those of you wondering why that is, I have done some research which has uncovered this tale: Clever man called Tony invents new style of guitar, and forms band to share it with the world. Sadly, he forms this band with a vocalist called Ozzy and a lyricist called Geezer, who could only write songs about martians, dragons, goblins, Satan, war, pigs, and hating your parents. This was extremely influential, and is estimated to have ruined around 16million lives worldwide.*)
Thumpermonkey Lives! are a bit different. Obviously, they still like the big scary chords, and the chugging sheer forceful meatiness of it all. Otherwise, we couldn’t class them as Metal. Yet their universe is one that is at once more real and also more profound than fans of Sabbath-derivatives are used to. And also very silly-and-loving-it, at times.

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“We Bake Our Bread Beneath Her Holy Fire” is admittedly an album about toast, masturbating, feeling invincible in the midst of great devastation, dark passions in labotatories, and receiving communications about Swiss bank accounts registered to deceased Nigerians with your surname – all subjects that you could stretchily associate with the stereotypical moody adolescent nerdboy market. But it has stupendous amounts of depth, narrative beauty, and a greater skill for wielding the machinery of massive-sounding guitars and drums (and some luscious piano and harpsichord. Grrr.). Whoever’s writing the lyrics is only emotionally retarded in the sense that he’s so overdeveloped he may have difficulty relating to mere mortals. The joy of the Thumpermonkey experience is partly feeling a duty to rise to this level yourself, thus forsaking all your worldly life.

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I’m hopelessly underqualified to discuss influences for these chaps. I can declare that System Of A Down are mere babies before them, and that Metal’s Kooky Wizard-Emperor of Wit, Mike Patton (thus far, the only metallic hero I have fully embraced) would probably poo in a shoe with excitement. If anyone remembers Bobby Conn and the Glass Gypsies, you’ve got a toehold on the idea here. As for those of us not in the Metal arena, it is enough to say that Metal has finally opened a door worth going in, a door marked “Thumpermonkey Lives!”, written sarcastically in blood on an enormous piece of toast.

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I’m supposed to be reviewing this here new album of theirs, but it reeeally neeeeds to go into context. Yes, it’s got their best production yet. And five of it’s six songs are vividly beautiful, with many heart-tickling moments. But is it the best place to start, when there are about five previous albums? I’m going to say NO for two very good reasons. One: All of their other albums are completely free!!!!!!!!!!! Two: “We Bake Our Bread…”, for all its confident majesty, has not a single bar of accessible catchy hit. Oh, I feel cheap (in so many ways) for saying it, but you can download “Chap With The Wings…Five Rounds Rapid” (two albums ago), which has two and a half hits, and much raw brilliance besides (though it needs remastering or some shiz). Once inducted into the Monkeyworld with this welcome mat of an immature masterpiece, stranger and proggier albums (like this one I’m supposed to be reviewing) will prepare to assault you and turn you into the enlightened happy moshfreak that lies hidden within your inner folds of potential. I’m only thinking of you. You will yield.
Especially if you go and see them live. Woody, trussed up in his ironic orange jumpsuit, delivers a magnificent falsetto which smoothly blossoms into a wincing growl as if he had his finger on a slider for it. The intricate play of his guitar and that of foppish sex-titan Rael Jones is like a salmon and creme fraiche baguette that’s excitingly just a bit too large to swallow. Pounding yet detailed beats from Ben Wren tighten this package to perfection. You will yield.

And sometimes the do a Gregorian chant-style acapella thing. You will yield.
Unless… well, maybe you just don’t have the secret metal gene (not everyone does, but I didn’t really think I had it until I was Thumpered). Or maybe you do have the metal gene, but you prefer the emotionally retarded angry stuff. In which case, how did you come to be reading Amelia’s? Get thee to Kerrang, fool!
Everyone else, get some Thumpermonkey Lives! It’s free, remember?
You can get “We Bake Our Bread Beneath her Holy Fire” from Genin Records.
*if you’ve been affected by the issues raised in my short history of Metal, call Ozzy on 08000-666

Written by Gareth David on Monday December 7th, 2009 5:50 pm

Categories ,”Ozzy” Osbourne, ,album, ,Black Sabbath, ,metal, ,music, ,review, ,System of a Down

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Amelia’s Magazine | Festival Review: Green Man

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Naomi Campbell wears Vivienne Westwood (1993), viagra approved illustrated by Krister Selin

It isn’t very often that a specific fashion designer is singularly celebrated for their contributions to fashion; when the V&A presented the Vivienne Westwood retrospective in 2004, fashion fans were delirious at the opportunity to revel amongst the creations of our most fashionable Dame. This month, the team at Selfridges reopen the Westwood archives and present a glorious exhibition devoted entirely to Vivienne Westwood’s revolutionary footwear.

What began as a calm stroll into central London on a bank holiday Monday soon descended into chaos – it was absolutely heaving (and to those of you shouting OF COURSE IT WAS YOU BLOODY IDIOT at the screen – yeah, I know). A text to remind me I was going to a party at Shoreditch House as early as 6pm didn’t help either, so me and the other half legged it down Oxford Street to catch the exhibition, and thank heavens we did.

Located in the chic Ultralounge on the lower ground floor of Selfridges (where previous exhibitions and pop-ups have occurred, including the brilliant 100 years of Selfridges display), the room features long rows of glass cabinets holding a huge selection of Westwood footwear from over the years. The black walls are sparse, with a few large images from advertising campaigns and of Our Viv herself dotted here and there, and a show reel of some of Westwood’s awe-inspiring catwalk shows at the back of the room, featuring a soundtrack of sexed-up national anthems and punk hits. It is, however, row after row of shoes displayed like the crown jewels that capture the imagination the most.

Ordered chronologically, the exhibition charts the literal rise and rise of Dame Viv’s footwear, from surviving examples from SEX and Seditionaries, (including leopard mules worn by SEX shop assistant Jordan) right through to Propoganda pirate boots (worn mostly by the gays and people from Leeds) and pairs seen at the most recent fashion weeks. The most interesting comparison drawn when you’ve seen every pair is that there isn’t much of a comparison at all – similar shapes and themes are echoed through the ages, and these shoes have been consistently daring and innovative.

There must be over 100 pairs on display, all of which are a delight to view, but here are some of my favourites:

The exhibition is supported by Melissa, the wonderful Brazilian-born ethical label that champions Melflex®, the recycled plastic phenomenon that uses sustainable and environmentally friendly production processes. Beginning with plastic versions of iconic Vivienne Westwood shoes, the collaboration has grown to include many of the archive styles on display at the exhibition (re-imagined in plastic, of course).

Exhibitions of this calibre, celebrating our fashion designers and presented so brilliantly, don’t come around very often. So if you’re in London and anywhere near Selfridges, do check it out – you won’t be disappointed.

Until 22 September, admission free.

Get all the important details here.

Photography by Amelia Wells.

So it turns out, cheap the grass is greener where you water it, and Green Man certainly was abundant with green green grass and wet, wet rain. Many were the wishes written on the wish tree which went along the lines of ‘an anorak. Please!’ Among them, mine. Who, heading out to a festival in August, remembers to take a rain coat? I had my sun cream, poi and a bag full of Bourbon biscuits, but no wet weather gear. Should have remembered that Wales, actually, is pretty notorious for being ridiculously rainy, and the Brecon Beacons even more so.

Our priority on Friday morning then, was to seek shelter. We passed a couple stood under a tree, tearing the wrapping from a pair of plastic ponchos with their teeth, and begged to know the source. They pointed across the already inches deep in rainwater road to a thick hippy jacket stall which was certainly cashing in on the rain that weekend. Plastic ponchos: £2. And so equipped, we set off to enjoy the festival.

Only having the faintest clue who was even playing over the weekend, and being too cheap to purchase a £6 programme, we spent our days cadging information from unsuspecting audience members, foolish enough to have their programmes in plain sight, and bumbling from place to place, exploring the ins-and-outs of the beforested set-up. One of the first things we discovered was a giant transparent bubble, in which figures flashed torches up, down and around through dry ice while beeping noises implied a containment area, possibly one which might be inhabited by…aliens? We never found out though, and were told this was only a dress rehearsal and to come back later. When they might have found what they were looking for. We didn’t, since what we were looking for, was music. Which we found! Eventually.

The Green Man pub area seemed a decent sort of place to hang out in the rain for a moment or two, and we heard Hail the Planes go through their sound check, the guitarist asking for a ‘little more talent in his monitor’. Mellow folk is all very well in its place, but when that place is getting progressively damper, one soon wishes to move on.

Einstein’s Garden was tucked away neatly behind a magic door in the high stone wall and contained many wonders! On the solar powered stage near Peaceful Progress (a chilled out organic café tent) we found the animal man, courtesy of Party Animals, was passing around frogs and lizards and snakes while chatting at double-speed about the difference between venomous and poisonous creatures amongst other interesting facts. Did you know it’s impossible for a snake to eat a human because of our shoulders? However, we will still suffocate inside the snake’s neck. The more you know! We poked our noses into the teeny Cinema Shed, this year showing TED talks, which was almost always full thanks to the rain (and the TED talks. Probably.), browsed the book stall, hooped with GIANT hoops, followed the molecule trail and watched other people try to recharge their mobiles through cycling. Also, for £10, you could make your own hook on a forge! Tools for Self Reliance had a child-pedalling-powered forge and an anvil whereupon you could smelt some iron and bash out a hand-tool. The organisation itself sends old and unwanted tools to rural areas in Africa for the use of locals and the reinvigoration of the local economy. Around the tent they had a piece of string with the journey of the crates hung upon it; every instance of transport tax and *cough*bribes*cough* detailed so that you know just how difficult and expensive it is to transport these crates. They’re based in mid-Wales, so if you fancy having a hammer away at something solid for a good cause, check them out!

