Amelia’s Magazine | Ben Schneider of Lord Huron describes the making of new video Time To Run

Lord Huron
I love Time To Run, the new single by LA based alt pop band Lord Huron: it’s a big Appalachian infused pop melody accompanied by a wonderful spoof video of a bad ‘spaghetti’ Western (complete with indecipherable Indonesian subtitles) that was shot on a shoestring in the searing desert heat. Founder and front man Ben Schneider thoughtfully describes the making of the video below. Sounds like fun…

YouTube Preview Image
Working from source material, our concept was pretty clear from the beginning. We were really looking for a collaborator to bring the idea to life and enhance it without much of a budget. I’ve been friends with (director) Evan Weinerman for a couple of years. We share a lot of similar references and had talked about working together for a while so it seemed like a natural choice. I knew he was good at thinking creatively and stretching a budget. In general, I like working with people I know personally because we can speak freely and call each other’s bullshit without feeling awkward. It just makes the ideas flow easier.
Lord Huron
The first thing we did was spend some time looking at references and pinning down the aesthetic. I had something pretty specific in mind – a western with some exotic touches. We watched some classic westerns, a few Bollywood clips, read some pulp novel passages. Once we were on the same page, we took a day with our producer (and LH guitarist) Tom Renaud just driving around in the desert looking for a good location. We found it, way out there. A big stretch of nothing.
Lord Huron
We spent a couple days at prop and wardrobe houses. That was really interesting. Being in LA, we’ve got access to just about anything you could think of. Egyptian armor? Why not. Ceremonial Hindu belt? Sure thing. It was pretty tough choosing just a few items and staying within our budget. Thanks to everyone’s hard work, things started taking shape. We spent the night before the shoot making some final props. Stained clothes, colorful banners, old camp supplies.
Lord Huron
We had one day to shoot. Of course, a couple of our actors dropped out at the last minute. Not surprising, as it was supposed to be about 102 degrees farenheit at our location. No matter. We called up some good mates who graciously agreed to play hooky from the office and join us on our desert adventure. We set out at about 5 in the morning, packed like sardines into a few cars and a rented truck.
It was, indeed, quite warm, but we had shade and plenty of water and the sweat really helped sell the dirty cowboy thing. The looks of exhaustion and torture you see on the actors’ faces are only partially put-on. We spent about 14 hours out there and then headed back to LA to shoot the night scene. Another 5 hours or so. Not a soul complained. Good sports all-around. Damn fine group of people. I’m proud to have worked with all of them and proud of what we made together.
Video Credits:

Director: Arms Race
 (Evan Weinerman)
Producer: Tom Renaud

Director of Photography: Garret Curtis

Editor: Benjamin Dohrmann

Makeup/Hair: Talia Londoner

Assistant Camera: Hilkiah P Browne
Wardrobe Consultant: Annie Jewell

PA: Caitlin Schneider
Actors: Mark Barry, Brett Farkas, Tom Renaud, Miguel Brinseño, Ben Schneider, Kenny Apel, A-iya, Anthony Nickolchev, Lynette Emond, Kevin Kinsella

Download Time To Run for free above. The debut album Lonesome Dreams by Lord Huron is out in October.

Categories ,A-iya, ,Annie Jewell, ,Anthony Nickolchev, ,Appalachian, ,Arms Race, ,Ben Schneider, ,Benjamin Dohrmann, ,Bollywood, ,Brett Farkas, ,Caitlin Schneider, ,Evan Weinerman, ,Garret Curtis, ,Hilkiah P Browne, ,Kenny Apel, ,Kevin Kinsella, ,Lonesome Dreams, ,Lord Huron, ,Lynette Emond, ,Mark Barry, ,Miguel Brinseño, ,single, ,Spaghetti Western, ,Talia Londoner, ,Time To Run, ,Tom Renaud, ,video

Similar Posts:

Amelia’s Magazine | An interview with The Epstein about new album Mumurations

The Epstein by neonflower
The Epstein by neonflower.

Oxford based folk rockers The Epstein return with their second album Mumurations today. 14 months in the pipeline, it’s a record filled with songs of departure and change, all set against a lush melodic backdrop. From opener Morning News – a typically heartfelt tale set to the mournful twirls of a guitar – to the beautiful lilting sounds of current download single Calling Out Your Name, this is over 40 minutes of big folk that is well worth checking out. I spoke with Olly Wills, who is responsible for vocals and acoustic guitar.

The Epstein - Murmurations Cover
What does Murmurations mean?
Murmurations is the term used for a flock of starlings when they fly in swooping flocks of thousands and can be seen sweeping and diving above fields and trees… I think it is something that is most often seen in the early autumn. Type the word into google images and you will see what I mean, it is an amazing spectacle.

The Epstein by youdesignme
The Epstein by youdesignme.

Who came first to The Epstein, and how did the others come on board?
The band started with founder members Olly Wills and Al Verey and very quickly Jon Berry and Rowland Prytherch came on board. We started playing open mic nights in Oxford and London and built the band up from there. We got a residency in a local pub where they paid us to play for 2 hours a week on a Thursday night and slowly the band developed its live skills and worked out what songs worked and what songs didn’t. This was quite a few years ago now and the band has changed hugely over that time but Olly and Jon are still there along with Seb Reynolds on Keyboards, Humphrey Astley on Bass and Tommy Longfellow on drums.

YouTube Preview Image
What inspired the words and the sounds of the new album?
Our first album was pretty narrative in terms of its songwriting and pretty country-folk in terms of sound… we wanted the second album to be quite different in both regards. We aimed for a widescreen cinematic and fully studio sound and the songs whilst still being narrative in some regards are also more image based as well. Hopefully they allow the listener to paint pictures for themselves as they listen. 

The Epstein by SarahJayneDraws
The Epstein by Sarah Jayne Draws.

What can attendees expect of your album launch later this month?
We are playing album launches in Oxford on June 27th and London on June 30th and we are really excited about both shows… We have some great support coming from The Dreaming Spires, Co.Pilgrim, Empty White Circles and Jordan Oshea (2 support bands each night, not 4!) and we will be playing the whole album from first track to last with some great visuals to help create a magical atmosphere. Great venues, great music and some cool backdrops… what else could ask for?

YouTube Preview Image
Why is Oxford such a hot bed of musical goings-on? Anything special that you can put a finger on?
Ever since I have been involved with music in the city there has been a constant week in week out scene. You can choose between 4-6 gigs a night almost every night of the year which is a pretty healthy amount of creative activity for what is a pretty small city… There are some great local music magazines, there are loads of festivals to get involved in and a huge student population who are a big part of it all too. On top of this you are really well situated if you do want to do gigs in London and other UK cities. Oxford had a rich heritage in great music when I got here 10 years ago – Radiohead and Ride are just two that spring to mind – and is so cool that in recent years newer bands have brought recognition back to the city. Foals and Stornoway are two recent acts who are known far and wide now, so I guess that all in all these elements combine to create a scene in the city where as a musician there are many opportunities to get your project in front of many interested people and hopefully further a field as well.

YouTube Preview Image
It’s taken awhile to record this album. How did it take shape?
We started this album in a studio in north London, did sessions in Bremen, Germany and ended up doing a lot in Truck Studios, Oxford as well as various rooms in between. It involved many musicians and much planning and as a result took us quite some time to record let alone mix and master so that in brief paragraph explains the lengthy nature of the process… The end result is what we planned for at the start, I just dont think we thought it would take nearly as long as it did to get from that start to today where the album is all packaged and ready for people to take home with them.

What next for The Epstein?
A busy summer of shows here in the UK promoting Murmurations and also on the continent where the album is out on PIAS Records. It is great to be busy again and the band has never been better as a live unit so we have a lot to look forward to in the near future. In the autumn we will finish off the next record – which we have already started on – and baring in mind the experience with the making of the current recordings we are seriously aiming to be able to release another album early in 2014. Fingers crossed!

The Epstein release Mumurations with Zawinul/PIAS on 24th June 2013. They will celebrate with a launch party at St Albans Church in their home town of Oxford.

