Katie Harnett showed a dreamy illustration based on a sea shanty, order and her children’s book Problems with the Polar Post – a delightful tale featuring as she said it would, website plenty of animals.
Liam Barrett had put together the beautiful D&AD New Blood UWE invitation, and has designed wrapping paper for Nobrow.
Natalie Osborne‘s long creature from her Elliot’s Adventure picture book was super engaging.
While you were at in the Dentist by Jay Wright featured all sorts of toothy situations.
The Highwayman Annual by Jacob Stead was presented in becomingly old style – a glorious romp through all things masked robber related. Jacob has done a big feature for the current issue of Oh Comely magazine.
Zarina Liew at work
My wonderful girls, rx Rosie and Harriet of Tatty Devine, sick who created the lovely Cutlass Necklace for my party.
Zarina Liew looked oh so casual during the afternoon launch party – every time I turned around there she was, chatting away, charming the guests in expert fashion. But if I thought she was shirking I could not have been more wrong – she churned out the most amazing bunch of illustrations in record time, all in stunning watercolour fashion plates – every single one of them. Wowser. This lady has so much talent it’s painful… behold her beautiful illustrations. So delightful, every single one.
Presenting the lovely Katie Antoniou of London Plinth – sometime Amelia’s Mag contributor and general all round fabulous fashion gal. Here’s her review of the night.
Holly Springett wrote an absolutely fabulous blog about the launch, with some of the very prettiest photos to accompany it – go check it out here.
Here’s Josephine and Sarah from Somerset House, who I hope very much will be in contact soon to talk about a possible collaboration…
Alice of Tatty Devine sports some very fabulous jewellery indeed – by Tatty Devine of course.
Gabby Young with her boyfriend Stephen. What a lovely couple!
Sarah of Fab Sugar – anyone catch her last name? I don’t think we met.
Laura and Courtney of Forward PR. Lovely lovely women, who helped me in the run up and on the night most immensely. Say hello if you see them around at LFW.
Tara and Louise of Cent Magazine – I did an interview with the lovely Louise, so fingers crossed that will be available soon.
Matilda of the Ecologist – likewise they should be running a review of the book – keep an eye out and let me know if you spot it before me.
You can follow Zarina Liew on twitter on @cobaltcafe and don’t forget you can buy Amelia’s Compendium of Fashion Illustration here, with a special 10% if you use the discount code ACOFI LAUNCH up until the 28th February 2011. Find out just how Zarina made the leap from the corporate marketing world into the creative arms of illustration: amazing inspiring stuff in this Skype interview on youtube.
My wonderful girls, cialis 40mg Rosie and Harriet of Tatty Devine, symptoms who created the lovely Cutlass Necklace for my party.
Zarina Liew looked oh so casual during the afternoon launch party – every time I turned around there she was, check chatting away, charming the guests in expert fashion. But if I thought she was shirking I could not have been more wrong – she churned out the most amazing bunch of illustrations in record time, all in stunning watercolour fashion plates – every single one of them. Wowser. This lady has so much talent it’s painful… behold her beautiful illustrations. So delightful, every single one.
Presenting the lovely Katie Antoniou of London Plinth – sometime Amelia’s Mag contributor and general all round fabulous fashion gal. Here’s her review of the night.
Holly Springett wrote an absolutely fabulous blog about the launch, with some of the very prettiest photos to accompany it – go check it out here.
Here’s Josephine and Sarah from Somerset House, who I hope very much will be in contact soon to talk about a possible collaboration…
Alice of Tatty Devine sports some very fabulous jewellery indeed – by Tatty Devine of course.
Gabby Young with her boyfriend Stephen. What a lovely couple!
Sarah of Fab Sugar – anyone catch her last name? I don’t think we met.
Laura and Courtney of Forward PR. Lovely lovely women, who helped me in the run up and on the night most immensely. Say hello if you see them around at LFW.
Tara and Louisa Lau of Cent Magazine – I did an interview with the lovely Louisa, so fingers crossed that will be available soon.
Matilda of the Ecologist – likewise they should be running a review of the book – keep an eye out and let me know if you spot it before me.
You can follow Zarina Liew on twitter on @cobaltcafe and don’t forget you can buy Amelia’s Compendium of Fashion Illustration here, with a special 10% if you use the discount code ACOFI LAUNCH up until the 28th February 2011. Find out just how Zarina made the leap from the corporate marketing world into the creative arms of illustration: amazing inspiring stuff in this Skype interview on youtube.
My wonderful girls, pharmacy Rosie and Harriet of Tatty Devine, tadalafil who created the lovely Cutlass Necklace for my party.
Zarina Liew looked oh so casual during the afternoon launch party – every time I turned around there she was, chatting away, charming the guests in expert fashion. But if I thought she was shirking I could not have been more wrong – she churned out the most amazing bunch of illustrations in record time, all in stunning watercolour fashion plates – every single one of them. Wowser. This lady has so much talent it’s painful… behold her beautiful illustrations. So delightful, every single one.
Presenting the lovely Katie Antoniou of London Plinth – sometime Amelia’s Mag contributor and general all round fabulous fashion gal. Here’s her review of the night.
Holly Springett wrote an absolutely fabulous blog about the launch, with some of the very prettiest photos to accompany it – go check it out here.
Here’s Josephine and Sarah from Somerset House, who I hope very much will be in contact soon to talk about a possible collaboration…
Alice of Tatty Devine sports some very fabulous jewellery indeed – by Tatty Devine of course.
Gabby Young with her boyfriend Stephen. What a lovely couple!
Sarah of Fab Sugar – anyone catch her last name? I don’t think we met.
Laura and Courtney of Forward PR. Lovely lovely women, who helped me in the run up and on the night most immensely. Say hello if you see them around at LFW.
Tara and Louisa Lau of Cent Magazine – I did an interview with the lovely Louisa, so fingers crossed that will be available soon.
Matilda of the Ecologist – likewise they should be running a review of the book – keep an eye out and let me know if you spot it before me.
You can follow Zarina Liew on twitter on @cobaltcafe and don’t forget you can buy Amelia’s Compendium of Fashion Illustration here, with a special 10% if you use the discount code ACOFI LAUNCH up until the 28th February 2011. Find out just how Zarina made the leap from the corporate marketing world into the creative arms of illustration: amazing inspiring stuff in this Skype interview on youtube.
Susie Bubble needs no introduction and I absolutely adore Rachel’s rendition of this infamous fashion blogger. She’s been a great supporter of Amelia’s Magazine so it was an honour to see her at the launch party. You can read her write up here. Thanks Susie!
Rachel de Ste. Croix has developed a unique style that suits both childrens’ book illustration and fashion illustration a treat. Working from life she sketches a likeness of her subject and then transfers into into her computer through a painstaking process involving a light box and lots of black felt markers. From there she messes around in photoshop to achieve a beautiful handmade look that in fact makes the most of digital special effects – something which I talked about when I mentioned her in my Digital Arts interview. Here’s her fabulous ACOFI launch party output:
Katie Wright writes Style My Wardrobe and she managed to grab a little bit of my time to ask a few questions at the launch – you can read her great write up here.
Tigz Rice is actually a friend of Rachel’s – I’ve now had the pleasure of working with more than a couple University of Westminster graduates, who are all super talented. Can’t think why. Maybe it’s because one of my bestest mates the wonderful illustrator Simone Lia teaches there. Or else it’s something in the water.
I cheekily asked Rachel to illustrate me. Well, she did such an amazing job with everyone else I really didn’t want to be left out. Here I am wearing my Joanna Cave earrings (new season darling) and Beautiful Soul cape-let made out of an upcycled kimono. You can buy similar Beautiful Soul pieces (they’re all different obviously) at the V&A shop.
Rachel hard at work drawing Susie behind a curtain of hair. Photography by Matt Bramford.