After a brief nap, we dove back into the festival atmosphere (drizzly. Grey.) and were welcomed with a nice bit of Caitlin Rose. Since the Mountain Man had been held up, the lovely Nashville lass had been bumped to the Main Stage from the Green Man pub stage, and lucky for us! Her mellifluous voice was hypnotising as she recounted her past heartbreaks to the rapidly increasing and soggy crowd. Feeling the need to explore a little further, we found the Chai Wallah tent and The Boxettes! The Boxettes! We love them. Five girls, no instruments, all voice. Oh, and the female beatbox world champion, Bellatrix. Not only were they ridiculously talented, but chatted warmly with the audience, and each other, between songs, bringing a real friendly vibe to the tent. We wanted to, and did, dance to the beats, but it seemed like they were on too early in the day to really get the crowd moving.

The Chai Wallah tent was home to some awesome sounds over the weekend, and overhearing someone at the end saying ‘There need to be longer gaps between the main stage bands so we can spend more time at Chai Wallah!’ just confirmed that a lot of bands performing there, my favourite (of the entire festival!) being The Boexettes, deserved a MUCH larger audience. I would have thought them suited to the FarOut tent which became the dance tent at night.

Speaking of which! Solely based on the fact that their name is Fuck Buttons, I dragged my friend to the FarOut tent and listened to the electronic glitch perfection that is the Bristol-based two piece fucking with some buttons. Does that ever get old? I think no. Definitely glad we made the trek up the increasingly muddy and slippery hill for that one. The evening saw us back at the Main Stage for Beirut, who sounded pretty much exactly like they do on their albums. Slightly removed from enjoying myself as some chap was trying to chat me up by telling me that I was more attractive than my friend, and offering to buy me a drink if I called his mates “girly fairies” for getting down with some country dancing. Just a tip: trying to chat up a girl and yet implying that being ‘girly’ is a negative trait? Just…no. So, we skipped Beirut and traipsed through the mire to FarOut to enjoy DJ Yoda and Hexstatic who played some dirty dubstep to the backdrop of funky video graphics. Plenty to do AND see! We danced ‘til about four in the ay em before dropping soundly off to sleep and waking pretty late the next day.

The highlight of Saturday was discovering that John Cooper Clarke was performing in the Comedy and Literature tent! Which says something about the performance itself? I had assumed that it would be mostly comprised of his poetry, which I enjoy, but he only recited three or four poems, ChickenTown as his encore, and mostly tried his hand at stand-up comedy. I’m not sure if stand-up comedy is a usual part of his act, but, uh, I did not find it so funny. Sorry, John Cooper Clarke! At least you have that thing where you don’t seem to ever age to console you. Robin Ince also showed his face up there, touting his routine about the GIANT KILLER CRAB books and also taking some time to educate young women on how to get a man. There are books about it, dontchaknow? Books with titles such as ‘How To Get The Man of Your Choice’ – “because you can choose now ladies! Lucky!” Apparently cleanliness is very important in trapping…uh…gaining a man, so we were pretty fucked for that being ankle deep in mud. Oh well! At least we still had the option of going to work in a boat yard (as a secretary, presumably, rather than, say, an engineer?) in order to meet a man who owns a boat! Hearing Robin Ince read Danielle Steele’s ‘romantic’ poetry is an education worthy of Einstein’s Garden, let me tell you. (It doesn’t help that he read a poem called Jam and all I could think of was the teevee show of the same name, which is epically crude.) So. Jam! It’s…sexy? A man-trap? To be taken at breakfast after the sex you’ve had, which is NEVER MENTIONED? Hmm.

The Flaming Lips headlined Saturday and all day we were wondering if they had already played, but realised that we were just hearing teaser songs from the festival radio which was pumped out across some areas of the campsite. The radio, actually, was adorable, with the tone of someone who isn’t quite sure anybody is listening so they can pretty much say what they like, right? Except, what if someone is listening?! But then, probably nobody is…Well, slightly nervous man, we were listening. We clambered over the entrance stairs and descended into a confetti covered crowd, all reaching up to bounce giant balloon balls back towards the stage while a curly haired gent shouted “C’mon motherfuckers!’ between songs. I confess to not having heard much of the Flaming Lips but being approving of the bits I have listened to. However, being coerced into having a good time by having a stranger call me a ‘motherfucker’ wasn’t really what I’d expected from Green Man, so it put me off enjoying the show a little. BUT! He had a gong with shiny lights all around it, which made it okay in the end.

The next morning we accidentally saw Darwin Deez, another curly headed singing and guitaring man, who managed to put on a better show than The Flaming Lips by having dance routines between each song. ‘Why can’t every band do that!’ my friend cried. Well, then it wouldn’t be quite so awesome. Waking up to revenge songs always put a good tone on the day, also.
Back at the Solar Stage we watched a break-dancing workshop which some little kids were taking very seriously and, despite not taking part, resolved to become beat-boxing breakdancers by the end of the year. Or next year. At some point, anyway. What those guys can do with their bodies is ridiculous! A couple of mums were getting in on the act as well, but one of the dads gave up when it became apparent that he would have to put his hands on the floor.

The evening was dominated by ‘one-girl-and-her-instrument’ sets with Laura Marling getting the crowd to whistle along with her in the middle of Night Terror and Joanna Newsom telling the story about her drummer’s naked swimming escapades! Since we were only interested in seeing these lasses that day, we spent most of it in search of food. Being vegan it’s often slightly awkward to get fed while out and about, but hey, this is Green Man! Just outside the entrance was a vegan food cart, which did the meatiest, most filling burger I’ve tasted for a little while. Many of the stalls inside also had veg*n options in portions which were large enough to be shared and still sufficient for allaying hunger pangs. We noshed on tempurah veg, chickpea and spinach dahl, gingered rice with tofu and noodles and snacked on cardboard cups full of sundried tomatoes, olives and things, from, uh, Olives & Things.

After filling our stomachs, we naturally needed to empty them, and so, we come to the part of the festival I was most excited about; the compost loos! The last time I used these was at Boom festival, in Portugal, where they also had tubs of sawdust for the girls to be peeing in! I tell you, I got pretty close to the girls I travelled there with. The compost loos are compartmentalised, however, and basically consist of a hole over a wheelie-bin. From there, your excrement is wheeled to a place where it will be used as compost! I don’t know what happens to the poo that you poo into portaloos, but I’m pretty sure it gets covered in chemicals, rather than straw, and then treated in a chemical plant rather than having the goodness put back into the ground so that we may grow our food from it. Until next year, Green Man, eat shit!

Written by Amelia Wells on Tuesday August 31st, 2010 1:43 pm

Categories ,Brecon Beacons, ,Caitlin Rose, ,camping, ,Chai Wallah, ,Darwin Deez, ,DJ Yoda, ,Einstein’s Garden, ,fuck buttons, ,green man festival, ,Hail the Planes, ,Hexstatic, ,Joanna Newsome, ,John Cooper Clarke, ,Laura Marling, ,Peaceful Progress, ,Robin Ince, ,TED talks, ,The Boxettes, ,the flaming lips

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Amelia’s Magazine | You Look Cold by Patrick Kelleher: This is no sham rock.

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The ICA has always struck me an odd gig venue; with it’s white lights and shiny floors, viagra 100mg symptoms but on Friday 22nd May, pilule something exciting was rumbling in it’s deep dark underbelly and I went home prepared to eat my hat…
I didn’t know too much about Comet Gain before the gig, viagra 40mg and expected them to be over-shadowed by the rest of the line-up, but they held their own in spectacular fashion with their unique blend of Northern Soul and lo-fi, to create a danceable but refreshing rock n’roll.

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The Bats

Putting age before beauty, the Bats were on right before young whipper-snappers Crystal Stilts; the most magical inhabitants of New Zealand since hobbits. Having been around since the early 80s and having released a string of consistently good records they seemed to have avoided become publicly known and are quite the cult institution. The crowd at the ICA, myself included, are, blown away by their awesome crashing and soaring folky rock, with Crimson Envy going down like a treat. They have the look of the modern day Pixies (kinda old), with a sound that veers towards early Yo La Tengo or Low.

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The Bats

Whilst loving the Crystal Stilts’ debut album, I’m always sceptical of hype bands, but Crystal Stilts most definitely deserve their hype. From the first note, their post-punk, melancholic wall of bassy noise and murmur vocals enrapture the audience. Their single ‘Love is a Wave’, the second song played is a butterfly in the stomach shoe-gaze fest of blurry noise and the rest of the set follows to form.