Categories ,Al Verey, ,Co-pilgrim, ,Empty White Circles, ,Humphrey Astley, ,Jon Berry, ,Jordan Oshea, ,Morning News, ,Murmurations, ,neonflower, ,Olly Wills, ,Pias Records, ,Rowland Prytherch, ,Sarah-Jayne Draws, ,Seb Reynolds, ,St Albans Church, ,The Dreaming Spires, ,The Epstein, ,Tommy Longfellow, ,Truck Studios, ,youdesignme, ,Zawinul/PIAS

Similar Posts:

Amelia’s Magazine | Hjaltalín – Interview

Claire Roberts

The central premise of Silent City, treat the group comprised of artists Emily Whitebread, Cara Nahaul and Sally Mumby-Croft, whose first exhibition has just opened in Brick Lane, is intriguing. Their starting point was a reaction against what they perceived as the standard Climate Change exhibition. Cara explained the original thinking behind the group:

“We went to the RA’s ‘Earth: Art of a Changing World’, and we were completely disappointed. There were one or two standout pieces, for example Lemn Sissay’s performance video ‘What If?’, but on the whole it was a very shallow, one-dimensional show. It didn’t provoke us at all. We found the bright red neon globes and concrete flowers both obvious and pious. The worst thing though, was that it seemed almost entirely from a Western perspective. We’re the ones who caused this mess with our industrialisation, but the Global South is paying the highest price. Bangladesh will be submerged by our actions, but at that show countries that are actually directly affected by climate change didn’t even get a look in.”

They founded Silent City the next day. Their objective was to redress this balance by putting on exhibitions that would seek to present the full implications of Climate Change – especially what it would do to those nearer the equator.

I went along to Brick Lane to see if their exhibition could match her admirable words, and I was suitably impressed. A group show of around 20 artists of various backgrounds whose work all deals with the environment have joined the three founding artists, and the result is a pleasing mix between professionally polished ideas and the kind of activist idealism that was missing from Earth: Art of a Changing World.

Tutte Newall

The work, in various mediums from painting and film to dead insects, was of a very high standard. Highlights included Tutte Newall’s beautiful but disturbing paintings of monochrome animals who stand in pools of their own colour, Jools Johnson’s fascinating installations of dystopian cityscapes fashioned out of screws and random computer components, and Claire Robert’s presentation of dead bees, a commentary on the emergence of colony collapse disorder, which threatens bees worldwide, and therefore a third of the world’s food supply.

Jools Johnson

Works such as the documentary Drowning By Carbon, by Hazuan Hashim and Phil Maxwell, which featured Bangladeshi children planting the trees that they hoped would one day save them from the looming climate catastrophe, ensured that the original promise that the exhibition would deal with the Global South was kept.

But perhaps the best thing about Silent City was that it managed to put forward a view of Climate Change that was not obvious, in spite of the fact that as a topic it has been talked to death from every angle. Featured documentary Mauerpark, for example, focused on the proposed development of the famous Berlin park. At first glance, this seems more a social than an environmental issue, but after watching the film its relevance to the Climate debate became clear: At its heart the film was about the choice between the short term pursuit of growth and a space that was for everyone, whose benefits could appear more intangible and immeasurable. It became easy to view Mauerpark as microcosm of the natural world itself.

This outlook on climate Change that seemed fresh and different, coupled with art that was as well thought out and made as it was thought-provoking, made Silent City a big success. In fact it was so successful that the closing night film screening was such a scrum that people were camping out on the stairs, able to hear but not see the films. Silent City was apparently just the first of a planned series of exhibitions. It looks like next time they might have to rent out a bigger space.

Photographs by Sally Mumby-Croft

Iceland’s Hjaltalín are one of the many groups from the island nation currently building up a fair bit of buzz – their first album, physician Sleepdrunk Sessions, drug was hailed by many for its large, expansive sound featuring what sounded like a whole orchestra at times. Some even compared their sound to Arcade Fire soundtracking a Bond film. I had a chat with their bassoonist, Rebekka Bryndís, about the band as they prepare to release their second album, Terminal.


Can you start off by explaining how the band works together. How do you write your songs?

Our lead singer writes most of the songs. He comes up with an idea or writes something and then they kind of evolve into the full songs through teamwork. And then also some came about from playing with the Icelandic Symphony Orchestra.

Are you guys classically trained to use your instruments?

Yep, most of us are.

So then you come to this with quite a detailed knowledge of music theory, I imagine? You have a very interesting orchestral sound, especially on the latest album [Terminal]. How does it differ from your first album [Sleepdrunk Sessions]?

It’s very different from the first album. The first album came about, pretty much, because it was supposed to be an EP but it then evolved into an LP. It’s all quite different with Terminal, because we’re all touring a lot and so the songs have changed a lot, within the band, and when we decided to record the songs most of them we recorded in one big session with a chamber orchestra so it had that live sound. Not all of the songs were recorded that way, but most of them.

Recorded quite organically then?

Yes, it was.

I can hear a lot of influence from film soundtracks and composers like Ennio Morricone in your music – are those big influences on your sound?

Yes, true…

Were you trying to record something that sounded like a soundtrack to something, in a way?

Uh… Not really! [laughs] It just kind of turned out that way. We wanted to do a wide sound, really. Lots of things going on.

Have you ever done a film soundtrack?

We have! It was for this black and white film, I believe it was the first film that was ever made in Iceland, made by some Danish peeps, called Saga Borgarættarinnar.

What’s it like to record a real film soundtrack, compared to a normal album?

We played it live, actually, for a film festival, the Reykjavik International Film Festival, and we played live in front of an audience alongside the film. It was a lot of work… We were told that the movie was two hours but when we got the DVDs it was something like four and a half hours, so we just did the first half of the story… It was interesting.

It was a different creative process?

Definitely. We’d just hang out at the rehearsing spaces and just come up with stuff, but after our sessions this guy called Ben Frost – he’s this minimal electronic artist – he performed with us and we had a few recordings that were really cool, for Wonderbrass…


Wonderbrass, it’s the jazz group…

Ah, not the brassiere company.

No [laughs], that’s kind of the joke, I think… But yeah, Ben Frost performed with us, it was like a collective.

Does that happen a lot with you guys? Other artists coming in to help you?

Uh, no… Well, we do have other artists coming in to help us sometimes, but they’re not any part of the group.

But you might be in the studio and someone will stroll by and help put down a guitar track or something?

Yeah, yeah, people do come in and help with stuff.

That’s my impression of the music scene in Iceland – that it’s all like a close-knit, family community sort of thing. Is that what’s it’s like?

Most people, if they don’t know each other, they know of each other – they’ll recognise each other in the street. I guess it’s safe to say that there’s almost cliques that form? But not in a bad way, there are just circles of people who are really friendly and helpful.

Where are you going from here, then?

This summer we’ve got some festivals going on here, and we’ve got this big thing with the National Symphony Orchestra here so we’re here for that…

I imagine it’s quite hard to get them on tour with you.

[laughs] Yeah, yes. That’s a difficult thing. Uh, yeah, there’s also a big tour in September, going across Europe, with Germany in July at the start I think. It’s a busy summer.

What’s going to be the first single off the album?

‘Abroad’? I think… we haven’t really discussed it yet. All the songs are so different!

Categories ,Arcade Fire, ,Ben Frost, ,Ennio Morricone, ,Hjaltalín, ,ian steadman, ,iceland, ,Indie, ,Orchestral, ,Saga Borgarættarinnar, ,Sleepdrunk Sessions, ,Terminal, ,Wonderbrass

Similar Posts:

Amelia’s Magazine | Moriarty

Today saw Menswear designer Lou Dalton bombard the opulent interiors of Kettner’s in Soho with his rustic AW 0/9 “Deer Keeper” collection. Inspired by the poet Lord Byron the pieces drew a stark contrast with the rather pristine surroundings of this small Parisian establishment. The show saw the quintessential English gentlemen invigorated with a contemporary urban twist. The collection saw felted flannel trousers and jodhpurs alongside denim shirts and gillets. Felt and velvet were a resounding feature throughout and was incorporated into the detailing in their flannel single breasted jackets, prostate healing trousers and shirts.


