Amelia’s Magazine | Interview: Kirsty Almeida

My name is Miranda. I was born in Peterborough but I managed to escape to London after a 3 year stint studying in the wild terrain of Wales. I was sent away after years of noise abuse on my family, malady reciting poem after poem on very uninterested ears. Now, approved by day, I am an assistant-extraordinaire, helping to keep the retail industry alive. At night, I enjoy scouting out events and secret gigs with my friend Mel, to see how much we can blag. A perfect day would be a festival, with some great bands and cold cider. I like mint tea, vintage playsuits, F. Scott Fitzgerald novels, and hunting for treasure in charity shops around the Fens. I am always late, left-handed and nosey. I recently fell in love with London all over again whilst taking a walk through Kensington Gardens on a warm day and enjoying a perfectly whipped ice cream. One day I plan to write my memoirs in Barcelona, but until then I will continue to build up a collection of vintage clothing, worthy of a wing in the V&A.


Photograph by Hannah Kinver Miles

There is nothing generic about Kirsty Almeida; she was not artificially created from a record labels wish-list, for sale nor manufactured during an X Factor audition. Navigating her own path, she is very much the modern Renaissance Woman: artist, experimenter and a true creative. Before meeting Kirsty to chat about her new album Pure Blue Green – a rich tapestry of blues, folk and jazzy pop – I watched video clips of her performances. Singing live, she is mesmerizing, a powerhouse! Free spirited and alive, at times she is an enigmatic chanteuse, and other times she is a ringleader to a raucous vaudeville troupe. She sings with a passion that leaves us in no doubt that her music come from an honest and heartfelt place. Her voice is tender with sparkles of underlying inquisitiveness and humour and it only takes a minutes listening to see that her life, thoughts and loves are entwined within her lyrics, revealing an existence lived to the full and one that is continuously questioned. So it comes as no surprise that our conversation becomes an all-encompassing discourse that occasionally touches on her album and then soars off in the direction of magic, art, self-development, women’s rights and the dubious ethics of the music industry….

I love how visual your shows are…..
I love the big show thing, I think that people want to be entertained; because music is so accessible, and more downloadable now, people really like going out to live shows. I like to do something thats entertaining, but I also love the little live acoustic shows, those are some of my favourite gigs to do. I’m doing a gig soon that will be just me with a guitar and a girl called Lucinda Bell on harp. I’ve had a six foot bird cage designed and built for me, and we’re going to do a series of exhibitions and art galleries where I will play sat in the cage that will be suspended from the ceiling!

There is a lot of creativity in your performance…
Truthfully I am a visual artist, so I can’t help but look at things and go “well if you just stuck a massive big flower there, and that was attached to an umbrella with a bath chain and then water came out of it…. ” (laughs) and thats just how my mind works; it’s really visual and my work is really visual, I can’t help it!

What do you see first?
When I’m writing a song, I always see colours. I see music in colours and textures. so the first thing that will happen will be that I will be playing guitar and then the colours will come together and at that point I will know that it’s right and then I just have to close my eyes and wait and then the lyrics come.

So the song arrives together?
Always!

Do the visuals come at the same time?
No, when I write, it is just about the song and being a channel of creativity. I try and let the song happen, and then afterwards when it’s on loop I get the visuals.


Photograph by Hannah Kinver Miles

Where does your inspiration come from?
I’m inspired by a day, every day there is a million things that inspire me. I’m inspired by clothes, people, situations, conversations that I hear from other people, situations that I get into, trouble, butterflies, birds, nature, trees….. everything!

Do you paint?
Yeah, I paint a lot. But, (sighs) there is never enough time. I also run a collective called Odbod. I set it up in Manchester where there’s a very strong support network of artists, musicians and composers who work together but because you don’t normally get paid to do original music, you have to call in a lot of favours, and in the Manchester scene there are a LOT of favours, people calling each other all the time and helping each other out on each others projects, but there is no set network so there is no way of getting funding or help and I realised that a lot of the artists needed support and advice and people were coming to me for advice, so I thought if we had a collective, we can all get together and say to each other, ‘what do you need, how can I help?’

It’s a genius idea! Would you consider expanding the Odbod’s collective to London?
I would love to! It’s hard to contain it, there are so many people who want to be involved and to everyone who wants to get involved, I just say, come along, support us and we will support you. Hopefully none of the Odbods will be there in a year, they will have flown the nest and it will be time for the next lot of artists to come in. I’m also managing an Irish singer called Rioghnach Connolly, she’s amazing, that girl blows my mind! I’ve watched her and given her advice along the way; I’m quite good at keeping peoples motivation up and helping them to see where they are messing up, and where they are putting in energy where they don’t need to be putting energy in. The whole psychology of being an artist is quite self destructive and I really recognize that so I’m good at pulling someone out.

Do you have that self destructive side to you?
Yeah, there is an element of that in all of us. To be an artist you have to stare at yourself in the mirror every day and to be a true artist you have to get to a place where you actually see what’s not in the mirror, and then separate that from yourself and that’s really hard. You judge yourself very harshly and artists are especially hard on themselves. I have a lot of issues with balance, so I spend most of my time trying to achieve that balance in my life.

If there are particular issues that are bothering you, do you ever find the answers in your songs ?
Definitely! I usually find out what’s going on in my life when I write a song, I have no idea otherwise! Most of the time I don’t know what day it is!

Are you on the road a lot?
Not as much as I would like to be. I would really like to go around the whole world, that would be great…

You are quite a wondering spirit (born in the UK, brought up in Gibraltar, Kirsty grew up travelling the four corners of the globe) Do you feel like an outsider, or can you fit in anywhere?
I empathize with people, I find it easy to talk to anyone or any culture; I’m just fascinated by people. I never felt like I didn’t fit in, it was only as I got older that I thought, I don’t fit in anywhere, I’m the wrong shape for everything! And it took me a long time to work that one out.

How did you reconcile that?
By being really honest with myself. I did a course called The Artists Way. One of the tasks that you have to do is write every morning; first thing you do is write all of your thoughts, and you write out your negativity, all those thoughts that say “I’m not good enough, I’m not happy…” and at the end of that you rip up the paper and throw it away and after a few months you notice that what you write is more creative; you are writing more positive thoughts. You cease the negative voices, and those are the words that say that you don’t fit in. And through that and meditation, I just kind of found out who I was and realised, you know, I am different, and everyone is different, and that is something to be celebrated.


Photograph by Hannah Kinver Miles

I read you saying that the future of women worries you, can you explain that? What specifically concerns you?
We still have so many issues in our sexist world, we still have so many places where men are in charge of things that women should be in charge of, and that concerns me. I am most concerned by the fact that magazines and newspapers are airbrushing us out of existence, and airbrushing us into mental hospitals! I’m really worried about the next generation of girls and how they will deal with this; their idols aren’t real – they are not real human beings! They don’t have curves, they don’t exist… It’s a unreal ideal. I’m really worried about the music industry too – especially what Simon Cowell has done to it! When I go to someone’s house and there is a TV on and they have X Factor or Idol, and I go, “is this what people are watching?” It’s a mind numbing existence for people who should be out living rather than watching.

And the music industry certainly has some interesting ideas about how to market their female artists!
There are a lot of issues and struggles; it is incredibly difficult for women in the record industry; it drives me mad! No matter how good you are, you are solely competing with say, KT Tunstall, Corrine Bailey Rae, Amy Winehouse, Imelda May; the labels always pit us up against each other and say “You have to be the new….” You are not out there and being celebrated as a good musician. If people can’t pigeonhole you, you are seen as a bit of an oddity. Had I been a man in this industry I would have been dealt with differently; I would have been celebrated for the way that I handle myself, but if you are a female, and you have opinions then you are seen as being difficult.

It must be hard to maintain your confidence, and sanity and creativity, whilst these obstacles come your way.
If you realise that creativity, well this is my perception of it; that creativity comes from creation, and that it’s all already there and you just have to become the channel and keep that as your focus and centre. Then none of that other stuff can touch you.

Categories ,acoustic, ,blues, ,collective, ,folk, ,Kirsty Almeida, ,live, ,manchester

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Amelia’s Magazine | 6 Day Riot Album Launch at the Jazz Cafe

Long Story Short, erectile look 2010

Since graduating from Wimbledon College of Art in 2009, Alice Browne has exhibited her paintings at Foremans Smokehouse Gallery’s Divergence exhibition and opened her shared studio to the public during the recent installament of Hackney Wicked. In 2010 Alice Browne was selected to participate in Bloomberg New Contempories, which is currently at the ICA. Earlier this week, Amelia’s Magazine had the pleasure of interviewing Alice Browne.

How did it feel to be selected for New Contemporaries?

Very exciting, and it really boosted my confidence in the studio. It has been great to meet other artists through the show.

What attracts you to the medium of paint?

I think, I’ve always found that paint was the medium which allowed me, the most experimentation. It involves more collaboration than mastering.

Production Still, 2010

What were you first experiences of art or if you had to, which artist(s) have had the greatest effect on your work to date?

Early experiences of art included the Greek and Roman pottery and sculpture in the Ashmolean and treasure trove of oddities at the Pitt Rivers in Oxford. I was introduced to painting through trips to the National Gallery. I was very influenced by an exhibition of Max Beckmann’s work which I saw in New York when I was at school. Artists who have had the greatest effect on my work include Francis Bacon, Pieter Claesz, Philip Guston and Prunella Clough.

Club, 2009

What are the financial implications after the decision has been made to start out as a painter?

It’s a constant weighing up of time, really. I need a studio – so that increases costs, so I need to work more to pay for it, but have less time to spend in there! Eventually I hope it will pay for itself.

Do you work in a gallery or maintain a part time job?

I work at Jerwood Space part time and worked at the National Gallery until recently.

The paintings submitted to Bloomberg New Contemporaries will almost be a year old, by the time the exhibition opens, what are your thoughts and these paintings now and what are their relation to the works you are producing today?

Some of the paintings in the show were made at the end of my degree and represent the focus of a very intense studio-time, so they are quite important and I think about them often. Pink Black Pink is one of the most confident paintings I’ve made. I’m very much still exploring the grounds in which they operate, though I understand it better now.

Pink Black Pink, 2009

What’s an average day in your studio?

I try to keep lots of paintings on the go (10-20 or more) so that I don’t get bogged down in the appearance of any particular painting. I expect a fair few to fail- which usually comes from overworking. I tend to go from one to the next, putting things away after I’ve worked on them. The less confident I feel, the longer I spend on each so on a really good day I could work on up to 10 paintings.

What type of paint (oil, acrylic) do you use and why?

I mostly use oil as it is so flexible and sometimes un-predictable. I use a lot of transparent colours which oil is very suited for. I do also use acrylic but usually for the more predictable priming and under-painting. If I’m not painting, my favourite medium is colouring pencils and paper.

Hellion II, 2009

Your statement discusses your paintings relation to “historical notions of depth relating to the flat painting surface and depth that we relate to visual experience” was there a particular painting or text which sparked your playful exploration?

My exploration was really fuelled by an interest in the range of ways that painters have represented visual space across history; from Masaccio to the trompe l’oeil of Gijsbrechts and still life painters such as Claesz, Cotan and Morandi, to de Hooch and Vermeer to Francis Bacon, Mary Heilmann and Phoebe Unwin.

I’m also interested in the way that photography and moving image represents visual space and how it changes our first hand experience of looking.

Day In, 2010

What was your relation to painting objects during your time at Wimbledon?

At Wimbledon I made quite a few paintings and photographs which described still life objects. Eventually I found that the objects got in the way; they were always charged with associations. I wanted to explore the space of the canvas or photograph rather than create an image.

How do you name your paintings?

I start with a sort of word association game and go from there.

Obstacle No. 2 2010

What does the sub-title of the exhibition “painting between representation and abstraction” mean to you?

For a while I’ve felt uncomfortable with using these terms – I don’t find it so useful to be defined as ‘representational’ or ‘abstract’, so being somewhere in-between sounds about right.

Had you met any artists before deciding to be one?

A family friend is a photographer who works in Hong Kong, taking pictures of the landscape. I always thought it was amazing that anyone could do something so beautiful for a job.

What was it like to study at Wimbledon?

Very supportive with a real sense of community. I loved being in a green and quite residential part of London.

Watch Me, 2010

Favourite contemporary painters?

Lots! I enjoyed Caragh Thuring’s recent exhibition at Thomas Dane gallery and Robert Holyheads show at Karsten Schubert.

How did you become to be involved in Transition Gallery’s exhibition Fade Away?

Alli Sharma curated the exhibition. Its great to be included in such an amazing selection of paintings.

Alice Browne’s paintings will be on display as part of Bloomberg New Contemporaries 2010 at the ICA until January 23rd 2011 and Transition Gallery’s Group Show: Fade Away until the 24th December, 2010.

The Compass Road by Iain Sinclair illustrated by Faye West

The decision to wear one of Mr Jones’ Watches is to accept the designer’s challenge to a modern concept of time being a series of fixed units, more about through which the day is neatly compartmentalised. A concept most succinctly visualised by the watch The Average Day watch. This piece was originally produced for The Muses. The watch-face illustrates the average activities undertaken at particular points throughout the day. The information was digested from sources researching how time is spent by an average person throughout the day. The hours are replaced by words, recipe for example 6pm becomes social life and 11 am becomes work.

The Average Day, Photograph by Chris Overend. The Muse for this particular watch was Jonathan Gershuny, Director of the Centre for Time Use Research and who Mr Jones stipulates has “750,000 time-use diaries.”

Continuing to dispense with Western Modernity’s accepted measurement of time, Mr Jones developed Cyclops, a watch with no hour, minute or second hands. Instead a circular disk mimics the movement of shadows across a sundial, as the passage of time is meditatively documented. Encouraging the wearer to reevaluate their relationship to capitalist time in which every precious second counts.

Cyclops

On Wednesday 3rd November 2010 Mr Jones’ Watches launched The Masters of Time a collaboration with five unique professionals who share an unique and personal concept of time.

During the launch Iain Sinclair, author and psycho-geographer, Greame Obree, record breaking cyclist and artist Brian Catling discussed the ideas behind their watches and the process of negotiating whilst collaborating with Mr Jones. The final two watches were developed with Comedian William Andrews, and DJ Tom Middleton.

Iain Sinclair Photograph by Emilie Sandy

Iain Sinclair’s (Author of Hackney That Red Rose Empire) Compass Watch relates to 90 minutes of film time, rather than your usual TV time of 60 minutes. Sinclair discussed the relation of time to walking, the layers created as time passes both between an event and the walker’s presence, within the walker’s own time.

Iain Sinclair – Compass Road interview from Mr Jones on Vimeo.

Fittingly Sinclair’s watch replaces the units of time with authors whose experience was shaped both by the influence of both geographic location and a complex understanding of time. In his 15 minutes Sinclair discussed the breakdown of the poet John Clare after the enclosure of the landscape to JG Ballard’s experiences as a prisoner of war before his arrival in Suburban England.

Compass Road by Iain Sinclair and Mr Jones Watches

The performance artist and sculptor Brian Catling, introduced the ideas behind Dawn West Dusk East via an art historical slide show. Original paintings and performances explored and expanded on the concept of ‘the Cyclops’. The watch –in the words of the artist- was designed to be “enigmatic, subtle and poetic.” The single rotation of this exquisite design is a silent request to return to a slower pace. The dial gradually measures the 12 hours between Dawn and Dusk.

Brian Catling Photograph by Emilie Sandy

The final speaker of the evening was the twice claimant of the toughest cycling challenge The Hour – a race between the cyclist, distance and the clock. Fittingly the title chosen for Graeme Obree’s timepiece is The Hour. As the hand rotates each hour reveals a different word encouraging the wearer to question emotions experienced during a variety of daily activities. Obree described The Hour as the best, worst, most exhilaratingly painful amount of time imaginable, each second a step closer to achieving or failing a lifelong obsession.

The Masters of Time launch was a fantastic introduction to an individuals complex relation to time. Sadly William Andrews and Tom Middleton were unable to attend, their watches The Last Hour and BPM played with the idea of ‘death’ on stage and a DJ’s relation to the beats per minute respectively. BPM comes complete with a specifically designed animation to help the nocturnal DJ keep count of each record’s BPM prior to the moment of a live mix.

Tom Middleton Photograph by Emilie Sandy

William Andrews Photograph by Emilie Sandy

William Andrews The Last Laugh functions as a symbol of the performer’s need for the last laugh and a momento mori, a reminder that life is brief as time flashes past on the moving teeth of the skull illustrated watchface

The Last Laugh by William Andrews and Mr Jones Watches

Mr Jones Watches are available from the website or you can visit Mr Jones Design, Unit 1.11 Oxo Tower Wharf?Southbank London SE1 9PH.
Compass Road and The Last Laugh are available today.

The Compass Road by Iain Sinclair illustrated by Faye West

The decision to wear one of Mr Jones’ Watches is to accept the designer’s challenge to a modern concept of time being a series of fixed units, adiposity through which the day is neatly compartmentalised. A concept most succinctly visualised by the watch The Average Day watch. This piece was originally produced for The Muses. The watch-face illustrates the average activities undertaken at particular points throughout the day. The information was digested from sources researching how time is spent by an average person throughout the day. The hours are replaced by words; 6pm becomes social life and 11am becomes work.

The Average Day, patient Photograph by Chris Overend. The Muse for this particular watch was Jonathan Gershuny, buy information pills Director of the Centre for Time Use Research and who Mr Jones stipulates has “750,000 time-use diaries.”

Continuing to dispense with Western Modernity’s accepted measurement of time, Mr Jones developed Cyclops, a watch with no hour, minute or second hands. Instead a circular disk mimics the movement of shadows across a sundial, as the passage of time is meditatively documented. Encouraging the wearer to reevaluate their relationship to capitalist time in which every precious second counts.

Cyclops

On Wednesday 3rd November 2010 Mr Jones’ Watches launched The Masters of Time a collaboration with five unique professionals who share an unique and personal concept of time.

During the launch Iain Sinclair, author and psycho-geographer, Greame Obree, record breaking cyclist and artist Brian Catling discussed the ideas behind their watches and the process of negotiating whilst collaborating with Mr Jones. The final two watches were developed with Comedian William Andrews, and DJ Tom Middleton.

Iain Sinclair Photograph by Emilie Sandy

Iain Sinclair’s (Author of Hackney That Red Rose Empire) Compass Watch relates to 90 minutes of film time, rather than your usual TV time of 60 minutes. Sinclair discussed the relation of time to walking, the layers created as time passes both between an event and the walker’s presence, within the walker’s own time.

Iain Sinclair – Compass Road interview from Mr Jones on Vimeo.

Fittingly Sinclair’s watch replaces the units of time with authors whose experience was shaped both by the influence of both geographic location and a complex understanding of time. In his 15 minutes Sinclair discussed the breakdown of the poet John Clare after the enclosure of the landscape to JG Ballard’s experiences as a prisoner of war before his arrival in Suburban England.