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Crystal Stilts
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It is perhaps over easy to compare Crystal Stilts to My Bloody Valentine and their shoe-gaze peers, (it seems that a lot of Brooklyn bands at the moment are being shoehorned into a neo-shoe gaze poor fit) and whilst an element of that is present; mostly from Jesus and Mary Chain‘s Psychocandy, Crystal Stilts are more indebted to the Velvet Underground in their sustaining of a glorious continous noise, and the tuneful grumble of Brad Hargett’s voice is not dissimilar to Lou Reed. Whilst having roots buried in a deep and fruitful musical heritage, Crystal Stilts manage to create something unique to themselves. A band not to be missed.

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Crystal Stilts
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Photos appear courtesy of Roisin Conway and Cari Steel

Last week I wrote about skate brand CTRL, what is ed and Finnish streetwear is making us giddy all over again with Daniel Palillo, viagra a Helsinki based designer who has recently hurtled into the fashion world. His designs are distinctively relaxed, salve and when I interviewed him he said simply that he likes that “people actually wear the clothes”, citing street style sites as a really positive influence on fashion.

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Daniel’s designs are curious, seeing an emphasis on ease and comfort coupled with often a dark and strange aesthetic. The focus is on oversized silhouettes, cut-outs and graphic prints, and there’s a lot of interest in wearability. I think it’s a hard thing to couple both notions of fashion and comfort without sacrificing one for the other, and it’s a delicate balance to strike.

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Daniel’s designs, like the CTRL boys, extract the relaxed and unselfconscious element of sportswear as well as making them stylish and progressive. Daniel says that “it’s important for me to feel cosy” and I think it’s an enjoyable philosophy in terms of an aesthetic, seeing clothes that look familiar and worn, but simultaneously edgy.

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In a post-Beckham universe with the media heralding the triumph of the metrosexual male, skinny jeans, brogues and hair gel, it’s refreshing to see a designer who sends his models down the runway in beaten up pairs of sneakers. Daniel believes that “clothing should be more than a collar shirt and chino pants”, instead making way for the wardrobe for the moody younger brother who has emerged from his room, tousle-haired and sore-thumbed from too much videogaming, only to head off down the street to cause some trouble somewhere. The graphic prints recall 90s videogames like PacMan and Frogger, juxtaposed with relentlessly modern silhouettes. His Spring/Summer ’09 collection was inspired by ice hockey players and sailors, but equally he says his ideas can be generated by the epic act of hitting search into Google Image.

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This younger brother has got a black side, though. The sense of familiarity is complicated by the movement into the darker realms of nightmarish fairytales, aliens, ghosts and monsters of the videogames themselves. It’s a darkness that Daniel says is influenced by Finland itself, maintaining “we are very pessimistic people here. It’s dark for all the winter, so I guess it affects the way we work.”

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I think the pessimism is countered by something else, and a lot of people have found the tragicomic element of Daniel’s clothing one of the most extraordinary facets, as with the print of the eerie skull with a bouffant hairstyle, an example of two totally non-sequitar ideas that are difficult to respond to with any clarity about how it makes you feel. This is an idea reflected in his interest in playing with proportions of the human body, with his models often striking unnatural poses that impress the sense of distortion from the garments themselves.

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The humour certainly throws the melancholy into focus, and he says that “thats definitely the way I look at life. You can find so many funny things in the saddest things in life”.

You Look Cold left me hot under the collar, viagra buy this debut album from 24 year-old, patient Irish Patrick Kelleher is awe-inspiring in it’s genre-bashing brilliance and refreshing take on a myriad of musical references. Swinging from Vincent Gallo‘s most whispery nonchalance to thumping electro beats circa Talking Heads with David Byrne/ Ian Curtis shouty vocals (‘He Has to Sleep Sometime’) via an obvious interest early 90s hip-hop, perhaps A Tribe Called Quest most noticeably, no small feat for one man!

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There is a vulnerable innocence to Kelleher’s music, it would be too easy to pigeon-hole him as a Sufjan Stevens/ early Patrick Wolf troubadour figure. He consistently avoids being fey or folky by a unique drum loops, his sheer vocal range and spooky sampling and unexpected rhythm pattern worthy of Animal Collective, this is particularly noticeable on the wonderful ‘Coat to Wear’ and ‘Finds You’ . ‘Multipass’ whilst a midpoint interval from the Avey Tare-esque bumps and bangs, stands out as a personal favourite, with it’s quiet electronic epicness.

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This album whilst crammed with diverse reference points and orchestral density avoids convolution or verbosity by having the defined structure of a true masterpiece, with leitmotifs that re-occur, like the Casio keyboard or drum machine. Kelleher clearly has the talent, intelligence and sound knowledge of lo-fi production (most noticeably cassettes although this is never the focal piece of the sound production) to create something that is not in anyway derivative and totally unique to himself.
Kelleher deserves a lot of recognition for this intelligent, spookily erratic and starkly beautiful record.

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‘You Look Cold’ by Patrick Kelleher is released on 13th July on Osaka Records

Written by Roisin Conway on Wednesday June 3rd, 2009 4:05 pm

Categories ,Album Review, ,Electronica, ,Folk, ,Indie, ,Ireland, ,Lo-fi

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Amelia’s Magazine | Single and Video Review: Zebra and Snake – Sweetest Treasure

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Zebra and Snake
I am seriously loving the video for Zebra and Snake‘s new single Sweetest Treasure – made by Sing J. Lee, a young award winning director from the North West – and featuring a fearless tribe of children who do battle with scary-toothed monsters in the woods. Zebra and Snake are Matti and Tapio, who hail from Finland and are currently settled in Helsinki, where their combined loves of synths and classical music has informed their own creation: fuzzy 80s influenced electronica with great melodies, of which lead single Sweetest Treasure is a great example.

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Sing J. Lee said of making the video: ‘I had a great time working on Sweetest Treasure for Zebra and Snake. It transported me back to my childhood where I ran around my back garden pretending I was on some epic adventure.’ The idea began with the idea of incorporating children and monsters: Matti and Tapio wanted to include Nordic influences in the short story format, where a small kid is trapped by monsters, and Sing J. Lee added references to the games he enjoyed as a child. To keep the mood light hearted the monsters were made from balloons, the blood from powdered paint. The video was shot in various locations in South Wales and Epping Forest. Take a peek, it’s insanely moreish. Zebra and Snake go on a mini tour later in February, to support the release of their new EP on 100%.

Written by Amelia Gregory on Monday January 23rd, 2012 5:39 pm

Categories ,100%, ,80s, ,children, ,electronica, ,ep, ,Epping Forest, ,FInnish, ,Helsinki, ,Matti, ,Monsters, ,Nordic, ,review, ,Sing J. Lee, ,single, ,South Wales, ,Sweetest Treasure, ,Synth, ,Tapio, ,video, ,Zebra and Snake

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Amelia’s Magazine | Favourite Christmas Indie Tunes for 2011

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Ukulele Christmas Carol by Abi Hall
Ukulele Christmas Carol by Abi Hall.

Christmas tunes from respectable bands have never been more popular – both original compositions and covers of old favourites – here’s my round up of the best.

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Piney Gir has put together this absolutely adorable lo-fi animated video for her festive ditty Christmas Time – just a few paper dolls with joints and a tacky set. And it works brilliantly! Best of all there is a free download of the tune.

Christmas, Single - Viv Albertine by Sam Parr
Christmas, Single – Viv Albertine by Sam Parr.

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One of the original purveyors of girl power – Viv Albertine of The Slits – has put together a typically alternative single, radically titled It’s A Christmas, Single. I love the lyrics, which include gems such as ‘I like being single, cos I get stuff done.’ Speaking as one who has spent many a Christmas in the single state I can testify to this truth. It’s another free download so get stuck in.



On a slightly different tangent make sure you check out Darren Hayman‘s Christmas Advent Project. Together with Fika Recordings he has been releasing a split single every day of December. In the spirit of Christmas all the tunes will be distributed for free at the end. Watch accompanying videos for the project above.

Christmas Illustration by Camille Block
Christmas Illustration by Camille Block.


My Tiger, My Timing take on the commercialism of Christmas in 2011 for the cute sleigh bell driven ditty See You On New Year’s Day.

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From Manchester Flow Machines bring us their remake of the Saint Etienne and Tim Burgess classic I Was Born On Christmas Day. In exchange for a download they are encouraging fans to make a donation to Barnardos – a very nice touch. The single also has a fab retro inspired video.

I reviewed the debut album from Fairewell recently, and singer Johnny is hot on the case with a festive offering – he lends his inimitable woozy filmic sound effects to a new no-sing version of In The Bleak Midwinter, accompanied by a sad little film.

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Dog is Dead present Christmas Wrapping, a song by seminal 80s band The Waitresses that most will recognise – only this time harmonised by men in fairisle jumpers. Nice. And free to download too.

Honour Before Glory
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On the cover tangent how about Honour Before Glory‘s cover version of Chris de Burgh‘s festive classic A Spaceman Came Travelling. It’s a real oddity – a spaced out laid back version of the original.

Reindeer music by gaarte
Reindeer music by Gaarte.

Yet another free track: A Wombling Merry Christmas by The Very Most gets the lilting folk treatment that transforms it into a song that can be enjoyed by adults as much as kiddies. Indiecator have released a whole EP for Christmas.

Summer Camp

Summer Camp cover a famous tune with their oddly titled All I Wonderful Christmas Is You.