Lily Vanilli ACOFI launch cake by Abby Wright. This must be the most lovingly photographed and illustrated cake ever!
Ah, sicknessAbby Wright. Where to begin? She has grabbed the proverbial illustration bull by the horns and run with it, big time. Never has someone still at university so inspired me. Some people just get it you know? And she’s one of them. If you’re reading this and you’re still at university wondering how you will ever get noticed, then read on and learn. I’m serious. This girl has got it going on.
Firstly – she’s all over twitter chatting to fellow illustrators up and down the country all the time, encouraging them and swapping advice. She’s so switched on she even instigated the Tea and Crayons illustration collective. Secondly – she just keeps on creating. Day after day she volunteers illustrations for Amelia’s Magazine. She’s not afraid of making mistakes in public, she puts it out there and learns, and it is a joy to watch her work developing all the time. Students all over should be inspired… just take a look at how many followers she has on twitter! Abby Wright is going places.
Which is why I asked her along to be at my ACOFI afternoon launch party. And here are the results of her doodlings:
Johann Chan, art editor of Digital Arts – no doubt grinning ear to ear because he came down for the fabulous cakes (see above).
Adorngirl, otherwise known as Ashanti Jason, who wrote this lovely blog about the event.
Emma Davenport is an old friend of mine who. Inspired by a life long love of the charity shop – snap! – she has been researching the history of ethical dress and fashion at the RCA. She has a blog called Frock Conscious and you can read her party piece here.
And finishing up with socialite Prince Cassius. Oh yes, he of the dapper clothing and super fro – a delight for both illustrators and photographers alike. What a gent.
ACOFI – jenny robins – Amelia’s compendium – michelle Urvall Nyren – probably naomi
Laura Snoad of Design Week sporting her Tatty Devine necklace. She wrote a great write up of the party here: check it out.
Oh dear. My brilliant plans to get all ACOFI launch party blogs online by the end of last week were laid waste by a pre-booked four day trip to Cornwall. Which was just lovely in case you were wondering: so good to feel the wind in my hair on a coastal path again.
Jenny Robins is the illustrator who has worked closest with Amelia’s Magazine to do live illustrations from the catwalk in the past. For this reason she was a natural choice to bring along for the tea party… and she did not disappoint, more about holding court over by the window all afternoon long and churning out an amazing amount of stunning live artwork right in front of our guests. In fact she did so many I’m going to have to run through them as quickly as possible or I’ll never get onto my next illustrator. All I’ve got to say, thumb is Jenny, you rock my world.
Here I am, being interviewed, I am not sure who by!
You can follow Jenny Robins on twitter on @jennyrobins and don’t forget you can buy Amelia’s Compendium of Fashion Illustration here, with a special 10% if you use the discount code ACOFI LAUNCH up until the 28th February 2011. Here’s Jenny talking to me via the power of Skype in her youtube interview:
Laura Snoad of Design Week sporting her Tatty Devine necklace. She wrote a great write up of the party here: check it out.
Oh dear. My brilliant plans to get all ACOFI launch party blogs online by the end of last week were laid waste by a pre-booked four day trip to Cornwall. Which was just lovely in case you were wondering: so good to feel the wind in my hair on a coastal path again.
Jenny Robins is the illustrator who has worked closest with Amelia’s Magazine to do live illustrations from the catwalk in the past. For this reason she was a natural choice to bring along for the tea party… and she did not disappoint, site holding court over by the window all afternoon long and churning out an amazing amount of stunning live artwork right in front of our guests. In fact she did so many I’m going to have to run through them as quickly as possible or I’ll never get onto my next illustrator. All I’ve got to say, is Jenny, you rock my world.
Here I am, being interviewed, I am not sure who by!
You can follow Jenny Robins on twitter on @jennyrobins and don’t forget you can buy Amelia’s Compendium of Fashion Illustration here, with a special 10% if you use the discount code ACOFI LAUNCH up until the 28th February 2011. Here’s Jenny talking to me via the power of Skype in her youtube interview:
Laura Snoad of Design Week sporting her Tatty Devine necklace. She wrote a great write up of the party here: check it out.
Oh dear. My brilliant plans to get all ACOFI launch party blogs online by the end of last week were laid waste by a pre-booked four day trip to Cornwall. Which was just lovely in case you were wondering: so good to feel the wind in my hair on a coastal path again.
Jenny Robins is the illustrator who has worked closest with Amelia’s Magazine to do live illustrations from the catwalk in the past. For this reason she was a natural choice to bring along for the tea party… and she did not disappoint, purchase holding court over by the window all afternoon long and churning out an amazing amount of stunning live artwork right in front of our guests. In fact she did so many I’m going to have to run through them as quickly as possible or I’ll never get onto my next illustrator. All I’ve got to say, is Jenny, you rock my world.
Here I am, being interviewed, I am not sure who by!
You can follow Jenny Robins on twitter on @jennyrobins and don’t forget you can buy Amelia’s Compendium of Fashion Illustration here, with a special 10% if you use the discount code ACOFI LAUNCH up until the 28th February 2011. Here’s Jenny talking to me via the power of Skype in her youtube interview:
It was a delight to meet Sarah Williams of Sarah Scribbles, hospital who is a prolific tweeter and blogger.
Ahhhh, the lovely Joana Faria. She came to the ACOFI launch event all the way from Portugal, where she works in advertising as an art director. As a relative newbie to the world of fashion illustration she has developed an impressive style very quickly – stick thin figures sport impressively large hair and big eyes that emphasise the architecture of an outfit. Here’s her contributions to the great ACOFI illustrated launch party.
I love Alex Cox’s big bushy eyebrows. He interviewed me for Don’t Panic.
Francesca Salih from Forward PR who helped keep us in Vodka O and Adnams far into the night.
Here’s Joana Faria with fellow illustrators Antonia Parker and Abby Wright. Photography by Matt Bramford.
Here’s Joana talking to me about how she first got into drawing her friends when she was a little girl back in Brazil. Why not take a little gander? She’s a very delightful lady indeed.
Written by Amelia Gregory on Wednesday February 9th, 2011 5:12 pm
Du Goudron et des Plumes Ellie Sutton Du Goudron et des Plumes by Compagnie MPTA with Mathurin Bolze started with a swinging platform lowered slowly over the heads of the performers, medications crushing them into the floor. They emerged from beneath, generic ripping out the innards, transforming the planks into a clanking and clattering playground as the dancers/acrobats/I’m not really sure what you call them swung adeptly, building and destroying, meeting and parting. Rotating vignettes from everyday life met with random acts of acrobatic grace, often finely tuned for comedic effect – the performers scaling planks to sit, gnome like, at the top, or hanging upside down to mirror each other.
The platform rose, swaying, as paper sheets were unleashed to shade the manic silhouettes of the characters behind until, in a flurry of motion, the paper was ripped apart. From minimalist jazz to crashing bells, the soundtrack was finely tuned to the minutest motion. The platform tilted as the occupants scrabbled to maintain control, clinging to each other. My later reading of the notes tells me this was a metaphor for our unstable future on this earth. The show ended with them mired in the middle as if aboard a desperate life raft.
I’d like to say that I drifted off rather frequently during this show because I’m really pre-occupied with the launch of my new book this Friday, but the fact is I probably would have done anyway… for me, that’s the trouble with theatrical shows that lack a strong narrative. At times the rhythm and flow of the five fluid acrobats had me gripped, but then I would find I’d gone somewhere else entirely (shit, I don’t have enough drink for 300 guests) as they swung repeatedly from side to side, the motion acting as a hypnotist’s pendulum to send me off… and when I snapped to the scene had completely changed…a character was half naked smoking a pipe at the end of a plank, the lone girl was swinging wildly through the air astride a rope swing, a man was swinging wildly from the oversized lamp. Director Mathurin Bolze calls this effect “mesmerising patterns.”