Dense cable knits in luxury chenille and Merino wool conveyed a rather nonchalant feel, for sale find which was finished perfectly with oversized holdal’ s. The collection seemed more suited to a romp in the leafy terrains of the countryside then the heart of Soho. The aesthetic was finished perfectly with shoes by brogues by Grenson. Dalton also featured wax cotton macs which were reminiscent of the traditional Barbour jackets, he modernized the classic with a stylish ruched waistline . The colour palette for the collection evoked a autumnal feel with subdued charcoals,khaki’s,olives and browns.


The collection had a real sense of fluidity, with each piece resonating as the next was introduced. Complimented perfectly with tracks by Alexi, with soaring and delicate melodies that had undercurrents of the iconic Smiths lead singer Morrisey.

Lou Dalton’s A/W collection showcased a revitalized interpretation of traditional silhouettes and tailoring which accumulated in a stylish yet wearable collection.

Is your wardrobe look rather lack lust-re of late? if your answer to this question was a resounding yes then never fear here at Amelia’s magazine we have the perfect escape plan for those discarded items lurking deep in the realms of your drawers! . This Sunday at Spitalifields market from 1pm till 4 will see an entirely unique shopping experience comically titled ” swishing” besiege the East end. The event essentially is a fashion swap, drug where participants are required to bring an array of unwanted garments, see the minimum required is one piece of clothing. Then they are free to rummage to their hearts content to find those hidden gem’s amidst the endless piles. To safe guard the whole swishing experience the team has a strict policy of no physical aggression, visit this so keep the handbags at home ladies!. So get trawling those wardrobes as this is a event not to be passed up. In the current climate there is no surprise the event organizer’s are hailing it a must for all “recessionistas”.


images supplied by
Is your wardrobe looking rather lack lust-re of late? if your answer to this question was a resounding yes then never fear here at Amelia’s magazine we have the perfect escape plan for those discarded items lurking deep in the realms of your drawers!. This Sunday at Spitalifields market from 1pm till 4 will see an entirely unique shopping experience comically titled ” swishing” besiege the east end. The event essentially is a fashion swap, sick where participants are required to bring an array of unwanted garments, for sale the minimum required is one piece of clothing. Then they are free to rummage to their hearts content to find those hidden gem’s amidst the endless piles. To safe guard the whole swishing experience the team has a strict policy of no physical aggression, check so keep the handbags at home ladies!. So get trawling those wardrobes as this is a event not to be passed up. In the current climate there is no surprise the event organizer’s are hailing it a must for all “recessionistas”.


images supplied by
DIY on the bank holiday weekend is a British as it gets. Whilst the rest of the country sits in hot and bothered queues to pass in and out of B&Q in the next few days, viagra order we will be very much the vultures of culture satisfying our ingrained urge to rebuild and improve down on the South Bank at this year’s aptly themed ‘Do It Yourself’ The Long Weekend, viagra hosted by the Tate Modern from 22nd May to 25th. With inventive interaction and active participation galore, there is certainly something for everyone and with all of the events, screenings and galleries free to go along to, we see no excuse to not get down there and be a part of it. Highlights for us include House of Fairytales, films by Jennifer West and the remake of 1971 iconic Robert Morris installation.

House of Fairytales
Taking place by the Riverside just outside the Tate Modern the lovely bunch at House of Fairytales will be laying on a fine spread for one and all. A self described ‘antidote to commercialism’ there won’t be many aspects of the arts not catered for; maypole dancing, making and playing instruments, shadow puppets, drawing, sewing and sculpture all taking place over the weekend.


Only in its second year of operation, this innovative non profit production company brought to life by seminal artists Gavin Turk and Deborah Curtis is a way to pool creativity and ‘equip the next generation with the imagination needed for the future of the planet.’


Friday 22 May 2009, 12.00–18.00
Saturday 23 May 2009, 12.00–18.00
Sunday 24 May 2009, 12.00–18.00
Monday 25 May 2009, 12.00–18.00

Jennifer West
Film strips, skateboarding, paint and a video camera. Four fairly unusual ingredients but Jennifer West’s recipes are tried and tested and no doubt this weekend’s live project will live up to our expectations of deliciousness. Staged in the magnificent Turbine Hall, a team of skateboarders will ‘traverse paint and ink-covered film strips, their wheels scraping into the celluloid and marking their movements in complex and psychedelic patterns’.


The footage taken at the live event will become the following evening’s feature film, along side a selection of West’s previous cinematic work. Inspired by urban mythology, folklore and popular culture Los Angeles resident West is renowned for never editing her films, which lend themselves to being mysteriously hypnotic, fast paced and a bit out of this world.


Friday 22 May 2009, 19.00–20.30
Skate the Sky Melon Grab Film
Turbine Hall
Saturday 23 May 2009, 19.00–20.30
Wheels, Ink Ho-Ho’s and Melon: Films by Jennifer West
Film screening
Starr Auditorium

Robert Morris: bodyspacemotionthings
38 years ago last month, the Tate was under the spotlight for a controversial exhibit by installation artist and sculptor Robert Morris. The series of sculptures, made up of tunnels, balls, platforms and slopes, were purposefully designed to be interacted with and posed something of an assault course for those engaging with them. The huge public and media interest mounted when the gallery was forced to close its doors after just 4 days due to injury from the unexpected over-enthusiasm on the part of the general public.


Fast forward to 2009 and a recreation of the exhibit based upon Morris’ original plans but using contemporary materials such as plywood, stone and steel plate arrives this weekend at the Tate and will surely prove to be a focal point of The Long Weekend. New York based Robert Morris is a highly regarded and respected man in his field, and not only famous for his daring interactive exhibitions but choreographs, performs, paints, draws and writes.


Friday 22 May 2009, 10.00–22.00
Saturday 23 May 2009, 10.00–22.00
Sunday 24 May 2009, 10.00–18.00
Monday 25 May 2009, 10.00–18.00

What will you be Doing Your Self this Bank Holiday weekend?
Ioannis Dimitrousis‘ penchant for traditional crocheting is given a futuristic fetish spin in his new collection.

Skintight, what is ed flesh-exposing, case fine-knit cocktail dresses that wouldn’t look out of place in Mad Max’s Thunderdome were the key staple of the collection – interwoven with swathes of thin chains and at one point, illness hundreds of silver needles. The palatte was a mix of greys and blacks – with flashes of silver complementing the chainwork. The one and only misfire was when the dresses went below the knee and were interpreted as high-shine, silver fishtail skirts – so skintight and unyielding they left the models staggering forward on the catwalk…


The womenswear collection was supported by a selection of menswear pieces that carried the chainwork theme into exagerrated, masculine silhouettes; the best look undoubtedly being a series of armadillo-shouldered bomber jackets akin to a mainstream Gareth Pugh

Romina Karamanea‘s A/ W 09 collection offered us an under-stated selection of dresses in stone, medicine matt-black and red-wine as well as hotpant catsuits, store with a young and more edgy vibe. The models were detached and robotic with silver glitter make-up, leaving an overall edgy and urban feel as they stomped through the show. The collection stood out with short hemlines that were both soft and seductive, allowing for a subtle yet powerful feminine form to be revealed.
Karamanea used only three colours – stone, black and red, which was a simple combination, leaving you to examine the form of the garments. Suede was consistent throughout all the outfits, appearing soft to the touch but also structured. The looks were finished off with coordinating killer patent heels.


Her futuristic designs filled with clean cuts drew attention to the neck and shoulders with use of piping creating structured original shapes that were intriguing to the eye. The intricate shoulder details stood proudly, reminiscent of 1950′s sci-fi combined with power shoulders for the modern day.
Corseted waists also emphasised the feminine shape to offer a seductive silhouette. The collection incorporated the human anatomy, with emphasis on the femininity of the wearer. It was a well-received and coherent collection that was unusual, accomplished and brilliantly ready to wear.