Finally not forgetting the latest single to be taken from A Very She & Him Christmas, also reviewed on these pages: Christmas Day can be heard here.

Next up: my review of whole Christmas albums. Yup, some bands have really taken the festive theme to new limits.

Written by Amelia Gregory on Wednesday December 21st, 2011 2:33 pm

Categories ,A Spaceman Came Travelling, ,A Very She & Him Christmas, ,A Wombling Merry Christmas, ,Abi Hall, ,All I Wonderful Christmas Is You, ,Barnardos, ,Camille Block, ,Chris de Burgh, ,Christmas, ,Christmas Advent Project, ,Christmas in Haworth, ,Christmas Time, ,Christmas Wrapping, ,Darren Hayman, ,Dog is Dead, ,Fairewell, ,Fika Recordings, ,Flow Machines, ,Gaarte, ,Honour Before Glory, ,I Was Born On Christmas Day, ,In The Bleak Midwinter, ,Indiecator, ,It’s A Christmas Single, ,Laura Millward, ,Moshi Moshi, ,My Tiger, ,My Timing, ,Piney Gir, ,Saint Etienne, ,Sam Parr, ,singles, ,summer camp, ,the slits, ,The Very Most, ,The Waitresses, ,Tim Burgess, ,viv albertine

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Amelia’s Magazine | Lilies on Mars present new album ∆GO

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primo piano lilies on mars fredda contrastata sm
∆GO by Lilies on Mars is a hypnotic slice of synth driven electronica that will carry you away to a place where the skies are big and the stars are close…

What is the most magical thing about Sardinia?
Marina: The contrast between beautiful turquoise sea and the mountains skyline, the air you breathe, the light and the starry sky, even storms are incredibly beautiful and evocative. It’s an incredible place to create and record music.
Lisa: There is a straight contact with the universe from here, from the earth to above seems distant-less. Night time the sky gets wider, to make space for the stars, it might be because of the absence of the city lights in certain areas. You can really feel the universe just above or inside somehow.

∆GO album cover sm
Why did you move to London, and why have you stayed here?
Marina: Mainly for music, it was the most inspiring city in Europe for us at the time, we were attracted by the multiplicity of art and music circulating, and we stayed for the same reasons, we met a lot of musicians and were surrounded by the ideal environment for us to develop as musicians and composers.

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How often do you travel between the two?
Marina: Every couple of months now, we’ve recorded ∆GO entirely in Sardinia but we kept in touch with the London scene that we will never abandon, it’s very important for us.

How does your latest record AGO compare with and differ to Dot to Dot?
Marina: ∆GO is the continuation of Dot To Dot in every sense. Dot To Dot was our first experiment as producers, our approach in making music changed, firstly because it was a work conceived by just the two of us. We wanted to explore new territories, new sounds, new instruments we’ve never played before. It was a rebirth for us, it was like starting something new from scratch without questioning ourselves where we wanted to go. We created a base that subconsciously prepared us for ∆GO, for which we worked exactly in the same way but with a strong and more mature idea.

Lilies on Mars press shot color 02sm
∆GO by Lilies on Mars is available here.

What kind of atmosphere do you hope the album creates?
Marina: The album contains a variety of atmospheres, from psychedelic uplifting dance to more introspective moments, it’s a spacey journey, that is exactly how we felt while writing it, and I like when people come to the shows and tell us they tripped listening to our music, it’s a cosmic mental trip, where you can also dance!

Can you tell us a bit more about the album title and what it means to you?
Marina: ∆GO is an abstract word, it has not meaning on its own and we love that, it’s a symbol that for us symbolises the retro-futurist concept which is a strong element of our sound, it can be read as AGO as used in story telling of times ‘long ago’ or as A GO, as if giving a go at something new in the future. It also means needle in Italian, that metaphorically weaves the past with the future.

Lilies-on-Mars-press shoot--BW (1)sm
What were your biggest influences when you were making AGO?
Marina: We were inspired by early electronic music from the 50′s and the 60′s like Delia Derbyshire and Daphne Oram from The BBC Radiophonic Workshop. We absolutely loved their natural approach to creating and manipulating new sounds.


Who is the dancer in the Stealing video and what was the direction you gave her?
Lisa: The video was directed by a great friend of us, Luna Ariel, we’ve worked with her for other projects in the past and we trust her eye. The dancer is Francesca Re, she is very talented and has an incredible androgynous body. We gave the director the freedom to feel the music and the meaning of Stealing with her eyes. We didn’t want to appear much in this video as we thought the message should have had a stronger impact with the lyrics. The meaning of Stealing was perfectly captured by the director and the dancer. Her jerky movements refer to a physical and psychological block as someone is controlling her freedom, ‘stealing’ her ideas, her dreams and her rights. Only at the end she gets the message, she stops moving, she breaths deeply, she is free.

Where was the video shot, it’s a pretty amazing landscape?
Lisa: We shot the video in Sardinia, in the hinterland of Cagliari, a very peaceful, mystical and intriguing location.

Where can people see you play live in the coming months?
On 5th October in Nottingham at Rough Trade and on 6th October in London at Electrowerkz.

∆GO by Lilies on Mars is available here.

Written by Amelia Gregory on Sunday October 4th, 2015 10:23 am

Categories ,AGO, ,album, ,Cagliari, ,Daphne Oram, ,Delia Derbyshire, ,Dot to Dot, ,electrowerkz, ,Francesca Re, ,interview, ,Lisa Masia, ,Luna Ariel, ,Marina Cristofalo, ,Rough Trade, ,Sardinia, ,Stealing, ,The BBC Radiophonic Workshop, ,video, ,∆GO

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Amelia’s Magazine | An interview with Dry the River

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Charlie Coombes and the New Breed by Octavi Navarro

Familiar with a fair few live music venues across price help +UK&oe=utf-8&rls=org.mozilla:en-GB:official&client=firefox-a&um=1&ie=UTF-8&hq=&hnear=Westminster, approved +London&gl=uk&ei=kdYETam3HY2ShAfs5NntBw&sa=X&oi=geocode_result&ct=title&resnum=1&ved=0CB0Q8gEwAA”>London, I’ve been pretty up close and personal to a number of bands, both great and truly awful, and wondered how Charly Coombes and the New Breed would fair at the Monto Water Rats in Kings Cross, as the stage is particularly petite. Taking to said stage on Saturday December 11th for the last night of their Waves EP promotional UK tour to a familiar crowd, CCATNB stole the show headlining a night of indie and rock music as the band with the edge. Showing only a comical strain to the end of their tour, as with fellow Oxford-ites and Amelia’s Magazine pal Little Fish, the band set out with great energy getting the walls shaking to their distinct key led indie sound that is so easily digested.

Charly Coombes and the New Breed by Roderick Barker-Benfield

Opening with their current single and crowd pleaser Jungles and Tides, momentarily forget about the ear candy, which is delightful, with many members of the crowd of the fairer sex, the eye candy wasn’t bad either. Clearly comfortable and at home playing The Water Rats, which has housed many bands, both up and coming and established, there’s a definite intimate tone to the night, where the crowd are within inches of the band, in all their sweat and glory. Their sound and musical ability isn’t matched within the indie music scene at the moment, taking soulful strides above the rest and echoing late 90s British rock at its best, the fellow bands of the night are good but not in the same sphere as the New Breed.

Charly Coombes by Werner Fismer

That aside, stand out tracks of the night include the head swinging God Knows, the beautiful and eloquent Sub Rosa, off their current EP Waves, which signals the musical prowess of the New Breed led effortlessly by Coombes’ key skills, and closer Dress to Kill, a song that marks the New Breed stepping things up a notch on their quest to bring descent independent music back home. Full of confidence and an instant connection with their fans old and new, CCATNB are for anyone who like a solid punch to their indie pie, and these guys are on the up and up. With their set ending all too quickly, catch them while you can at these intimate venues, as I can only see a brighter and bigger future for Charly Coombes and his New Breed.

Charly Coombes and the New Breed Live by Willemÿn Barker-Benfield

Charlie Coombes and the New Breed by Octavi Navarro

Familiar with a fair few live music venues across check +UK&oe=utf-8&rls=org.mozilla:en-GB:official&client=firefox-a&um=1&ie=UTF-8&hq=&hnear=Westminster, viagra 40mg +London&gl=uk&ei=kdYETam3HY2ShAfs5NntBw&sa=X&oi=geocode_result&ct=title&resnum=1&ved=0CB0Q8gEwAA”>London, search I’ve been pretty up close and personal to a number of bands, both great and truly awful, and wondered how Charly Coombes and the New Breed would fair at the Monto Water Rats in Kings Cross, as the stage is particularly petite. Taking to said stage on Saturday December 11th for the last night of their Waves EP promotional UK tour to a familiar crowd, CCATNB stole the show headlining a night of indie and rock music as the band with the edge. Showing only a comical strain to the end of their tour, as with fellow Oxford-ites and Amelia’s Magazine pal Little Fish, the band set out with great energy getting the walls shaking to their distinct key led indie sound that is so easily digested.