Du Goudron et des Plumes by Compagnie MPTA with Mathurin Bolze started with a swinging platform lowered slowly over the heads of the performers, visit this site crushing them into the floor. They emerged from beneath, viagra 40mg ripping out the innards, price transforming the planks into a clanking and clattering playground as the dancers/acrobats/I’m not really sure what you call them swung adeptly, building and destroying, meeting and parting. Rotating vignettes from everyday life met with random acts of acrobatic grace, often finely tuned for comedic effect – the performers scaling planks to sit, gnome like, at the top, or hanging upside down to mirror each other.
The platform rose, swaying, as paper sheets were unleashed to shade the manic silhouettes of the characters behind until, in a flurry of motion, the paper was ripped apart. From minimalist jazz to crashing bells, the soundtrack was finely tuned to the minutest motion. The platform tilted as the occupants scrabbled to maintain control, clinging to each other. My later reading of the notes tells me this was a metaphor for our unstable future on this earth. The show ended with them mired in the middle as if aboard a desperate life raft.
I’d like to say that I drifted off rather frequently during this show because I’m really pre-occupied with the launch of my new book this Friday, but the fact is I probably would have done anyway… for me, that’s the trouble with theatrical shows that lack a strong narrative. At times the rhythm and flow of the five fluid acrobats had me gripped, but then I would find I’d gone somewhere else entirely (shit, I don’t have enough drink for 300 guests) as they swung repeatedly from side to side, the motion acting as a hypnotist’s pendulum to send me off… and when I snapped to the scene had completely changed…a character was half naked smoking a pipe at the end of a plank, the lone girl was swinging wildly through the air astride a rope swing, a man was swinging wildly from the oversized lamp. Director Mathurin Bolze calls this effect “mesmerising patterns.”
Du Goudron et des Plumes by Compagnie MPTA with Mathurin Bolze started with a swinging platform lowered slowly over the heads of the performers, medicine crushing them into the floor. They emerged from beneath, nurse ripping out the innards, transforming the planks into a clanking and clattering playground as the dancers/acrobats/I’m not really sure what you call them swung adeptly, building and destroying, meeting and parting. Rotating vignettes from everyday life met with random acts of acrobatic grace, often finely tuned for comedic effect – the performers scaling planks to sit, gnome like, at the top, or hanging upside down to mirror each other.
The platform rose, swaying, as paper sheets were unleashed to shade the manic silhouettes of the characters behind until, in a flurry of motion, the paper was ripped apart. From minimalist jazz to crashing bells, the soundtrack was finely tuned to the minutest motion. The platform tilted as the occupants scrabbled to maintain control, clinging to each other. My later reading of the notes tells me this was a metaphor for our unstable future on this earth. The show ended with them mired in the middle as if aboard a desperate life raft.
I’d like to say that I drifted off rather frequently during this show because I’m really pre-occupied with the launch of my new book this Friday, but the fact is I probably would have done anyway… for me, that’s the trouble with theatrical shows that lack a strong narrative. At times the rhythm and flow of the five fluid acrobats had me gripped, but then I would find I’d gone somewhere else entirely (shit, I don’t have enough drink for 300 guests) as they swung repeatedly from side to side, the motion acting as a hypnotist’s pendulum to send me off… and when I snapped to the scene had completely changed…a character was half naked smoking a pipe at the end of a plank, the lone girl was swinging wildly through the air astride a rope swing, a man was swinging wildly from the oversized lamp. Director Mathurin Bolze calls this effect “mesmerising patterns.”
Du Goudron et des Plumes by Compagnie MPTA with Mathurin Bolze started with a swinging platform lowered slowly over the heads of the performers, look crushing them into the floor. They emerged from beneath, order ripping out the innards, transforming the planks into a clanking and clattering playground as the dancers/acrobats/I’m-not-really-sure-what-you-call-them swung adeptly, building and destroying, meeting and parting. Rotating vignettes from everyday life met with random acts of acrobatic grace, often finely tuned for comedic effect – the performers scaling planks to sit, gnome like, at the top, or hanging upside down to mirror each other.
The platform rose, swaying, as paper sheets were unleashed to shadow the manic silhouettes of the characters behind until, in a flurry of motion, the paper was ripped apart. From minimalist jazz to crashing bells the soundtrack was finely tuned to the minutest motion, and as the platform tilted the occupants scrabbled to maintain control, clinging to each other, pushing and pulling. My later reading of the notes tells me this was a metaphor for our unstable future on this earth, and how we can either act together to survive or fail apart. The show ended with them mired in the middle as if aboard a desperate life raft.
I’d like to say that I drifted off rather frequently during this show because I’m really pre-occupied with the launch of my new book this Friday, but the fact is I probably would have done anyway… for me, that’s the trouble with theatrical shows that lack a strong narrative. At times the rhythm and flow of the five fluid acrobats had me gripped, but then I would find I’d gone somewhere else entirely as they swung repeatedly from side to side (shit, I don’t have enough drink for 300 guests), the motion acting as a hypnotist’s pendulum to send me off… and when I snapped to the scene had completely changed…a character was half naked smoking a pipe at the end of a plank, the lone girl was cascading through the air astride a rope swing, a man was swinging wildly from the oversized lamp. Director Mathurin Bolze calls this effect “mesmerising patterns.”
This performance was typical of the way that traditional circus skills have been co-opted by mavericks such as Mathurin Bolze to create something much more abstract and intriguing. A standing ovation flooded through the packed theatre as the lights came up on the opening night of Du Goudron et des Plumes.
Du Goudron et des Plumes by Compagnie MPTA with Mathurin Bolze started with a swinging platform lowered slowly over the heads of the performers, here crushing them into the floor. They emerged from beneath, ripping out the innards, transforming the planks into a clanking and clattering playground as the dancers/acrobats/I’m-not-really-sure-what-you-call-them swung adeptly, building and destroying, meeting and parting. Rotating vignettes from everyday life met with random acts of acrobatic grace, often finely tuned for comedic effect – the performers scaling planks to sit, gnome like, at the top, or hanging upside down to mirror each other.
The platform rose, swaying, as paper sheets were unleashed to shadow the manic silhouettes of the characters behind until, in a flurry of motion, the paper was ripped apart. From minimalist jazz to crashing bells the soundtrack was finely tuned to the minutest motion, and as the platform tilted the occupants scrabbled to maintain control, clinging to each other, pushing and pulling. My later reading of the notes tells me this was a metaphor for our unstable future on this earth, and how we can either act together to survive or fail apart. The show ended with them mired in the middle as if aboard a desperate life raft.
I’d like to say that I drifted off rather frequently during this show because I’m really pre-occupied with the launch of my new book this Friday, but the fact is I probably would have done anyway… for me, that’s the trouble with theatrical shows that lack a strong narrative. At times the rhythm and flow of the five fluid acrobats had me gripped, but then I would find I’d gone somewhere else entirely as they swung repeatedly from side to side (shit, I don’t have enough drink for 300 guests), the motion acting as a hypnotist’s pendulum to send me off… and when I snapped to the scene had completely changed…a character was half naked smoking a pipe at the end of a plank, the lone girl was cascading through the air astride a rope swing, a man was swinging wildly from the oversized lamp. Director Mathurin Bolze calls this effect “mesmerising patterns.”
This performance was typical of the way that traditional circus skills have been co-opted by mavericks such as Mathurin Bolze to create something much more abstract and intriguing. A standing ovation flooded through the packed theatre as the lights came up on the opening night of Du Goudron et des Plumes.