It was only a few seasons ago that the Vauxhall Fashion Scout welcomed newcomer and rising talent, find Christopher Kane…and now it seems, health fresh London College of Fashion graduate, William Tempest is taking his place and following in his footsteps at alarming fashion speed. He has designed pieces for Madonna, while Cheryl Cole has recently been spotted in his apparel.
Hype and excitement regarding his newest collection was ubiquitous; the audience in itself seemed an expression of this, anticipation struck all sorts of famous faces including that of Hilary Alexander, Fashion Editor at The Telegraph, a handful of Vogue editors, Colin McDowell and the lovely Emma Watson, who has been seen to be wearing custom-made Tempest dresses.



Structure was crucial and all of Tempest’s designs revolved around this concept, creating a fierce yet not intimidating series of architectural silhouettes. We saw strapless dresses, with tight bodices that then dramatically billowed downwards after the waistline. Fitted blazers splashed with an array of bright colours were paired with simple, straight-legged black trousers.
William Tempest seemed particularly keen on a strange yet highly original print- it was used in regular doses throughout the collection and provided an antithesis to his otherwise calmer, more subdued pieces. While difficult to describe, it was a print that seem to lie between the realms of tye-dye and acid wash, while maintaining a modern artistic vibe. It was a contemporary take on an eighties print and resembled sporadic, faded paint splatters.

Highlights included the large, structured knee-length coats, whose exaggerated and stiff standing lapels and collars seemed to defy gravity in itself. Furthermore, the “lava dresses” with their tight bodices and layered, puffy floor length skirts looked lavishly other-wordly.
Shoes were understated, accessories were non-existent, instead Tempest encouraged us to concentrate on his clothes. The show was the closest to artistic expression that I have seen yet, and when the music stopped and people started to leave, I noticed Emma Watson scurry backstage…probably to greet Tempest himself…and I couldn’t help but to want to run after her and congratulate him too.

‘Urban Holographic’ was this year’s brief for the Fashion Awareness Direct student competition at the Vauxhaul Fashion Scout tent. Hmm yes…not quite sure what that means? Think 2001: A Space Odyssey, ailment and outlandish 60′s visions of a future generation living in space. By now we should all be floating about in pods, dosage preserving our eyeballs in liquid nitrogen, search and consuming our daily calorie intake with a single tablet (I’m sure that will go down well with the fashion crowd). Unfortunately Stanely Kubrick’s futuristic hopes have not materialised. But the aesthetics and fashion sense of this genre, known as ‘Retrofuturism,’ are still a major design inspiration.

Fourteen finalists from ten UK universities/colleges took part in the show. Each student presented two ‘uniforms’ for galactic hosts/hostesses. Baby-faced William Tempest (he can’t be older that eleven) announced the winners. Camilla Kennedy from Birmingham University received the 2nd runner up prize with her duo that wouldn’t look out of place on any high street.: a red playsuit with harem shorts and nipped in waist, and a tailored silver lame jacket with severe shoulders with black leather leggings.



First runner up was Felicity Baggett with her menswear collection of subtle planetry prints and heat moulded spheres. I don’t know what it is about award ceremonies that gets me. While everyone scoffed and cringed, I gasped breathlessly right by Kate Winslet’s side. So finding myself sitting immediately next to the mother of the 1st runner up was just too overwhelming. At the first whiff of a proud beaming Mrs Bagget, I sobbed uncontrollably.



It got worse when they announced the winner, Madrid-born Ana Belen Moreno. Her parents, who were sporting fabulous matching pastel pink sweaters and were filming the show on their camcorder, screamed. Yes that’s right all you reserved English people who hate over emotional acceptance speeches at the Oscars, they screamed and yelped and jumped in joy. It was beautiful. I really, really wanted to join them. Their daughter’s designs were definitely worth their enthusiastic appraisal. The two garments were striking and skilfully made, combining Tie –dye ‘cosmic cloud print’ with digital Op-Art and structured tailoring. Any intergalactic space steward would be proud to wear them.


By all accounts, generic Moriarty, price have played in a mental institution, unhealthy a prison, a night train, a ruined Tuscan castle and the streets of Paris. Not a bad roster of esoteric locations, helping them live up to their namesake, protagonist of On The Road, the seminal bohemian road-novel. By comparison, Le Bistro at the French Institute, which I found a bizarre venue at the time, seems a fairly tame location. Not since I lived in Paris have I encountered a chicer gig audience, Moriarty are very popular in their native France and the shiny South Kensington petit France gang were out in force to see them.


The clean, brightly-lit café shouldn’t have been this band of multi-national, raggle-taggle bohemians’ natural habitat – from their pretty and haunting folk-cum-blues-cum-cabaret-jazz music you feel they’d be more at home in dusty small-town Wild West – but they do a pretty good job of engaging their audience, perhaps because, in the flesh, they are not actually too far removed from them. Live, the more smoky jazz bar elements of the music override the rest, mostly due to the dominance of singer Rosemary’s clear but caramel-smooth voice and the decadent jewel tones of her dress. There are also shades of Nouvelle Vague in their cute French cover of Depeche Mode’s Enjoy The Silence – Frenchy, smoky cover of 80s classic. Another highlight is Private Lily, which they add enjoyable background to when they explain that it was written about a young cousin who decided, controversially, to join the army.


On the whole, the band’s inter-song patter was engaging and witty, and just foreign enough to be cool whilst international enough to be lucid and funny. However, there were some slightly irritatingly contrived ‘comic’ moments in the performance, although these still went down pretty well with most of the audience, suggesting that maybe those clichés about French farce are true. However, they were doing all they could to overcome the slightly antiseptic environs of the occasion, which acted like a fluorescent light, highlighting everything, good and bad, unlike the normal, slightly fuzzier and dingier gig experience. Taking this into consideration, it was a really entertaining show by a band that I would definitely look out for in future.

Similar Posts:

Amelia’s Magazine | Music Listings: 10th August- 15th August

Watching their electric performance at The Garage, information pills I immediately understood why all the major music publications are getting their knickers in a twist over The Pains of Being Pure At Heart. With the recent release of their debut album, more about The Pains have quickly amassed a devoted fan base and garnered raptuous reviews for their perfectly pitched shoe gazing dream pop. If I hadn’t met them, I might have assumed that they were the sort of band who believed their own hype – and why wouldn’t they? Having sat down with Kip and Peggy earlier in the day I instantly realised that while they weren’t oblivious to the attention, they were unfettered by it. Letting the press get on with their excitable reactions, the band just want to play the music that they love.


The new album has practically been lauded as the second coming by heavy weights like The NY Times and NME, did you expect such an immediate and positive reaction?

Peggy – Definitely not, I just think about the bands that play music like us that we have always admired, and most of them were were not that comercially well known, and not always that critically received either, so playing the kind of music we play… we didn’t have our hopes up high. But we were really happy with the record though, we really enjoyed making it, but we had no sense that anything beyond us being happy would happen. I always liked bands that I discovered on my own, I wouldn’t hear them on commercial radio or MTV.

Kip- There are a couple of bands that reached a bigger audience like Sonic Youth or Nirvana, but most of the indie pop bands of the 90′s were limited to a narrow community.

So you were expecting that the album would spread by word of mouth, and instead you were plunged straight into a media frenzy. Were you ready for this?

Peggy- It wasn’t the goal of the band. You know, “everyone is going to love us!” We were just friends that started playing music and this is the kind of music that we like and have bonded over. I think if we had set out to get commercial success we wouldn’t sound the way that we do.


Kip- Where we come from, our backrounds in music, there is not really a strong tradition of bands expecting good things to happen. Perhaps American bands are more self depricating (laugh) but there is this built in expectation that if you do something that you love, it might not be well received by others, but you’ll be happy because you will be proud of it.

Peggy – And you’re happy with the five people that appreciated it! (laughs) I feel like I was that person that would always appreciate a certain band and I would have been totally satisfied with that kind of response for us.

Kip- Growing up, most of the bands that I liked, I didn’t know anyone else who liked them.

Did that give it a special resonance – liking a band, and knowing that no-one else knows them?

Peggy – I wouldn’t admit that…… but I secretly enjoy it!

Kip – I would have liked to have known other people who were into the same bands as me growing up. I felt quite isolated that way; I would sit at home playing computer solitaire, listening to an album over and over again, but it’s cool now that we are travelling more and meeting people who had similar backrounds.