Compass Road by Iain Sinclair and Mr Jones Watches

The performance artist and sculptor Brian Catling, introduced the ideas behind Dawn West Dusk East via an art historical slide show. Original paintings and performances explored and expanded on the concept of ‘the Cyclops’. The watch –in the words of the artist- was designed to be “enigmatic, subtle and poetic.” The single rotation of this exquisite design is a silent request to return to a slower pace. The dial gradually measures the 12 hours between Dawn and Dusk.

Brian Catling Photograph by Emilie Sandy

The final speaker of the evening was the twice claimant of the toughest cycling challenge The Hour – a race between the cyclist, distance and the clock. Fittingly the title chosen for Graeme Obree’s timepiece is The Hour. As the hand rotates each hour reveals a different word encouraging the wearer to question emotions experienced during a variety of daily activities. Obree described The Hour as the best, worst, most exhilaratingly painful amount of time imaginable, each second a step closer to achieving or failing a lifelong obsession.

The Masters of Time launch was a fantastic introduction to an individuals complex relation to time. Sadly William Andrews and Tom Middleton were unable to attend, their watches The Last Hour and BPM played with the idea of ‘death’ on stage and a DJ’s relation to the beats per minute respectively. BPM comes complete with a specifically designed animation to help the nocturnal DJ keep count of each record’s BPM prior to the moment of a live mix.

Tom Middleton Photograph by Emilie Sandy

William Andrews Photograph by Emilie Sandy

William Andrews The Last Laugh functions as a symbol of the performer’s need for the last laugh and a momento mori, a reminder that life is brief as time flashes past on the moving teeth of the skull illustrated watchface

The Last Laugh by William Andrews and Mr Jones Watches

Mr Jones Watches are available from the website or you can visit Mr Jones Design, Unit 1.11, Oxo Tower Wharf? Southbank London SE1 9PH.
Compass Road and The Last Laugh are available today.

6 Day Riot by Karina Yarv
6 Day Riot by Karina Yarv.

We arrived at the Jazz Cafe just in time to catch the promising tail end of blues infused folk maestro Ian King, medicine who was followed by a set from comedian Richard Herring, trudging out the same old jokes (last heard at Latitude this summer) about his sad child less bachelor life. Is he in fact happily married, I wonder? Is it all just part of the comic schtick? He had clearly come prepared for a slightly more rowdy pre gig audience, with some poetry that he had written as an 18 year old virgin during his gap year “they called it a year out in those days”. Lines such as “The only water that was pure was from an orphan’s tears,” elicited plenty of giggles.

6 Day Riot-Tamara Schlesinger photo by Amelia Gregory
Tamara Schlesinger. All photography by Amelia Gregory.

6 Day Riot songstress Tamara Schlesinger bounced on stage in a huge red and purple feathered headdress, explaining that she’d had to do a whole rehearsal to check she could get her various instruments over her head without pulling it off. Because of course Tamara is the antithesis to your showgirl Kylies and Rhiannas, adeptly playing a plethora of instruments whilst singing up a storm in a stage grabbing outfit.

6 Day Riot-Tamara Schlesinger photo by Amelia Gregory

Also on stage were an energetic double bass played by Edd Harwood, the talented strains of Rachel Coleshill on violin, Gabriel Lucena on guitar, and at times two trumpeters, one of whom was indeed Rowan Porteous, the very same who has played with my band and who persuaded 6 Day Riot to play an intimate gig for Climate Camp at Glastonbury last year.

6 Day Riot-Tamara and Edd photo by Amelia Gregory

From introspectful to energetic 6 Day Riot swung through a great selection of tracks from the new album On This Island plus some older crowd pleasers, Tamara nimbly swapping between the various stringed instruments slung from her gold flower bedecked mike stand, including a sleek black electric ukelele. At one point the rest of the band left the stage whilst she dueted with her drummer Daniel Deavin, who paused to accompany her with the lightest of strums on his banjolele.

6 Day Riot  photo by Amelia Gregory
6 Day Riot-Tamara S photo by Amelia Gregory

For the finale 6 Day Riot pulled out their bestest klezmer influenced tunes, Tamara twirling her arms like a Notting Hill Carvinal dervish. It was a delightful end to a joyous launch, marred only by the loss of my favourite red sparkly scarf. Still, a small price to pay for a much needed dose of quality live music.

Tamara spoke excitedly of some recently confirmed dates with her favourite band, Belle and Sebastian, but in the meantime you can catch 6 Day Riot at a few remaining shows if you’re fast. Full listing info here. Read my review of new album On This Island here.

6 Day Riot-Edd Harwood photo by Amelia Gregory
Edd Harwood.

6 Day Riot-Rachel Coleshill photo by Amelia Gregory
Rachel Coleshill.

6 Day Riot-Gabriel Lucena photo by Amelia Gregory
Gabriel Lucena.

6 Day Riot-Ian King photo by Amelia Gregory
Ian King.

6 Day Riot-Richard Herring photo by Amelia Gregory
Richard Herring.

Categories ,6 Day Riot, ,Album Launch, ,Alex Bezzina, ,belle and sebastian, ,Daniel Deavin, ,Edd Harwood, ,Gabriel Lucena, ,Ian King, ,Jazz Cafe, ,Karina Yarv, ,klezmer, ,Kylie, ,latitude, ,On This Island, ,Rachel Coleshill, ,Rhianna, ,Richard Herring, ,Rowan Porteous, ,Tamara Schlesinger

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Amelia’s Magazine | 6 Day Riot: On This Island – Album Review

MADE_craft_and_design
6 Day Riot On This Island

Tamara Schlesinger may have the sweetest voice but she’s not above a storming yowl. And so this album starts, information pills the choir like harmonies and honeyed vocals of Take Me descending into yelps and impassioned declarations of “I feel nothing…”

My band once shared a horn player with 6 Day Riot. That, generic and the fact that they favour lashings of uke, illness might give a somewhat amateurish impression of the band. Nothing could be farther from the truth. The Times has recently declared them “a band accelerating to greatness” and whilst this kind of statement is commonly banished around by the broadsheets for once herein lies a kernel of truth.

6 Day Riot

6 Day Riot belong to that hazy genre of folky indie/pop, a strong horn section providing a dramatic backdrop to the more delicate tones of fiddle and ukelele, all topped off with a distinct latin flavour. Songs often start quietly but the mounting tension soon rises to the surface, repetition of phrases driving the meanings home. Always there is Tamara’s voice; crystal clear, often mournful, and never more so than in To See Your Face. “I’m dying to see your face,” she sings at top volume, her yearning interlaced with the delicate picked melodies.

Tamara_Schlesinger

I loved previous album 6 Day Riot Have a Plan and the new album is every bit as good, if not better. If you remain unconvinced by the folk/indie crossover then this is one album you really should try, the whole gorgeous beast best listened to in one fell swoop, finishing with the fabulous string laden Without These Words “I’ll take them back if you believe their curse.” Don’t ever take these words back Tamara – they deserve to spread as far as they can.

On This Island is out today on Tantrum Records. You can catch 6 Day Riot live throughout November. Follow them on twitter here. And here’s the wonderful stalkerish video for Take Me.

YouTube Preview Image

The upcoming album launch party at the Jazz Cafe is listed here.

Categories ,6 Day Riot, ,folk, ,horns, ,Indie, ,Latin, ,pop, ,Tamara Schlesinger, ,Tantrum Records, ,ukelele

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Amelia’s Magazine | 7:20s

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Monday 19th January

Greg Dulli/Mark Lanegan, viagra sale information pills Union Chapel, cialis 40mg London

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For fans of the drug-n-whisky soaked darker side of life this intimate venue should be the perfect place to catch the full intensity of this bad boy duo’s melancholic rumblings.

Still Flyin’, patient Stricken City, We Have Band, Hoxton Square Bar and Kitchen, London

15-piece Californian band/orchestra/whatever headline with their sunny but diverse indie pop. Plus cool electro pop from We Have Band.

Tuesday 20th January

Kasms, White Heat, London

Noisy and shambolic guitar sounds from these metal-tinged black-haired Londoners.

Wednesday 21st January

Wire, Cargo, London

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Sometimes gigs from old favourites can be a risky business, often liable to disappoint when your heroes have become sad old has-beens. With any luck these late 70s punk stalwarts were too cool to age badly and this should be a great gig.

Little Joy, Dingwalls, London

Strokes drummer Fab Moretti becomes a front man on this side project. Expect New Yorkey, indie-pop in a similar vein to, um, The Strokes via Brazil.

Thursday 22nd January

La Roux, Cockpit, Leeds

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She’s in Issue 10 so she must be pretty good but don’t just take our (and every other music journalist in England’s) word for it. Check out her fun dance pop live.

Friday 23rd January

Sky Larkin, Barfly, Cardiff

sky%20larkin.jpeg

Cute but clever indie rock from Leeds with a definite off-beat edge.

David Grubbs, The Croft, Bristol

Once the founder of 80s punk metallers Squirrel Bait, David Grubbs now plays grungy post-rock as a solo concern.

Saturday 24th January

James Yuill, The Macbeth, London

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Think Jose Gonzalez without the advert but with plenty of electronic sounds to accompany the quiet and introspective acoustic numbers.

Of Montreal, Digital, Brighton

Much loved indie pop, spreading a little happiness whilst supporting Franz Ferdinand on their latest tour.

Sunday 25th January

Le Corps Mince de Francoise, Library, Lancaster

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Daft Finnish pop in the same vein as CSS, Chicks on Speed and others of that ilk. Crazy make up and fun party girls = a great end to the weekend.

Rows of fish heads preserved in salt – even in the quirky world of Tatty Devine, viagra 60mg that’s an unexpected sight. They peer out from a long black board mounted on the gallery wall like hunting trophies. Next to them, buy cast copies of ripe oranges burrow into blocks of dark red velvet, rx as if victims of a bloody fruit massacre.

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tattyoranges.jpg

This is the first solo show of sculptor Amaia Allende, which opened on Thursday at the Tatty Devine boutique and gallery space in Brick Lane, east London. Allende claims to tackle the “subject of belonging” by assembling similar everyday items into tidy rows. It looks suspiciously like she has emptied her kitchen bin around the shop.

By the front door, some sort of green pear-like fruits line up on a narrow shelf. Poking out of the top are long strands of polyester blond hair, which make them look like a family of Mrs Pear Heads. So they belong together, you see, while at the same time having individual personalities (because of the hair).

tattypears.jpg

tattypunters.jpg

Tatty Devine is famous for its unique jewellery and edgy art exhibitions, including “Jane Amongst the Birds”, a competition for the best foreign bird or budgie (complete with Tatty Devine trophy) held in September last year. So when it comes to belonging, it seems that Allende and her sombre line-up of fish heads and old fruit, have found an appropriate home.
The most glamorous way of recycling clothes is buying vintage. Last week atelier-mayer.com was launched by luxury fashion PR, viagra order Carmen Haid, about it and fashion journalist, Alice Kodell, and it is a literal vintage heaven. It’s not the place to go if your vintage needs are met by Beyond Retro but if you want a designer dress to suit your decadent palette, you’ll love it.

In the 1930′s Carmen Haid’s grandmother, Klaudia Mayer ran a haute couture atelier in Vienna, selling exquisite clothes sourced from all over the world and it is this that atelier-mayer.com recreates as an online boutique.

The launch truly indicated the splendour of the site, as we entered Marks Club – gentlemen’s club extraordinaire – in Mayfair, we were greeted with roaring fireplaces, country estate décor and the elegant melodies of the violinists could be heard wafting down the staircase.

atelier-mayer-marks-club.jpg
Photograph by Tilly Pearman

Such a grand setting was fitting for the designer and couture gowns on show, a taste of what can be bought on the site. As well as on rails, the clothes were worn by models and the violinists, to show off the true beauty of them.

atelier-mayer-violin.jpg

atelier-mayer-champagne.jpg
Photographs by Tilly Pearman

The site not only allows you to browse through the clothes online, the style me section acts as your very own personal shopper, taking into account your size and preferences and finding appropriate pieces and accessories for you.

Atelier-mayer.com is also a great source for brushing up on your fashion knowledge, it has biographies of designers and fashion houses, guides to buying vintage and the style minute section contains a collection of fashion videos, including a fabulous Audrey Hepburn montage and an interview with key sartorial players including Coco Chanel, which is in her native French but we (Prudence Ivey – bilingual Music Editor) has done a handy translation of the key questions for you:

Could you give me a definition of elegance?
Coco: It’s difficult, you ask a difficult question, what is elegance? It’s many things. I will say something which I repeat all the time that for me is obvious but which many people don’t understand: that you can never be elegant enough.

Many of the dresses you designed last year have been copied or imitated in practically every country in the world. The Chanel style has descended to the street. Are you happy about this?
Coco: I am delighted. That was my goal. I don’t believe in defending fashion. You can’t have fashion if you are against imitation. There is no fashion if no-one sees it. Not me but many of the couturiers have an insane fear of imitation but you can’t be successful without it. For me success is the copy. You can’t be successful without that and imitation.

Wise words Coco.

emmythegreat12bar1.jpg
photograph from Gavin Cullen

I should confess that I don’t come to First Love with impartial ears, information pills but more as an inadvertent geek, verging-on-groupie, who has faithfully been following the movements of Emma-Lee Moss since first stumbling across the girl who sang out prophecies of premature death and the difficulty in distinguishing between love and a stomach disorder. Assembling whoever I could, I stood among many a rowdy crowd turned to enchanted silence – the boys would always fall in love and the girls would come away a little jealous.

Now her album has appeared on our desk and I am all excitement and nerves. The name is taken from Samuel Beckett’s depressing novella about a violently misogynistic lover, whilst Emmy’s First Love is a “hard-won innocence-to-experience saga about a destructive but ultimately character forming relationship, in which songwriting process was her final act of catharsis”. But the tracks that most explicitly fit this bill are the ones I find hardest to warm to, stripped of the subtlety and delicacy of earlier songs, they can be a little sour to the taste. For the most part however, the album shines with all the appeal that makes Emmy great. Lyrics that are dark, humorous and full of brilliantly evocative imagery – all veiled beneath teasingly playful melodies and a disarmingly sugared deliverance – “Our guitarist Euan says our songs are passive aggressive – people think we’re harmless unless they’re really listening”.

We went along to 12 Bar to see her play an acoustic set of before an intimidating crowd of straight clothed industry folk, though she was unfazed, always confident, “we’re used to much bigger stages” she joked …. and so Emmy the Great enters into the mainstream, and perhaps it is just the natural preconditioning of any fan but I think I preferred her on intimate stages when it was just her, her guitar, and a pool of admirers. Saying that, ‘We are Safe” is my new favourite song, full band.

napoleon-IIIrd-album.jpg

Opening with a Billy Bragg mockney cry, web you expect Napoleon IIIrd’s mini-album to be a fairly straightforward chronicle of the times, viagra sale Jamie T stylee with shades of Blur in the guitars. All fine but all a little 2006 and not terribly promising. And then the second track, A Strong Nuclear Force, hits you very much as it says on the tin, with its Prince via Beck falsetto and electro beats and you realise there may be more to this boy. A Leeds music scene stalwart, having played with iLikeTrains, iForward Russia! and The Research and remixed a whole bunch of his Northern counterparts, it is perhaps no wonder that there is a little more variety and interest in this collection of songs than might be expected.

napoleon-IIIrd.jpg

So much variety in fact, that it is easy to feel a little disorientated by the broad mix of genres which Napoleon IIIrd introduces, apparently on a whim. He certainly keeps you on your toes with his playful approach to continuity but challenging the audience is no bad thing and just a couple of listens bring out a common thread running throughout the record. The songs seem to build up to and around the pulsing, driving and crashing The Sky Is Too High, which at around 7 minutes certainly stands apart from the punchy observational territory of the rest of the disc, lacking as it does any discernable lyrical content. Proceedings are then rounded off on a dramatic note with the electro-hymn See Life, down-tempo enough to fall asleep to but interesting enough to give your full attention to on a long dark wet afternoon of the soul. It may take a little perserverance but this mini-album is definitely worth the time.

minna-logo.jpg

Now based in London, pill Finnish designer Minna Hepburn is showing her A/W 09 collection as part of Esthetica, and the ethical branch of London Fashion Week. Her beautiful and delicate designs caught our eye and even better, they’re eco-friendly, with all her materials being locally sourced, organic and fair-trade. She took the time to talk to us about her ideas and work:

When did you decide to persue a career in fashion design?

After I graduated, I went travelling with my husband and we ended up in Asia. I felt lost in terms of my career as I had studied War Studies at Kings College and worked a bit in the city, neither of those options really inspired me. Travelling and my ever so encouraging husband gave me the confidence to do something that I really loved – which is fashion.

What are you currently working on?

I am putting together my A/W 09 collection that I am showing at London Fashion Week, Esthetica in February. I think Esthetica will be bigger and better this year. I am really looking forward to it!
I am also finalising designs for my online boutique, which will be launched at the end of February.

minna-1.jpg

What designers do you admire?
I absolutely love Rodarte. What they have achieved without any proper training in fashion is incredible and very inspiring!

Who or what inspires your work?

My biggest inspirations are lace and antique markets. England has such amazing antique markets. We never had anything like that in Finland. It’s amazing that you can find gorgeous pieces from the early 1900′s and they are still in wearable condition. Sometimes I might find an old buttons or a postcard and get an amazing design idea.
When I am travelling I always look out for antique markets, France has some of the best ones I have seen!

What has been your biggest professional achievement so far?

Being accepted to do London Fashion Week and putting a collection together after just having a baby. My son Hayden was merely days old and I was still sore after a cesarean when I returned to work to finish the collection. I could not have done it without my friends though!

Also, I think one of the proudest moment was when A la Mode, started stocking my designs. They are such an institution, old and respected shop with impressive list of labels. They have been such a joy to work with!

Why did you decide to create an eco-friendly label?

With my first label, SE1 London, I experienced fast fashion as its worst. It was a range of silk dresses, tops and skirts that were made in Vietnam but I did a lot of traveling and it opened my eyes. It made me re-think the whole fashion industry and how it operates. I decided that second time round I would do it differently. I took some time to research the ethical fashion market, suppliers and the whole concept. I noticed that there was a gap in the high end of the ethical fashion market. A lot of the other ethical fashion brands were doing lots of wardrobe staples and there was not much choice, so I wanted to focus on that and provide some.
I really wanted to create not just a label, but a brand, and to feel that I was doing something differently and maybe setting an example.

minna-2.jpg

minna-3.jpg

Is it important to you that your materials are locally sourced?
I wanted to show that beautiful and affordable garments can be made in the UK, which is where Scottish lace came into the picture. Also, I have always loved antique markets and found Scottish lace to have that vintage look and appeal.
I started testing my designs with high end shops in Bath and London and got positive feedback. Encouraged by this, I applied to London Fashion Esthetica and decided to produce a full collection for S/S 09.

How do you feel ethical fashion is perceived by the public?

I think ethical fashion is getting better every season. It’s important to show people that ethical fashion can also be commercial, affordable and in line with the current trends.
The media has played a very big part in bringing the message that eco-fashion is in vogue. With the current economical climate, I think people are more aware how they are spending and what they want to spend their money on. With lots of cool ethical brands emerging, I think fashion with conscience has never been more in fashion.