Charly Coombes and the New Breed by Roderick Barker-Benfield

Opening with their current single and crowd pleaser Jungles and Tides, momentarily forget about the ear candy, which is delightful, with many members of the crowd of the fairer sex, the eye candy wasn’t bad either. Clearly comfortable and at home playing The Water Rats, which has housed many bands, both up and coming and established, there’s a definite intimate tone to the night, where the crowd are within inches of the band, in all their sweat and glory. Their sound and musical ability isn’t matched within the indie music scene at the moment, taking soulful strides above the rest and echoing late 90s British rock at its best, the fellow bands of the night are good but not in the same sphere as the New Breed.

Charly Coombes by Werner Fismer

That aside, stand out tracks of the night include the head swinging God Knows, the beautiful and eloquent Sub Rosa, off their current EP Waves, which signals the musical prowess of the New Breed led effortlessly by Coombes’ key skills, and closer Dress to Kill, a song that marks the New Breed stepping things up a notch on their quest to bring descent independent music back home. Full of confidence and an instant connection with their fans old and new, CCATNB are for anyone who like a solid punch to their indie pie, and these guys are on the up and up. With their set ending all too quickly, catch them while you can at these intimate venues, as I can only see a brighter and bigger future for Charly Coombes and his New Breed.

Charly Coombes and the New Breed Live by Willemÿn Barker-Benfield

Charlie Coombes and the New Breed by Octavi Navarro
Charlie Coombes and the New Breed by Octavi Navarro

Familiar with a fair few live music venues across case +UK&oe=utf-8&rls=org.mozilla:en-GB:official&client=firefox-a&um=1&ie=UTF-8&hq=&hnear=Westminster, page +London&gl=uk&ei=kdYETam3HY2ShAfs5NntBw&sa=X&oi=geocode_result&ct=title&resnum=1&ved=0CB0Q8gEwAA”>London, prostate I’ve been pretty up close and personal to a number of bands, both great and truly awful, and wondered how Charly Coombes and the New Breed would fair at the Monto Water Rats in Kings Cross, as the stage is particularly petite. Taking to said stage on Saturday December 11th for the last night of their Waves EP promotional UK tour to a familiar crowd, CCATNB stole the show headlining a night of indie and rock music as the band with the edge. Showing only a comical strain to the end of their tour, as with fellow Oxford-ites and Amelia’s Magazine pal Little Fish, the band set out with great energy getting the walls shaking to their distinct key led indie sound that is so easily digested.

Charly Coombes and the New Breed by Roderick Barker-Benfield
Charly Coombes and the New Breed by Roderick Barker-Benfield.

Opening with their current single and crowd pleaser Jungles and Tides, momentarily forget about the ear candy, which is delightful, with many members of the crowd of the fairer sex, the eye candy wasn’t bad either. Clearly comfortable and at home playing The Water Rats, which has housed many bands, both up and coming and established, there’s a definite intimate tone to the night, where the crowd are within inches of the band, in all their sweat and glory. Their sound and musical ability isn’t matched within the indie music scene at the moment, taking soulful strides above the rest and echoing late 90s British rock at its best, the fellow bands of the night are good but not in the same sphere as the New Breed.

Charly Coombes by Werner Fismer
Charly Coombes by Werner Fismer

That aside, stand out tracks of the night include the head swinging God Knows, the beautiful and eloquent Sub Rosa, off their current EP Waves, which signals the musical prowess of the New Breed led effortlessly by Coombes’ key skills, and closer Dress to Kill, a song that marks the New Breed stepping things up a notch on their quest to bring descent independent music back home. Full of confidence and an instant connection with their fans old and new, CCATNB are for anyone who like a solid punch to their indie pie, and these guys are on the up and up. With their set ending all too quickly, catch them while you can at these intimate venues, as I can only see a brighter and bigger future for Charly Coombes and his New Breed.

Charly Coombes and the New Breed Live by Willemÿn Barker-Benfield

Dry the River by Avril Kelly
Dry the River by Avril Kelly.

I first encountered Dry the River when they offered to do a gig for the Climate Camp stage at Glastonbury this summer. On record they are fabulous, symptoms but live I was absolutely blown away by this talented five some. Over the past six weeks they have been on tour up and down the country: I find out how life has been treating them in my intimate interview with Norwegian lead singer and chief songwriter Peter Liddle.

How did the band get together?
I’d like to say it was an epic tale of overcoming obstacles and triumph in the face of adversity but it was actually a pretty run-of-the-mill thing, ampoule haha. I had taken some time out of music to do some other stuff but before I knew it I’d kind of unconsciously started writing a record. One weekend I recruited some musicians I knew from old bands etc. and we spent a weekend recording. The day after we finished recording I went off on an acoustic UK tour and the band was kind of built out of that.

Dry The River by Karina Yarv
Dry The River by Karina Yarv.

How do you describe your music to people who have never heard it?
Actually it’s changed a lot – at the start it was very lo-fi folky stuff because the songs grew out some acoustic bedroom recordings, price but now that we all live together and are all involved in the writing process we’ve opened the door to a lot of different influences. I think the songs still resemble folk music thematically – I write a lot about family, relationships, the things that a lot of us deal with day to day – but in the practice room we all get the chance to pull the arrangements in different directions. I guess the short answer is that it’s folky gospel music played by a post-punk band.

Dry The River by Mags James
Dry The River by Mags James.

You share a home in Stratford – is this ever hard work? Who does the most washing up (and the least)?
I think living in a confined space with other people is always a tricky business. At least in our case we have a mutual understanding of each other’s situation. That said, some days are obviously harder than others. We’ve been on tour for six weeks now, mostly cooped up in a van – I think after our Nest show on Wednesday we’ll all go back to our respective family homes for some time apart. Jon (drums) does the most washing up, he likes to keep things tidy. I think I probably do the least, or Scott (bass)…

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You are known for utterly lush harmonies… is it hard to get these right and how do they come about?
It’s funny, it was never our intention to be a band that feature prominent harmonies. We were in the studio working on a new recording and I asked Scott whether he could sing. He had a go at singing a third or a fifth on top of what Matt and I were singing and it seemed to work. It really was that haphazard – we rarely spend time crafting harmony parts, Matt and Scott just sing where it seems to make sense. Sometimes we get to recording a song and realise what we’ve been singing doesn’t even work, and have to sit at a piano working out what the lines should be!

dry the river by Gaarte
Peter Liddle by Gaarte.

Were you all musical children? Did you learn to play instruments from a young age?
Aside from Will, we’re all first generation musicians. None of us come from particularly musical families. I think we actually all grew up at a time when being in rock bands was just what kids did. Certainly in Newbury where I took up music in earnest, almost everyone tried their hand at it. That said, I’m at the other extreme to Will – I never studied music formally at all and one day I’d like to. The other guys all have at least a pretty solid (if rudimentary) understanding of music theory.

Stephanie Thieullent-dry the river
Dry the River by Stephanie Thieullent.

Does Peter write all the lyrics, and where do you draw inspiration from?
Writing lyrics is a separate endeavour to writing songs, for me. I write chord progressions and vocal melodies and have a pretty formed idea of where a song is going, then I go away and spend a long time writing lyrics. I think experience informs the way everybody behaves – it’s the lens that everybody views the world through and music is no different. In my case the songs are rarely based on a specific event or a candid message that I desperately want to deliver. They’re more a collection of responses to environments I’ve found myself in – periods of time, people, places… So I guess in that respect they include images of my childhood in Norway and the UK, reflections on my time at University, and a whole load of other stuff that influences my worldview on any given day.

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Your songs are very intense emotionally – is this intentional and why do you think they come across like this?
I think there are probably two reasons for that. Firstly, whether it’s an event or a feeling or a situation, something has to motivate an artist enough to write a song or paint or whatever. I think the vast majority of artworks are created as an emotional response, so the subject matter is always going to be emotional in nature. Secondly, though, we are grew up listening to post-punk and metal and so on, which is traditionally played in a very intense way. I think the way we play probably magnifies the emotional content in the lyrics.

We first met at Glastonbury when you played for Climate Camp this year… what was your highlight of this year’s festival?
Snooooooooooop!

You will be playing a lot more festivals next summer, can you tell us which ones they will be, and are there any in particular that you are looking forward to?
I think we’ve confirmed quite a few now but I’m not sure which we’re meant to reveal! The other day we were announced alongside Midlake and Wild Beasts in the first batch of names for End of the Road, which we’re super stoked about!

dry-the-river-gaarte
Dry the River by Gaarte.

You’ve decided to release your debut single on Transgressive Records – what made you decide to go with this label and what will the single be?
Tim and Toby at Transgressive really put their faith in the music at an early stage when everything was uncertain. A lot of people see a band with potential and sit in the wings, waiting to see how they’ll fare. Transgressive were the opposite – they met us straight away, told us they loved the music and believed in it, and set about moving mountains to help us become a full time band. Aside from all that, they’re a great label and we’re really proud to be adding to the discography. As for the song, you’ll have to wait and see!

YouTube Preview Image

Your YouTube video for Bible Belt has gained more than 100,000 hits – why do you think it has proved so popular?
There are a variety of a reasons I suppose – firstly it was on the YouTube front page as part of a YouTube Music Tuesdays promotion, which I think put it in front of a lot of people who wouldn’t normally have seen it. Also Watch Listen Tell, who filmed that session, have a really loyal following, and maybe there was a word of mouth element too – I guess it’s quite memorable with Matt’s broken arm and so on!