What is the Pains’ backround?

Peggy – I’ve been in bands since I was 13, but none of them that ever went on tour. This is the first band where I’ve got to travel.


Kip – I was in a similar situation, but none of them had graduated above playing in a basement. So this is very different from anything I’ve ever been in – one band that I was in, our goal was to play at this house we knew that had really cool house parties! (laughs)

Can you account for the reasons why the Pains have become so successful?

Kip – We started small, we were playing together for a while before anything happened, it’s easy to lose sight of that because once the album came out things changed a bit, but we were around for a couple of years and met with plenty of challenges, so it doesn’t feel to us like it is an overnight thing, but it may seem that way from an outsiders perspective. I’m grateful for the way that it turned out because it allowed us to mess up for a bit without other people watching! (laughs) We had a relatively decent period of obscurity while we refined what we do….. and also, the reason is luck!

Peggy – And being in the right place at the right time.

Peggy, Is it true that the band formed in part to play at your birthday party?

Peggy – Yes! I remember it was my birthday and I had only invited like, four people; because I only have four friends! (laughs).

Kip – It was at this big warehouse and it was basically an elaborate plot to try and get Manhattan Love Suicides to play, and so if we threw the party, we could play first and then we could say that we played with them. So we had a month to get ready.

It sounds like it was a natural way in which the band came together….


Kip- It was the best way. If the last seven months have taught us anything; we are always together, and if there were people that didn’t get along, it would be hellish, but we were friends for a long time before we picked up an instrument. This made the whole experience fun and much less stressful then for bands who get formed by putting ads in a paper saying ‘drummer needed’.


Peggy – The fact that we are friends and the fact that we have stayed friends is almost more lucky than anything else.

So there haven’t been any falling outs on tour then?

Peggy (emphatically) No!

Kip – This is our first experience of doing this, we don’t have a glut of expectations, we’re just appreciative of the opportunity and are excited by it all; and when you are excited and enjoying it, it’s hard to get upset about things.

Peggy – Touring can be really hard and gruelling, and I feel like if it were with any other people it would really suck, but it ends up being fun anyway.

What have been some highlights for you in the last few months?

Peggy – Playing Primavera was really amazing, that was the first big festival we ever played, and I didn’t know what to expect. I mean, I don’t like crowds (laughs) so I thought, today might be weird or awkward, but it ended up being really life affirming and it was the biggest adrenalin rush ever.

Kip- ABC news showed up at our practice place to hear us play. The fellow who does the news is on TV saying (in deep, authoratative voice), “And now, a report from Brooklyn” (laughs), and him saying our band name on televsion… I sent that to my grandparents, I think that this was the moment where my family realised that even though they didn’t quite understand what was going on with us, we were doing something worthwhile.

Which country has had the best crowds at your gigs? Apart from Britain obviously!

Kip – Obviously!

Peggy – I thought Germany was really positive, we played three shows in Germany and they were really enthusiastic.

Kip – Sweden was pretty amazing, that country has a strong tradition of appreciating bands like ours and even though Swedes are normally really reserved, the enthusiasm we saw there predated even us having a record out – we had released our EP and if we had played in New York, maybe 40 people would have come, and we would know 37 of them, and then we went to Sweden and all of a sudden we were playing really big shows and I had no idea that a band like ours could find an audience like that. But most of the places that we have travelled to have been positive experiences.


You’ve got some more touring to do, and then what do you have planned?

Kip- We have an EP coming out this fall, we recorded four songs before we went to Europe in May, and after the tour we are going back to practicing and working on the new record. But every step of the process is exciting and I try not to think too far into the future, because then you miss out on what is happening in the present.

After this I get Kip and Peggy to take part in my game of Lucky Dip, which involves picking questions out of the bag (my handbag, actually) Peggy picks the “What is the first record that you ever brought?” and proudly tells me that it was Madonna’s “Like A Prayer”, and then with less confidence, quietly adds that a purchase of Tiffany’s “I Think We’re Alone Now” was also made. “I was really into female performers at the time!” she cried. Kip gets the “What is on your rider?” question, and true to form, the down to earth bands requests are not unicorns, dwarfs and mounds of Class A’s, but bread, hummus, water and beer. ” We just need to make sure that we get fed around 5pm or we get a bit grumpy” Kip ventures, although I don’t think any explanation is needed when the sum contents of your rider can be placed in a Tesco’s 5 items or less basket.

“The Pains of Being Pure At Heart” is out now.
Monday 10th August

UN Climate Change Talks

The U.N. Climate Change Talks in Bonn, recipe Germany begin a series of informal intersessional consultations today. These are part of the run-up to Copenhagen in December, search and this particular series can be found webcast live here

Illustration by Sergio Membrillas

Tuesday 11th August

The Yes Men

The Yes Men film shows the hoaxes perpetrated by two US political pranksters. The promotion team describe the film as “so stupidly entertaining” that it will reach and motivate thousands of people, this thus “adding even more juice into a movement that is trying to save civilization itself, among other modest goals.

Tuesday is the satellite event – live from Sheffield, it’s a simulcast event screening of THE YES MEN FIX THE WORLD and live q&a with the Yes Men beamed via satellites from Sheffield Showroom. Cinema-goers will have the opportunity to put their questions live and direct to the film’s stars from their respective cinema locations.

20.30, at the following London cinemas:
Odeon Panton Street, Clapham Picture House, The Gate Notting Hill, Greenwich Cinema, Ritzy Brixton, Screen-on-the-Green
More cinemas on the screenings page of their website.

Wednesday 12th August

Green Spaces & Sticky Feet

A creative exploration of the nature beneath our feet as we roam around the gardens – to help us understand why green spaces are important and how we can make our buildings greener. This is a workshop for children of all ages, who must be accompanied at all times by an adult.

St John-at-Hackney Churchyard Gardens

Contact – The Building Exploratory – 020 7729 2011 –

VESTAS : National Day of Action

On Friday the 7th August the bailiffs went in and the occupation of the Vestas wind turbine plant on the Isle of Wight ended.

In response to this a National Day of Action in support of the Vestas workers and to keep the factory open, for Green Jobs and a Green Energy Revolution, was declared. There will be actions all around the country organised by a diverse range of groups.

Or contact your local CCC group, or Union – or if you want to organise something in your area there is some advice from Jonathan Neale, of the CCC Trade Union group

The campaign to Save Vestas has not finished, it has just started and with it comes a campaign for a step change in the creation of Green Jobs and the Green Energy Revolution !

Outside the Department of Energy and Climate Change (DECC)

Contact – –

Illustration by Jeffrey Bowman

Thursday 13th August

Journey Deep Into the Heart of Remembrance

A spiritual celebration and experience, honouring our regal beauty with sacred song and dance. Dances of universal peace, Taize singing, Bhajans & Kirtan, native American sweat lodge, Zikr & Sufi practice, Breton dancing, Tibetan sound meditation, yoga, tribal dance, ancient ways of the British Isles, chant wave and more…

You can find more details

Illustration by Faye Katirai

Saturday 15th August

Fly by Night at Totteridge Fields Nature Reserve

Let the London Wildlife Trust take you out trapping, identifying and recording moths on the Totteridge Fields Nature Reserve. Come and see how many species of moths visit the fields at night. Please wear warm clothes and sensible footwear. Bring a Torch, Notebook and pen. You may also want to bring a flask.

Free car parking in sports ground car park adjacent to the Hendon Wood Lane entrance.
Nearest tube is Totteridge & Whetstone
251 bus stops on Totteridge Common near the junction with Hendon Wood Lane.

Hendon wood Lane entrance to totteridge Fields Nature Reserve
Contact – Clive Cohen – 07973 825 165 –

Monday 10th August
The National at Southbank Centre, order London

The National are one of my favourite all time bands. Their music full of deep seductive murmuring and soaring strings, The National build a beautiful soundscape full of urban discontent and lost loves.