How would you describe your personal style?
At home, as a mother of two young children I try to keep things simple. White lace tops and baby sick does not go well together…
But when I go out, it’s all about antique cocktail rings, pieces from my collection, dresses, high heels and vintage.

Do you like to wear ethical brands yourself?
I wear lot of vintage and I have discovered this amazing French brand, Ekyog, who have a shop on the Kings Road. They have the softest organic knitwear I have ever worn! But I have to say that most of the time I wear my own designs. Also by wearing it, I am testing each design, the fit and the fabrics before I put anything to production. It’s important to know how the garment will behave and last.

Thanks for talking to us Minna, have fun at Fashion Week.
London Fashion Week runs from 20th-25th February 2009.

Woman? Good. Self-publishing? Also good.

This Saturday at the The Women’s Library there will be a hands-on day celebrating woman’s involvement in self-publishing. Publishers, information pills artists, stomach illustrators and crafters – all will come together to share advice and techniques for making zines, magazines and comics. There will be a creative workshop with zine producer Red Chidgey, who will be dishing out advice on how to get started with your own zine, or you can just browse through stalls to find little treasures of your own, and meet zine distributors and makers, you might just come away inspired.

Check here for a more detailed itinerary. This event is free, but you must book.

zinefest1.jpg
The 7:20s are an enigmatically named bunch of attitudinous blokes from the West Midlands whose debut EP landed with a feisty thump on our doormat a couple of weeks ago. After some fairly bolshy correspondence and downright pestering we were convinced that we really had to give it a listen and the results lived up to expectations.

Aquarian Charm is a real rock record in the old tradition of driving guitars and powerful male vocals with some great hooks and, buy more about no surprises, more about lyrics with balls. As a relatively new and unsigned band there’s not much info about the 7:20s on the internet so we decided to get in touch with them to find out what they could tell us about themselves and their music.

the-7.20s-outside.jpg

What are your main influences?

Andy: Our musical influences start with Depeche Mode and early electronica, pill cool beats and synths through to Massive Attack, MGMT and M83. Add to that 90s influences from The Stone Roses, Nirvana, Radiohead, Primal Scream and through to Coldplay, The Editors, The 22-20s to name but a few from recent years. All journeys in life and the people you meet influence you and this comes through sonically too. Everyone that knows us is an influence!!

Where does your name come from?

Ed: It happened in 1981, in Preston. My mum and dad thought about many different names but decided on “Edward Paul Thurstan Wright”

The name of the band came because it was better than “Big yellow floppy cheese band”.

What do you think you’ve got to offer that other bloke bands can’t? Especially when all music critics are proclaiming this to be the year of the female solo artist.

John: We make epic, anthemic music infused with atmosphere with lyrics straight from the heart and soaring melodies. There’s no pretentiousness, no angular jangly chords, just pure music, pure emotion. We aren’t in the business of criticising other bands, but we will only say that if you’re after the real deal, you need to listen to our music and see us live. If it turns out to be true that 2009 is the year of the female solo artist, then we have a contingency plan of disbanding, and choosing one band member to front the music in drag. That should sort it…

You’re from Rugby. Is there much good music knocking around there?

Eddy: Yes there is a lot of really good music about in Rugby at the moment, such as Dukes Jetty, Lost Theory and Who Needs Heroes.

the-7.20%27s-inside.jpg

How important do you think a band’s image is? How important is your image to you?

Andy: Naturally, image is important….Why are there so many Elvis impersonators? He was arguably the most memorable artist in history but he was a cool artist too. Our first priority is to make life changing music and our band mirrors that in its image. We haven’t created an image to suit an environment. Instead, we hope our music will influence it. And, we look cool as fu*k to boot ha ha!

Ed: Image is only important to bands if their music is sh*te and they need to conform in order to be accepted and liked by the Topshop brigade and Radio One…though we are kinda guilty of that too!

Hm well, speaking of image, our Fashion Editor was keen to offer some styling advice when she saw these pics, perhaps they’d like to drop her a line for some tips on how to jazz up their look. We think it would lead to greater success in the future!

To find out more, visit www.myspace.com/720s.

Categories ,7:20s, ,Bloke Band, ,Musician, ,Q&A, ,Rock

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Amelia’s Magazine | 7:20s

listingmusic.gif

Monday 19th January

Greg Dulli/Mark Lanegan, viagra sale information pills Union Chapel, cialis 40mg London

mark%20lanegan%2C%20greg%20dulli.jpg

For fans of the drug-n-whisky soaked darker side of life this intimate venue should be the perfect place to catch the full intensity of this bad boy duo’s melancholic rumblings.

Still Flyin’, patient Stricken City, We Have Band, Hoxton Square Bar and Kitchen, London

15-piece Californian band/orchestra/whatever headline with their sunny but diverse indie pop. Plus cool electro pop from We Have Band.

Tuesday 20th January

Kasms, White Heat, London

Noisy and shambolic guitar sounds from these metal-tinged black-haired Londoners.

Wednesday 21st January

Wire, Cargo, London

wire.jpg

Sometimes gigs from old favourites can be a risky business, often liable to disappoint when your heroes have become sad old has-beens. With any luck these late 70s punk stalwarts were too cool to age badly and this should be a great gig.

Little Joy, Dingwalls, London

Strokes drummer Fab Moretti becomes a front man on this side project. Expect New Yorkey, indie-pop in a similar vein to, um, The Strokes via Brazil.

Thursday 22nd January

La Roux, Cockpit, Leeds

la-roux.jpg

She’s in Issue 10 so she must be pretty good but don’t just take our (and every other music journalist in England’s) word for it. Check out her fun dance pop live.

Friday 23rd January

Sky Larkin, Barfly, Cardiff

sky%20larkin.jpeg

Cute but clever indie rock from Leeds with a definite off-beat edge.

David Grubbs, The Croft, Bristol

Once the founder of 80s punk metallers Squirrel Bait, David Grubbs now plays grungy post-rock as a solo concern.

Saturday 24th January

James Yuill, The Macbeth, London

JamesYuill276.jpg

Think Jose Gonzalez without the advert but with plenty of electronic sounds to accompany the quiet and introspective acoustic numbers.

Of Montreal, Digital, Brighton

Much loved indie pop, spreading a little happiness whilst supporting Franz Ferdinand on their latest tour.

Sunday 25th January

Le Corps Mince de Francoise, Library, Lancaster

le-corps-mince-de-francoise.jpg

Daft Finnish pop in the same vein as CSS, Chicks on Speed and others of that ilk. Crazy make up and fun party girls = a great end to the weekend.

Rows of fish heads preserved in salt – even in the quirky world of Tatty Devine, viagra 60mg that’s an unexpected sight. They peer out from a long black board mounted on the gallery wall like hunting trophies. Next to them, buy cast copies of ripe oranges burrow into blocks of dark red velvet, rx as if victims of a bloody fruit massacre.

tattyfish.jpg

tattyoranges.jpg

This is the first solo show of sculptor Amaia Allende, which opened on Thursday at the Tatty Devine boutique and gallery space in Brick Lane, east London. Allende claims to tackle the “subject of belonging” by assembling similar everyday items into tidy rows. It looks suspiciously like she has emptied her kitchen bin around the shop.

By the front door, some sort of green pear-like fruits line up on a narrow shelf. Poking out of the top are long strands of polyester blond hair, which make them look like a family of Mrs Pear Heads. So they belong together, you see, while at the same time having individual personalities (because of the hair).

tattypears.jpg

tattypunters.jpg

Tatty Devine is famous for its unique jewellery and edgy art exhibitions, including “Jane Amongst the Birds”, a competition for the best foreign bird or budgie (complete with Tatty Devine trophy) held in September last year. So when it comes to belonging, it seems that Allende and her sombre line-up of fish heads and old fruit, have found an appropriate home.
The most glamorous way of recycling clothes is buying vintage. Last week atelier-mayer.com was launched by luxury fashion PR, viagra order Carmen Haid, about it and fashion journalist, Alice Kodell, and it is a literal vintage heaven. It’s not the place to go if your vintage needs are met by Beyond Retro but if you want a designer dress to suit your decadent palette, you’ll love it.

In the 1930′s Carmen Haid’s grandmother, Klaudia Mayer ran a haute couture atelier in Vienna, selling exquisite clothes sourced from all over the world and it is this that atelier-mayer.com recreates as an online boutique.

The launch truly indicated the splendour of the site, as we entered Marks Club – gentlemen’s club extraordinaire – in Mayfair, we were greeted with roaring fireplaces, country estate décor and the elegant melodies of the violinists could be heard wafting down the staircase.

atelier-mayer-marks-club.jpg
Photograph by Tilly Pearman

Such a grand setting was fitting for the designer and couture gowns on show, a taste of what can be bought on the site. As well as on rails, the clothes were worn by models and the violinists, to show off the true beauty of them.

atelier-mayer-violin.jpg

atelier-mayer-champagne.jpg
Photographs by Tilly Pearman

The site not only allows you to browse through the clothes online, the style me section acts as your very own personal shopper, taking into account your size and preferences and finding appropriate pieces and accessories for you.

Atelier-mayer.com is also a great source for brushing up on your fashion knowledge, it has biographies of designers and fashion houses, guides to buying vintage and the style minute section contains a collection of fashion videos, including a fabulous Audrey Hepburn montage and an interview with key sartorial players including Coco Chanel, which is in her native French but we (Prudence Ivey – bilingual Music Editor) has done a handy translation of the key questions for you:

Could you give me a definition of elegance?
Coco: It’s difficult, you ask a difficult question, what is elegance? It’s many things. I will say something which I repeat all the time that for me is obvious but which many people don’t understand: that you can never be elegant enough.

Many of the dresses you designed last year have been copied or imitated in practically every country in the world. The Chanel style has descended to the street. Are you happy about this?
Coco: I am delighted. That was my goal. I don’t believe in defending fashion. You can’t have fashion if you are against imitation. There is no fashion if no-one sees it. Not me but many of the couturiers have an insane fear of imitation but you can’t be successful without it. For me success is the copy. You can’t be successful without that and imitation.

Wise words Coco.

emmythegreat12bar1.jpg
photograph from Gavin Cullen

I should confess that I don’t come to First Love with impartial ears, information pills but more as an inadvertent geek, verging-on-groupie, who has faithfully been following the movements of Emma-Lee Moss since first stumbling across the girl who sang out prophecies of premature death and the difficulty in distinguishing between love and a stomach disorder. Assembling whoever I could, I stood among many a rowdy crowd turned to enchanted silence – the boys would always fall in love and the girls would come away a little jealous.

Now her album has appeared on our desk and I am all excitement and nerves. The name is taken from Samuel Beckett’s depressing novella about a violently misogynistic lover, whilst Emmy’s First Love is a “hard-won innocence-to-experience saga about a destructive but ultimately character forming relationship, in which songwriting process was her final act of catharsis”. But the tracks that most explicitly fit this bill are the ones I find hardest to warm to, stripped of the subtlety and delicacy of earlier songs, they can be a little sour to the taste. For the most part however, the album shines with all the appeal that makes Emmy great. Lyrics that are dark, humorous and full of brilliantly evocative imagery – all veiled beneath teasingly playful melodies and a disarmingly sugared deliverance – “Our guitarist Euan says our songs are passive aggressive – people think we’re harmless unless they’re really listening”.

We went along to 12 Bar to see her play an acoustic set of before an intimidating crowd of straight clothed industry folk, though she was unfazed, always confident, “we’re used to much bigger stages” she joked …. and so Emmy the Great enters into the mainstream, and perhaps it is just the natural preconditioning of any fan but I think I preferred her on intimate stages when it was just her, her guitar, and a pool of admirers. Saying that, ‘We are Safe” is my new favourite song, full band.

napoleon-IIIrd-album.jpg

Opening with a Billy Bragg mockney cry, web you expect Napoleon IIIrd’s mini-album to be a fairly straightforward chronicle of the times, viagra sale Jamie T stylee with shades of Blur in the guitars. All fine but all a little 2006 and not terribly promising. And then the second track, A Strong Nuclear Force, hits you very much as it says on the tin, with its Prince via Beck falsetto and electro beats and you realise there may be more to this boy. A Leeds music scene stalwart, having played with iLikeTrains, iForward Russia! and The Research and remixed a whole bunch of his Northern counterparts, it is perhaps no wonder that there is a little more variety and interest in this collection of songs than might be expected.

napoleon-IIIrd.jpg

So much variety in fact, that it is easy to feel a little disorientated by the broad mix of genres which Napoleon IIIrd introduces, apparently on a whim. He certainly keeps you on your toes with his playful approach to continuity but challenging the audience is no bad thing and just a couple of listens bring out a common thread running throughout the record. The songs seem to build up to and around the pulsing, driving and crashing The Sky Is Too High, which at around 7 minutes certainly stands apart from the punchy observational territory of the rest of the disc, lacking as it does any discernable lyrical content. Proceedings are then rounded off on a dramatic note with the electro-hymn See Life, down-tempo enough to fall asleep to but interesting enough to give your full attention to on a long dark wet afternoon of the soul. It may take a little perserverance but this mini-album is definitely worth the time.

minna-logo.jpg

Now based in London, pill Finnish designer Minna Hepburn is showing her A/W 09 collection as part of Esthetica, and the ethical branch of London Fashion Week. Her beautiful and delicate designs caught our eye and even better, they’re eco-friendly, with all her materials being locally sourced, organic and fair-trade. She took the time to talk to us about her ideas and work:

When did you decide to persue a career in fashion design?

After I graduated, I went travelling with my husband and we ended up in Asia. I felt lost in terms of my career as I had studied War Studies at Kings College and worked a bit in the city, neither of those options really inspired me. Travelling and my ever so encouraging husband gave me the confidence to do something that I really loved – which is fashion.

What are you currently working on?

I am putting together my A/W 09 collection that I am showing at London Fashion Week, Esthetica in February. I think Esthetica will be bigger and better this year. I am really looking forward to it!
I am also finalising designs for my online boutique, which will be launched at the end of February.

minna-1.jpg

What designers do you admire?
I absolutely love Rodarte. What they have achieved without any proper training in fashion is incredible and very inspiring!

Who or what inspires your work?

My biggest inspirations are lace and antique markets. England has such amazing antique markets. We never had anything like that in Finland. It’s amazing that you can find gorgeous pieces from the early 1900′s and they are still in wearable condition. Sometimes I might find an old buttons or a postcard and get an amazing design idea.
When I am travelling I always look out for antique markets, France has some of the best ones I have seen!

What has been your biggest professional achievement so far?

Being accepted to do London Fashion Week and putting a collection together after just having a baby. My son Hayden was merely days old and I was still sore after a cesarean when I returned to work to finish the collection. I could not have done it without my friends though!

Also, I think one of the proudest moment was when A la Mode, started stocking my designs. They are such an institution, old and respected shop with impressive list of labels. They have been such a joy to work with!

Why did you decide to create an eco-friendly label?

With my first label, SE1 London, I experienced fast fashion as its worst. It was a range of silk dresses, tops and skirts that were made in Vietnam but I did a lot of traveling and it opened my eyes. It made me re-think the whole fashion industry and how it operates. I decided that second time round I would do it differently. I took some time to research the ethical fashion market, suppliers and the whole concept. I noticed that there was a gap in the high end of the ethical fashion market. A lot of the other ethical fashion brands were doing lots of wardrobe staples and there was not much choice, so I wanted to focus on that and provide some.
I really wanted to create not just a label, but a brand, and to feel that I was doing something differently and maybe setting an example.

minna-2.jpg

minna-3.jpg

Is it important to you that your materials are locally sourced?
I wanted to show that beautiful and affordable garments can be made in the UK, which is where Scottish lace came into the picture. Also, I have always loved antique markets and found Scottish lace to have that vintage look and appeal.
I started testing my designs with high end shops in Bath and London and got positive feedback. Encouraged by this, I applied to London Fashion Esthetica and decided to produce a full collection for S/S 09.

How do you feel ethical fashion is perceived by the public?

I think ethical fashion is getting better every season. It’s important to show people that ethical fashion can also be commercial, affordable and in line with the current trends.
The media has played a very big part in bringing the message that eco-fashion is in vogue. With the current economical climate, I think people are more aware how they are spending and what they want to spend their money on. With lots of cool ethical brands emerging, I think fashion with conscience has never been more in fashion.

How would you describe your personal style?
At home, as a mother of two young children I try to keep things simple. White lace tops and baby sick does not go well together…
But when I go out, it’s all about antique cocktail rings, pieces from my collection, dresses, high heels and vintage.

Do you like to wear ethical brands yourself?
I wear lot of vintage and I have discovered this amazing French brand, Ekyog, who have a shop on the Kings Road. They have the softest organic knitwear I have ever worn! But I have to say that most of the time I wear my own designs. Also by wearing it, I am testing each design, the fit and the fabrics before I put anything to production. It’s important to know how the garment will behave and last.

Thanks for talking to us Minna, have fun at Fashion Week.
London Fashion Week runs from 20th-25th February 2009.

Woman? Good. Self-publishing? Also good.

This Saturday at the The Women’s Library there will be a hands-on day celebrating woman’s involvement in self-publishing. Publishers, information pills artists, stomach illustrators and crafters – all will come together to share advice and techniques for making zines, magazines and comics. There will be a creative workshop with zine producer Red Chidgey, who will be dishing out advice on how to get started with your own zine, or you can just browse through stalls to find little treasures of your own, and meet zine distributors and makers, you might just come away inspired.

Check here for a more detailed itinerary. This event is free, but you must book.

zinefest1.jpg
The 7:20s are an enigmatically named bunch of attitudinous blokes from the West Midlands whose debut EP landed with a feisty thump on our doormat a couple of weeks ago. After some fairly bolshy correspondence and downright pestering we were convinced that we really had to give it a listen and the results lived up to expectations.

Aquarian Charm is a real rock record in the old tradition of driving guitars and powerful male vocals with some great hooks and, buy more about no surprises, more about lyrics with balls. As a relatively new and unsigned band there’s not much info about the 7:20s on the internet so we decided to get in touch with them to find out what they could tell us about themselves and their music.

the-7.20s-outside.jpg

What are your main influences?

Andy: Our musical influences start with Depeche Mode and early electronica, pill cool beats and synths through to Massive Attack, MGMT and M83. Add to that 90s influences from The Stone Roses, Nirvana, Radiohead, Primal Scream and through to Coldplay, The Editors, The 22-20s to name but a few from recent years. All journeys in life and the people you meet influence you and this comes through sonically too. Everyone that knows us is an influence!!

Where does your name come from?

Ed: It happened in 1981, in Preston. My mum and dad thought about many different names but decided on “Edward Paul Thurstan Wright”

The name of the band came because it was better than “Big yellow floppy cheese band”.

What do you think you’ve got to offer that other bloke bands can’t? Especially when all music critics are proclaiming this to be the year of the female solo artist.

John: We make epic, anthemic music infused with atmosphere with lyrics straight from the heart and soaring melodies. There’s no pretentiousness, no angular jangly chords, just pure music, pure emotion. We aren’t in the business of criticising other bands, but we will only say that if you’re after the real deal, you need to listen to our music and see us live. If it turns out to be true that 2009 is the year of the female solo artist, then we have a contingency plan of disbanding, and choosing one band member to front the music in drag. That should sort it…

You’re from Rugby. Is there much good music knocking around there?