You’ve just played the Forum, what was the highlight of the gig? What can the audience expect at your headline gig at the Nest in Dalston?
The Forum was our biggest show ever – there’s no substitute for experience on big stages in front of lots of people! That said, we love the more intimate settings where we can see familiar faces and talk to people. I hope The Nest will be a really special event – for us it’s our homecoming show after six weeks on the road, as well as our 100th show and a celebration of all that’s come about in the past year.

You can find the wonderful Dry the River on Myspace here, and at home on their website here where you can download three songs for free. You can also follow them on twitter here, and of course do not forget their headline show, which is on Wednesday 15th December at The Nest. Full listing info here. Read my review of their gig at Glastonbury here.

Written by Amelia Gregory on Tuesday December 14th, 2010 12:45 pm

Categories ,dalston, ,Dry the River, ,folk, ,Harmonies, ,Indie, ,Midlake, ,Norway, ,Peter Liddle, ,Stéphanie Thieullent, ,Stornaway, ,The Forum, ,The Nest, ,Transgressive, ,Transgressive Records, ,Watch Listen Tell, ,Wild Beasts

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Amelia’s Magazine | Envy & Other Sins

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It’s with a curious sense of snobbery that bands in any way connected to televisions tampering, are met. Sometimes justified, sometimes quite beautifully, not.

Thankfully, for the sakes of personal sanity, Envy and Other Sins fall into the latter. In the relatively claustrophobic blood red walls of the Buffalo Bar, its hard to believe that these are the bodies that graced the nations screens on Channel 4’s Mobile Act Unsigned show and as they play to a crowd not much stronger than 40 – your upturned nose won’t last for long.

Although it isn’t necessarily the scene, Envy appear to be tonight’s messengers from the Victorian ages, with mentions of regal calls, paupers and the dashing waistcoat complete with pocket watch chain that Ali Forbes sports. Intelligently written and scattily presented, anyone that can construct Carpe Diem and Rubicon into one song gets my vote, although I doubt it’s a soft drinks reference. ‘Man Bites God’ is reminiscent of early Blur brushing past the Super Furry Animals on their way to meet the queen. Call it pop, but there certainly is more of a nod towards the Britpop age of the 90’s than todays electro weighted versions. So don your baggy tweed trousers and burn your skinny fit jeans at the stake if you dare.

Support act, Bang Bang Club make a lot of noise for one keyboard and two microphones, almost rocking the stuffed pheasant on stage, off his perch.

Unfortunately it sounds more like a twenty-minute reference to 70’s garage rock and if they haven’t called upon The Velvet Underground somewhere, I’ll never eat a banana again. You can’t claim they’re not entertaining though, as the Jagger-esque singer prowls the stage like a caged tiger, smashing his tambourine on the floor before marching off to the toilets before the last tracks even finished. Absolute gold.

Written by Jacob Denno on Wednesday August 20th, 2008 11:03 am

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Amelia’s Magazine | Music Listings

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The eponymous release from New York based The Pains of Being Pure at Heart has everything you could want from a summer album. A certain been-in-the-sun-too-long hazy-headyness without the too-much-ice-cream sugariness of many indie-pop summer albums. No-No! I’m rallying for The Pains of Being Pure at Heart being trail-blazers for a new genre we shall call ‘Sandalgaze” aka Shoegaze for when it’s not raining out.

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From the rip-roaring opener ‘Contender’, buy more about the album manages to be catchy without being twee, shop noise without being dreary, imagine My Bloody Valentine on a beach doo-wopping and you’re halfway there.
Whilst treading this line The Pains of Being Pure at Heart consistently avoid being schmaltzy. The track; Young Adult Friction is danceable, its lyrics of a whimsy worthy of Stuart Murdoch yet reflect on themes like first love with a sort of yearning nostalgia, again souring the sweetness. Here the oft-overdone boy/girl singing duo is slightly off-kilter and the effect is more reminiscent of early Yo La Tengo or Jesus and Mary Chain than Belle & Sebastian.

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The Pains of Being Pure of Heart is definitely tinged with nods towards the 80s and early 90s,yet it is perhaps too easy to criticise the album for this. The band manage to utilise certain stylistic tropes without being too retrospective or shallow.
In fact The Pains of Being Pure at Heart is refreshing in it’s redefinition of certain preconceptions: summer isn’t all about whistling and tambourine jangling anymore and Shoegaze is reinterpreted with a sunny touch rather like enjoying a 99 flake with Kevin Shields!

The album ‘The Pains of Being Pure at Heart’ is available now and the single ‘Young Adult Friction’ is released on 18th May (Fortuna Pop!)
They play The Lexington, London on 15th May

Kitsuné has really got its groove on this time. Left eyebrows are often tilted to a 74-degree angle at the mention of a Parisian fashion boutique that puts out compilation CDs, symptoms amongst other music releases. At first, tadalafil you kind of expect endless Dimitri From Paris types churning out catwalk-flavoured lint, but Kitsuné really knows what it is getting, and won’t be holding onto the receipt. With utter confidence and bravado, you see, it was Kitsuné that released Wolfmother’s ball-busting old-metal limited edition EP. Benetton scratches its head in confusion.
For all that, Compilation 7 is a danceable disc, with lots of European disco-beats, and plenty of fruity basslines in the Frenchified Electro style. But it’s not the kind of thoughtless, juvenile poppy end of it. You won’t hear anything approaching “Lady, give me tonight, cos my feeling is just so right”, since the Maison-people (Maisonettes?) are clued up. They listen to Tangerine Dream and Elvis Costello, and anything they select from the here and now is selected with a certainty that reminds me of the chap who picks the leaves for PG Tips: He just knows where the good stuff’s at.
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Highpoints include Chateau Marmont’s Beagle, filled with synths fresh from Tomorrow’s World demonstrations, sidewinding through arpeggiated chords, with the occasional crash-bang with a wooden spoon by the stove, and Beni’s Fringe Element, which popcorns along with hi-hats before going to a thoroughly spiffing hiatus of slap bass with one of the squidgiest, wiggly-wormiest synth solos since Mr.Scruff’s Shrimp. Probably the most exciting track here is Crystal Fighters’ (above) Xtatic Truth, a journey involving Epic-Ragga-Happy-Hardcore, hints of Chinese Folk, and a choir of the ether.
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But it’s a plentiful CD. There are nineteen songs, in all, and although everything chugs along to the metronomic pulse of cubase, there is pacing and variety to the beast overall. Gentle relief comes best of all in This Sweet Love by James Yuill (above), as remixed by Prins Thomas, a ponderous chillscape based on the warmest fingerpicking, and an embrace of vocals. You will feel truly hugged. And once you’ve digested it all, you can take that lovely warm glow on the Eurostar with you, and buy yourself the bestest clothes (I’m not a fashion writer, actually) in all Pareeee!

You can buy the Maison’s goodies at www.kitsune.fr or at their myspace.
If you are a university student, online what do you make of your schools environmental policies? Do they even have green policies to speak of? This week, the students of the University of Arts London have been bringing environmental issues to the forefront, and discussing the various ways that both themselves, their campuses and the courses themselves can be more environmentally aware.

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The Go Green Week, also known as Green: The New Black has been running for the last few days and culminates in talks and workshops on Friday, that include Fashion Forward: Creating an Ethical Label between 4pm-6pm RHS East Space, LCF, John Princes Street
which asks: “How can you create a label that looks good, but is also good to the environment?” ECCA and the Centre for Sustainable Fashion present fashion design businesses that are sustainable throughout from their manufacturing processes and materials, to marketing methods that aim communicate and promote their ethical processes to their customers.
Also on Friday afternoon at LCC is the meeting “Students Going Green” –top of the agenda are the following points “Fed up with the lack of recycling at your College? … Want sustainability on the curriculum? … Think Arts London should GO GREEN?” Speaking with the Press Officers of the Student Union, I learnt that a large number of students have voiced their concerns over this topic. The recycling issue specifically has been on ongoing and much debated subject. Many students feel that not enough is being done to provide facilities to recycle. The Green Charter laid out by the Student Union demands that “Sufficient recycling facilities should be available at all Arts London Sites and all Halls of Residence, with consideration also given to specialist recycling e.g. textiles, wood at relevant sites.”

Also on the agenda is for the issues of sustainability to feature more heavily in the Universities curriculum, either in the form of specific modules, or integrated as a whole, and for the campuses to switch to a green energy provider. The student union also explained that they are setting up an “Ethical and Environmental assembly” that will set future Go Green Assembly’s. They have also been encouraging students to sign a petition that is campaigning for a greener Arts London. Realising that strong visuals are the best way to get the point across, the students were asked to be photographed with the green charter and upload their pictures to the blog. An example would be these brave folks.

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Learning about the concerted efforts to raise environmental awareness amongst students started me wondering how other universities and student bodies broach this subject. As this is a topic that is dear to our heart, we would love your input on whether your schools and universities are committed to the environmental cause, and if so, do you feel that they are doing enough? . Tell us more at hello@ameliasmagazine.com and maybe we can help to highlight the issue.
Be featured in this limited edition anthology of the best new illustrators engaged in environmental thinking. Read on to find out more…

***Please note that this brief is now closed: you can now order a copy of this book online by clicking here***

Laura-Maria-Arola.jpg
an illustration by Laura-Maria Arola from issue 9 of Amelia’s Magazine

Now, malady anyone who is following me on Twitter – my new favourite thing in the whole world – will know that I asked my dad to do the research for this book. I know what he’s like – apart from being a typical male who loves nothing more than “disappearing down the rabbit-hole” as my mum calls it (also known as busying himself in new projects) – he also loves a challenge. So I asked him to dig up some info on all the most obscure new alternative technologies currently being explored, sale so that I could put together a brief for Amelia’s Anthology of Illustration.