Tuesday 11th August
Devotchka at Cargo, London

I wouldn’t blame you for thinking that Devotchka have wandered straight out an Eastern European shtetl with their romani/ klezmer-tastic music. In fact they’re from Colorado and you probably recognise their orchestral treats from Everything is Illuminated and Little Miss Sunshine.


Wednesday 12th August
Woodpigeon at Borderline, London

Woodpigeon is whispery folk with beautiful strings and brass. Perfect for a summer evening.


Thursday 13th August
Circulus at The Lexington, London

Tired of the ins and outs of modern life? Do you want to return to a simpler time? A medieval time? Go see Circulus then! They’re quite obviously as mad as a bag of prog listening cats but they sing about fairies and have lutes- what couldn’t be awesome about that?


Friday 14th August
Forest Fire and Broadcast 2000 at The Luminaire, London

Lovely country folk from Brooklyn’s Forest Fire and tinkly electronica from Broadcast 2000 are set to make this night special!


Saturday 15th August
Spaghetti Anywhere and Colours at Barfly, London

Here at Amelia’s HQ we often find ourselves listening to Spaghetti Anywhere‘s myspace selection of pretty indie pop, and it never fails to brighten up a dreary office day.
Also playing are Colours the South Coast’s answer to My Bloody Valentine, offering up a delicious slice of Shoegaze with Pavement-y undertones. Brilliant stuff all round!


Categories ,electronica, ,folk, ,gigs, ,Indie, ,listings, ,london, ,My Bloody Valentine, ,pavement, ,pop, ,prog, ,The National

Similar Posts:

Amelia’s Magazine | An interview with Nedry and review of new album In A Dim Light

Nedry by Abi Stevens
Nedry by Abi Stevens.

Nedry excel in a vocal electro dub step mash up genre all of their own. In A Dim Light opens languidly with the blissed out vocals of Ayu Okakita, whist behind builds the soundscape of alternating tensions that characterises this album. One of my favourite tunes comes next: the clattering beats and saws of Post Six providing a lushly chaotic backdrop to the melody. Havana Nights rattles and buzzes with sighing atmosphere, and across nearly 7 minutes Float explores the wonder of the universe. These are melodies to get lost in… sprawling with a danceable yet mellow musical intrigue. I spoke with Chris Amblin, Matt Parker and Ayu.

YouTube Preview ImagePost Six

You have been variously described as post-dubstep, dark electro-pop, leftfield and indie. You cross many genres, what do you think describes you best?
CHRIS: On record I’d like to think we carry on the tradition and attitude of early trip-hop, but with some modern twists: we really look up to bands like Portishead and Massive Attack. The post-dubstep tag has been quite handy, in that we initially aimed to blend our love of post-rock with dubstep and take that into a live setting, but since our first record, Condors, we’ve all further broadened our tastes and I think particularly in the live environment we’re a fusion of lots of flavours of dance music, with almost a rock band aesthetic. So I guess Modern-Trip-Hop works nicely!

Where do find inspiration for the rhythmic structures of your music?
CHRIS: I’m not sure if it’s such a conscious thing, but due to the fairly long winded way that we make tunes the rhythm can change from version to version. Quite often I’ll make a quite simple drum track for a song and Matt will subtly change the hi-hat pattern or where the snare falls and totally change the feel of the rhythm, then Ayu will sing on the off-beat or something or put together a very rhythmic backing vocal and by that point it’s difficult to understand where the actual rhythm has come from.

Nedry music “clouded” by claire jones art
Clouded – Nedry by Claire Jones Art.

Short songs are not your forte, why do you prefer to create long tunes?
MATT: Well we have a few songs running under 5 minutes on our new album, a couple even verging on pop song length! We like making longer songs mostly because our music is all about creating mood and a sense of atmosphere and I believe you need to build a piece of music up to create that kind of vibe. 

Nedry album sleeve
Even though you create dance music you relish the act of recreating music live on stage, what can people expect of a Nedry gig?
CHRIS: The experience of playing live is very important to us so we put a lot of time and effort into making the performance of each song interesting and exciting for us and most importantly for the audience. We’re all keen gig goers and have seen some fantastic live performances and also awful ones so we often reflect on these experiences and try to better what we do and take on board the things we like and discard the things that we don’t. It’s important to me to make the live experience different to the album and things are definitely more upbeat and energetic and if we’re lucky with the sound system the beats are more powerful and the sub bass is deep.

Nedrymakesmusic by Fort Rixon
Nedrymakesmusic by Fort Rixon.

Your vocalist Ayu Okakita hails from Japan, how did you all get together?
AYU: I met Matt and Chris through the internet (myspace), I was living in East London then and we happened to be neighbours.

Nedry promotshoot - Abney Park
How do the three of you work together? How does a song come about and who brings what to the mix?
MATT: Every song is different and approached differently although there is a lot of file sharing online that goes on, passing Ableton sessions from one to another and working over the structure of a song. Ayu brings vocals to the mix (obviously) but she also contribute to melodies, piano playing, rhythmic and mood ideas. Myself and Chris work on everything and anything in between. Our creative process is really quite convoluted and it takes a long time to make a song feel right but I guess this is because as a band based solely in the electronic realm, it can be difficult to just get into a room and make something. Saying that though, a few of the tracks on the new album were created entirely in a live environment or at least born in that environment before being given the full studio treatment.

YouTube Preview ImageFloat (edit)

Last year you played SXSW for the first time, what was the highlight and did you get a good response?
CHRIS: It was easily the craziest and most intense week of being in this band, the sheer amount of people and bands performing that week is impossible to describe. There was an amazing build up before we traveled to Austin, starting in November the previous year with our label (Monotreme) receiving the invite for us to play and then all of us working together to make it happen. So we spent a lot of the week in a bit of a haze of joy and relief and jetlag! The highlight for me was after playing our showcase gig at Latitude 30, when a small group of young Texans found us loading out in the back alley and told us that they’d been following Nedry and were over the moon to see us play in the flesh – we chatted for a while and signed a copy of our CD for them. It meant a lot to us and was the best response we could have wished for.

Nedry Photo by Sebastien Dehesdin
What are you looking forward to most in 2012?
MATT: I think we’re looking forward to seeing how people react to our album. It’s been two years since our last release and the musical landscape has shifted a lot since then.

Nedry release In A Dim Light on 12th March 2012 on Monotreme Records.

Categories ,Abi Stevens, ,Ableton, ,Ayu Okakita, ,Chris Amblin, ,Claire Jones Art, ,Condors, ,dubstep, ,Electro Pop, ,Float, ,Fort Rixon, ,In A Dim Light, ,Indie, ,Latitude 30, ,leftfield, ,Massive Attack, ,Matt Parker, ,Monotreme, ,Nedry, ,Portishead, ,post-rock, ,Trip-Hop

Similar Posts:

Amelia’s Magazine | New Music: Fable introduces Silence Myself

Fable by Sara Netherway
Fable by Sara Netherway.

Brighton based artist Fable released new single Silence Myself this week on 74 Music, a song inspired by transcendental meditation and the need to clear the clutter of everyday life. 19 year old Fable has written alongside artists such as Orbital’s Paul Hartnoll and Bloc Party’s Russell Lissack, and will be supporting Archive at The Shepherd’s Bush Empire on 10th April 2015. Here she describes the making of her new video:

Fable by Laura Wilson
Fable by Laura Wilson.

Funnily enough I was actually quite hungover when we were writing this track, and I was feeling really fragile which gives the track a vulnerable feel. Up to this point we’d released some pretty intense and gruelling tracks, so we wanted to show a different side as well to what we do. The video is stripped back to fit with the meaning and feel of the song. It’s about silence and stillness so we wanted a video that didn’t distract from that, which our friend, the photographer David Levine, has put across brilliantly. People have been talking about how different this song is to what they’ve heard from me previously, but I don’t want to create boundaries in terms of what can and can’t be done with my music. We get too obsessed with putting things in boxes and genres right now – I want to get back to total freedom of expression.

Fable by Sara Netherway 3
Fable by Sara Netherway
Fable by Sara Netherway.