Eddy: Yes there is a lot of really good music about in Rugby at the moment, such as Dukes Jetty, Lost Theory and Who Needs Heroes.

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How important do you think a band’s image is? How important is your image to you?

Andy: Naturally, image is important….Why are there so many Elvis impersonators? He was arguably the most memorable artist in history but he was a cool artist too. Our first priority is to make life changing music and our band mirrors that in its image. We haven’t created an image to suit an environment. Instead, we hope our music will influence it. And, we look cool as fu*k to boot ha ha!

Ed: Image is only important to bands if their music is sh*te and they need to conform in order to be accepted and liked by the Topshop brigade and Radio One…though we are kinda guilty of that too!

Hm well, speaking of image, our Fashion Editor was keen to offer some styling advice when she saw these pics, perhaps they’d like to drop her a line for some tips on how to jazz up their look. We think it would lead to greater success in the future!

To find out more, visit www.myspace.com/720s.

Categories ,7:20s, ,Bloke Band, ,Musician, ,Q&A, ,Rock

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Amelia’s Magazine | A brief chat with frYars

There are so many talented and creative people out there that this year we’ve decided to showcase the ones that really catch our eye. First up is Danish fashion illustrator Mia Overgaard.

While training as a fashion designer in Denmarks Designskole in Copenhagen she realised her true passion was in fashion illustration rather than actually creating the pieces, viagra look so focused her talents on design illustration.
Born in Copenhagen in 1978, abortion she now lives in the grand old US of A, where she illustrates for magazines and fashion design firms.

She kindly answered some questions for us, so we could get to know her a little better.

Hi Mia, what are you currently working on?

Right now I am working on a website design for an up and coming Danish designer called Nikoline Liv Andersen. After that I am giving my own website a much needed makeover!

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Who are your favourite designers?

This is actually a very hard question for me, because I find that there are so many extremely talented designers in this world, but if I had to mention only one, John Galliano definitely never fails to surprise and amaze me.
With that said Rei Kawakubo has the same effect on me, even though her approach to fashion and design is of a totally opposite tradition. I guess regarding successful design, raising emotion is key for me.

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How would you describe your personal style?

I love items that have character and remind me of something from my childhood, both in interior design, in fashion and in getting dressed.
I love thrift stores and spend hours flipping through the clothes and looking at all the things left from another time. I don’t really follow a certain trend, but try dressing out of emotion and mood, rather than putting on whatever the runway predicts.
I love the way children choose to dress when their parents let them pick out what to wear. They follow no rules – but choose their clothes out of emotion. That is inspiring to me.

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What or who inspires you?

Music, children, fairy tales, art in general, nature, my life!

Do you think you’ll ever go back to fashion design?

Maybe… probably, I just have to figure out the right approach to it though. I have to have my heart with me.

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What do you think of Karl Lagerfeld‘s work as a fashion illustrator?

He is such an icon! But personally I would get bored with having the same look for decades! As for his work as an illustrator, I must say that he has years of experience and he has a great talent for depicting textures. With that said I think that his style is timeless but then again I do not find it contemporary… if that makes any sense at all…??

Yes Mia, it makes sense to us, so does your wonderful, whimsical take on fashion illustration.
With Omnifuss it’s all about engaging with everyday space. No white gallery walls for a backdrop; instead work must respond directly to the space in which it is displayed, approved forming an intimate interaction between art and place and blurring the lines between.

With their second show and seven artists stepping to the challenge, medicine Downstairs was all about domesticity in its rawest state; and where better to stage it but in their own basement flat in Whitechapel? It cannot be said that Sam Hacking and Christopher Patrick, treat the partnership behind Omnifuss, do not live their art. Learning about the lead-up to the exhibition was as intriguing as the work itself: converting your home into an art-space is clearly a major enterprise, particularly when said artwork consists in covering an entire bedroom, object by object, in toilet paper. “We’ve been sleeping under the bed and we cook on a camping stove”, Chris told me proudly.

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Of all the pieces, Hacking’s piece – the one with the toilet paper – was perhaps the most striking. With a typewriter and three months devotion, streams of consciousness were typed onto the rolls relating to her own personal engagement with each object the paper would then cover; a labour of love that she joked had slightly un-hinged her, “I haven’t really talked to people in a while”, she apologized. It was with irony that her work formed a white walled space with a twist, to which other artists could respond.

It is in the blurred lines between art and everyday space that all the work excels. Esther Ainsworth, one of the seven artists featured in Downstairs, explained that it is in these subtleties that she likes best to work, “I am particularly interested in manipulating time and place in the pursuit of an individual way of understanding the things that we come into contact with each day” says on her blurb, and in person, told me about an intricate and slightly ornate piece she had done on the pavement outside, that unfortunately could not be seen by night. These are the details of our everyday landscapes that become so familiar they are no longer noticed – blink and you might miss it, but that’s the point.

Omnifuss is a project to watch in the future, expect something novel and refreshing; whatever next?

Here’s a little gem I found while perusing the world wide web. The most ingenious and by far the most stylish way I’ve ever seen of re-using a plastic bag – turning them into a pair of stylish ankle boots! Not by tying old bags around your feet, buy more about crazy bag-lady style but by creating these:

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How is this done though? Well, 23-year old Chilean fashion design student Camila Labra did it by fusing many layers of plastic bags to create a thick, robust material, which she then designed into the boots. Genius!

She named her beautiful creations the Dakka Boots after the capital city of Bangladesh, Dhaka, which banned plastic bags in 2002 after excess amounts of them became a problem. Nice link there. Each shoe has a cotton lining and takes around 8 plastic bags to make. They are available in a wide range of colours and patterns:

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If you want to get your hands on these beauties, e-mail Camila for prices and availability.

On Monday evening a collective of artists known as ‘ARTPORT‘ will be supporting The Climate Rush at Heathrow Airport. Hundreds of the capital’s artists are expected to attend bringing with them installations, there interventions and performance pieces to accompany the Dinner at Domestic Departures.

As the string quartet plays its first note, picnic blankets will be laid, the dinner guests will reveal their Edwardian dress and enjoy the music and food. A la Carte at the Climate Rush dinner is cheaper train fares instead of short-haul domestic flights, with a delectable accompaniment of better transport hubs and coach links. There will also be higher taxation for airlines according to carbon dioxide emissions to wet one’s appetite for the piece de resistance…a Green New Deal.Yum.

This evening of Edwardian refinement will be all the more enjoyable with the artwork brought by ArtPort, a dynamic and non-hierarchical collective.

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A central concern of Artport is to stimulate through entertainment in the hope that a public engaged through humour, imagination and creativity will be more willing to reflect and act upon the problems of today’s world. Public spaces will be accessed and reclaimed in order to find a voice which is often stifled by political and corporate collusion.

Monday’s collaboration will see artists from a host of backgrounds come together with bold, legible pieces, ranging from performance to poetry and installation to illustration. Actors, musicians, painters and writers united by the urgency of action in a deteriorating climate will come together and collectively make themselves heard. The result may well be somewhat cacophonous, but it will be better than silence.

Everyone is welcome to submit work for Artport. Please contact Artport directly at artportist@gmail.com here we will be able give advice regarding logistics, practicalities and legalities, as well as encouragement.

In issue nine we told you about the exceptionally talented frYars who could “do no wrong” (p.24 – near the bottom of the page). Longevity is what he’s striving for – he actually has to throw songs away because he writes too many of them – and so far he shows no sign of waning.

His new track, buy Visitors, viagra 40mg has appeared on our desk and rather than tell you what I think about it, prescription I wrangled his number off a mutual friend and gave him a ring to see what he had to say: “he’ll be happy to talk, just say something funny”, wow, pressure.

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After awkward introductions and no jokes on my behalf, I find out that he is, surprise surprise, on his bed (due to comfort/room-size considerations) making music as we speak. He is charmingly soft spoken and polite, and agrees to tell me a little about Visitors, but only a little; apparently songs ought not to be explained too much and I think I agree.

frYars: It’s about a man in a house who has a guest turn up … the guest turns out to be mentally ill and then the man is troubled because he doesn’t know how to help him but knows he should.
He hints at wider themes of wanting to do social good and feeling incapacitated, but this is where explanations become too much. I concur.
Luisa: You’ve been compared to the likes of David Bowie, how’s that?
f: That’s good.
L: A fair comparison?
f: Well no, because I’m obviously not as good yet and I haven’t reached that kind of status … also the stage stuff, I don’t think I’d be into all the costumes.
L: Make-up?
f: Well who knows, I could say no now, but a few months down the line you might see me wearing something scary on stage.
L: When can we see you on stage?
f: Well we just did the Goldfrapp tour and we’ve got some gigs planned in April, but we don’t want to play too much. Most of the people I like don’t play very often, I think it’s best to wait until the anticipation is strong.
L: Keep it aloof?
f: Yup.

Tangents started to occur at this stage but I did find out that his album is out in May, he’s fond of table tennis, and that he googles himself regularly, finding for the most part that people say nice things about him, which is good.

As I come to the end of writing this up I have listened to the song eight or so times … it’s nestling between my ears and I can tell already that the chorus will roll around my head for my pedal home and beyond (in a good way)… frYars strikes again.

Categories ,frYars, ,Musician, ,Q&A, ,Single

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Amelia’s Magazine | A Crystal in the Rough

LuckyPDF is a new artist-led project based in Camberwell and Peckham, this web search South East London. LuckyPDF aims to promote and support new artists and creative talent within the area by finding innovative and effective ways to produce and exhibit work.

Recently taking up residence in the UNITY centre on the busy Peckham High Street, LuckyPDF will play host to a series of exhibitions, events and happenings over coming months, working within the restrictions of this unique space and around the other groups that share it.

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The current Exhibition features Molly Smyth’s Sculptures which tackle the difficult subject of fear in relation to the recent attacks in Mumbai. I asked her what initially inspired her;

“I originally wanted to create an overtly violent exhibition which highlights the horror of the terror attacks in Mumbai towards the end of last year. That’s however not what materialized. It became more to do with the fear involved.”

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An integral part of the show is a large piece entitled ‘Continuo’ which both propels the art to another level but also acts as an invasive field for the viewers.

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“It’s based on the the Basso Continuo rhythm within Baroque music which lies underneath the melody and both propels and holds back the music.”

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The exhibition continues tonight and tomorrow night @ UNITY, 39 Peckham High Street.

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The Norwegian artist Lise Bjorne Linnert has created a project in response to the tragic, viagra and ongoing situation in the Mexican border town of Juarez, discount which sits on the border of the USA. It is difficult to comprehend, sales but the statistics are chilling – over 560 women have been murdered, hundreds more have disappeared, their whereabouts forever unknown, but it is suspected that they have been kidnapped for trafficking.

Desconocida:Unknown has to date, traveled through 22 countries. The project is very much a participatory affair. Those who come to the exhibition are encouraged to become involved, and embroider two labels; one baring the name of one of the murdered women, and one with the simple word – ‘unknown’. These name tags are added onto a wall which becomes the central medium of the project. Until March 22nd, it will be showing at The Gallery at University for the Creative Arts Epsom. Here, visitors can embroider whilst watching a documentary about the situation, called Threading Voices, also made by the artist.

descondida4resized.jpgFrontera 450+, at the Station Museum of Contemporary Art, Houston Texas. A show dedicated to the women of Juarez and their situation. This inspired me to start the project. i had moved back to Norway at the time and I wanted to create a project that somehow diminished the distance, the physical distance to the place and the psychological distance to take in information of such difficult issues. I wanted to create a connection, because violence towards women is a global issue, happening in every society, rich or poor, far or near.The situation in Juarez is extremely complex and very difficult to describe using just a few words. But I think it is very important to share that despite the horror that still are happening and the increasing violence towards both men and women due to a war on drugs in the city, the women and the community I have seen and collaborated with is not a victimized community, it is a community of an enormous strength and ability to fight back and with a believe in change. Believe in change through working with the youth, education, support of the families so they can speak for themselves. It is all organized with the smallest means and in an environment of violence and mistrust. The government’s attempts on improvements are described by the activists as cosmetic.”

What inspired you to choose to have participants embroider the name of the murdered women onto the labels?

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” The idea of the embroidered nametags came after a long time researching and thinking. I wanted to use a female activity as a way to protest against the violence, I did not want to celebrate the violence. I wanted to establish a connection that would enable us to see the women and hear the stories told, see them as individuals. I also wanted an activity that had connections back to Mexico but yet were global, which embroidery is. We all have a relationship with names, it is the first thing we learn to write and by embroidering the names we would remember that name. By being embroidered, the mass of names each take on an identity again, a dual identity, that of the named and that of the embroiderer.”

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Other than the labels, have you been using any other art forms alongside the embroidery, and how to you feel that this compliments?

“The project has inspired me to work using different art forms. After visiting Juarez in 2007, I decided to go back to tell the story of Marisela Ortiz Rivera and the organization Nuestras Hijas de Regreso a Casa. I wanted to share the power and strength the women are fighting with and made the short documentary Threading Voices. When exhibiting the project I also show the video “Missing young women” by the Mexican filmmaker Lourdes Portillo. This film shares the stories about the murders, following the families in their search for their daughters and for justice.
For me it has been very important to show that women are not victims but have strength to fight back. During the openings of exhibitions where Desconocida has been shown, I have done a voice performance, Presence, where I give a tone, and then I give silence. I take away the words, the relation to music and this leaves the viewer and I with the purely the voice, the note and the silence, and I think this brings presence forward. There are “no escapes”
For the opening at the Gallery at the University for Creative Arts, Epsom, I made a sound installation based on my performance idea.”

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What has the response been to this project, and where would you like to see this project going (apart from bringing justice to these women, of course).

“The project has grown much larger than I imagined when I started this, it has almost taken on a life of its own. I have decided that as long as people want to be part embroidering and the situation in Juarez remains the same, the project will continue to run its course. I hope more venues would like to show the project and by this engage more communities. It is important for me though that the labels eventually do not end their journey in a drawer in my studio. I am currently researching different ideas of how to bring the labels back out to the communities where they have been created, and doing so through an action/performance in Ciudad Juarez.”
What do you do when even the charity shops turn their noses up at your second hand freebies? Have them stripped for parts just like you would your bike! Tracey Cliffe, find with a background in costume design, information pills knows exactly how to spin fresh dresses out of frocks non-grata. Check out her popping new boutique in Afflecks Place in Manchester.
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Love Me Again Flyer

Polly Scattergood

Rough Trade

Saturday 28th Feb, approved 2009

The ethereal Polly Scattergood performed a short set at Rough Trade East on Saturday evening to a small but attentive crowd. Whether they had wandered in from hearing her sound or were hardened followers was difficult to determine, pharmacy but all were enthralled by what Scattergood had to offer.

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Scattergood is an open and candid storyteller with the adorable quirkiness of Kate Bush and the timid vulnerabilty of Bat for Lashes. Part vocal, part soliloquy, Scattergood‘s songs are honest and real. She was a little nervous on Saturday, resplendent in an metallic puffball number with slightly tousled blonde locks. Her vocals wavered, but it’s a bold move presenting your music in a space as stark as a record shop. There’s no production, no flashy lighting, and there are customers wandering aimlessly trying to find their would-be purchases.

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In between haunting melodies, Scattergood gave little away apart from song titles. From one track to another, she kept a rapid pace, backed by a three-piece band who spend far too much time looking in a mirror (I’d imagine). The songs are original, though – and her dulcet spoken tones blend smoothly with her powerful voice (she dips like a young Moyet and peaks like a more mature Goldfrapp). She has a fresh indie sound with a scrumptious catchy pop twang, best detected on the balladic Unforgiving Arms. Scattergood is also onto a winner with the short show’s closing track, Nitrogen Pink, born with a whisper and maddening as it reaches its climax.

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April sees Polly embark on a comprehensive tour around the UK, with the album Stateside Releases expected to hit the shops this week. With a nod, a huge smile and a timid curtsy, Polly‘s off, safe in the knowledge that she’s served up a teatime treat.
Aussie by heart, for sale New Yorker by nature, pills Deanne Cheuk is at the vanguard of her field in fashion illustration. Her work has already graced the pages of Nylon, ampoule Dazed and Confused,Vogue and Tokion.She is showered with accolades, recently she featured as one of the top “50 creative minds in the world” by Face Magazine.

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Cheuk’s utilises a myriad of mediums that beautifully unite to create ethereal and dreamy pieces.Whisking you away from the realms of reality into the fairy tale-esque utopia of Deanne’s mind. Like a trip to the realms of Willie Wonker’s chocolate factory her visions are inhabited by mushrooms and a whole spectrum of colours, rather reminiscent of hundreds and thousands ,yum!!!

I have to concede I am so utterly besotted by Deanne Cheuk that even the thought of approaching her made me blush. But I am pleased to say I shook off my anxieties and hunted down this astonishingly talented lady to squeeze in a quick chat!.

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1.What other artists inspire you?

I’m always inspired by what my friends are doing, artists like Chris Rubino, Rhys Lee, Dmote, Suitman, Rostarr, Jose Parla, photographers like Jason Nocito, Juliana Sohn, Coliena Rentmeester, Davi Russo

2. In the past few years you have worked more in fashion illustration, was this a natural progression?

Yes it was a natural progression, I started out with drawing the Mushroom Girls series, and then ended up getting commissioned to do variations on that style for fashion magazines and fashion brands. I don’t really do alot in the Mushroom Girls style anymore as it started to get copied alot and a really tacky shoe company on the West Coast ripped it off as their branding. I’ve been doing alot of textile prints for different designers including my favorite designer Sue Stemp.

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3. You published a book a few years ago entitled the Mushroom Girls Virus Book, is there any chance of this going back into press?

Unfortunately there isn’t much chance of my book getting re-printed. The embroidered covers were all hand glued and that was incredibly time consuming for the printers to put together, it took a long time to produce. Though, regardless of that, I’d be more interested in making a new book than revisiting something that was already out there.

4. Alot of your work features mushrooms, do you have a fungal fetish at all?

I’ve always absolutely loved the under-sides of mushrooms, how delicate, intricate and soft and unique that part is. I’m also fascinated by the incredible varieties of mushrooms and amazing colors that are found in nature – so yes there is some fetish there for sure!

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5. Alot of your work is multi-media based, what mediums do you usually use when you work?

I nearly always start with pencil and watercolor on paper and finish up in photoshop on the computer, I’m a bit of a perfectionist and like to be able to retouch and control the final image in that way.

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6. Are their any plans to publish any more books?

Yes, I have a bunch of ideas for a typography book, and an art book and some kids books.

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7. Have you been to any interesting exhibitions recently?

I went to the Works On Paper show in New York this week at the Park Avenue Armory, my work is all on paper so it was really inspiring to see . My favorites were old Warhol’s and Lichtenstein’s’.