Du Goudron et des Plumes by Compagnie MPTA with Mathurin Bolze started with a swinging platform lowered slowly over the heads of the performers, story crushing them into the floor. They emerged from beneath, cure ripping out the innards, page transforming the planks into a clanking and clattering playground as the dancers/acrobats/I’m-not-really-sure-what-you-call-them swung adeptly, building and destroying, meeting and parting. Rotating vignettes from everyday life met with random acts of acrobatic grace, often finely tuned for comedic effect – the performers scaling planks to sit, gnome like, at the top, or hanging upside down to mirror each other.
The platform rose, swaying, as paper sheets were unleashed to shadow the manic silhouettes of the characters behind until, in a flurry of motion, the paper was ripped apart. From minimalist jazz to crashing bells the soundtrack was finely tuned to the minutest motion, and as the platform tilted the occupants scrabbled to maintain control, clinging to each other, pushing and pulling. My later reading of the notes tells me this was a metaphor for our unstable future on this earth, and how we can either act together to survive or fail apart. The show ended with them mired in the middle as if aboard a desperate life raft.
I’d like to say that I drifted off rather frequently during this show because I’m really pre-occupied with the launch of my new book this Friday, but the fact is I probably would have done anyway… for me, that’s the trouble with theatrical shows that lack a strong narrative. At times the rhythm and flow of the five fluid acrobats had me gripped, but then I would find I’d gone somewhere else entirely as they swung repeatedly from side to side (shit, I don’t have enough drink for 300 guests), the motion acting as a hypnotist’s pendulum to send me off… and when I snapped to the scene had completely changed…a character was half naked smoking a pipe at the end of a plank, the lone girl was cascading through the air astride a rope swing, a man was swinging wildly from the oversized lamp. Director Mathurin Bolze calls this effect “mesmerising patterns.”
This performance was typical of the way that traditional circus skills have been co-opted by mavericks such as Mathurin Bolze to create something much more abstract and intriguing. He certainly seems to be a popular man: the performers took multiple bows and a standing ovation flooded through the packed theatre as the lights came up on the opening night of Du Goudron et des Plumes.
Rider to the sea starts. With slow, approved sensuous notes, find running then halting. We wait. This is like some sort of Spanish guitar tease; the heroin with eyes masked looks at the man playing the guitar on the balcony of a castle. She jumps higher, find her cape flowing out behind her. They see each other and the notes build up to a feverish level. Then stop. My breath is involuntarily left held.
Anna Calvi’s voice is pushed, because she pushes it. She said in an interview with BBC 6 Music recently, that her vocal performances are about commitment; “baring the soul when you sing, not be scared, just show emotion. it’s important that, I think.” And when compared to Florence and The Machine, she says they are similar in that: “When we go for it, we really go for it.” She does.
Anna credits a wide range of musical influences from Roy Orbison and Elvis to twentieth century music, which she says comes out in her guitar playing. Sometimes she sounds like she should be singing the intro music to a James Bond movie, other times she is a Kate Bush atop a cliff, and then you may get a hint of Adam and The Ants – tribal, wigs and theatre. She certainly has her own sound, and as she says, really unleashes on that mic. You can feel her whole body behind those deep, propelling notes. Visually, her red lips, sculpted cheekbones and feline eyes add to the womanly, lustful passion of the adventure.
I have to admit that the first listen I had, I was not instantly in love with her. However, I was hosting a knit club at my house at the time. And now I realise, for a first listen, Anna is wrong when (perhaps…) extra strong girly vibes are circulating. She is a powerful woman, with no messing or moaning. She is vibrant and direct, not fluffy kitten cute. She has said herself, she is in the business because she loves it. For her, it is not about being ‘careerist’. Maybe this has made her less fearful and safe. She is riding on her own expectations, of which she is willing to push. Thus, I listened to the album a few days later when the moon was full and I was feeling a bit more lioness like, and blimey. It was on all morning and beyond. Together with a coffee, I was screaming from my basement flat. Such a shame I have no rooftops.
Listen to this and you will see exactly what I mean:
So track highlights; No More Words’ guitar notes are so sweet, with Anna’s voice ‘ahhhing’ over the top and singing so close to the microphone. Desire is as you would hope, with the title it holds; “The sound of love is beating like a fevered heart… It’s heavenly, heavenly, desirrrre.” Yes to desires, passions and DRUMS! In contrast First We Kiss, is the lingering and submission of desire and the story from the kiss to beyond. Whilst Blackout is a scaling, swinging, red hot infused, deep breathing track. Then… we have Morning Light, all strung out notes, infused by the morning’s spreading sun. New starts and consequences. A fabulous, long, slightly hazy, almost mumbly track, climaxing with symbols and the full sunrise. It reflects perfectly the early morning’s sensation. Feeling like you have so much time before the sun rises, but it’s always over quicker than you anticipate. You are not invincible, and the day is beginning.
My iTunes says she’s ‘Latin’, but she seems to cover more genres. She has the passions of the Latino, but Anna is also rockier, showier and yet almost primmer than Latin. It’s liberating music, but also feels quite private. A bit like being within the bubble of thoughts consuming a girl in the throes of deep lust, she is singing literally from within. With her Italian blood running through her veins, Anna says this album is about: “intimacy, passion and loneliness.” Strong and all encompassing emotions, that supports both her commitment to performance and the deep, trusted position we are in, as listeners. And you really do believe her feelings as you listen to her.
You know at the end of some of those 80s films, when the couple that have spent the whole movie arguing and bouncing around in bed, get in the car and drive off around a cliff in a sports car that looks like an insect? She would be an AMAZING soundtrack to a modern version of that.
Back with post two on Christmas music. I hope post one was enlightening. Now let’s see what the chaps at Amelia’s Magazine love to listen to at Christmas time. MERRY CHRISTMAS EVERYONE xx
Karina Jarv – Illustrator
Of course there are always a lot of favourite Christmas songs… It’s Christmas, information pills there is a fantastic mood in the air and you want to listen to something very old and familiar to you. The same thing is with me. ONE of my favourites is ‘White Christmas’ by Bing Crosby. But to be honest my current favourite is the ‘2000 miles’ cover by 6 Day Riot. Everything is so perfect there for me: magical voice, amazing sound… Yes, the original song is great, but this sounds a little bit more personal. When I hear this song I want to put the kettle on, take a warm bath and good book with me and wait for someone…very special…’to come back’ to me someday.
Amelia Gregory – Our Magazine Leader Do they know it’s Christmas? from 1984 – because it reminds me of being young. I love that all the famous pop stars of the era are featured in it, but it was still so craply done – no stylists on hand in those days. Of course it was cheesy even then but I was given a 7″ for my birthday which I still treasure.
And as I discovered watching the Frisky and Mannish show at the Lyric Theatre, it encompasses all the essential elements of a Christmas tune – obvious references to Christmas, innuendo, pathos, political context, bells and a sing-a-long chorus. An absolute classic.
Faye West – Illustrator
So hard to choose, but it will have to be Mariah Carey‘s All I Want for Christmas (is that what it’s called?!), reminds me of being 14, in New Look shopping for a Christmas Disco outfit in 1998, the year we did a dance to Spice Girls for the Christmas assembly. I chose a gold glittery vest top with a blue velvet mini skirt as had Geri Halliwell in mind. The song makes so many of us excited. And then the fun of dancing to it in summery June in ‘Boombox’ a few years ago!
Lorraine Nam – Illustrator
I Want A Hippopotamus for Christmas is my favourite Christmas song. It’s funny and silly and it has a great background story to it. The little girl ends up actually getting a hippopotamus and donates it to the local zoo.
Martin from Principal Colour – Amelia’s Book Publisher Amelia has been working with Principal Colour since 2004. They have a close relationship, enabling her to do lots of new, experimental things when printing covers – like the pearlescent cover in the latest book, Amelia’s Compendium of Fashion Illustration available now here. Martin says his fave Christmas song is: Without doubt it has to be “merry xmas everybody” by slade, when I was young it was what Christmas was about and then when a bit older in the pubs was the sing along of choice (and apparently I used to look a bit like Noddy Holder – don’t know if that’s a compliment or not to be honest).