Categories ,74 Music, ,Archive, ,Bloc Party, ,David Levine, ,Fable, ,Laura Wilson, ,Orbital, ,Sara Netherway, ,Silence Myself, ,transcendental meditation

Similar Posts:

Amelia’s Magazine | Plastiscines – Camden, Barfly – A Review


A cold November night and I journeyed to a very cosy Camden Barfly to view Plastiscines. This band are the latest export from the country who gave us Eric Cantona, cure this various nice cheeses and the lady who keeps Johnny Depp off the market. The venue is packed with what appears to be a very male dominated crowd. I wonder why this is? Oh right, there are four stunning French girls (it was France by the way) about to come on stage. They may have come on stage looking like they were on a shoot for “Teen Vogue” but looks can be deceiving. Playing a pop/punk/rock blend of tracks that feature on “LP1” and forthcoming album “About Love” this grunge glam quartet well and truly showed that they are not just pretty faces.

plass 019

Top producer Butch Walker fell in love with the girls when he saw them perform a cover of Nancy Sinatra’sThese Boots”, they seemed to have the same effect on the Camden crowd. Plastiscines definitely managed to put their own fresh stamp on it, whilst still being respectful to the original, a far cry from Jessica Simpson’s shambles of an attempt in 2005. Their angst anthem “Bitch”, which has recently featured on “Gossip Girl”, was sandwiched nicely in the middle of the set to the responsive audience, closing down with current cute pop single “Barcelona”. I have rarely had “Barcelona” out of my head since I first heard it, not in a negative way, I want it there, I want to dance to it, I want to sing it and be part of this ridiculously cool band. Lead singer, Katty, invited those in the room to do just that as she announced that the girls needed some bitches on stage. There was no shortage of these as half the room piled on to join the group, some of them being bitches with beards. We were then treated to seconds of “Bitch”. Bridget Bardot-esk Katty launched herself into the audience and continued to sing “Bitch” to men who I’m imagining felt a powerful mixture of intense excitement and terror. I would also if I was them, “I’m a bitch when I brush my teeth” is as blunt and to the point as the lyrics get. “B.I.T.C.H” she continues to spell it out just to make it clear.

plass 045

As she made her way teasingly around the floor, I noticed that her makeup was all still perfectly in place. How can this be so after performing such an energetic set? Surely it should have melted down her face which happens to the best of us just sitting on the tube never mind bouncing about for the best part of an hour?! This went for them all. Not a sweaty swept fringe in site, All of them looking naturally no less than perfect after a flawless set. They perhaps are a 00’s Boho version of Jem and The Holograms.


Majorly rocking out whilst still maintaining a chic exterior. While the cartoon ended around the time these four were born, The adventures of Plastiscines have only just begun, and I for one shall continue to watch.

Album “LP” and single “Barcelona” are available now.

Categories ,barfly, ,Bridget Bardot, ,Butch Walker, ,camden, ,Eric Cantona, ,gig, ,Gossip Girl, ,Jem and The Holograms, ,Jessica Simpson, ,Johnny Depp, ,london, ,music, ,Nancy Sinatra, ,Plastiscines, ,Teen Vogue

Similar Posts:

Amelia’s Magazine | Fionn Regan: brand new 100 Acres of Sycamore video and instore gigs

Fionn Regan is a folk musician with the history that befits his heartfelt words. The son of musicians, buy information pills he grew up in the Ireland that we all hear of but never quite imagine exists: a rural idyll where a child could wander free and return home to the sounds of home made merriment. He left school young and took up a series of itinerant jobs whilst travelling around Ireland and the UK, order self educating himself in libraries. With the release of first album The End of History in 2006 he gained critical acclaim and a nomination for the Mercury Music Prize. His second album, The Shadow of An Empire, took a more experimental electro influenced turn, but for 100 Acres of Sycamore (released in August), he has returned to his roots.

100 Acres of Sycamore was written in Mallorca, where he stayed at the home of Anna Friel – invited after having met her by chance in Valencia. He was enchanted by the ancient setting and on his return recorded the entire album in seven days. It’s a deeply rich experience, made special by his use of language. Not for nothing is Fionn Regan an honorary member of the Trinity College Literary Society.

The video for 100 Acres of Sycamore was shot by music photographer Sebastien Dehesdin on Hampstead Heath.

Fionn Regan plays a couple of inshore dates this week, including one at Rough Trade West this Sunday 18th September, then at the Lomography Gallery Store on Commercial Street. He headlines Bush Hall on the 20th September. 100 Acres of Sycamore is out now on Heavenly Recordings.

Fionn Regan by Autumn de Wilde HWCH

Categories ,100 Acres of Sycamore, ,album, ,Anna Friel, ,Bush Hall, ,electro, ,Fionn Regan, ,folk, ,Hampstead Heath, ,Heavenly Recordings, ,ireland, ,Lomography Gallery Store, ,Mallorca, ,Mercury music prize, ,Rough Trade West, ,Sebastien Dehesdin, ,The End of History, ,The Shadow of An Empire, ,Trinity College Literary Society, ,video

Similar Posts:

Amelia’s Magazine | Barringtone w/Lord Skywave and Wet Paint – This Is Music Launch Party

Not as impressive as their first output, more about mind not as depressive as their comeback, ask their third album manages to have some really solid hits while they explore their own roots and bring the angular guitars back. Unfortunately, site the excessive number of fillers making the experience less pleasant than it should be. You can’t blame them for trying. Their new songs see them trying to sound like their old selves – back when they had enough dancefloor anthems to make Franz Ferdinand jealous, and a major behind after them. After being dropped by their label because of News And Tributes, the second album which lacked the material which made them interesting in the first place, they had no option but to go back and give us their best impression of The Jam playing punk versions of Beach Boys songs. In The Beginning of the Twist, Radio Heart and Broke Up the Time they show that they still have what it takes to create shiny pop-dance songs. So what am I forgetting to mention? Oh, yes, the bad songs on the album. The ones that sound like a pastiche of themselves; soulless use of guitar and drums (as well as their accent – which we all liked) making me wonder where the energetic, meaningful two minutes of punk madness went. It could’ve been their chance to make it via their self made label, but regrettably This is Not the World could only be a good if it was an EP.

The member of Black Ghosts‘ solo project Lord Skywave is steeped in biographical influences and sways into the worlds of pop, and dub reggae and avant-garde electronica. Then again, order when you look at Simon Lord’s musical career you can see why his solo project is such a multi-genre mish mash.

Perhaps the most heartwarming part of this album is his extensive use of his families musical past. He samples the music his grandmother used to make so many moons ago. After a summer of visiting his grandfather’s house and going through his collection of old reel-to-reel tape recordings and 78′s, pilule he had an entire archive of her fantastically composed sweep off-your-feet instrumentals to work with.


As well as this, all the electronic bass sounds on the album were produced using the Lord Skywave synthesizer which was built by Simon’s dad in the 70′s, and only 10 were made. Which I find hard to believe with such a tantalizing name, surely there must have been more demand!

I don’t know about you, but I find all this absolutely fascinating, and such a refreshing change from the majority of music, which can sometimes can appear to be something of a soulless, money grabbing, dried out husk.

It’s so hard to pinpoint my favourite tracks on this album because it’s all so diverse and to start comparing them makes my retinas hurt. I think what I find so gripping about his style is his voice. At points it’s heartbreak in a sound wave and at others it‘s the happy morning shower singing that I thought only really occured in plays set in New York in the 1950′s.

Even though Simon Lord is an established musician, as both an ex-member of Simian and current half of The Black Ghosts, this album sets him apart from all his previous endeavors. It sounds like Prince if he was quintessentially British. What more can I say?

I’d seen the Amarylas a couple of weeks ago at an Oxjam night at Brixton’s Windmill and had been pleasantly surprised. Heading over to Islington’s hallowed pharmacy +Greater+London, what is ed +UK&fb=1&view=text&latlng=469594232395886090″target=”_blank”>Hope & Anchor, it was time to reacquaint myself with their psychedelia infused sound.

Tonight they were the opening act on the bill, so the venue was still pretty quiet, which was a shame. A guitar based four-piece, led by mop haired singer Luke Segura, they blend that classic, slightly psychedelic pop whimsy of Syd Barrett or Ogden’s Nut Gone Flake-era Small Faces with a Clash inspired New Wave edge. Basically, what Pete Doherty might sound like if he didn’t have quite so many, er, distractions!

