Amelia’s Magazine | Lykke Li @ Mahiki


With such dry, look visit ironic observations as ‘home is where the house is‘, this cialis 40mg Superabundance introduces itself as a melodious continuation of the faux-geek, visit web insightful pop-rock that first emerged in Voices of Animals and Men, but proceeds to take us on a spiralling journey into the dark depths of the Young Knives‘ psyche. In Terra Firma, we are confronted with the beginnings of the climactic incantations that slowly envelop us in a humming and howling hypnosis in Current of the River, which follows a sombre, medieval chant in the delightfully foreboding, pagan harmonies of Mummy Light the Fire. I don’t like to compare bands, but I found some of their wistful, nautical narratives redolent of the Decemberists‘ historical fictions.

While the insinuations of suicide in Counters left me feeling tempted to phone the three band members to see that they were alright, Rue the Days has a positively nonchalant nineties feel and Flies, a gentle meditation on the natural world, seems to encapsulate a recurring fascination with human-animal relationships; a little idiosyncratic perhaps, but I get the feeling this album is somewhat an eruption of the Young Knives’ musical multiple personality.

I listened to every word of the album, and realised it was poetry; a super abundance of philosophical metaphors immersed in a synthesis of unexpected genres, undulating from pensive, orchestral flickers to thick, satisfying explosions of bass, good old enthusiastic shouting and some of the catchiest hooks around. It may leave you weeping, but it may just as well have you running out the house in your dancing shoes.

Photograph by Jason Nocito

Thrilling things happen when oddballs get their hands on dance music, sickness and Hercules And Love Affair are the perfect latest example of that. These five colourful characters currently breathing new life into disco are an NYC-based collective comprising of Hawaiian-born jewellery designer/DJ Kim Ann Foxman, illness Amazonian CocoRosie and Debbie Harry collaborator Nomi, about it gay B-boy dancer Shayne, Miss Piggy-loving ex-waiter Andrew Butler and new rave hoodie-donning keyboardist Morgan. And then there’s Antony Hegarty of course, he of the Johnsons fame, and it is his beautifully crooning vocals combined with the pulsing rhythms, incessant bassline and playful horns of Blind that has worked both dancefloor enthusiasts and bloggers into a frenzy since it leaked onto the internet late last year.

The outfit’s self-titled debut is littered with more of his famously melancholic performances over shimmering beat-driven efforts, but do this eccentric bunch have the talent and songwriting capabilities to sustain an entire album? The answer is yes – by the bucketload. Hercules And Love Affair slinks delicately into action with dark and sultry opener Time Will as Hegarty pleads “I cannot be half a wife” repeatedly over finger clicks and minimal backing before segueing nicely into Hercules Theme; a more upbeat affair driven by sweeping strings, soft female vocals and discordant brass snatches. This track along with the light and breezy sway of Athene, Iris’ stripped down stomp and the headspin-inducing walking bassline and scat singing of closer True False/Fake Real prove that Butler and co. can shine magnificently even when they don’t play the Antony trump card. One trick ponies this lot certainly are not.

Blind, of course, is sumptuous, sounding more and more like a classic with every listen, but it is cushioned by album tracks that each stand up admirably alongside it, and which reference everything from Chicago house to punk funk, techno and disco simultaneously through the irresistible ice cold veneer conjured up by killer production duo main-man Butler and DFA’s Tim Goldsworthy. In fact, Hercules And Love Affair is the perfect example of an epic work so cleverly constructed that its wide-ranging influences seep out subtly instead of bombarding the listener. Heartbreaking and dramatic yet utterly danceable, it boasts intelligence, heart and soul and features musical prowess that will stop you dead in your tracks. Prepare for this to soundtrack your life for months to come.

Once upon a time there was a hunter, help who woke one day to find himself transformed into the deer he killed before he had rested. Is he now the hunter? Or is he the prey?

Fashion, illness performance, advice and storytelling merged into one as Daydream Nation’s design duo Kay and Jing presented their ominous tale ‘Good Night Deer’ at the Institute of Contemporary Arts. Whilst the audience sauntered in, a man stood behind the branched mic stand donning a furry animal head. He cackled, and whistled, and screeched, and crooned ‘There’s nothing in this world for you my dear’, whilst the band played at his side. The stage had morphed into a forest.