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You get a awe-inspiring sense from Cheuk of her passion for design, ,not content in conquering merely the fashion sphere she has set her intentions further a field in the world of children’s literature and graphic design. I for one can’t wait to see how these ideas materialise!
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Going from a magazine to an online blog; we at Amelia’s Magazine know all about the wonders of the internet. However until an email from Mousse Magazine landed in my email box I had no idea how much the process has moved on. Although the magazine is printed in runs of 30, viagra sale 00 and available from museums and galleries across the world it’s also available to download entire issues (and back issues) online. The best bit is that it’s completely free!

Founded in 2006 and distributed internationally since 2008 Mousse Magazine is a bimonthly and bilingual, written in English and Italian, review “that contains essays, interviews, conversations, exclusive artists projects and columns by correspondents from the international art capitals.” They aim to, “surf the trends, offer in depth analysis meet with the hottest artists, and capture the latest currents and developments in the international scene.”

Eager to see whether I could give up the thrill of flicking through the glossy pages of an art magazine I downloaded Mousse straight from the website (no visit to the shop necessary!) and had a look.

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Ok so it doesn’t smell the same as a new printed magazine, but I was pleased to see that there were still lots of lovely images of art for me to treat my eyes to. These pictures are accompanied by over 100 pages of articles about big contemporary artists such as Phillip Lai and meaty interviews with people such as Peter Coffin. The only issue is that reading the magazine on Adobe Acrobat is a bit of a challenge if you don’t have a massive computer screen. But think about the trees you’ll be saving!

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Over the last three months, treat I’ve done a lot of traveling. I toured with a band for three weeks around America and Canada. I turned that band on to Deer Tick by playing “Art Isn’t Real” for them as we drove through Ohio. After the tour, mind I went to visit friends in Brighton, England, Scotland, and Wales. I listened to “Standing at the Threshold” on the train to Brighton. I woke up blissful on my best friend’s living room floor to the tune of “Ashamed” and I cried, listening to “These Old Shoes” the entire plane ride home from England back to New York. For three months I was continually barraged with new things, new cities, new friends, new sights, sounds, and tastes, with one constant – Deer Tick was with me the entire time. I had their album “ War Elephant” piping through my headphones, regardless of where I was. All of these facts I “forgot” to share with the boys of Deer Tick, seeing as how I’m a shy person, and slightly embarrassed about my ‘superfan’ status. I did, however, manage to find out a bit more when I nervously found myself face to face (to face to face – because there are four of them!) with the band at a Chinese food restaurant around the corner from Manhattan’s Bowery Ballroom, where they were about to play a headlining show, the first night of a 6 week tour around America.

Deer Tick had very humble beginnings,” explains John McCauley, Deer Tick‘s mustached front man. “A few years ago I started writing songs like this and recording them with my friend, Paul, on drums, and that kind of fizzled. I kept trying to create the band that I had named Deer Tick. It was kind of me for a while and I really didn’t like it that way. I didn’t like to be known as a singer songwriter with a moniker, I thought that was kind of stupid, but I was really patient and made sure I waited to find the right group of guys to play with.”

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John’s patience paid off and resulted in the formation of the band in its modern day incarnation: Dennis Ryan on drums, Andy Tobiassen- to whom James Felice refers as “the cute one”- on guitar, soft-spoken and self described “post-adolescent, geeky looking kid” Chris Ryan on base and of course, John himself is responsible for guitar and lead vocals as well as penning all of the group’s lyrics.

While “War Elephant” is the work Deer Tick is best known for at the moment, their upcoming album, “Born on Flag Day” will be the first that these 4 have played on together. “It sounds way different than War Elephant, and, stylistically, I think it’s much better than War Elephant too. War Elephant, to me, feels more like a greatest hits rather than an actual album, and this one feels like an album to me, and I’m really glad that I got to record it with a band, rather than multi-track mostly everything myself, which was the case with War Elephant.”

Deer Tick has received positive reactions to both their album, and their live shows. At the near sold out Bowery show, the crowd is singing along, and everyone I talk to in the crowd is genuinely excited to be there, indicative of Deer Tick‘s growing fan base. While the media is desperately trying to pigeonhole Deer Tick‘s sound (terms like “freak-folk,” indie-folk,” and “lo-fi” plague any literature you might find about them, as well as attempts to lump them in with other emerging Brooklyn bands, as John, originally from Providence, Rhode Island, is now living in Brooklyn) John insists that “We can fit in anywhere, from a dive bar to the Bowery Ballroom, like tonight. We’re not trying to be anything, I’m just writing songs in a variety of styles and they get pinned down as folk. And then you can’t just call anything done by a young person ‘folk’ anymore, you have to call it something stupid like “freak-folk.” I just don’t get a lot of labels that people give us. I like to think that rock and roll encompasses everything we do, and that’s where my heart is.”

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“Born on Flag Day” is scheduled for release in June 2009.

The world of neckwear has never looked so exciting. So say goodbye to the days of that tedious and generic tie lurking in the bottom of your wardrobe. I think as a general consensus every male has one, information pills right? Yes, sildenafil the one that only raises its ugly head for job interviews, weddings, or funerals. Well, cast that aside and end his tragic existence. Instead say hello and embrace the innovative, hopelessly stylish and nonchalant new accessory line from design collaborative Timo. Fashion Designer Timo Weiland originates from the bustling sidewalks of the Big Apple. He is no newcomer to the fashion sphere, having already enjoyed cult acclaim nationwide for his distinctive wallet designs and environmental conscious design ethos.

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Their kitsch Manhattan style exudes chic, and the brand have become regulars in hip fashion magazines such as Super Super. After the roaring success of the wallet designs ,Timo decided to set his sites higher and break into the broader world of accessories. Utilising a myriad of different fabrics from satin to cashmere the new AW O9 features beautiful and opulent neckwear.

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Weiland draws influence from all facets of design and genres. Reinvigorating class silhouettes from the bowtie to the skinny tie, and then racing up the spectrum to highly architectural draped collar pieces evoking a distinctly Elizabethan air. Then to top it all off he throws some traditional southern American western in for good measure.

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The unique feature of Timo’s designs is there ultimate use as a cross functional accessory. So that bland dress that hasn’t been out of solitary confinement for months could suddenly be unleased on the unsuspecting world with a whole new look.

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Weiland blurs the lines between gender with many unisex styles, so keep a close eye on that boyfriend of yours if you want to keep your bowtie to yourself!.
Prepare yourselves for quirky design group KIND! Injecting a healthy dose of cool to knitwear. The latest installment to their eccentric collections makes no exceptions fusing conceptual art with fashion, medicine in a burst of colour and activity.

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The Design collaborative are no newcomers to the knitwear sphere and have been in production since 2005. Each collection showcases new and innovative styles, continually pushing the boundaries in conceptual yet functional knitwear design. KIND have been avid followers of ours here at Amelia’s magazine and vis versa, we even featured them in issue 7 ( which is still available to get your mits on by the way!) We just can’t get enough of them, so I thought it important to unleash their new S/S collection on you. So prepare your eyes for a visual feast!

The new collection banishes all recollection of winter embracing the joyous arrival of summer with a myriad of warm colours and shapes.

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The brand are heavily involved in photography, interbreeding art with fashion is of paramount importance to these cool cats. Just one look at their S/S 09 lookbook validates this statement. Pieces are set against vivid tapestries reminiscent of the fundamental cubist painter Henri Matisse.

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KIND’s
focus is on functional and wearable clothing. The collection offers all your staples from dresses,tanks, to jumpers, all in lightweight cashmeres. So perfect for those cross seasonal periods, when its too cold for a t-shirt yet too warm for a jumper.

Kind has enjoyed universal success, having stocked their collections in Labour of Love, Tatty Divine, Liberty, Collette in Paris, UK style in Moscow, Isetan in Tokyo. Gosh its making me breathless just listing them all…….

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So keep your eyes open for KIND, I have a sneaking suspicion we haven’t seen the last from this eccentric bunch!
With a repertoire that boasts Blonde Redhead, page Stereolab, buy Pixies and the Cocteau Twins, approved 4AD rarely disappoint. The latest signing from the cult indie label, Kent four piece It Hugs Back, are no exception.

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Photo by Steve Double

Initially, you can’t help but notice how very young they all seem, which makes it all the more satisfying when they launch into such a mature set, cultivating a sound that is much older than their twenty three years.

Beautifully blended rhythmic guitars and soft Thurston Moore-esque vocals, they are clearly a group who have spent a lot of time cooped up in their bedrooms listening to shoegaze records. Although in essence, It Hugs Back are a product of their influences, this is not such a bad thing when your influences are so definably Sonic Youth, My Bloody Valentine, Yo La Tengo and potentially Wilco.

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Photo Coutesy of http://www.ithugsback.co.uk

Indeed, it’s their appreciation for music and sound that makes them so enjoyable and strangely refreshing. Clearly identifiable ‘Daydream Nation’ moments like in ‘Now and Again’ are juxtaposed with much more subtle melodies in tracks like ‘q’, where looped riffs and jangling guitars meet more industrial feedback sounds. In fact, many of the songs are indistinguishable, as they play with structure, breaking down more definable song narratives, so that the music remains continually listenable.

Definitely ones to watch.

‘Inside your Guitar’ is out on 6th April
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The Guinness World Record for it is 11 inches. Countless circus curios and lunchladies everywhere have caused us to stare guiltily at theirs over the years.
But not until illustrator Emily Mackey’s embroidered pieces have we seen such glorious and bewildering ladies’ beards. Argued to symbolize anything from wisdom and a pioneering spirit to shiftiness and eccentricity the beard remains a statement accessory. We speak with the artist about pistols, adiposity beards and women’s work.

Where did the idea for the bearded ladies originate?
I grew up in several different places, cialis 40mg locally and abroad, and constantly had to leave friends and make new ones. With each new environment I met a diverse range of people and their initial perceptions of me varied wildly. The bearded ladies are stating that people are not always what they appear to be. An initial perception of someone can be misleading, but if you take the time to look closely, you can usually see the truth in who they are.

Truer now than ever with the current cult of celebrity. Approach with caution though readers, in case the moustached madames are carrying one of these…

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What got you stitching the pistol series?
I abhor guns. They’ve brought horror to the human race. I’ve put images of guns through the process of a ‘women’s’ craft and converted them into harmless decoration.

We much prefer yours, and love the idea of subverting weapons into delicate threadwork. Where do you look to for inspiration and ideas?

From the age of ten, I’ve taken photo’s everywhere I go, so I have my own archive of images that I like to work from. I generally work from subjects that evoke my emotions. One my new projects will consist of a range of very powerful pieces that derive from a subject that I feel passionately about.

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Sounds mysterious and evocative, keep us posted!
How did you begin working with stitch?

I come from generations of weavers, embroiderers and lace makers, so as I was growing up, was often given a needle and thread to keep me occupied. I trained as a weaver and started to incorporate embroidery with my weaving…I got involved with free-machine embroidery about four years ago.

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Do you look to somewhere specific for inspiration or ideas?

My great grandmother has been a great inspiration to me. She used embroidery as a means of survival. She taught it to girls in the orphanage that she had grown up in and later set up many more orphanages that taught embroidery, among other things, to enable women to sell their work and earn a living.

How do you feel the medium relates to the subject matter?

What I love about stitching is that it can be such a controlled medium – ordered and solid and it can also be used in a loose, sketchy, expressive way. It can hold more depth than paint or pen and is more malleable.

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Where can we see your work?
I have a website www.maxemilia.com where you will be able to see examples of my work, past and present. I will soon be selling limited runs and one off woven, embroidered and printed pieces through the site too. I have some exhibitions planned for later this year – details will be posted on my website. A selection of my work is going to be published in ‘Illustration Now Vol.3‘ which will be out in the summer.

Thanks Emily, we will definitely keep our eye out for the book and can’t wait to see your upcoming show!
Three members of the Amelia’s Magazine team went down to the amazing venue Village Underground on Great Eastern Street yesterday to check out ‘100 minutes of Havana’, purchase a one off art battle. When we showed up a lovely lady from Havana Club, here who sponsored the event, no rx whisked us past the queue and handed us some drinks vouchers. After getting our rum on at the bar we went off to see the real reason we were there. A 200 foot white wall!

The group behind this event, Secret Wars, arrange guerrilla live art battles across the world. At this event the rules were simple. Two groups, Monorex and Intercity, battle it out to cover the massive wall with drawings, using only marker pens and coloured acrylic paint. While Monorex were the more experienced group, having done live shows for Secret Wars before, I didn’t fancy their chances against Intercity, which comprised of Concrete Hermit , and Amelia’s Magazine favourites Ian Stevenson and Andrew Rae.

At Half past seven the crowd counted the artists down from ten and then they were off! Team Intercity rather ingeniously attached a pen to some string in the centre of the wall and created a massive circle, which they hurriedly painted with red acrylic. While team Monorex got out the marker pens and started with some free style drawings.

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The event aimed to bring to life “the passion of contemporary Cuba to a London audience”. In honour of Cuba then, we headed to another bar for some free rum tasting and then looked around the venue at the other art works. Havana Club got some great illustrators to decorate some of their rum bottles and the results ranged from the sublime to the downright bizarre.

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With ten minutes left of the clock team Intercity pulled out all the stops and started firing paint bombs at their work covering their lovely doodles in watery red paint. The winner was decided by a combination of two guest judges and a crowd vote – whoever got the loudest cheers won!

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Monorex emerged victorious and Sabrina and I, fuelled on Mojitos and sheer cheekiness, went in search of some illustrators to grill.

While Sabrina headed off to chat up Josh Sutterby on the Monorex side.

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I went over to talk to the guys from the Intercity team.

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Despite being the losers the artists were in high spirits and had even sneaked some beers into the venue (there’s really only so much rum you can drink!). I grabbed Robbie Wilkinson for a chat and he told me that he got involved in the night through being one of a hundred artists to design a Havana bottle for a recent exhibition. The question I really wanted an answer to though, was, “Why do you think your wall is better than their wall?” Robbie confided in me that he wasn’t a fan of the graffiti style of Monorex.

I went over to talk to Andrew Rae and he told me that although he thought that the other team’s mural was one image that worked together, Intercity’s was much more fun to watch and “more of a performance”.

Next on my list were Andy Forshaw and Austin From New. They showed me their drawings and explained the idea behind the paint bombs was just to create a lot of mess and that they wanted the performance to be “Like a children’s party with jelly and ice-cream!”

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I’ll admit I got a little star struck when I finally found Ian Stevenson. I’m a massive fan after seeing his solo exhibition at Concrete Hermit in 2007.

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He was the most diplomatic of the group refusing to trash talk about Monorex but he did tell me about his next exhibition with Pictoplasma where 50 artists are taking part in a festival across the city of Berlin in March. Ok so we can’t all afford tickets to go to Berlin, but you can go and see the result of the nights events at The Village Underground until Tuesday 10th March.
It’s astounding what you can unearth when you delve through flickr. I exposed a complete hidden gem this week amidst the urban jungle of the internet. My gem came in the form of Italian Photographer Polly Balitro, treat and to tell the truth I have been left utterly in awe since my discovery. Her photos have a overwhelming quixotic feel, as if you have unintentionally stumbled upon her cherished diary. Every picture exudes sentimentality, charting Balitro’s exploration of love, loss and identity.

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Alas much to my displeasure I couldn’t warrant a trip to Italy for a interview with Polly so I decided a virtual email would have to suffice.

Your work seems very multi media based, what mediums do you usually use when making your work?

I am working mainly with analogic processes, darkroom printing and polaroid transfers, because I believe that art photography is a sort of performance that requires the rituals that just analog can give. But I always scan my work to put on social networks like facebook, myspace and flickr, to get people to know my pieces easily.

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What other artists have inspired you in your work?

I usually get inspiration from young unknown artists around me. I spend lots of time surfing the web through pages like flickr, deviant art and myspace. Young artists are fresh have really innovative and experimental ideas. I love how the combination between images, music and perfomance work perfectly together.

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Your work is quite nostalgic, do any of the images have particular sentimental value to you?

My work is certainly extremely nostalgic, because it’s totally based on feelings coming from my inner soul. I am currently working on my final thesis, for the end of my 3 years at photography school. It will be very intense work centering around the feeling of being hunted by someone. My photography aims to talk about some sort of ghostly presence that never leaves me totally alone, people from my past, present and future that are constantly affecting my mood and my action, even though they’re not actually here with me. I think this maybe can explain why I am truly attached to all of my images.

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You use a very subtle colours in your work, is there any particular reason for this?

The subtle colours in my work come with my love for the northern countries. I am strongly affected by the scandinavian taste for low saturation in colours, and I am extremely attached to my black and whites that I always process in my darkroom. I feel like low saturation and black and white make a perfect union with the theme of my photography.

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You work has a certain ethereal quality to it, would you agree with that interpretation?

The certain ethereal quality comes along with the soul theme of my whole work, as I said before: I am trying to speak about something that goes beyond the everyday material experience, to give away a sense of unknown and ethereal matters.

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What advice would you give emerging photographers to do if they want to break into the industry?

I really wouldn’t know what advice to give people like me. I am still trying to make my way to the world with my art works, and I don’t think it will be easy to get well known. I guess, the best you can do is to try hard and keep on believing that sometime you will find your place. A good way to start out is to try to get as much “audience” as possible: social networks are extremely good for that.

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It’s apparent Balitro has an abundance of talent within her sphere far beyond her years, I for one am going to keep my beady eye on her flickr account!
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Everyone loves a Rush don’t they? Well I do at least, search being a recent convert to the antics and actions of Climate Rush. Still it’s hard to not want to be involved in this particular case. When dear old RBS, in their infinite wisdom, gifted Sir Fred ‘The Shred’ with £16 million pounds of what amounts to taxpayers money, they couldn’t have possibly imagined the public outrage. And rightly so!

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I am one of the many millions who pays taxes, and I can’t remember being asked if my money could go towards one man’s pension. Or to help bail out a bank who have given £16 billion towards the dirty coal industry. (Did you know that 50% of CO2 in the atmosphere has come from coal?) This sordid scenario is just the kind of thing that makes Climate Rush‘s blood boil. If there are a few things that make them mad, it is irresponsible governments and a complete disregard for the environment. So when I found out that Climate Rush were popping down to the RBS building in the City to quite understandably ask for their money back, I felt that it was my duty to put on a sash and join them!

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Anticipating our arrival, the London police force had turned out in droves – on horses, in vans, on foot, and posted around the entrance of the RBS building. Still, I like to think that they were more on our side than on the banks. After all, it’s their taxes too that are going towards one mans retirement scheme. And how could they fail to be charmed by us? Many came dressed up, some as suffragettes, some as cleaners, a few as bank robbers. Everyone was good natured and friendly. And while we were obviously passionate about our rush, there is no reason to stop for lunch, so we all sat cross legged on a blanket eating bagels and biscuits while we were regailed with songs and speech. Now this is my kind of action group! At one point I noticed all the RBS workers inside watching us, and being the friendly girl that I am, I gave them a cheery wave, but no one waved back. How rude! I can imagine that many were curious about the commotion outside, perhaps they would have even wanted to come out and join us, and wouldn’t that have made for a good picture?