Hannah Bullivant – Writer Contributor – craft extraordinaire
Ok my favourite christmas song is It’s Christmas and You’re Boring Me by Slow Club, because its beautiful…even though i feel the opposite about my mister, I just love it.
Robert Harris – Writer Contributor
I love Happy Xmas (War is Over) by John Lennon. It’s got a lovely lilting, folky melody – it’s actually based on an old folk standard called Stewball. It’s a protest song about the Vietnam War, which makes it 100 times more meaningful than anything by Slade, and it’s one of the few credible Christmas songs. Well, until Yoko Ono starts singing…
Jessica Furseth – Writer Contributor
My favourite Christmas song is probably ‘Silent night’. It reminds me of what Christmas was like when I was a kid, when it was sort of magic. Where I grew up there weren’t really any Christmas-themed pop songs, so I don’t really like those as they don’t hold any significance for me. So yes, I like the old-fashioned songs.
Avril Kelly – Illustrator Wham! Last Christmas. It is the ultimate cheesefest of Christmas songs, I hear it every Christmas in the car on the way to visit family and friends. Everyone always sings along loudly and rather terribly, it has to be said. It’s fun and cheesy and just I love it.
Abby Wright – Illustrator
Well this is a hard question, I love Christmas songs, especially those I can sing or dance to. In particular I love Stop the Cavalry by Jona Lewie, Happy Xmas (War is Over) by John Lennon and Band Aid’s Do They Know it’s Christmas. My favourite ever though would have to be Merry Christmas Everybody by Slade. It makes me so happy, and it’s a song that i’m guaranteed to dance to and get a sore throat singing to! It’s fun, cheerful and just what Christmas should be. I hope one year soon we will have an actual Christmas song for Christmas number one again!
Chloe Cook – Illustrator
Jingle Bell Rock by Billy Idol. I’ve chosen this song because I absolutely L-O-V-E Billy Idol, and I also love Christmas, so it’s putting my two favourite things together. Also I just think that it’s quite a funny thing that such a massively known punk rocker has done a cutesy little Christmas song, and I think more people should listen to it!!
Daria Hlazatova – Illustrator
I know what you’ll say about my favourite Christmas song being “Jingle bells rock” by Bobby Helms – “cheeky!” Well, I first heard it as a child in “Home Alone: Lost in NYC” and loved it. Since then it became associated with this city until finally some years later I found myself in NYC at Christmas completely alone. I remember hearing this song when passing Macy’s and being hit by a wave of nostalgia. Cheeky dreams come true at Christmas, I thought! Hope your Christmas is a happy one!
Helen Martin – Writer Contributor
Christmas TV by Slow Club is my favourite Christmas song. It makes me happy. Tender, honest, true and full of yearning. Gorgeous.
Written by Helen Martin on Wednesday December 22nd, 2010 5:40 pm
Feelin’ hot hot hot… we arrived at the field with a blanket and straw hat, viagrastuff and headed straight to the bar. Queuing for what felt like a life-time in the blistering heat, pricecheap sounds of Johnny Flynn drifted through the air along with the smells of barbecued sausages. Queuing aside, we were happy.
Ciders in hand we weaved through camping chairs and stepped apologetically over blankets, occasionally catching the odd sandaled foot or splashing a little cider over a resting head… all part of the joy of festivalling, we found a spot, lay the blanket on the ground just in time for Laura Marling to take to the stage. ‘Afternoon everyone!’ Laura’s soothing voice echoed over the masses, ‘what a day!’…. people woo’d and clapped and cheered. In two years, Marling’s voice and lyrics have matured from pretty ditties to soulful folk… and her performance this weekend reeled in an eclectic crowd. Folk of all ages stood, eyes fixed and humming and Marling’s voice resonated. Songs from Marling’s latest album I Speak Because I Can mixed with original tracks from My Manic and I had us reminiscing, spinning around and singing-along.
Between sets we ate, drank and lay gazing into the brilliant blue ether… catching a bit of celebrity football, Mumford & Sons giving it their best. Seasick Steve was next up, and took to the stage with crowds-a-roaring. Unfortunately, due to minor sunstroke, we weren’t around for the whole set, but from what we saw, as always Seasick gave a cracking performance.
Mumford & Sons belted out there emotive country-inspired folk, now well-known from their vast radio coverage, and had the audience fixed. Looking and sounding the part, and slotting in perfectly to the Hop Farm scene.
Whilst queuing for a lamb kofta and chatting to a wonderful lady who lives on a pig farm in Cambridgeshire, who told me stories of her days as a festival queen in the 70s… (she was so small she used to crouch on the loo seat, feet on the seat – to avoid sitting on it… little ladies – take note!) Ray Davies performed and it came as pleasant surprise to hear the well-known Kinks records: Lola, You Really Got Me and all the rest. At the age of 66, Ray’s voice carried across fields, still very much in tact.
Last but not least, good old Bob Dylan appeared on stage, his (very) husky tones hooking the expectant field of fans, and taking them on a tumultuous journey through a plethora of songs steeped in sentiment.
Finally, an incredible set from Devendra Banhart ensued; no longer the long-haired folky-dolky guy that once plucked at our heartstrings, Devendra has completely reinvented his style: short-back-and-sides, checked shirt and long yellow cardie buttoned up; the sounds were funky and playful, his voice endearing and still with that jagged edge that made him famous. Even a few Roxy Music covers were thrown in to get us grooving. We danced until the cows came home.
With businesses struggling to survive through the recession armageddon, this site a few innovative individuals are thriving, using their imagination and collaborations with other creatives to succeed. Sarah Bagner, or ‘Supermarket Sarah‘ transformed a wall of her own home into a window dresser’s dream; featuring both vintage finds and handmade creations from the likes of Donna Wilson. Inviting shoppers into her home for tea and cake has gained her such a following that Selfridges even invited her to curate a wall for them.
Her latest collaboration is with the queens of cool, Tatty Devine, whose Brick Lane store has been transformed into an Aladdin’s cave of Sarah’s goodies. Tatty Devine is also famous for pioneering the collaborative spirit, teaming up with the likes of Rob Ryan, Charlie le Mindu and Mrs Jones to make their iconic statement jewellery ranges. Last night fellow creatives Fred Butler and Anna Murray were spinning some tunes on the decks, whilst cupcakes were supplied by Fifi and Lola.
I snapped Sarah wearing her Tatty Devine ‘Supermarket Sarah’ necklace in front of her wall which will soon be online here. The installation will be in store until the 16th August, alongside Tatty Devine’s regular stock which is currently on sale. This is your one stop shop for sorting your festival outfits; grab some neck candy from Tatty Devine and something from Sarah’s vintage dressing up box and you’re set!
Photographs by Katie Antoniou
With businesses struggling to survive through the recession armageddon, site a few innovative individuals are thriving, order using their imagination and collaborations with other creatives to succeed. Sarah Bagner, store or ‘Supermarket Sarah’ transformed a wall of her own home into a window dresser’s dream; featuring both vintage finds and handmade creations from the likes of Donna Wilson. Inviting shoppers into her home for tea and cake has gained her such a following that Selfridges even invited her to curate a wall for them.
Her latest collaboration is with the queens of cool, Tatty Devine, whose Brick Lane store has been transformed into an Aladdin’s cave of Sarah’s goodies. Tatty Devine is also famous for pioneering the collaborative spirit, teaming up with the likes of Rob Ryan, Charlie le Mindu and Mrs Jones to make their iconic statement jewellery ranges. Last night fellow creatives Fred Butler and Anna Murray were spinning some tunes on the decks, whilst cupcakes were supplied by Fifi and Lola. I snapped Sarah wearing her Tatty Devine ‘Supermarket Sarah’ necklace in front of her wall which will soon be online here. The installation will be in store until the 16th August, alongside Tatty Devine’s regular stock which is currently on sale. This is your one stop shop for sorting your festival outfits; grab some neck candy from Tatty Devine and something from Sarah’s vintage dressing up box and you’re set!