The lights dimmed, and the performers crept in with what looked like a white drum, acting as a moon. Each of them haunted the stage wearing sleeveless t-shirts in dark brown, with bark print on the front. By pulling them up over their heads giving the illusion of trees, the indoor theatre became a night scene. With all the garments made by manipulating old clothes, Kay and Jing create new myths each season. Two girls merged together in one outfit and became a deer, whilst others had t-shirts, and dresses in earthy beiges, browns and greens, and were embroidered with antlers and deer’s.

A large silver sheet was laid on the floor, with the hunter concealed beneath it. It rustled, and lifted, before finally revealing the deer. Looking up at its audience, it was literally a deer caught in the headlights. Draped coats fastened up with bows, and a brown pinafore was worn over a silk, blue blouse. Daydream Nation’s show was an utterly enjoyable evening, full of enthusiasm and creativity.








Young Love is the beautifully melancholic ode of a one-night stand. The Mystery Jets are bang-on in featuring Laura Marling, more about the latest young darling of the music scene, tadalafil on the first single to be taken from their second album, Twenty One. I’ve never been a huge Mystery Jets fan (I wasn’t fooled, and I most certainly wasn’t called Denis) but the dialogue between Laura and Blaine telling both sides of a brief encounter won me over within the first ten seconds.

In a move I haven’t seen since the works of Jane Austen, the love affair is cut short by that damnably unpredictable British weather. Far from regarding this as twee, the lyrics “you wrote your number on my hand but it came off in the rain” melted my icily sarcastic heart.

Laura sings of how “young love never seems to last”, and it’s with this stark honesty the dialogue tells of the ephemeral nature of youthful liaisons and the quiet acceptance of the pains of growing up. It’s this self-effacing honesty combined with the vintage handclaps, oohs and aahs that create one of the best pop songs of this year.

Oh, and check out the video: it’s bound to be at the top of the YouTube hit parade in no time, as Laura and the Mystery Jet boys are involved in a game of human curling. Now that should be an Olympic sport.
‘Five Portraits of Cloth’, site a large scale, tadalafil cunningly crafted work by Jayne Archard could have been an enveloping piece – if it hadn’t had to compete with cramped canteen style tables and chairs. The Tricycle Gallery suffers a problem often seen in community arts spaces: areas are not properly defined, this meaning that an exhibition space can be transformed into a cinema’s ante-room, and a café’s overspill seating space. I’m all for showing artwork in something other than the traditional White Cube, but it can only be a hindrance to the work when you have to battle with a chair to see it properly.

‘Other Visible Things’
is part of the Tricycle Gallery’s Recent Graduates 2008 programme; giving artists like Archard and Knight valuable exposure that can be difficult to achieve so soon after graduation. Regrettably, in this case the work shown doesn’t function as well in the outside world as in the bubble of the art college – why should the artists assume that all the gallery goers would be able to read, or even care about, the references to conceptual art history? Adam Knight’s ‘Studio Corner (After Mel Bochner)‘(below) is an interesting photograph that investigates illusion and the documentation of a sculptural object, so why the need for the clever nudges and winks to those with a subscription to Art Review?

Even the title of this show is taken from Bochner‘s influential exhibition: ‘Working Drawings And Other Visible Things On Paper Not Necessarily Meant To Be Viewed As Art‘. In the confines of the art college studio, Archard and Knight’s works are accessible as the viewers are more likely to have a similar knowledge to that of the makers. In the Tricycle Gallery, a space attached to a café, theatre and cinema in Kilburn, the art history allusions can seem like an elitist in-joke. I can see that Knight’s work in particular could be viewed as a playful re-working of ideas about Minimalism and Conceptual Art, but unfortunately the humour falls short.


Walking into Gramaphone five minutes into Tom James Scott‘s set was not a good idea. His music sounded so delicate that even the whir of the drinks refrigerators was distracting, this web so the sound of a door opening and two stumbling youths almost threatened to destroy the ethereal atmosphere he had created. His fragile guitar sound had an almost filmic quality; evoking images of cinematic landscapes. The performance seemed shyly self conscious, order perhaps a little fractured, but in a way that only enhanced its subtle beauty.