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After the lovely Amelia, Tamsin and Marina said some words about the reasons why we were all here, we gave out an award (shaped in the form of a dead canary) to Sir Fred – and he turned up to accept and say a few words! What a thoughtful man. Unfortunately, it wasn’t really him; the real Sir Fred was far away, counting his pots of money I would imagine, but the stand in got plenty of cheers.

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There was some more dancing to tunes with the theme of money, (plus Supergrasses Caught By the Fuzz; our way of doffing our cap to the rozzers)and afterwards, we disbanded. I walked through Spitalfields proudly wearing my sash, and I did notice that I was given a wide berth by plenty of business men who looked at me with slight alarm. What exactly did they think I was going to do to them? I left inspired, and feeling very much part of the group, the action, and the sentiment.
Born in Texas and living in New York City, seek via London Diego Vela has collaborated on a variety of fashion and art related projects. He found his calling and freedom with sculpture, clinic the sculptures in their own subtlety dictate the end results; the materials (paper mache’, what is ed plaster, glue, paint and found objects) give certain characteristics that inform that process. His work is a living process, rather than bodies of works in a form of a series; each new sculpture adds to the lexicon of his visual language. Currently, and for the next six months Diego will be focusing on new paintings.

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What inspires you in your work?

Most of my inspiration I draw from nature, I like to take walks and look for the natural world even in places like the middle of NYC, where man tries so hard to shelter itself from nature, and yet you see its effects always…grass growing in between side walks, cracks in walls caused by rain, and wind…it’s all so beautiful and scary. I tend to be drawn to the darker side of the natural world, drawn to things that some may not see as beautiful, of course which is a matter of opinion…and my opinion and aesthetic tends to be romanced by the underbelly of nature and the natural world.

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How did you get into art?

Art drew me in, like a moth to a flame…that is the romantic side of it, I studied it in uni, after many attempts at rational majors, majors that would probably have made a good steady career, with employment and everything that comes with it, but art finally won my heart in the end.

Who do you aspire to be like and who inspires you at present?

I aspire to be like many glamorous ladies of the past, Anita Berber, Bette Davis, Marlene Dietrich, Katherine Hepburn, at least the on screen persona, oh, the list goes on and on… recently I have been inspired by my mother, and men who I have fallen desperately in love with, but of whom I am left pining…I suppose I have been mostly inspired by my own desire…I have been inspired by passing boys on subway cars, who for a moment mend my little heart from all of that passion unreturned… my, I am dramatic, how could I not have been an artist.

Where do you see yourself in 5 years from now?

Satisfied, and doing exactly what I want to do…preferably, in Berlin or London

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What advice would you give to someone trying to get into the art?
Work hard! Always keep an open mind, you can find inspiration in everything… and look for your opportunities… Learn to balance your artistic romantic nature with the realistic business aspect of the art world…But most of all work hard!

Do you have a muse?

At the moment I do not have a muse, there have been many mini muses that have come and gone, but my muse tends to be a person that my romantic heart is attached too, well on second thought, I suppose at the moment there is a reluctant muse…it’s complicated…But he does inspire me…it’s so complicated.

For more information have a look at the artists website or blogspot.

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If you’re a wannabe illustrator or even just a secret bedroom doodler Lazy Oaf wants to hear from you!

Gemma Shiel has been creating wonderful illustrations for her label Lazy Oaf since 2005. In them inanimate objects (bananas, ambulance milk cartons, cupcakes, boomboxes!) come to life with rosy cheeks and smily faces. Or animals get a fun screen print make-over with googly eyes and cheeky pink tongues. If you fancy trying to take Gemma on at her own game this is the competition for you!

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To celebrate the launch of their much anticipated Spring/Summer collection Lazy Oaf are hosting The Lazy Oaf Drawing Club on Thursday 23rd April from 6-8pm. On entry to the to the event, which is being held at their shop in Kingly Court, visitors will be given one of three postcards specially designed for occasion. After your given a ‘picture frame’ all you have to do is fill it with your scribbles and then hand it in. Everyones pieces of art will be displayed proudly in the shop window and the owners of the best five entries will win “extra special prizes”. If you want to make extra sure that you do a good job the postcards can be downloaded from the Lazy Oaf website soon and you can pick them up now from the Kingly Court store now.

Even if you don’t know a pen from a potato head down to the store anyway as Lazy Oaf will be offering 20% off everything all night – just because they’re nice like that!

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Monday 9th March

Franz Ferdinand

Pop favourites and Glasweigan Lovies Franz Ferdinand wanna take you out, sildenafil of your house, and shuffle on to the Hammersmith Apollo. With Support from Californian Soft Pack before their appearance at SXSW.

Hammersmith Apollo

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Tuesday 10th March

Videopia with Shock Defeat!

Ever wanted to star in miniature versions of Hollywood classics? ‘What like in that film?’ Yeah. Then make sure you get yourself to Notting Hill Arts Centre nice & early this tuesday. However if the thought of being on screen turns your stomach settle it down with the chocolate fountain & candyfloss machine, and watch your pals corpse and bumble the night away.

Followed by live music & DJs including Shock Defeat! and The Momeraths.

Notting Hill Arts Club

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Night Fever II: Cosmic Jebubu’s Soul Noodle House Vs. Panjeen’s Rap Village

Noodles a plenty from 12pm at Jebubu’s Soul Noodle House (supplied by DIY apparel company) with some African funk and ethiojazz by Panjeen rap village DJ’s and Live music later on from Bangerz n Mash and Chechnya blast.

Unity, Peckham High Street

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Wednesday 11th March

Jeremy Jay (K records) + Lord Auch

Jeremy Jay of K records, Calvin Johnsons celebrated indie label, plays his only UK show at the Macbeth! Plus witness a special acoustic show from Lord Auch.

The Macbeth, Hoxton Street

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Thecocknbullkid

19-year-old Anita Blay aka Thecocknbullkid graces the mall stage at the ICA this wednesday bringing along her own vibe of sleazy synth pop. With support from a whole bunch of people including Plugs (LIVE) Your Twenties (LIVE) Florence and the Machine (DJ SET) NYPC (DJ SET), FRANKMUSIK(DJ SET) and SPARKLEMOTION.

Mall Stage, ICA, London

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Photo by Dan WIlton

Thursday 12th March

Up the Racket & WOTGODFORGOT present… Crystal Antlers

Fuzzy, lo-fi garage noise with the skill and integrity that so many others lose in the fug. All the way from Long Beach Crystal Antlers create a live experience only too rare in this climate. Support from Sycamore and Plank!

Retro Bar, Manchester

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Illustration by Mr Hallows

A Team present… Squallyoakes Fanzine Launch Night

The A Team Brings You: Wasp Display LIVE. Plus TDJ Sets From: DJ FTW, DJ Julio, Lord Rockingham XV and of course The A Team.

Catch, London

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Photo by James Smith

Friday 13th March

Q-Tip (A Tribe Called Quest) with Live Band

Old school legend Q-Tip is back with his new album The Renaissance. Support from DJ Tu-ki.

The Button Factory, Dublin

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Freitags
Joining the dots between Kraut, Baltimore Club, Techno, House, Indie, Electro, Outsider Pop, Disco, Cosmic Nonsense and forgotten gems with Manchester favourite DJ Wesley (Up The Racket)

Common Bar, Manchester

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Saturday 14th March

OK Crayola w/ Party Horse

Anglo Dutch comboParty Horse are in Manchester with support in the form of Thom Stone and the debut solo show of the awesome Matthew Ashworth (A Middle Sex).

Fuel Cafe Bar, Manchester

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Sunday 15th March

DOVES

Manchester stalwarts The Doves are back with a new album and on the road after over 3 and a half years. See them this week in Warrington (12th), Middlesborough (13th) and Glasgow (15th).

The ABC, Glasgow

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Rebecca Warren

The exhibition gives a twist to the traditions of sculpture, here she throws away its old typical associations with the human figure and introduces an abstract and almost child’s way of shaping clay. She’s the first to confess that her art is “not pretty”, Rebecca is a London based artist who was nominated for the Turner price in 2006, this will be her first major solo exhibition.

Serpentine Gallery, 10th- 1st April free admission

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Hussein Chalayan: Debate

A chance to see the ‘British Designer of the Year’ and find out more about his international fashion business and how he is still influenced by London, he will be joined by other key designers who are also based in London.

Shoreditch Town Hall £15, Wednesday 11th March, 7.15pm,

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Tonico Lemos Auad
: Cast graphite and burnt bread
Born in Brazil, studied at Goldsmiths college in London, the exhibition focuses on dimension and perception

Stephen Friedman Gallery, 13 March – 18 April 2009

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Dr Gunther Von Hagen: Body world and the mirror of time

The Doctor is back, as if the first time around wasn’t gruesome enough! With all the controversy surrounding the doc who freezes bodies and displays them, its a must see but not for the faint hearted. Your eyes continuously try to convince your brain that it can’t all possibly be real but after the second person in the exhibition faints it all gets a little too much to take in. The reality is that it’s all just a little too pristine and over varnished with an horror movie feel to it, is it science. Is it art? I’m still undecided but every time he is in town I can’t help but get curious and double check if I really did see, what I thought I saw last time.

The O2 Bubble SE10, the exhibition is on until Aug 23, £12, concs £9

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William Hunt: Perfomance
The Camden Arts center, 6.30pm 11th of March

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The Masques of Shahrazad
: Evolution and revolution through three generations of Iranian women artists.

A collection of masks from 28 Iranian women artists whose works span over three generations in the history of Iran. The works trace the development of Iranian art and artists over the past four decades during which Iran has gone through some dynamic changes. This exhibition is a very rare chance to see works by these respected women artists; it’s also been an opportunity for them to voice their opinion on issues that have concerned them over the last few years.
Artists include Golnaz Fathi, Shideh Tami, Maryam Shirinlou and Farideh Lashai.

Candlestar Gallery Hammersmith, 9 – 14th March 2009,

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Women in photography: South of the river

Celebrating the works of varied women photographers in South London, the exhibition is linked to International Woman’s Day (March 8th) and shows a worldwide celebration of women’s achievements aiming to reflect creativity and progression via photography.

Lewisham Art House New Cross, 11 – 22th of March 2009

Private View: Wednesday 11th March 2009, 19.00-21.00
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Featured Illustrator/ Artist

A G Brock

Born in 1970 in Fort Worth Texas US, Brock began drawing at a very young age using it to escape a childhood of bullying at school. Later on he was expelled from college after producing what teachers referred to as a “suggestive painting”, basically a painting of two women looking into each others eyes.

At 25 he was diagnosed with severe dyslexia and later in his 30′s found out that as a child he had a slight case of autism that had since manifested itself into O.C.D.
This diagnoses at least explained the communication problems he’d gone through growing up. Throughout the years he focused on art and used this talent as a means to escape various difficulties in his life.

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What inspires you in your work and why? Dynamic images, colours, sensuality, and of course martini

How did you get into Art? I was born like this its more of an addiction. I have a disorder called agoraphobia, which is an anxiety disorder that can lead to panic attacks so I rarely leave my home

Who do you aspire to be like and who inspires you at present? I guess Michael Angelo, or Da Vinci I don’t really follow the modern art world

Where do you see yourself in 5 years from now? Probably right where I am, I don’t know how to sell art; most of my paintings are rolled up in the closet at home

What advice would you give to someone trying to get into Art? I think you’re either born this way or you’re not, its a difficult way of life sometimes

Do you have a muse? Oh yes, my enchanting wife she gave me three beautiful children and the finest life I could ever have imagine

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Forget the weekend, click Thursdays are the big night out in the London art scene. While Sabrina headed off to glamorous Vyner Street for First Thursdays I headed to the depths of East London to Peckham, dosage for the private view of Rufus Miller’s new show at The Sassoon Gallery. The gallery is much easier to get to than you would imagine. It’s right next to Peckham Rye station and just a short bus ride away from New Cross Gate station.

To get to the gallery you first walk through Bar Story, a lively little bar full of Camberwell students. This threatens the unwritten code of the private view free beer, but luckily Bar Story has a rather impressive cocktail list to make up for the lack.

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Photography by Fabiana Delcanton

The Sassoon Gallery is under the new curatorial partnership of Holly Simpson and Katherine Finnimore and they tell me that their aim is, “to support and promote emerging young artists from a wide range of mediums”. Despite having only been involved in the gallery from January of this year the pair have already built up a good collection of young artists. Up now is the week long exhibition of recent Goldsmiths graduate Rufus Miller.

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I see Rufus looking very smart in a shiny new suit as I near the gallery. He’s with a group of people sat outside the gallery keeping warm in front of a fire. Private views at The Sassoon Gallery are among the most relaxed and mellow I’ve ever been too, precisely because of this. Having space outside the gallery means that people can socialise and make a mess there, leaving space and quiet inside the gallery for really looking and understanding the artwork.

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The lovely space is actually in a tunnel under a railway line so the ceilings are curved and everything rumbles when a train goes overhead. Rufus‘ paintings are like the dark sketches that goth kid in your class draws in the back of his exercise book. An image the artist actively encourages in his press release stating “These are shit paintings. I don’t paint. I just draw, like everone does. Someone wanted me to do a show so I just did the drawings bigger. In paint. Skulls are just an easy thing to do.” Going on to say, “What do you get from an enlargement of something done offhand, half-arsedly? Nothing, nothing more, just a disappearance of what I meant in the first place: Killing time.” Sucessfully demystifying the act of painting in a show of paintings? Rufus Miller is my hero.
After a perplexing hunt down various side streets I eventually chanced upon this bizarre venue. I think its safe to say an old fire station is a rather unorthodox choice of location. Upon arrival it was apparent that was not going to be the kind of gig to accumulate in a raucous . Gaggles of children in karate outfits greeted me, unhealthy not the usual cliental for a Wavves gig. My powers of presumption led me to the conclusion that this was a community centre and not a gritty underground music venue. Not surprisingly there was no bar, viagra 60mg I happened to notice a few gig goers gingerly slipping in with clanking blue plastic bags. So I decided to follow suit and headed out to the nearest corner shop to stock up!

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The location had all the atmospheric qualities of a school disco; the wooden benches, drugs the wonky banners, the copious amounts of balloons. The first band up to the microphone were Mazes, exuding 90′s nostalgia these northern lads sound is a concoction of Pavement-esque melodies fused with the vocals of the likes of Beat Happening and the infamous Lemonheads. Songs such as “bowie knives” shows a return to the depths of the 90′s grunge phenomena, erratic, fuzzy vocals are teamed with ranging baselines, this is timeless pop at its finest!

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Then came the turn of the energetic London three piece Pens, to say they brought flair and vigor to the evenings proceedings would be an understatement. Bursting into their set with furious drums, droning melodies all set against aberrant vocals and hap hazard key boards. Tracks such as “High in the Cinema” allures you into a trance with its repetitive vocals and abrasive guitars exuding all the dynamism of Soft Cell. The audience suitably revved up, out came Wavves to provide a perfect accumulation to the evening injecting a healthy dose of lo-fi pop melodies from Californian based singer songwriter Nathan Williams. Songs such as “So Bored” were uncontrollably catchy exuding a west coast surf grunge feel, with undercurrents of The Breeders and Sonic Youth.

Here at Amelia’s Magazine we managed to wangle ourselves some time with lively three piece Pens during their exciting tour.


How much did your parent’s record collection influence you and your music?

Amelia- My mum listens to all the girly stuff like Winehouse and Adele now, but growing up she listened to a lot of Joni Mitchell, Paul Simon and Leornard Cohen. I can remember requesting songs and spinning in the kitchen to it while she was cooking, probably has had an effect on what i listen to now, but don’t know how.
Helen – The three things I really remember from being little are Leonard Cohen (80s era), Terence Trent D’Arby and Fine Young Cannibals! I do have a massive soft spot for 80s production but I can’t really see that coming out in our music.
Stef – Well my ma only listened to 60s Italian pop songs (still does). My dad loves the Beatles, Buddy Holly & Roy Orbison, but I also remember him listening to Enya & Abba. Hmmm. I don’t think we sound like Enya.

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Do you think it’s fair to say the nofi scene seems to have a real sense of camaraderie, despite the fact that all the bands are spread out over the globe?

A- Yes, definelty. I think it’s great, and it’s nice to meet people that you look up to in music and hear their thoughts on your stuff. Also it works for like helping each other out, like when they come over here or us going to other countries. Looking after each other and stuff.
H – Yeah totally, I really think “DIY” or whatever you like to call it has a sense of “we give a shit about what we’re doing, and we know it’s rad to help other people out”. It’s not some stadium-rock, get-signed get-paid get-first-on-the-bill thing, it’s about sharing the bill with other bands you respect.
S – Yes that’s fair, i suppose it’s like a community cos it’s not so much about getting famous & making bucks but more about having fun with your friends & meeting new people. Also, one good turn deserves another.


How do you ladies spend your free time when you’re not doing music?

A- I like reading, drawing and vhs nights, but my favourite thing of all time is eating out with friends. i do that a lot.
H – Eating out has got to be one of my faves too. Particularly milkshakes, cheesy chips and good meat. Otherwise I take dumb SLR photos, and try and write whatever comes to mind. More free time please.
S – As above, plus added headbanging with friends, minus the photo-taking.

You’ve released several split records all ready, how goes the writing for the album? Any surprises in store?

A- Probably, i’m not really sure. The album is written and ready to roll. I think some songs are like crazy different and some are what people would expect. we mainly just write songs on how we’re feeling at the time based on who we like or dislike and that’s reflected in the songs. Haha.
H – I want to see what people think, we feel that we have a few different ‘sounds’ but people might be expecting us just to stay on one tip. We’re still a new band so we’re not getting formulaic.
S – Currently loving our new songs. Second album here we come!

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Who are your current tips? What are you listening to?

A- Oujia – some american lofi grunge punk it’s awesome and cute. The dude sent us the lyrics and now i’m hooked and singing it all the time.
H – I’ve been listening to SALEM a lot, dark electronic stuff. I bought their EP last year but I think I melted it by the radiator, which is upsetting.
S – The ones in our top friends

I’m looking forward to seeing you on tour with Wavves soon. How have you found touring so far? Any good stories? Have you found yourselves eating garage food and kebabs?

A- I can’t wait to play with Wavves. I’m so happy he’s getting good press over here because he’s the best band around at the moment in my opinion. We’ve only been on a short tour with a band called Friendship, was fun to ‘get in the van’ for the first time. the first night ended with a hella lotta jagerbombs and an icing sugar fight. messy.
H – I finished Amelia’s Pot Noodle on our South Coast trip, I think this is a bad omen ’cause I haven’t had one of them in years and we were only away for like a day.
S – The short trip with Friendship was tons of fun, so I’m really excited to be going on an extended road trip with my best friends.

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Riotgrrrl and third wave feminism were very vocal in the early 90′s, there’s nothing quite so forward right now. Do you think things finally balanced out?

A- Maybe, I reckon girls just have different things to rant about now, and i think women in all girl bands can be as tough as boys.
H – Not really. I have a huge amount of ranting in me, but there’s a certain degree of wanting to be known as a band first before coming out with my opinions on all and sundry.
S – I dunno, i think a part of me is (figuratively) sticking two fingers up to whoever makes me angry.

Jade Goodie has this week hinted her death will be filmed and broadcast by Living TV, will it also be the footnote in that kind of celeb media or a new dawn in awful?