He rose to the challenge and then some… almost immediately I started receiving email updates on strange new ways of producing energy. But not only that… it seems I have been the unwitting catalyst for a whole new venture – or a whole new rabbit warren to explore, depending on your point of view. A trained if somewhat out of practice scientist, Bruce (that’s my dad, I know, wierd, I call him by his first name)- gleefully told me on Bank Holiday Monday that he’s just designed the best new wave power technology not yet invented. Having read nearly 2000 patents for various wave power technologies he has, in his inimitable way, decided that his idea is quite clearly the best (my dad ALWAYS knows best). Except he won’t share it with me, cos I might, like, post it on the internet or something, before he’s applied for a patent.

Still, exciting stuff, and just the kind of thing I hope to do more of with both this open brief and the resulting book that comes out of it. Amelia’s Magazine in print may be no more, but I could never leave print entirely, and so the idea for this book has been mulling around in my head for sometime now. What we need right now is a whole heap of imagination, because humans need to make a big leap forward if we want to get out of the mess we currently find ourselves in. And whilst the scientists and boffins of this world busy themselves with the minutae of complicated chemical reactions and intricate moving parts, we also need the skills of artists to make these technologies a concrete reality. Without both visions together we will continue to move at a snail’s slither, so my aim is to help quicken that pace. If I can inspire designers and illustrators to better consider the way their energy is produced by drawing alternatives, then maybe they will make better choices about where their own energy comes from. Of course I don’t believe that technology alone is a cure all for all our ills, but it’s a move in the right direction, and I aim to produce a book that provides a comprehensive resource of all the best new illustrators capable of engaging with environmental issues and envisaging future alternative energy sources.

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an illustration by Allan Deas for issue 9 of Amelia’s Magazine

What will be in Amelia’s Anthology of Illustration ?
The book will be a compendium of profiles on the best illustrators who submit to this brief. Anyone is eligible to submit work, from anywhere in the world. I would particularly encourage new illustrators; those who are still at college, just graduating, or new to the field. Amelia’s Magazine is used by many influential creatives looking for new talent to employ, and this will be an even better way of getting your work noticed globally.

What will the book look like?
The book will be the same dimensions as Amelia’s Magazine, thereby sitting nicely on the shelf with any copies of the magazine that purchasers might already possess! It will be designed in a similar fashion but also expect some new ideas.

When will it be published and where will it be sold?
Amelia’s Anthology of Illustration will be self-published (again!!!!) The lead-times are just too long with the big publishers, plus they would want more design control than I am prepared to give to them. The ones I have spoken to also insist on producing all their books in the Far East, something I am very uncomfortable with given the dodgy environmental credentials of many industrial operations in that part of the world. It will be produced in the UK by Principal Colour as a limited edition hardback towards the end of 2009, in time for Christmas. Advance orders should be available to purchase on my website by the end of the summer, and will be much appreciated in order to finance the production process as it is going to cost me much more to keep production in the UK. The book will be sold worldwide at specialist art book shops such as those that already stock the magazine. I will aim to produce a second (possibly softback) edition the following year to be made much more widely available.

What can I do to contribute?
I need a number of different artworks from aspiring contributors, so please read the following information carefully and make sure that your submissions meet the criteria before you send them in to me.

Submission criteria

EXCLUSIVE WORK: produced specifically for AMELIA’S ANTHOLOGY OF ILLUSTRATION

1. Most importantly:
ONE EXCLUSIVE LARGE PIECE done specifically for this anthology and not featured anywhere else.
This should feature an alternative technology that has not yet been built or mass-produced in any great scale. NO RUN-OF-THE-MILL WINDMILLS AND SOLAR PANELS PLEASE!

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an intriguing design for a line of windmills on a bouncing rod

This is a challenging theme, but thanks to my dad there are dozens of links below that will lead you off in the right direction. You will need to disappear down the rabbit hole for awhile for this brief requires time and thought to complete. It also requires huge amounts of imagination, which is what illustrators specialise in! And my dad! I’ve always held a belief that the scientific mind and the artistic mind are not really so different from each other. How else do you explain me? The child of two scientists?! but rubbish at science….

Anyway, I digress. In this illustration I want to see ways that a new technology would be integrated into our future lives… so interaction with the surroundings or people will be good. This is not a technical illustration, it’s an aspirational one, but you should imagine this technology in some detail, however fantastical it may be. You could even look back at technologies that were patented as far ago as the 1800s, but that have never become part of the mainstream. Your chosen technology should be the main focus of your whole picture, but don’t forget to add detail.
This should be accompanied by a short written piece describing why you picked this particular technology and what the illustration means to you. This should be no more than 300 words.

A word to the wise: the more obscure your choice of technology the better, since I will probably choose different technologies for each illustrator that I choose to profile.
You can choose to work in two sizes:
Double page (as was used in Amelia’s Magazine)
SIZE: page size: 400mm wide x 245mm high, with a bleed of 3mm all around; ie. final size of your artwork: 406mm x 251mm.
or
Single page
SIZE: page size: 200mm wide x 245mm high, with a bleed of 3mm all around; ie. final size of your artwork: 206mm x 251mm.
NOTE: Don’t put important stuff in the 3mm bleed zone (but do continue your image into it) as this is where the printers may cut bits off when the magazine is cut and bound.
RESOLUTION: 300dpi, as a photoshop file in CYMK mode, using Photoshop print profile: euro standard swap coated 20% (or euroscale V2)
GUTTER: please also note that the book will have a very deep gutter in the middle so it is good to keep important parts of your illustration away from the centre of the spread in double page images.
MY STYLE: if you want to know about my taste in illustration you should check out the current issue of the mag, or buy a back issue here!

2. A exclusive PICTORIAL LOGO on an environmental theme

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Logo designed by Adrian Fleet for Climate Camp in the City at the G20 protests

If you have submitted something for the Climate Camp logo open brief then you would be able to resubmit it for this brief, irrespective of whether it was used or not. The logo could be for an event or a company or a product or anything at all, but it must be promoting environmental themes and ideas. I will be looking for colourful and engaging logos. Consider the work of Adrian Fleet for the G20 Climate Camp in the City logo when thinking about what to enter for this. My style tends to be maximalist, but the words must always be a bold and easy part of the logo to read. It could be work that you have already created and has already been used by a brand (though please check with them before sending it to me) or you could create a new piece of work for a real or fictional brand. It should encompass a creative use of typography with illustration. There will be plenty of food for thought amongst the alternative technologies you will already have researched.
This should be accompanied by a short written piece describing what the logo has or would be used for. 50 words max.
It can be any size, but please create work at 300 dpi to a largish size.

3. Typography: YOUR NAME!
Please create your name in the most imaginative way possible. This could be done by hand, or on a computer, but you should really go to town! Amelia’s Magazine is well known for the use of creative typography, and for Amelia’s Anthology of Illustration the floor is open to you to create your own type for your own name (or how you would like to be known professionally) Don’t think of it as branding, but as something to go to town with. If your work is chosen it will be used to head your page, and it should therefore be really creative and fun. Think of this as your chance to really grab the reader’s attention!
For this reason please work to these dimensions and no smaller. (it could be bigger)
SIZE: 200-400mm wide x 40mm high
RESOLUTION: 300dpi, as a photoshop file in CYMK mode, using Photoshop print profile: euro standard swap coated 20% (or euroscale V2)

4. A Border
Again this should fit a single page and reflect an environmental theme. Be sure to work with 3mm bleed and no more than 25mm in from the edge.
SIZE: page size: 200mm wide x 245mm high, with a bleed of 3mm all around; ie. final size of your artwork: 206mm x 251mm.
NOTE: Don’t put important stuff in the 3mm bleed zone (but do continue your border into it) as this is where the printers may cut bits off when the magazine is cut and bound.
RESOLUTION: 300dpi, as a photoshop file in CYMK mode, using Photoshop print profile: euro standard swap coated 20% (or euroscale V2)

NON EXCLUSIVE work:
4. Two other bits of illustration.
These should be your best recent work. They do not necessarily need to be on an environmental theme but should showcase as wide a range of imagery as possible, eg. people, things, places, typography etc. If you have created artwork for any of my previous open briefs this could form part of your submission although I would prefer to see new work. Be sure to stick to one style though – illustrators with a strong style of their own will always make the biggest mark, and I am unlikely to pick anyone who does not show a strong style throughout their submissions.
These can be any size, but please label each illustration clearly with a name and date of creation.
SIZE: as big as possible to fit the book’s page sizes.
RESOLUTION: 300dpi, as a photoshop file in CYMK mode, using Photoshop print profile: euro standard swap coated 20% (or euroscale V2)

CLOSING DATE: Monday 3rd August, by midnight please.
Please send lo res versions of your images (saved for web) to info@ameliasmagazine.com in an email clearly marked ANTHOLOGY OF ILLUSTRATION so that I don’t lose sight of it in my inbox if I am rushing through things on the day it arrives.
(This should be 6 pieces of work altogether. PLEASE DON’T SEND MORE THAN THIS)

If you are chosen for inclusion in Amelia’s Anthology of Illustration then you will be notified shortly after this date, once I have made my decisions. I have yet to decide how I will put together the profiles, but I may well need a photo from you and a short interview. If this is the case you will be notified later on in the summer.
And if you have any questions that are not answered above then please email me for clarification.
Join the facebook event here to ensure you get updates as they happen.