Photography by Tim Adey.
Last time I went to Latitude it was a mere toddler of a festival… way back in 2007 it was still possible to roam freely amongst thin crowds and I remember commenting back then that the secret wouldn’t last long. 30, treat 000 people attended the fifth Latitude, drug held in the rolling wooded grounds of Henham Park which belong to an eccentric sheepfarming millionaire known as the Aussie Earl. Every year the sheep are famously dyed various shades of pastel then penned into small enclosures surrounded by signs Do Not Feed The Sheep. There’s something quite ironic in the exoticisation of such a common animal, stomach but then again most middle class urbanites have little cause for close contact with their food. Reading through tweets on my way to the festival I laughed at one suggestion that a bunch of hippies were clogging up the local roads… nothing could be further from the truth. Latitude is famously the home of the well read intellectual classes, a fact which was mentioned on repeat throughout the whole festival.
Despite a lack of line up on Thursday evening most punters had already set up camp by the time we arrived. Like Glastonbury, early crowds baying for entertainment guaranteed a packed audience for the few shows being staged. Our first stop was Nigel Kennedy, playing with The Orchestra of Life and visiting Polish musicians on the Lake Stage: the gig was attended by an all age crowd, a significant feature of the entire festival. Nigel romped through a selection of Duke Ellington jazz standards before crashing into a barndancing favourite that had the crowd hooting in delight. In between he flirted salaciously with a lady in the crowd and swore copiously. As Radio 1 DJ Colin Murray was later overheard saying – it’s a pity Nigel has to open his mouth. It was a bit like Madonna at the Turner Prize trying a bit too hard to be hard. But I liked the ceilidh classic – more of that please. Try as I might I just can’t get into the jazz thing.
Large parts of Henham Park forest have been opened up to accommodate more theatre, and down amongst the towering trees we were ushered into the heaving theatre arena for Les Enfants Terribles: The Vaudevillians. It was certainly terrible. Despite being billed as “a unique and exciting night out” I was only able to watch ten minutes before I was so bored and unexcited out of my brain that we had to leave.
A pretty picture of flags at Latitude. Photography by Tim Adey.
Instead we paid a visit to Robin Ince in the Literary Arena. Robin Ince is the literary high priest of Latitude – he was holding court whenever I went past despite his assertion (in my recent interview with him) that he would be spending less time on stage this year. Joining him were a wide range of comedians and writers over the course of the festival, and it made me smile to hear him delivering more of his climate change material to a packed audience.
Tom Jones sans hair dye was of course the big act to appear on Thursday night – clearly a last minute addition designed to promote his new album Praise & Blame. Even before we approached the lake I realised we might have trouble attending his bijoux gig on the In The Woods stage. Many thousands of people + small stage = frustrated pile up. We took the back route up to the guest area where we listened from behind the fence once they had sorted out screeching feedback, and could just discern a frenzy of enthusiastic front row teenagers screaming Sex Bomb. There was to be no Sex Bomb. One man was overheard commenting that his new bluesy songs sounded “like Johnny Cash on a downer”, but I quite liked them. Security spent the whole gig shining torches at anyone who dared get close the fence. Since I couldn’t see anything I fell asleep on the ground. Thanks for the soothing lullabies Tom.
I’ve reviewed all other days according to genre. Why not get started on my Friday Music Review here?
Written by Amelia Gregory on Tuesday July 20th, 2010 12:24 pm
Feelin’ hot hot hot… we arrived at the field with a blanket and straw hat, viagrastuff and headed straight to the bar. Queuing for what felt like a life-time in the blistering heat, pricecheap sounds of Johnny Flynn drifted through the air along with the smells of barbecued sausages. Queuing aside, we were happy.
Ciders in hand we weaved through camping chairs and stepped apologetically over blankets, occasionally catching the odd sandaled foot or splashing a little cider over a resting head… all part of the joy of festivalling, we found a spot, lay the blanket on the ground just in time for Laura Marling to take to the stage. ‘Afternoon everyone!’ Laura’s soothing voice echoed over the masses, ‘what a day!’…. people woo’d and clapped and cheered. In two years, Marling’s voice and lyrics have matured from pretty ditties to soulful folk… and her performance this weekend reeled in an eclectic crowd. Folk of all ages stood, eyes fixed and humming and Marling’s voice resonated. Songs from Marling’s latest album I Speak Because I Can mixed with original tracks from My Manic and I had us reminiscing, spinning around and singing-along.
Between sets we ate, drank and lay gazing into the brilliant blue ether… catching a bit of celebrity football, Mumford & Sons giving it their best. Seasick Steve was next up, and took to the stage with crowds-a-roaring. Unfortunately, due to minor sunstroke, we weren’t around for the whole set, but from what we saw, as always Seasick gave a cracking performance.
Mumford & Sons belted out there emotive country-inspired folk, now well-known from their vast radio coverage, and had the audience fixed. Looking and sounding the part, and slotting in perfectly to the Hop Farm scene.
Whilst queuing for a lamb kofta and chatting to a wonderful lady who lives on a pig farm in Cambridgeshire, who told me stories of her days as a festival queen in the 70s… (she was so small she used to crouch on the loo seat, feet on the seat – to avoid sitting on it… little ladies – take note!) Ray Davies performed and it came as pleasant surprise to hear the well-known Kinks records: Lola, You Really Got Me and all the rest. At the age of 66, Ray’s voice carried across fields, still very much in tact.
Last but not least, good old Bob Dylan appeared on stage, his (very) husky tones hooking the expectant field of fans, and taking them on a tumultuous journey through a plethora of songs steeped in sentiment.
Finally, an incredible set from Devendra Banhart ensued; no longer the long-haired folky-dolky guy that once plucked at our heartstrings, Devendra has completely reinvented his style: short-back-and-sides, checked shirt and long yellow cardie buttoned up; the sounds were funky and playful, his voice endearing and still with that jagged edge that made him famous. Even a few Roxy Music covers were thrown in to get us grooving. We danced until the cows came home.
With businesses struggling to survive through the recession armageddon, this site a few innovative individuals are thriving, using their imagination and collaborations with other creatives to succeed. Sarah Bagner, or ‘Supermarket Sarah‘ transformed a wall of her own home into a window dresser’s dream; featuring both vintage finds and handmade creations from the likes of Donna Wilson. Inviting shoppers into her home for tea and cake has gained her such a following that Selfridges even invited her to curate a wall for them.
Her latest collaboration is with the queens of cool, Tatty Devine, whose Brick Lane store has been transformed into an Aladdin’s cave of Sarah’s goodies. Tatty Devine is also famous for pioneering the collaborative spirit, teaming up with the likes of Rob Ryan, Charlie le Mindu and Mrs Jones to make their iconic statement jewellery ranges. Last night fellow creatives Fred Butler and Anna Murray were spinning some tunes on the decks, whilst cupcakes were supplied by Fifi and Lola.
I snapped Sarah wearing her Tatty Devine ‘Supermarket Sarah’ necklace in front of her wall which will soon be online here. The installation will be in store until the 16th August, alongside Tatty Devine’s regular stock which is currently on sale. This is your one stop shop for sorting your festival outfits; grab some neck candy from Tatty Devine and something from Sarah’s vintage dressing up box and you’re set!