For all of you still mourning the passing of the Libertines, make sure you check out the Amarylas when they play a venue near you.

Calling all budding fashion designer’s, adiposity Carla Fernandez, medicine founder of the leading ethical label, there Taller Flora, is giving designers the opportunity to jet over to Mexico to become part of her team for five months.

After winning the British Council’sInternational Young Fashion Entrepreneur Award, Carla has been rewarded with a cash prize to spend on a project which both tailors to her specific interests and contributes to developing the relationship between her country and the UK. The Mexican designer has chosen to give a printed textile designer and menswear designer from the UK the fantastic opportunity of working with herself and the Taller Flora team on two lines of clothing in Mexico in August 2008.

This is not, however, for someone who just likes the idea of sipping tequilas in the sun. The menswear candidate will work with Carla to develop tailoring within the range while the textile designer will help out on her printed textile designs.

Requirements for the menswear applicants:

Should have a BA or MA in fashion or be a talented designer.
Demonstrable competence of pattern cutting is mandatory
Ability to work independently
Team player with good interpersonal and communication skills
Knowledge of and an interest in ethical fashion
Knowledge of Spanish would be an asset
Must be a resident in the UK.

And the requirements for the textile applicants:

Should have a BA or MA in textile design or be a talented print designer
Excellent freehand drawing skills
Knowledge of Photoshop is mandatory
Silk screening experience
Ability to work independently
Team player with good interpersonal and communication skills
Knowledge of and an interest in ethical fashion
Knowledge of Spanish would be an asset
Must be a resident in the UK.

Sound like you? Designers interested in the project are asked to send a short (no longer than 300 words) written statement outlining why they want to be part of this project, up to 12 images of their work, their CV and the details of one of their references, to or Carla Fernandez at by 16th June 2008.

For more info visit the British Council website.

Good Luck!



Wednesday 11th

HEALTH at Korova, abortion Liverpool
Emmy the Great, web Diane Cluck, buy information pills younghusband at Cargo, London
White Williams at Puregroove Records, London
The Dodos at Night and Day Cafe, Manchester
I Was A Cub Scout at Wedgewood Rooms, Portsmouth
Semifinalists at Amersham Arms, London
Beach House, Fleet Foxes at ULU, London

Thursday 12th

Gnarls Barkley at Bush Hall, London
The Dodos at Crawdaddy, Dubin
O Children, S.C.U.M. at Puregroove Records, London

Friday 13th

Little Boots at Club Pony w/Midfield General, Sheffield
Sportsday Megaphone at Club NME @ Sin City, Swansea
Wild Beasts at Cross Keys, London

Saturday 14th

Deerhunter, High Places at Dublin Vicar Street
Leonard Cohen at Irish Museum Of Modern Art, Dublin
Meltdown – Massive Attack, Fuck Buttons at Royal Festival Hall, London
Sportsday Megaphone at Club NME at Welly Club, Hull

Sunday 15th

The Twilight Sad at Edinburgh Bongo Club
The Sugars at Fleece, Bristol

On Monday evening Ethic held the award ceremony for it’s annual ethical fashion competition in London.

Being one of the hottest days this year, buy I arrived at the uba trendy Fashion and Textile Museum feeling slightly harassed having endured 10 minutes of the rush hour on London’s sweaty central line. Thankfully I quickly located the bar and after gladly helping myself to a chilled white wine and tasty mini tuna baguette I was ready to fully immerse myself in the show

Now in its second year, more about The Ethic Competition is a contest open to over 150 fashion courses in the UK. Students were given the brief of designing a garment under £100 which addressed a key issue surrounding ethical fashion (eg fair-trade, organic materials, recycling, animal friendly or innovative environmentally friendly new materials), while still maintaining elements of current trends.

While I’d admit that none of the finalist’s work could be worn beyond the museums four walls, credit has to be given to the students for managing to produce garments that were at least visually appealing and a pleasure to watch on the catwalk. Design team Reduce, Reuse, Recycle managed to create a strapless full skirted gown using just newspaper, bubble wrap, bin bags and scrap pieces of recycled material.


The winners, and admittedly my favourites, were Nicole Da Silva and Phong Nguyen from Hackney Community College, who used second hand materials and clippings from the BBC website to address the issue of recycling while still managing to incorporate this season’s obsession with volume and ruffles in an extravagant tiered wedding gown.


Once the winners had taken their lap of honor and the buffet started to fizzle out, I made tracks to leave feeling very inspired and I must admit, a little merry!

Whether you’re eco-minded, page bemused by the concept, price or like me, help just generally confused; scribble down in your diaries ‘Climate Forum’, which is happening this weekend! The event includes a huge range of 50+ seminars with speakers varying from Michael Meacher MP, Tony Jupiter (Director Friends of the Earth UK) to George Galloway MP. But, you’ll not be listening to others all day as workshops, art, music, performance, stalls and exhibitions allow you to get stuck in straight away. There’s even a Saturday night party ‘Climate Caper’ at the Synergy Centre for those groovy rebel campaigners wanting to throw some shapes.

The event is organised by the group CCC (‘Campaign against Climate Change’) who seek to raise awareness about the gravity and urgency of global warming. They aim to get people together, forming street campaigns, pushing for a reduction in global emissions. The first day’s plenary is: ‘Are we losing the race against climate catastrophe?’ where workshops will investigate solutions such as climate justice, biodiversity and even ‘Youth and climate change: Campaigning for our future’ (so all you raging student activists with burning questions to ask-note this down)! Sunday will consequently focus on ‘Climate change from around the world’ where speakers will be holding a selection of workshops, including: ‘direct action’, ‘climate change, energy and health’, ‘combined networks’ and many more.

One workshop that pinpricked my interest was: ‘Youth and climate change: Campaigning for our future’ with Abigail Jabines of Greenpeace on Saturday. In a 2007 seminar in Sydney she stated that a one-metre sea level rise would result in 700 million square metres of land where 15 out of 16 regions’ coastlines would be affected. Not only does risen sea levels effect eco systems but it also has immediate consequences for small communities ill equipped to deal with climate changes.

The assortment of workshops happening throughout the weekend range from the political (‘Energy and Anarchy: why we need to escape from market-based thinking’), economical (‘Climate change and your bank’), political (‘Direct Action’), to spiritual (‘Faith and Climate Change’). One organiser told me the objective of the Weekend was to ‘raise awareness and forge a community of people who care about these issues; through political action as well as individual choices’. Her sunny outlook imparted a sense of positivity in me, as in the words of Abigail Jabines in her lecture; ‘We can do something. The window for action is getting very slim and the time to act is now.’


The line-up tonight does appear a little bit thrown together, page as all the bands don’t really lead on from one another. What Would Jesus Drive kick off the night’s proceedings. I’ve yet to decide on how feel about bands who get their names from bumper stickers, but judging a band by their favored car trinkets should always be avoided. This duo and their drum machine manage to put on a quirky live show of American tinged indie rock that seems to entertain this crowd at least.

Next on the bill is Polka Party, who offer a perfectly enjoyable bunch of pop songs with more southern drawl and dandy temperament than you could shake a stick at. Their latest single ‘Japanese Haircut’ is almost perfect indie disco fodder and it certainly had one girl at the front pulling Agyness Dean style pouts for the camera. I think this must be how indie music is rated nowadays.

Dananananaykroyd stole the show quite easily, though it’s not their style to do things effortlessly. The energy from their live show was infectious, and I’d have to say the catalyst for this was their duo of drummers. Facing opposite ways they dual perpetually, and the effect is almost hypnotic. Thankfully there is a large distraction from all the fun drumming in the form of the ever so brash lead singer. His microphone seemed to be broken for the majority of the set, but he truly didn’t care, and neither did I. He was shouting so loud that you could get the jist of what he might sound like if the microphone was working, and his flailing was for more interesting than any type of lyrics. I’d like to think of him as a lead flailer than a lead singer.

Read more