The acapella sound that began Wounded Knee’s set also demanded the audience’s full attention: the quiet fell once more. The singular figure of Drew Wright concocted an alchemy of sounds that ranged from the ghostly to the jubilant. Relying on effects pedals to build up intricate and textured music, the songs still sounded firmly traditional. Who’d have thought that a looped kazoo and bassy scat singing could sound so Gaelic! His music contrasts a sense of history with a playful method of music-making to create a joyful racket.

Having been lulled into a state of wooziness by the last two acts, I’m not sure I was quite ready for Jenny Hoyston. Perhaps it wasn’t that well-considered a line up by Upset The Rhythm, as previously I was more than eager to see the solo efforts of Erase Errata’s vocalist/guitarist. Hoyston’s back and forth with the audience seemed to amuse most people present, but to me it jarred after the pathos of James Scott and Wounded Knee. However, there’s no doubt that the slightly scrappy sound of Hoyston and her drummer revived me slightly; driven on by the sparse yet considered drum sound. Brief, low fi songs shined when they included rhythmic Krautrock references. It’s just a shame that the vitality of Hoyston’s music seemed oddly displaced after the previous acts.

The toilet paper is really thin here in Brazil. And it’s tropical as all hell. In an invigorating, this though makes-me-wilt-severely kinda way. And that’s about all I have to complain about so far.

We’ve been here since Wednesday and since then it’s been non-stop. We touched down on Wednesday at 6.30am after a smooth and fairly non-eventful flight on a Brazilian airline. The lights inside the cabin were getting all new rave and glo-stick on us, prostate which I actually quite enjoyed. Plenty of leg room, this site and even better: not one, but TWO spare seats adjacent to us. I live for the movies and the food when I fly, and was really impressed with the whole thing until I settled in to watch Nanny Diaries, when halfway through it, it switched over to Pirates of the Caribbean in Portugese. Nooooooooo I’m forever doomed to the dis-satisfaction of never being bothered to want to watch the first half of that film again to get to the part where Nanny gets with cute boy and affects loving change in her employers’ lives.
The effects of global warming are clearly upon us. Whether it’s on the front page of the newspaper, stuff or staring us right in the face, abortion climate change is the greatest environmental challenge facing us today. Blooming and reproducing in February; even nature and wildlife seem to be getting confused what time of year it is! The world seems to be wilting before our eyes. Environmental activists have been pushing the seriousness of this problem for a long time now, and thankfully the rest of the world are starting to take note. Artists, historically, are often first on the mark too, defining such issues. ‘Climate 4 Change’ exhibition does just that.

Leaflets and posters emblazoned with ‘Campaign against climate change’, and ‘Do you know the constitution of human rights?’ overwhelmed me as I entered. The smell of incense hit my nose.

Allie Biswas’ ‘No Rave’ painting (below) propped against the wall on the floor. Her abstract blue painting was organic, with orange, green and yellow forms, often dripping down the canvas. Frustrated with the ‘anonymous’ theme running throughout the exhibition, she claimed her work by scribbling her name on a post-it-note, and sticking it to the wall.
In the ‘Bombastic Bureau’, a man with his oversized army jacket, wearing a shiny wrestling mask protests: ‘Don’t worry I’m here, here to kill the rabbit!’ As the notes on a keyboard haunted the space, on the wall were projections of war. In a small room on its own was a short film where hands pushed and pulled, gripped and slipped throughout, defining gravity.

There was a small, perspex house, suitable for a hamster, but filled with furniture, beds, a TV, kitchen, even a parked car outside. Sawdust covered the floor, and food pellets spilled over the sink. Opposite, a man sat on the floor and asked me to shred pages of newspaper. As I proceeded on doing so, he took the tears, put them in a sealable food bag, and signed it ‘Don’. “What does it mean?” I asked, “It would take too long, I’ll tell you in the pub afterwards! Make of it what you want,” he replied. I wasn’t sure what I wanted to make of it, and maybe he didn’t either, but the bag is sitting next to me now, so thank you Don!