Photographs by Katie Antoniou
With businesses struggling to survive through the recession armageddon, site a few innovative individuals are thriving, order using their imagination and collaborations with other creatives to succeed. Sarah Bagner, store or ‘Supermarket Sarah’ transformed a wall of her own home into a window dresser’s dream; featuring both vintage finds and handmade creations from the likes of Donna Wilson. Inviting shoppers into her home for tea and cake has gained her such a following that Selfridges even invited her to curate a wall for them.
Her latest collaboration is with the queens of cool, Tatty Devine, whose Brick Lane store has been transformed into an Aladdin’s cave of Sarah’s goodies. Tatty Devine is also famous for pioneering the collaborative spirit, teaming up with the likes of Rob Ryan, Charlie le Mindu and Mrs Jones to make their iconic statement jewellery ranges. Last night fellow creatives Fred Butler and Anna Murray were spinning some tunes on the decks, whilst cupcakes were supplied by Fifi and Lola. I snapped Sarah wearing her Tatty Devine ‘Supermarket Sarah’ necklace in front of her wall which will soon be online here. The installation will be in store until the 16th August, alongside Tatty Devine’s regular stock which is currently on sale. This is your one stop shop for sorting your festival outfits; grab some neck candy from Tatty Devine and something from Sarah’s vintage dressing up box and you’re set!
Photography by Tim Adey.
Last time I went to Latitude it was a mere toddler of a festival… way back in 2007 it was still possible to roam freely amongst thin crowds and I remember commenting back then that the secret wouldn’t last long. 30, treat 000 people attended the fifth Latitude, drug held in the rolling wooded grounds of Henham Park which belong to an eccentric sheepfarming millionaire known as the Aussie Earl. Every year the sheep are famously dyed various shades of pastel then penned into small enclosures surrounded by signs Do Not Feed The Sheep. There’s something quite ironic in the exoticisation of such a common animal, stomach but then again most middle class urbanites have little cause for close contact with their food. Reading through tweets on my way to the festival I laughed at one suggestion that a bunch of hippies were clogging up the local roads… nothing could be further from the truth. Latitude is famously the home of the well read intellectual classes, a fact which was mentioned on repeat throughout the whole festival.
Despite a lack of line up on Thursday evening most punters had already set up camp by the time we arrived. Like Glastonbury, early crowds baying for entertainment guaranteed a packed audience for the few shows being staged. Our first stop was Nigel Kennedy, playing with The Orchestra of Life and visiting Polish musicians on the Lake Stage: the gig was attended by an all age crowd, a significant feature of the entire festival. Nigel romped through a selection of Duke Ellington jazz standards before crashing into a barndancing favourite that had the crowd hooting in delight. In between he flirted salaciously with a lady in the crowd and swore copiously. As Radio 1 DJ Colin Murray was later overheard saying – it’s a pity Nigel has to open his mouth. It was a bit like Madonna at the Turner Prize trying a bit too hard to be hard. But I liked the ceilidh classic – more of that please. Try as I might I just can’t get into the jazz thing.
Large parts of Henham Park forest have been opened up to accommodate more theatre, and down amongst the towering trees we were ushered into the heaving theatre arena for Les Enfants Terribles: The Vaudevillians. It was certainly terrible. Despite being billed as “a unique and exciting night out” I was only able to watch ten minutes before I was so bored and unexcited out of my brain that we had to leave.
A pretty picture of flags at Latitude. Photography by Tim Adey.
Instead we paid a visit to Robin Ince in the Literary Arena. Robin Ince is the literary high priest of Latitude – he was holding court whenever I went past despite his assertion (in my recent interview with him) that he would be spending less time on stage this year. Joining him were a wide range of comedians and writers over the course of the festival, and it made me smile to hear him delivering more of his climate change material to a packed audience.
Tom Jones sans hair dye was of course the big act to appear on Thursday night – clearly a last minute addition designed to promote his new album Praise & Blame. Even before we approached the lake I realised we might have trouble attending his bijoux gig on the In The Woods stage. Many thousands of people + small stage = frustrated pile up. We took the back route up to the guest area where we listened from behind the fence once they had sorted out screeching feedback, and could just discern a frenzy of enthusiastic front row teenagers screaming Sex Bomb. There was to be no Sex Bomb. One man was overheard commenting that his new bluesy songs sounded “like Johnny Cash on a downer”, but I quite liked them. Security spent the whole gig shining torches at anyone who dared get close the fence. Since I couldn’t see anything I fell asleep on the ground. Thanks for the soothing lullabies Tom.
I’ve reviewed all other days according to genre. Why not get started on my Friday Music Review here?
Written by Amelia Gregory on Tuesday July 20th, 2010 12:24 pm
littlefishinterview_anielamurphy
The Old Blue Last pub, prostate just off Old Street is a descent venue, a 120 capacity pub and live music venue owned by Vice Magazine, having recently undergone a refurb. Sure the stage area is small and the dressing rooms a little neglected, but the atmosphere is warm, the toilets work and there’s something about the place that reminds me just why live music is so great.
The main reason I’m here is to see Little Fish, an Oxford based due who have recently confirmed they’re a three piece with the permanent addition of their Hammond player, Ben Walker. Before they hit the stage, support band AWOLNATION threw an unexpected blistering thirty minute set. Hailing from America to promote their debut EP Back from Earth, and in good spirits, the band got a relatively meek crowd’s heads bopping and hips shaking. Opening with their fan pleaser Guilty Filthy Soul, their set merged dance beats, killer hooks and catchy rhythms, it’s clear this band have got energy, bags of charisma, and a hot lead singer. Off to a good start then, and one to keep an eye on.
On to Little Fish, who took to the stage after a swift set change, bringing out the bigger drums and bigger guns it would seem. Opening with the title track to their debut album Baffled and Beat, it didn’t take long for the room to fully get into the swing of the night. A couple of tracks in, and the floor was literally jumping with the crowd lapping up every ounce of sweat pouring from the stage. Lead singer and guitarist Julia ‘Juju’ Sophie never once showed sings of waning. Her vocals spilling over with raw emotion, it’s clear she absolutely loves what she does. The drums, courtesy of Nez Greenaway, thunder throughout the set, only letting up during the momentary softer close to a few tracks. Hammond in tow surges from back of stage through Little Fish’s explosive ferocity, bringing extra solidity to their sound, and allows them to sit comfortably above many other garage bands out there today.
Little Fish live. Photographed by Willemÿn Barker-Benfield
Stand out tracks of the night include the vastly popular Darling Dear, Whiplash, and the sonically awesome Die Young, which confirms how far the trio have come, whilst retaining their classic stripped roots that scream a passion for conviction, since their debut EP Darling Dear last year. It’s tough not to compare Juju’s vocal ability and physical prowess to other women in rock, like Juliette Lewis and Courtney Love, both of which Little Fish have toured with, and why not? There aren’t enough women out there packing a rock and roll punch these days, and Little Fish aren’t scared to get their fisty cuffs out. If you like your rock hitting the garage mark hard, then head on down to their next gig and bring your dancing shoes. Brilliant.
Their debut album Baffled and Beat is out now and released on Island.
The Old Blue Last by Aniela Murphy.
The Old Blue Last pub, visit web just off Old Street is a descent venue, capsule a 120 capacity pub and live music venue owned by Vice Magazine, medical having recently undergone a refurb. Sure the stage area is small and the dressing rooms a little neglected, but the atmosphere is warm, the toilets work and there’s something about the place that reminds me just why live music is so great.
Willemÿn with Little Fish singer Julia, by Aniela Murphy.
The main reason I’m here is to see Little Fish, an Oxford based due who have recently confirmed they’re a three piece with the permanent addition of their Hammond player, Ben Walker. Before they hit the stage, support band AWOLNATION threw an unexpected blistering thirty minute set. Hailing from America to promote their debut EP Back from Earth, and in good spirits, the band got a relatively meek crowd’s heads bopping and hips shaking. Opening with their fan pleaser Guilty Filthy Soul, their set merged dance beats, killer hooks and catchy rhythms, it’s clear this band have got energy, bags of charisma, and a hot lead singer. Off to a good start then, and one to keep an eye on.