A- I’ve never really disliked Jade that much. i think i was probably the only person who thought she wasn’t a racist just a little ignorant. I feel really sorry for her at the moment. i mean, what’s she’s going through is tough for anyone, especially if your a mum. I read in the paper that she is doing it to raise money for her kids after she’s gone. i won’t be watching it, but i do kinda respect her of her choices.
H – If people want to see it, then there’s not much you can say. I don’t think Jade has created anything by herself, the demand is there so why not exploit it? People are massively screwed up, but that said I really don’t get what 90% of the population does for entertainment so I’m not out to try and understand it. This is the stuff of a million undergrad Media dissertations though…
S – It’d be weird if it was shown on TV. But her haters are possibly forgetting that she’s leaving 2 very young children behind, & those kids are gonna grow up without a mum, so perhaps people should just have a little bit of consideration for her as she’s trying to generate a future for them while she still can.

On Valentine’s day I drank too much energy drink and ended up spending my evening asleep in the bath. Did you have a better one then me?

A- My valentines day was sick. Helen and i woke up and went for a burrito, followed by a trip to oxfam where we found Edward Sissorhands. Then we went back home to watch it in bed. haha. we ended the night by going to a Male Bonding and Graffiti Island show at the lexington. was pretty fun.
H – Yeah as above except I was totally ill, had to go home early and almost got run over on the way to AND from The Lexington. Pretty HML stuff but I’d forgotten it was Valentine’s Day by then.
S – I ate, napped, spooned, & played Pictionary.

So if you want to see these cool cats in action, they are playing Smash and Grab in London this thursday, you will be in for a treat!.
The ethereal Pumajaw are back with retrospective album “Favourites” with the label, malady Fire. It follows last years “Curiosity Box” album, and is no less wierd and wonderful than the previous four records released by band members Pinkie Maclure and multi-instrumentalist/ producer John Wills themselves.

“Favourites” is an eclectic compilation of fourteen of the duo’s own favourite tracks and, if you had to describe Pumajaw in fourteen tracks this would be it. Pinkie’s bewitching voice sails over the haunting, earthy melodies of Will’s musical talents. Pumajaw kick off the album with a melting pot of eerie noises, conjuring up feelings of wonderment, and images of being in quite another place than a smoky grey city. “The Wierd Light” is an eerie howl of a Siren over what seems like animal calls and screeches, yet it’s not scary. In a way it is calming and peaceful and undoubtedly beautiful. Later down the album listing is “Downstream”, a sea-shanty love song, but true to the nature of Pumajaw, is distorted by squealing guitars and what can only be described as a didgeridoo drone.

The Scottish-duo present something akin to a Pagan travelling guide through the highlands of the country. It is rythmic, melodious and trancey and has echoes of nothing you have heard before. I tried to find something to liken them to, but in all honesty it is a near impossible task. They branch out to the outermost confines of the wierd and wonderful, think psychedelic folk music in the middle of the woods, and you’re there. In the last track on the album, “Outside it Blows”, Maclure asks “how many like us in the world,” and the answer is most probably none.

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It wasn’t surprising to find Passion Pit listed as one of the buzz-bands at last years CMJ festival in New York. Their bleepy twinkling electro is just the thing to get any nu-raver moving their neon hi-tops. The Chunk of Change EP was written by front-man Michael Angelakos as a Valentines Day gift for his (now ex-) girlfriend. It’s sweetly romantic in a child like “follow-me-as-we-run-through-the-city” kind of way.

We kick off the record with I’ve Got Your Number, this site a zappy little number which sounds like a young Broken Social Scene, patient not as complex but delightful in its simplicity. It’s got a kind of euphoric mystical quality to it, decease and Angelakos’ trembling falsetto really does get you dancing.

Further down the list we move to cutesy Cuddle Fuddle. It’s soft like a pink mohair jumper and the lyrics are the epitome of high school romance awkwardness, “now I feel silly, selfish and dizzy/ I’ve got this feeling, that you’ll forgive me…”

The final tune on the EP is Sleepyhead, which I must add has been remixed several times and all are fantastic. It starts of with Kanye West-esque sampling but then swiftly dives into a sort of euphoric Japanese sounding cyber feel. It’s music to smile to. The sparkling xylophone and constant drumbeat make it an instant dancing classic.

Overall the EP has everything, and although it incorporates existing elements of music, it manages to achieve a very unique sound. It’s not quite electro, it’s not quite pop, it’s not quite indie. It’s bloomin’ superb is what it is, if you are loving the Go! Team or MGMT right now you will love this.

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Here at Amelia’s Magazine we don’t just zone in on our homegrown talent, viagra 40mg we scout our overseas counterparts in search of innovative new creatives. As always our quest bore fruit in the shape of Parisian based freelance graphic designer Sandrine Pagnoux. Living right in the centre of Paris’s artistic epicentre between The Musee Picasso and the Centre Pompidou, price Pagnoux isn’t short of artistic inspiration. It’s easy to see how this culturally diverse area manifests in Sandrine’s work.

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Her work has a distinctly raw feel that synthesises popular culture. It draws influence from the many facets of post-modernism from art, order music and literature. Sandrine is heavily influenced by music, which she claims is the core stimulus for her work, distinct favourites being the punk rock femme fatale Patti Smith and the serene obscurity of Bjork to name but a few. In conjunction with music, the works of the late Oscar Wilde are a constant influence to the romantic moodiness of Pagnoux’s work.

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Pagnouxs is not only causing a stir back home but is making waves internationally. Boasting features in such a extensive list of publications it’s hard to cram them all in. There’s Wig Magazine, Marie Claire, Zoot, Blond, and XLR8R. Her most commercial being for Le Coq Sportif Not content on conquering merely the fashion sphere Pagnoux has set her sites further a field recently doing in advertising, publishing and record labels.

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Sandrine’s work is a myriad of multi media, fusing calligraphy, photography and illustration to create pieces that exude urban cool. The pieces have a distinct textural quality that insinuates an almost two dimensional feel to her work. Her work evokes a sense of reality that isn’t over polished, it’s intuitive often violent and authentic.

With such an innovative approach to illustration and ability to adapt her skills to so many facets of design, I think it’s safe to say we haven’t seen the last of Sandrine Pagnoux. I think this lady has got a whole lot more hidden up her sleeve.
Intra-band love is always a joy to behold. Ike and Tina. The Carpenters. The usual mechanics of musicians performing with each other is converted by the mind’s gossip-gland into a lusty, cialis 40mg passionate romp-and-roll across the futon of musical possibilities.
Omer and Carole are in love. He stands and strums. She wiggles and sings and fingers the synth. Then they glance at one another. The laptop likes to watch. And later, website after the show, dosage we presume they go and make love, while listening to themselves on an iPod dock adorned with discarded undergarments.
And it’s good to see (I mean the first bit). They are both partial to a sincere wail of yearning. Hers is coquettish, with eyelash-fluttering pitch-bends as she writhes about. His is a growly shout, like a horny panther who’s waited too long. With a few costume-changes and a bit of a plot, you could easily make an opera out of this pair.
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An alt-electro opera, that is. Influences are not hidden here. It’s an overt celebration of the dark furrows of the 80s synth-twiddling scene (think of early Tears For Fears and Depeche Mode), filtered through some more recent song-screwdriving a la dEUS or the Dresden Dolls. Each song develops artfully, with peaks and troughs on each spectrum. The gentle sultry singing over bowow basslines accumulates percussive taps, then hi-hats, then a catchy chorus, then synth arpeggios, things dropping in and out all over the shop. Their cover of Paul Young’s Stay For Good This Time (that’s right, Young Paul do a Paul Young song) is beautiful. They’ve changed the chorus melody into a sinister evocation of Glenn Close in Fatal Attraction and it works scarily well. Carole takes over for a lovely, bloody song called Mock Kiss, which has a Sneaker Pimps kind of hateful independence feel to it. Majore is a strange tune that grumbles and growls and eventually turns into a faintly-Ibiza dancefloor heave. There’s nothing background about any of this. It’s a work of communication, not just mood-providing. And some of it is really dry and intense – you’re either hypnotically staring into the abyss on a neuromantic vampire trip, or you’re a townie with a puzzled look on your face, muttering “eh?” and “what?” and “piss off!”.
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What I really enjoyed about seeing Young Paul was that lack of compromise. They’ve found their darkly pop, crowd-dividing identity, they really mean it, and they’re sticking with it. Young Paul is a brilliant toxic shock of sci-fi future TOTP, delivered playfully and integrally by two young lovers. Surrender yourself.

You can see Young Paul for free at Zigfrid on Wed 8th April, or at The Legion on Wed 22nd. And you can hear their demos on the ol’ myspace.
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Monday 09th March. 7pm

The Nature Darwin Debate 2: What Price Biodiversity?

Kings Place
90 York Way
London
N1 9AG

Part of Words on Monday 
Curated by Nature
Professor James Lovelock, sildenafil independent scientist, tadalafil author of “Revenge of Gaia.”? , dosage Michael Meacher, MP (Labour) & former Minister of State for the Environment, ?Sir Crispin Tickell, Director of the Policy Foresight Programme at the James Martin 21st Century School at Oxford University
We pay for our food, water, healthcare and energy, so why not pay for the many ‘services’ currently obtained for free from biological diversity? Services such as insect-pollination, central to food production; or healthy forests, which we need for clean water and to stop soil erosion. Shouldn’t we invest now in our biodiversity in order to secure our future needs? Join three leading names from science and politics as they debate the need to put a price on the Earth’s ecosystem services. Organized by Nature, the leading international weekly journal of science, in association with Kings Place.

http://www.kingsplace.co.uk/spoken-word/words-on-monday/the-nature-darwin-debate-2-what-price-biodiversity

Tickets cost £9.50. Call 0207 841 4860 for more details

 Tuesday March 10th
7.45pm

Greenwash and Garters
OneWorld UK
Orange Tree Theatre,
1 Clarence Street,
Richmond, Surrey, TW9 2SA

Greenwash and Garters is a political farce, complete with custard pie and didactic dialogue.

The set up is fine: a high-level US public relations guru who works for Big Oil (“that’s just above child molester”) falls for an environmental activist, and hosts a small gathering to help her alcoholic brother, a former presidential hopeful.

The subject matter is worth tackling: the values and meaning of US democracy, and the role of corporate interests

Go to http://www.orangetreetheatre.co.uk/ for more details

Wednesday 11th March – 7pm.
‘Cranks and Revolutions’ with Mark Gold

Housmans Bookshop
5 Caledonian Road
LONDON,
England
N1 9DX,
UK

Mark Gold discusses the inspiration behind his latest novel, “Cranks and Revolutions” a light-hearted drama-documentary of the last fifty years of radical protest in the UK. ? ?Cranks and Revolutions is a light-hearted drama documentary of the last fifty years of radical protest in the UK. It is a funny and sympathetic book, full of quirky and amusing events and characters – such as unreconstructed Marxist Aunt Helen, kindly, radical vicar Tony Swallow, suburban High Priestess Denise Oakley and zealous vegan anarchist Septimus the Severe. An alternative political history in the tradition of John O’Farrell’s ‘Things Can Only Get Better’ or Jonathan Coe’s ‘The Closed Circle’. ??About the Author – Mark Gold was Director of Animal Aid for eleven years and still works part-time for the organisation. He also works for Citizens’ Advice.
Call 020 7837 4473 for further details

Thursday 5 March 2009,
6-9pm
EAST 2009 HISTORY
Geffrye Museum,
Kingsland Road,
London E2 8EA

?Credit Crunch Kitchen?.
? An opportunity to visit the museum after hours and listen to a talk exploring how to be thrifty in our gardens and kitchens this spring. Go to Geffrye Museum for further information.


Friday 13th Marc
h
12.45pm -2pm
Centre on Global Change & Health
50 Bedford Square, WC1, Room G3
Talk:
Climate Change and Global Food Security: Even Worse News For The Poor?,
by Dr Colin Butler. Info: 7927 2937/ ela.gohil@lshtm.ac.uk

Saturday 14th March
2pm -9pm
GATEWAY to PEACE

Eton Road, nr Chalk Farm tube,
London

NEW TOOLS FOR PEACEWORKERS: Experiential workshop exploring how the arts can support peace and reconciliation processes. Elements include song, movement, poetry and nonverbal communication.
Trish Dickenson works with the Ministry For Peace and leads workshops in nonviolent communication and conversation cafés. Stefan Freedman is celebrated worldwide for intercultural events with dance and song, particularly bringing together Jewish and Arabic traditions.
 
Price
£25 – £45

Contact Person
Stefan Freedman
Contact Telephone
01473 415496
Contact email
stefan@freedmans.fsbusiness.co.uk

Saturday 14th (9.30-5.30) and Sunday 15th March (9.00-5.00)
Caribbean Community Centre,
416 Seven Sisters Road, Manor House,
London N4 2LX
Cost: £100 per person

Training for Transition: 

How to set up, run and maintain a transition initiative

Learn the essential tools to make a thriving and resilient Transition Initiative.

• Understanding the context for transition
• The Transition Towns model – from inspiration to working groups
• Identify the main steps of transition
• Plans for yourself and your locality
• Inner and outer aspects of transition
• Provides the elements of an inspiring talk on Transition Towns

The Trainers:

May East – member of the community at Findhorn, May is an activist for the Brazilian social change movement and has many years experience in the environmental movement.

Ann Lamont – From the Centre for Alternative eneryy in Machynlleth in Wales, co-founder of Transition Bro Ddyfi Trawsnewid.

Booking: please contact Jo Homan, tt@jo.homan.me.uk
I will admit that until a few years ago, ask I was slightly cynical about the concept of planting trees as a carbon emissions offset, erectile or as a novel ‘gift’. I imagined that at best, it was a case of too little, too late, and at worst, a gimmicky concept dreamt up by London advertising boys, keen to cash in on the green theme. But in these strange days of global unrest, the gentle notion of planting a tree now seems like one of the most effective and simple ways to counteract the chaos. Personally, I still feel that pledging to plant a tree to make up for a round the world plane trip is a bit pointless (it will take more than a couple of trees to make up for that damage!) However, TreeTwist, and their partner Trees For Life have come up with a way that we can all contribute towards planting tree’s – and we get a gift out of it too! (I’m all for altruism, but I do like to receive as well as to give.)

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Put simply, TreeTwists are fabric handmade designs, which can be used in multiple ways; as accessories for bags or clothes, worn as jewellery, even to adorn fire places or Christmas trees. They come in vivid, strong colours, and are charmingly playful. Behind the gentle whimsy of wearing a TreeTwist is this fact – a tree or seedling will be planted in the Caledonian Forest on your behalf when you purchase it.

I asked the founders of TreeTwist, Kate and Sez to explain a little more about this concept;

Why was TreeTwist established?
 
“We launched TreeTwist in an attempt to do our bit for the planet.  We didn’t feel that as consumers we were being offered the opportunity to do something simple and effective, which could be easily absorbed into our everyday lives.  Present giving was a particular frustration.  Several Christmases with entirely disposable presents and without the option of giving something different, stylish and good for the world highlighted the opportunity. TreeTwist is based on the premise that small steps make a difference.”

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“TreeTwist Ltd was established in 2007 to help everyday individuals and families do something positive to help combat climate change by making it easy to plant a tree.  We are different because not only do we plant the tree, we acknowledge the purchase by giving a TreeTwist to act as a talisman and a reminder of the tree.
 
The trees are planted by TreeTwist partners, Trees for Life in the Caledonian Forest in the North West Highlands of Scotland.  Trees for Life are multi award-winning and recognised as world experts in reforestation.  In addition, Trees for Life propagate seedlings gathered on the forest floor for TreeTwist allowing the cycle of life to continue.
 
Put simply, every TreeTwist represents a tree. Our success criterion is the planting of many, many thousands of trees.”

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The TreeTwist’s themselves are also locally conceived and created as well?

“Yes, We have managed to create an entirely UK based project: the TreeTwists are designed and made in the UK and the trees planted in the UK.
 
Our current TreeTwists are designed by Ingrid Tait of Tait & Style, and handmade largely by outworkers in the Shetland and Orkney Islands.  The collection includes woollen scarves, bracelets and clips each with leaves, bobbles flowers or hearts.  Colours vary from earthy and masculine to the most vivid shades.  The scarves in particular have never been seen before – metre long tubes of wool.
 
Using British designers is a mandate for TreeTwist along with the use of sustainable materials. Although this is a UK based project, sales of TreeTwists are global.  Countries we have delivered to include Australia, New Zealand, Canada, USA, Denmark, Bahrain, Slovenia and Spain.”
We get an awful lot of people sending us pictures of their illustrations and Brooklyn based illustrator Morgan Blair was one such person. After checking out her website I was immediately attracted to her incredible skill and draftsmanship. It seems to me to be such a departure from the English scenes obsession with naïve, prostate childlike scrawls of illustrators like David Shrigley. I felt compelled to get more information on this (in her own words) “illustrator, fine artist and sometimes-desperado.”

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Diamond Collection.

Tell me a little bit about yourself Morgan?
Well I have brown hair that I cut impulsively, and I strongly prefer open windows to air conditioning.

Your pieces have a really interesting textural quality, what mediums do you use when making your work?
I usually work in acrylic and gouache, which I like to keep really flat, but sometimes I layer paint and then sand it for texture. If I’m using markers or pen I like to see the line direction and variation in ink.

What other artists inspire you?
Last night I was drawing on some blank pages in an old sketchbook of my dad’s. I started looking through the other pages again and he had done a bunch of technical drawings of cars with their parts labeled like an anatomical diagram, there were also some of architectural, birds-eye view landscape drawings. My mom’s old drawings seem very trippy, like repidiograph drawings full of minutia and weird transforming landscapes. I’m sure I’ve been influenced and inspired by both camps. Some contemporary artists I really appreciate are Maya Hayuk, Henrik Drescher, Brendan Monroe, Stephen Gammell, Jacob Magraw. I came across an artist recently named Jackie Tileston whose work blows my mind. The list is endless.

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Mountains

How would you describe your drawings?
I guess they are like daydreams, exploring hypothetical situations and memories. Often when I draw I am starting to think about a larger idea before it has fully developed in my mind.

How important is technical accuracy and ability to your work?
I’ve always been kind of naturally tight and nervous in the way I draw, so I like to be in the right mindset when I work in order to counterbalance that compulsion. I had a drawing teacher freshman year of college who taught us about drawing how the nature of a thing feels, rather than how it looks to the eye. That idea took a long time to soak in, but in the last couple of years I haven’t been trying to make everything look so technically accurate, but rather just so that it feels right.

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Pussing Donut Mushroom.

How long does something like Pusssing Donut Mushroom Cloud take to do from conception to finished product?
It depends on how much time I have. I can work as quickly as I need to if I have a deadline, but that piece was one I started for myself when I moved to New York, and I just worked on it off and on until I decided to be done the other day. In terms of conception, ideas mostly come into my head while I’m in the shower or when I’m in between being awake and asleep. Unless I have a deadline, in which case I spend a couple of days tearing my hair out until I have a decent idea to go with.