Glasgow School of Arts textiles degree has churned out some pretty talented folk in its time; Jonathan Saunders and Pam Hogg are just two of their previous students. So all eyes will be on the graduates showcasing their womenswear collections in the Fashion as Textiles show at the Atrium Gallery. This exhibition aims to explore the relationship between textiles and fashion and dispel the idea of these as two separate disciplines.
Suspended from the ceiling Emmi Lahtinen‘s simple shift dresses hang like clouds, more about weightless yet substantial. Inspired by Finnish minimalism and Cecil Beaton, Lahtinen’s dresses embody a sense of light, depth and wonder. Her rain-soaked palate of greys, blues and greens are created using a mixture of screen printing and dying with digital inkjets.
Inspired by the stained glass windows in Glasgow’s Burrell Collection, Lori Marshall’s collection features high-waisted leggings with digital-prints of stained glass, laser etched velour and layered tops of sheer fabric with Tudor-style ruffled necklines.
Florence To moves away from conventional approaches to textile design. Working in neutral colours, To wraps strips of raffia and polyvinyl around wooden rings. These are linked together to create large-scale accessories, which are draped over tailored silhouettes, creating serene and lightweight designs.
Combining woven fabrics with synthetic materials, Shona Douglas’ collection challenges traditional approaches to weaving. Using raw edged silks and wools cut to fold around the body, Douglas’s skirts and tunics combine a rough-hewn aesthetic with a minimalist approach.
Huddling in the corner like a murder of crows, Louise Browns blue and black coats are dramatic and elegant, featuring appliquéd velvet roses, and topped with light-as-moor-mist ruffles. Brown focuses on volume and as a quote from Coco Chanel overhead reminds us: ‘Fashion is architecture, it is a matter of proportions’.
Although the layout of the Atrium means that some of the students have had to cramp their work into one corner, the gallery is flooded is light and its size allows intimacy, encouraging a closer view of the clothes and highlighting the details that are missed in fashion shows. That these textiles stand up to this level of scrutiny is a testimony to the talent of these promising designers.


Seven pound alcoholic ‘Coconut Grenades’ combined with WAG central a la Mahiki Bar was perhaps not the ideal location for treating my ears to a lovely bit of Swedish pop. However, cialis 40mg I was determined not to let jersey sequinned smock dresses and trout pouts get in the way of seeing my new favourite female artist, stomach Lykke Li, who EVERYONE who is anyone is talking about, singing her wee heart out whilst shakin’ them hips, and proceeded to squeeze my way to the front of the unjustifiably ostentatious venue.

The best thing to come out of Sweden since momma’s homemade meatballs, this innocent-looking, (looking being the operative word) Bambi-eyed 21-year old starlet knocked me off my feet that fine evening, and left me hungry for more. Performing late in the night under extremely dim lighting – advanced apologies about the video quality – it was initially hard to get into the mood, but when Lykke’s alluring voice rang out to Dance, Dance, Dance it was effortless to let go of all previous pent-up bitterness; a perfectly chosen track to start off the show. Creating an all round exhilarating but unperturbed ambience, she continued to deliver hefty handfuls of arousing yet sensitive, alternative pop, with tracks such as I’m Good I’m Gone packing a jaunty punch with an attitude, the heart-wrenching Tonight, and the most painfully addictive song of the year, Little Bit, which just happens to be her forthcoming single. Sincere and honest words of unrequited love, pain, lust and heartache were sung in an omen to the most complicated of relationships.

With dance moves as quirky as her Princess Leia inspired hair-do, and mountainous amounts of raw energy, the pretty young thing owned the stage and was within her own element, even with the rather challenging audience present. Hopefully the next time Lykke will be down in London town her team will be able to find a better-suiting venue to compliment such fine talent. Now if you excuse me, I shall be off to listen to her album, Youth Novels, on repeat again and again. And again.

Lykke Li performing ‘Little Bit’ live @ Mahiki – for more Amelia’s videos click away: AMELIA’S VIDS.

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