Best wishes and happy drawing!

Links
Below is a very long list of links, courtesy of Bruce: this is by no means conclusive, and the technologies may never work, but they are all being explored and would be valid ideas to illustrate. Youtube and Google Images are both a great source of innovative technologies, and I am sure you can find more. Feel free to go off and google you heart out – but you must illustrate something real and possible, and not a fantasy idea of your own. (unless you are also a scientist of course)

Wind turbines

Wikipedia wind power info

Magenn’s revolutionary wind power system on youtube

Magenn Air Rotar system

Magenn’s home page

The Floating Balloon Wind Generator

Motorwind Camping Set Wind Turbine

Knex wind turbine

Magnetically Levitated wind turbine

Great pic of huge Maglev wind turbine

Wikipedia entry about Maglev wind turbines

Maglev wind turbines homepage

Mag-Wind Vertical Axis Turbine

A Flying Wind Machine!

Floating Wind Turbines

A great blog about lots of different alternative energy projects including wierd and fantastical wind turbines

Huge Kites

Optiwind accelerating turbine

Selsam superturbines

Rotating wind power towers

Broadstar’s Aerocam

FloDesign wind turbines

Wikipedia definition of airborne wind turbines

downloadable PDF containing interesting info about different types of airborne wind turbines

Wikipedia definition of Kitegen

Kitegen website – plans for a huge airborne wind farm!

Great picture of how kites could generate electricity

Guardian article about kite power

Video showing how a kite ladder would work

Makani Power high altitude wind kites

Google have put money into the Makani vision

Makani “wind dam” picture

Great article about Saul Griffith — wind energy entrepeneur, and president of Makani

Tom Van Sant makes amazing kite ladders as sculpture

Wind Harvesting farms

Helix Wind

More Helix Wind porn

Google search results for wind power technologies

Mariah Power wind turbines

Google videos about wind power

The huge offshore aerogenerator

Quiet Revolution wind turbines

Wave power

Oscillating water columns

Anaconda wave technology

SIE-CAT wave energy accumulator

A list of wave power patents going back to the 1800s

Danish Wave Energy Society

the Wave Dragon

Wave Star Energy

Wave Energy Centre

CWave Power

the Aegir Dynamo

CETO

Columbia Power

Float wave electric power station

the Manchester Bobber

Orecon oscillating water column

OE Buoy

Aquamarine power

Sperboy wave energy converter

SSG Concept

The Seadog Pump

Buoys technology

Floating power plant

Surf Power

Power Buoy

the Wave Roller

Langlee Wave Power

the WRASPA

video about Harnessing the Gulf Stream! (is this a good idea?)

Wikipedia entry about wave power

Pelamis on wikipedia

Pelamis wave power

Pelamis being tested in Portugal

Google videos on wave power

Biowave power system

video showing Biowave power working

Video – giant rubber snakes!

SRI wave powered generator

Ocean Power Technologies

video – Aqua Buoys

Aqua Buoy movie

Oyster wave power

Tidal power

Wikipedia on tidal power

Video – tidal wave energy

youtube – idea for tidal energy barrage in florida

Sea Gen

google video links for Sea Gen

Marine Current Turbines

video of Biostream tidal power system

Gorlov helical water turbine on wikipedia

Gorlov Helical Turbine

3D interactive model that shows blades of Gorlov turbine

Severn Barrage

Solar Energy

Wikipedia on solar energy

Thermal

wikipedia on thermal solar energy

wikipedia on solar energy generating systems

wikipedia on solar power tower

BBC news report on solar power stations

Solar Power tower in Spain

image of Solar Power tower

more images of solar power tower in spain

Bright Source solar power on wikipedia

Bright Source Energy

Solar Reserve

youtube on solar tower energy

solar tower energy in spain on youtube

Enviromission solar tower

Suncatchers

Dual axis solar tower structure

Voltaic

photovoltaic energy

youtube on israeli solar energy

First Solar free field power plants

youtube about plastic solar cells producing solar power

Konarka power plastic

Standard geothermal

Geothermal power on wikipedia

youtube geothermal energy vid

Enhanced geothermal

Wikipedia – enhanced geothermal systems

youtube video on enhanced geothermal systems

Hot Rock Technology

Alta Rock Energy

Petratherm

Geodynamics
magnum1.jpg

The Reluctant Photojournalist

Features a variety of vintage and modern prints from Werner Bischof’s well known humanitarian photography including the Bihar famine, more about Europe post WWII and the South Korean war. Alongside these sit Bischof’s equally beautiful but perhaps lesser known early experiments with abstracts and nudes.

Photographic co-op Magnum Photos Ground Floor, 63 Gee Street, London EC1V 3RS, 0207 490 1771
Free Entry
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re.orient.ate

Reorienting common notions of contemporary Arab art and lifestyle and debunking ‘Orientalist’ depictions. Arab artists Marianne Catzaras, Dora Dhouib and Wael Shawky explore themes of mass media, Diaspora and religion via film and photography.

Selma Feriani Gallery, 23 Maddox Street, Mayfair, London W1S 2QN
7th Apr – 13th May 2009
Free entry
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The Abyss

A new joint exhibition by former Wimbledon College of Art students, Nicola Stead and Dan Jupp.

The Outside World, 44 Redchurch Street, London E2 7DP
7th May – 13th May By appointment Thursday to Saturday
Free entry
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The Hiding Place

Lewis Chamberlain
Exquisitely rendered pencil drawings whisk the viewer away into muted landscapes
which toy with scale, suburbia and the surreal.

James Hyman Gallery Savile Row, London W1S 3PD, 020 7494 3857
30th April – 30th May
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Crafted
Contemporary Craft and Fine Art

An exhibition celebrating the materials, processes and techniques involved in making extraordinary objects, the exhibition will feature nine artists from different arts and craft and design fields.

Oriel Myrddin Gallery, Church Lane, Carmarthen SA31 1LH
4th Apr – 16th May 09, 10 – 5 Mon – Sat
Free entry
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Monday 11 May

Telepathe are a too-cool-for-school three piece from Brooklyn. They’re playing 93 Feet East. They get obtuse Krautronica and make it go “POP!” – maybe they’ll be the next Animal Collective… Supported by Ou Est Le Swimming Pool.
telepathe.jpg

Tuesday 12 May

Dan Mangan plays The Electroacoustic Club, salve housed at The Slaughtered Lamb, viagra Clerkenwell. He’s a heartfelt songwriting kind of guy, information pills sings like he means it, and he’s much better than that Elbow record. Support comes from Deer Park.
mangan.jpg

Wednesday 13 May

Our new favourite boyfriend-girlfriend duettists, Young Paul, will be giving The Cobden Club, 107 Kensal road a taste of 80s electronic treats. get in touch with the band for hassle-free entry, as it’s a private members club. Not just a fine gig, then, but also a chance to see where the Old Etonians schmooze.

Thursday 14 May

Alice and The Cool Dudes at Barden’s Boudoir. This is the high point of our music week. Alice Grant of Fulborn Teversham, is leaving her jazzhead buddies to one side to unveil some pensive indie songs, delivered by a totally unique voice that totters across a tightrope of uncannily powerful and tearful exhaustion. Surely she won’t disappoint?????
alicedude.jpg

Friday 15 May

Up in Nottingham, North-East London’s finest jokeshop salesmen of parallel-universe, narrative ska will be testing out some new material where they think no one can hear them. If you can find a place called Demo, you must prove Hothead Show wrong. Prepare for shockingly tight wizardry of the jerky-jerky groove.
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Saturday 16 May

A night of so-angry-we-can-only-tell-you-very-very-slowly Metal, with some catatonically droning Grunge, and atonal noise that may cause loss of balance on all but the lowest of seating. Roll up at The Constitution and enjoy Dethscalator, Scul Hazzards and Batrider. If you don’t take earplugs, then take cotton wool to mop up you bleeding lugholes.

Sunday 17 May

Always a good bet for a sunday night is Cross Kings, 126 York Way, in King’s Cross. On the ground level, David Goo will jolly along an open mic, which always has a few very eccentric envelope-pushers pencilled in. The avant-gardishness couples nicely with the family warmth, houmous and pitta that makes this a great pub. It’s worth paying a few quid to be allowed into the basement also. Things are a bit more organized (sound-checks and everything) but happily, there’s still no obvious divide between the musicians and the audience. What sundays are for.

Written by Gareth David on Monday May 11th, 2009 4:30 pm

Categories ,93 Feet East, ,Alice And The Cool Dudes, ,Barden’s Boudoir, ,Batrider, ,Cross Kings, ,Dan Mangan, ,David Goo, ,Deer Park, ,Dethscalator, ,Hothead Show, ,live music, ,London, ,Nottingham, ,Telepathe, ,The Constitution, ,Young Paul

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