How would you describe the New York illustration scene for us londoners?
Actually I don’t know too much about the illustration scene here yet. I feel like I’ve barely gotten my feet wet, so I’m nervous to say my perception of this place. There are so many galleries, publications, art fairs and events going on that it’s incredibly intimidating and motivation at once, and I get a sense of freedom from the variety of work I see. I know of a lot of amazing illustrators who live or work here, so it feels good to be in their company, and to know that awesome stuff is going on all around.

You experiment a lot with many facets of art and design such as printmaking and photography), which would you say is your favourite?
Drawing and painting have always been my favourite, but I waffle around with other stuff depending on my mood. I go through more or less intense phases of picture-taking depending on whether I have film. Printmaking was fun while I had the facilities, but I realized I enjoyed the immediacy of drawing and painting straight onto paper without any preparation or process. But I would like to get back into screen-printing.

You seem to work a lot with forms and shape, how important is that to your work?
I like getting in over my head with endless fields of pattern and interlocking shapes with dizzying color. It’s important to me to have some element of tedium and obsessiveness in a piece. In general, the more time I’ve spent in a meditative trance during a piece the better. But I have to force myself to do it in ways that make sense for the overall image, so I’m not just drawing wallpaper. Not that I’d be opposed to doing that.

Have you done any commercial work and if so what have you been doing recently?
I have done a handful of commissioned pieces for some financial magazines called PlanAdvisor and PlanSponsor, which have been fun because the art director has given me articles with topics that require more abstract illustrations. I also do small black and white spot drawings for a newspaper in Rhode Island, so those are usually fun exercises to accompany disparaging articles about pop culture. Right now I’m working on the album art for The States forthcoming third album.

What would your dream project be?
I would love to paint all the walls, ceiling and floor of a room in dense pattern with vibrating color and make the space as confusing as possible.

On her website Morgan Blair describes her ambitions for the present and future as “adventure, survival, being in the presence of mama and making art forever.” I sincerely hope at least the last part of that list comes true.

In the excitement surrounding Hussein Chalayan’s current exhibit at London’s Design Museum I was reminded of a piece in the Royal College of Art’s Works-In-Progress show this winter that triggered the same wonder and excitement I felt upon first seeing the cool rigidity of Chalayan’s airplane wing inspired dress. Only this time it was textile student Claire McClachan who presented something with all the structure and intrigue of the iconic fiberglass airplane dress, more about only this time it was brilliantly executed in a mysterious combination of finely knit and woven yarns. I mined the epic pile of inspirational scribbles and paper scraps on my desk for the notes that would lead me to this innovative young designer from Aberdeen.

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Can you tell me about the captivating skirt you displayed at RCA’s Works-In-Progress Show?
The piece I displayed at the was the culmination of my pre-collection work which focuses on the relationship between curve and angle. It is made of a knitted fabric I’ve developed which has some interesting properties; it is stiff yet has stretch, doctor it has memory and can be moulded into different shapes. It allows me to create sculptural shapes for the body and challenges pre-conceptions of knitwear.

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Alot to ask of the humble methods of knit and weave. Your fabric and its propertieswere so attractive and mysterious, with no visible structures to support it. Approaching it I thought it might even be textured clay.
People have preconceived notions about knitwear. That it’s dowdy, or crafty… done by your granny while on the sofa watching tellie. Only recently have we seen those really challenged in mainstream fashion by people like Azzadine AlaiaLouise or Louise Golden. Although my Grandma did teach me how to knit, I didn’t pick it up again until much later.

So what did you start out focusing on in art school?
In my BA program they stressed a traditional drawing base. So I did quite a lot of that.

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Do you feel that skill has directed some of your textile work?
When I started in textiles I was more of a printer. After my BA in textiles I knew that I wanted to progress into fashion and approach fashion from this direction.
How might that background help cultivate a better fashion designer?
I think that some really interesting fashion comes from designers with textile backgrounds. The difference being that fabric tells you what to do instead of the other way around.

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Are there places you typically look to for inspiration?
I am generally inspired my man made structures, I love architecture, engineering, aeroplanes, mechanics, technical drawings, plans etc.

Many may not realize but knitting and weaving, unlike other immediate or fluid forms of art require quite a bit of mathematics and calculating. Hear that kids? Maths may be useful yet, even for you aspiring artists!
Yes, it’s almost ritualistic and that is something I like about the process. It’s systematic, requires planning. This is image of Eden Project is from my sketchbook.

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Any fashion designers you find particularly exciting at the moment?
There are several new designers out there doing interesting things. However, my true loves are the modern couture of Dior, the innovation of Chalayan, the consistently knock out collections of McQueen and the couture knitwear of Azzedine Alaia.

You’re currently designing a capsule collection for the RCA gradutate show which opens June 26th. Will we see more of this extraordinary fabric?
I’m going to continue to push the fabric I’ve developed here to see what it can do. I’ll probably include other weights of fabrics too and a range of shapes.

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Thanks for letting us get to know more about you and your work Claire. Happy knitting!
I can’t wait to see what forms sprout from this designers imaginarium. She will be one to watch.

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On Thursday I headed down to Nolias Gallery to the opening of Being and Nothing-ness an exhibition featuring three Korean artists, this web curated by JW Stella.
After a few issues with navigation (I went to the wrong Nolias Gallery first) I arrived to see the small gallery was already filling out. I poured myself some orange juice and grabbed as many crisps and nuts as I could fit in my hands, find before going to have a look around.

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The literature for the exhibition declares that we live in a world of dualisms – good and evil, mind and body. These dualisms are traditionally the way we make sense of the world, but it’s often the case that, “perception and reality can turn out to be yet another dualism, in a hall of mirrors where nothing finds a finite definition”. The artists in Being and Nothing-ness all aim to explore the ‘uncertainties and mysteries’ of this fact.

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It’s at once easy to see why Youngmi Kim has been featured in this exhibition, the artist adds physically nothing, instead cutting away from an existing material – the canvas. By rejecting the long historical tradition of adding to the canvas to create illusion, Youngmi Kim aims to truly understand the object of the canvas. After seeing the ‘paintings’ I can really see how in them the artist’s ideas that, “Emptiness can ironically express fullness.”

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Close up of The Canvas

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In a great bit of curating Kiwoun Shin’s video works are shown on tiny television screens creating a level of intimacy with the viewer, as only one or two people at a time really able to watch the video piece. Whether intentional or not the small screens act as a way to draw people in from across the gallery to look at them closer. Some of the screens are placed together in twos, one work Superman 1 shows the iconic figure of Superman being ground down to dust. Echoing “we come from dust and go to the dust” from the book of Genesis. A few inches away another screen shows almost the mirror image, the dust slowly merges together to completely build Superman up again.

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Still from video Superman 1

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Like the other artists Seunghyun Woo sites Buddhism as an inspiration for her mixed media sculptures and paintings. The nothing-ness in the work comes from her creation of it, she has produced a technique called Marbeling-isness which apparently “plays on the unconsiousness of my [the artists] work’s creation” hmm. Nonetheless there is certainly something attractive and captivating about the texture of the pieces, created with paint and plaster.

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Installation view of Untitled and Against Gravity
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The exhibition is open 10.30am – 6pm until 7th April.
JW Stella’s next project is curating an inaugural exhibition titled SU:BISORI for The Museum of Art in Jeju Special Self-Governing Province, South Korea, it opens 26th June.
FUN Magazine is a truly anarchic collection of words, visit letters, website pictures and sentences that follows no pre-ordained format and which does not fit within the boundaries of polite society. It features things that are almost unpublishable but its all right there in print and has been now for just shy of one year. I had a quick word with the boss, Ben Freeman to find out where it all began.

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So when and how did all the FUN begin? Is there an ideology?

We started FUN about a year ago, April 2008. Ideologies are for people who never do anything. We pretty much do what we feel like.

I noticed that there isn’t much info on the website apart from a wall of text under ‘archive’. Are you purposefully elusive?

Not really. That’s every word we ever published. It just seemed a bit easier than hiring a programmer, setting up some complicated site and blah blah blah.

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What inspired you to put this magazine together?

The dawning realisation that there weren’t many magazines that we liked any more, and boredom.

Has your own history been deeply involved in magazines?

I started making magazines when I was eleven. They had this big anorexic green monster on the cover. In the 90s I made a few zines in the hardcore noise scene I was into. One of them was called The Recovery Position and it had interviews with people like Nasenbluten by fax and loads of gay porn collages and general filth. Deano played in straightedge bands when he was young and impressionable and he made some zines too. Now I do some work for Vice and edit FUN. Deano runs Real Gold and publishes the magazine.

To date there have been 3 issues, is that right? Can you tell me a little bit about each issue?

The first two issues were fold out posters printed on coloured paper. Issue one had a big interview with a Falun Gong teacher about torture and spirituality, with a load of pictures of Chinese people being painfully subjugated, drawn by Falun Gong members in China. We also interviewed a schizophrenic guy. Issue two had a big piece on the growth of web based paedophilia and Bob Foster’s miserable sex stories.

We pulled our thumbs out of our asses for issue 3 and printed a whole bound 32 pages of interviews, articles and other fun stuff. Jim Goad wrote something for us about black Confederate soldiers.

Issue 4 is out in about a month.

With a large number of zines and mags around at the moment what makes FUN stand out from the crowd?

We don’t give that much thought.

What kind of FUN can we expect in the future?

We’re getting bigger, thicker and more widely distributed, but not more colourful. It will still be FREE. The next issue has stuff from Philip Best and Antoine Bernhardt, loads of articles and tons of illustrations by people who can actually draw. That’s our mission for next year: To eliminate the talentless bastard offspring of David Shrigley. Airbrushing’s going to be massive.

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Hype: Where does it come from? Where will it go? Nobody ever seems to know. Right now, mind there are tiny little shards of the infosphere that are offering very certain-sounding decrees about a band called Gold Teeth, this web but how do they know? The Telegraph reckons they’re going to conquer 2009, ampoule Zane Lowe and John Kennedy are giving them airplay that any other unsigned band would kill for and saying “whoop whoop” just enough. Maybe that’s it. The self-fulfilling prophesy effect. Little bit of hype here and there and look: I’m listening to them.

So what sits in the eye of this embryonic hype-tornado? It depends on how you hear them. On record, you’ll first be pulled in by the groove. Drummer Will Ritson is an afrobeat wizard, bouncing crystal clear hollow-sounding chicky-chicks, bap-baps, ker-brups and the occasional puh-chap-chah, tight as a particle accelerator. The combination of this with Jonny Tams electronic beeps and hoobs takes you to a land of 80s Casio demos (except the grooves are more lushly driving than annoying). Slap on some up-the-fretboard guitar work, slow-strummed sugary chords for a while, then kicking into discrete repetitive noodles, played as if they’re samples, that add more detail to Ritson’s drumbeat skeleton. It gets very addictive around this time, and your head jerkdoodles back and forth the way it can only do when you’ve got Afrobeat Inside. On their best songs, around this point, you’re totally into it. The tightness of these three chaps alone is a thrill. Start thrashing your imaginary whip against your imaginary racehorse now.

But I’ve forgotten someone… Mr. Joe DaCosta, unencumbered by an instrument, works the vocal chords, and he loves it, like a hatchling loves worms. His lines are barked in a Saaf London tequila slammer, with no lemon for afters: “bread and butter, my son”, “you ain’t even all that funny”, these little snatches of sharp, dog-track, flat cap conversation cracked suddenly into your head, instantly memorable and singbackable. But this singer is the big difference between a gig and a recording. There isn’t a microphone in the galaxy that can capture the way he leaps around the stage. The man is a bundle of monkey energy. He leaps, lunges, jiggles, and wiggles his lithe monkey-acrobat bod around the stage, like a cross between 50 Cent and Tigger and (I’ll say it again) a monkey. With all of his high energy jiggerypokery and gurning, he verily works the crowd like Rod Hull working Emu (except without the arm). So go, musiclover, go get all the mp3s or 7”s cos they’re good, but know you’re getting a very different experience if you see a gig. If you’re just listening to their demos or their single, you might want to play Donkey Kong or watch Battle for the Planet of the Apes as a way of simulating the full experience.

And now look! Dear reader, I’m part of the hype. I guess that’s how it works. But what can I do? I actually want you listening to these people. Their music is really just plain fun. The most obvious association is Vampire Weekend, just because of the hooky bounce that you’ll find in both, but with the synths here, it’s a bit closer to hearing some happy Plaid ideas, converted to catchy pop format by that guy who wrote all the music for the SNES. There’s no soul-searching here, no poetry or pain; it’s a passport to funtime. Even when they play with dark chords, it fun darkness, like Grand Theft Auto. Frown while you pogo.
I get the impression that the single, Everybody, is really just a taster of what these boys can do. It’s a nifty tune with a great b-side, and if you’re a hype-sucker, a good investment. But listen to the demos. Songs like Tasty, The Film, and Bread And Butter have such a perfect meld of songcraft and pure spacious grooveriding, with interplay of instruments and sounds that you almost never hear in live bands. Which leaves us with a few ifs. If the hype is right, if the demos develop into great recordings, if they keep the songs coming this good, and if their newly added bassist squeezes into it ok, then Gold Teeth is a perfect breezeblock dropped into London’s rock-pond. They deserve to make waves. And if you have the dance in your pants, like a bit of catchy, and get Nintendo-nostalgia, my friend, you will let the monkey and his friends make you jerkdoodle your head back and forth in 2009.
Gold Teeth are playing The Paradise in Kensal Green on Thursday 19th March. Everybody is out now on 7”.
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Photography by Jason Rodgers

When you name your band “Fun, more about ” there’s one question you’re bound to get asked a whole lot, link so let’s just get that out of the way first. The answer is yes. They are. In addition to being fun, they are funny, enormously talented, and preparing to embark on a tour across America with Manchester Orchestra in April and to release their debut album in spring 2009.

Fun is lead singer and lyricist Nate Ruess, whose previous band, The Format, released two critically acclaimed albums and toured with the likes of Guster and the All American Rejects. On guitar, there is Jack Antonoff, the curly coiffed frontman of Steel Train, and Andrew Dost, previously of Anathallo, whose musical talents include, but are not limited to, guitar, piano, flugelhorn, melodica, and humanatone (it’s a nose flute). These three musical maestros have teamed up, in the wake of The Format’s break up, to form pop supergroup, “Fun.”

“After I found out that the Format was no longer,” Nate says, “I called up the two musicians I knew that I had always wanted to work with most.. Fortunately, nobody was too busy and Andrew and I flew to New York and spent a month with Jack in his parents’ living room, making demos.” Andrew goes on to explain, “My old band had toured quite a bit with the Format, and a few of us had played horns and percussion for some of their songs. I thought Nate was a great guy, and clearly really a gifted singer and songwriter, and we stayed in touch. We played with Steel Train along the way too, and I thought Jack was fantastic as well. The three of us just had a mutual admiration for each other, and knew that someday we’d like to work together.”

Before work on their forthcoming album had even been completed, Fun was asked to open for Jack’s Mannequin on a three week tour that took them around America and into Canada. The band made new fans along the way, as well as being greeted by some old ones, fans of their work in their other respective bands. “My favourite part,” Andrew says, “is getting to hear people sing along to sounds that were in my head a few months or years before. The sounds I want to get out of my head can reach other peoples’ ears and, hopefully, mean something to them.”

After the tour ended, the primarily New York City based band reunited in Los Angeles to finish their album. “Because it’s my voice, and I wrote a lot of the Format songs as well as the Fun songs, it can certainly sound like the Format upon first listen, but, to me at least, it’s a lot more in depth, mature, and musically sharper than I thought the Format was. That’s not a diss to anyone involved in the Format, I believe it’s just the natural progression of a songwriter.”

With a February gig opening for Jason Mraz in front of 7,000 people already under their belts, in addition to more than 200,000 plays of their myspace song, “Benson Hedges” and the internet buzzing about their new song, “At Least I’m Not As Sad (As I Used To Be)” the boys of fun could be feeling on top of the world right now. None of these are small feats for a band to have accomplished before even releasing a CD, but none of it seems to have gone to Nate Ruess’ head, “I’m very fortunate to be surrounded by creative people,” he says, “Sometimes i just sit back and watch in awe.”

When a new bar opens in Hoxton, prostate it is a dead cert it will be a big night, there with some of the hottest new stars just bursting at the seams. The Queen of Hoxton had it’s PR launch on Wednesday, a star studded event that debuted new and up coming artists as well as musicians. Henry Holland was the DJ and Pixie Geldof was just one of the celebrity guests attending. Among the artists were photographers George Ramsay and Hunter Skipworth of East End Aperture, one’s to watch for the East End photojournalism scene and the band was Crystal Fighters.

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All the way from Spain, Crystal Fighters are winning the hearts of us Londoners with their hit I Love London, kindly remixed by the prestigious Kid Cola. They were featured on XFM’s John Hillcock’s New Noize Best of 2008 show and were voted number 91 in MIXMAG‘s top tunes of 2008, impressive as they were the only unsigned band on the list.

It all started for the Fighters when frontwoman Laure discovered a manuscript of an unfinished opera in her grandfather’s home in Basque, and inspired by the untidy scrawls the band decided to complete the work.

Incorporating the traditional sounds of Basque with a synth over the top to create a nu-rave minimalistic, dirty squat party sound.

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Amelia’s Magazine | A Divorce Before Marriage: a film about I Like Trains and the music industry

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A Divorce Before Marriage by directors by Matt Hopkins & Ben Lankester follows the Leeds based band I Like Trains following their rejection by the mainstream music industry. During this time they grow older, gain families and ‘real’ jobs… whilst remaining passionate about producing the music they love. As someone who is a long time fan of I Like Trains and a supporter of musicians working on the fringes of the commercial music industry I was most intrigued to hear about this feature length film, and asked director Ben to explain more…

A Divorce Before Marriage – Official Trailer from A Divorce Before Marriage on Vimeo.

A Divorce Before Marriage is a documentary three years in the making. The film charts the lives of Leeds based I Like Trains following the loss of their record deal. We really wanted to shine a light on those bands working away in the middle, those bands positioned somewhere between superstardom and complete obscurity. We felt this was an overlooked and unrepresented portion of the industry, particularly within the world of music documentary.

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The film aims to reveal with brutal honesty the difficulties but also the rewards of balancing creative endeavour with earning a living. We hope the trailer speaks to creatives in all types of professions who are forced to do the same thing, particularly as you approach that delicate time in your 30s when life appears to take over. The film was shot over three years in order to capture those small but powerful moments of change that happen in our lives during this transformative period.

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As filmmakers we have been working with I Like Trains for five years now, from initial music videos and live performance films to this, a feature film documenting their lives over a long period. It really feels like the culmination of the journey we’ve all been on together, and the success of our ongoing Kickstarter campaign is testament to our belief that this band’s story is universal.’

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You can support the Kickstarter campaign to raise money for A Divorce Before Marriage here. They have already exceeded their first goal, but any extra money raised will allow them to make an even better film. The campaign closes on 14th October 2014.

Categories ,A Divorce Before Marriage, ,Ben Lankester, ,film, ,I Like Trains, ,Kickstarter, ,Matt Hopkins

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