On to Little Fish, who took to the stage after a swift set change, bringing out the bigger drums and bigger guns it would seem. Opening with the title track to their debut album Baffled and Beat, it didn’t take long for the room to fully get into the swing of the night. A couple of tracks in, and the floor was literally jumping with the crowd lapping up every ounce of sweat pouring from the stage. Lead singer and guitarist Julia ‘Juju’ Sophie never once showed sings of waning. Her vocals spilling over with raw emotion, it’s clear she absolutely loves what she does. The drums, courtesy of Nez Greenaway, thunder throughout the set, only letting up during the momentary softer close to a few tracks. Hammond in tow surges from back of stage through Little Fish’s explosive ferocity, bringing extra solidity to their sound, and allows them to sit comfortably above many other garage bands out there today.
Little Fish live. Photographed by Willemÿn Barker-Benfield
Stand out tracks of the night include the vastly popular Darling Dear, Whiplash, and the sonically awesome Die Young, which confirms how far the trio have come, whilst retaining their classic stripped roots that scream a passion for conviction, since their debut EP Darling Dear last year. It’s tough not to compare Juju’s vocal ability and physical prowess to other women in rock, like Juliette Lewis and Courtney Love, both of which Little Fish have toured with, and why not? There aren’t enough women out there packing a rock and roll punch these days, and Little Fish aren’t scared to get their fisty cuffs out. If you like your rock hitting the garage mark hard, then head on down to their next gig and bring your dancing shoes. Brilliant.
The Old Blue Last pub, try just off Old Street is a 120 capacity pub and live music venue owned by Vice Magazine that has recently undergone a refurb. Sure the stage area is small and the dressing rooms a little neglected, there but the atmosphere is warm, this the toilets work and there’s something about the place that reminds me just why live music is so great.
Willemÿn with Little Fish singer Julia, by Aniela Murphy.
The main reason I’m here is to see Little Fish, an Oxford based duo who have recently confirmed they’re a three piece with the permanent addition of their Hammond player, Ben Walker. Before they hit the stage, support band AWOLNATION threw an unexpected blistering thirty minute set. Hailing from America to promote their debut EP Back from Earth, and in good spirits, the band got a relatively meek crowd’s heads bopping and hips shaking. Opening with their fan pleaser Guilty Filthy Soul, their set merged dance beats, killer hooks and catchy rhythms, it’s clear this band have got energy, bags of charisma, and a hot lead singer. Off to a good start then, and one to keep an eye on.
On to Little Fish, who took to the stage after a swift set change, bringing out the bigger drums and bigger guns it would seem. Opening with the title track to their debut album Baffled and Beat, it didn’t take long for the room to fully get into the swing of the night. A couple of tracks in, and the floor was literally jumping with the crowd lapping up every ounce of sweat pouring from the stage. Lead singer and guitarist Julia ‘Juju’ Sophie never once showed sings of waning. Her vocals spilling over with raw emotion, it’s clear she absolutely loves what she does. The drums, courtesy of Nez Greenaway, thunder throughout the set, only letting up during the momentary softer close to a few tracks. Hammond in tow surges from back of stage through Little Fish’s explosive ferocity, bringing extra solidity to their sound, and allows them to sit comfortably above many other garage bands out there today.
Little Fish live. Photographed by Willemÿn Barker-Benfield
Stand out tracks of the night include the vastly popular Darling Dear, Whiplash, and the sonically awesome Die Young, which confirms how far the trio have come, whilst retaining their classic stripped roots that scream a passion for conviction, since their debut EP Darling Dear last year. It’s tough not to compare Juju’s vocal ability and physical prowess to other women in rock, like Juliette Lewis and Courtney Love, both of which Little Fish have toured with, and why not? There aren’t enough women out there packing a rock and roll punch these days, and Little Fish aren’t scared to get their fisty cuffs out. If you like your rock hitting the garage mark hard, then head on down to their next gig and bring your dancing shoes. Brilliant.
Their debut album Baffled and Beat is out now and released on Island.
Blythe Pepino by Abby Wright.
Walking home from an evening out is sometimes a slow affair. With the chill of the air rushing through the leaves, site the wind whispers, pharmacy clarity in its breath. This is the time of night, when only the workaholics and the creatives are studious. It is a beautiful time to bask. As it is right here, even the most ridiculous ideas become utterly feasible. And indeed I have planned elopements to South America, psychoanalyzed the health food shop assistant down the road and delivered eloquent obituaries to dead film stars. Oh! It is here when high emotion is reached! When nightingales sing! Sweeping statements are made! And also when nothing at all can be said. Thinking, thinking… thinking. The boy has learned to accept the pace of these evening meanders, the ‘profound’ findings and flighty musings escaping my consciousness. Sometimes it is possible to revisit or even create these times of mesmerizing purity and definition. Often this is through music, which has this indescribable ability of transportation. Pepino is one such band.
PEPINO – Sarah violin. All photography by Paul Blakemore.
I saw them on stage for the first time a while ago and was surprised at the effect they had upon me and all around me. The audience and I were transfixed. Pepino possess a range of beautiful components. They are ethereal foxes, taken from their country spheres and told to become urban tearaways. Embracing the task before them, they have assessed their situation, screeching and singing melodies to the heavens, they lull strangers and ask questions why. Lead singer, Blythe, 24, has a passion that comes with ease as she recalls the circumstances from which her comical and hearty lyrics originate from. Her terrifically ranging voice soars and plummets with vivacious sensitivity. Listening to their album, Redface is one of those songs that you listen to on repeat, holding you in its clutches. It moves from slow and dramatic to vulnerable and reflective. Meanwhile Rocky, like many of Pepino’s songs, have a touch of grunt and cheeky hilarious flashes, combining with high pitched, sweet, backing vocals and violins swaying and jumping.
PEPINO- Jessica celloist
Clutter, a response to the cleaning of people’s houses, is a thumper of a tune and their wistful beauty of a song about growing up in the country, The Birthright (not written by Pepino), is rose-tinted and beautiful. The violins and cello add to the juxtaposed sounds of soft drawn out vocals and gusty propelling sounds. Like a Tori Amos or Imogen Heap… or Tinkerbell with balls. They’re a contemporary girl de force and unavoidably likeable. Blythe is also in a band called Bizali. Now taking a backseat, she is going full throttle with leading Pepino into the unknown. They have the talent of the few and they deserve the acknowledgement of the many. I meet Blythe after she has had a difficult weekend. I have spent the day working for free at the Bath Chronicle, she has been working in a pub. We blame the fullness of the moon for feeling a bit… strange. Then look up to its plunging light, before I try to work out how to use my dictaphone.
PEPINO-Blythe
Pepino have an album out that they have financed themselves. Unsigned, they have had “no help from anyone at all”. They are on the brink of a collection of gigs in London. Let’s chat.
Tell me about the album.
It’s pretty epic. The songs are always about something big. Some are fantasy songs, but they’re always based about my ruminations about life. They tend to be either a defined story that has a bigger constructive meaning behind it, or a big story that is the other way around – but there’s usually comedy in there.
What’s happening with Bizali then?
I’ve had to relinquish my role in Bizali a bit just because I’ve been doing so much with Pepino – and you can’t put yourself into more than one project as a leader so it’s sort of gone by the wayside.
What’s the difference between the Bizali and Pepino?
They are two very different bands. Aaron writes the songs for Bizali – so I have to put myself into a completely different mindset to sing them. Into somebody else’s mind. Which is interesting, but for me now, I just love being able to compose music, that’s where my passion lies.
What makes up Pepino and how did you form?
Two boys; a double bass player and a drummer, and four girls; strings and piano. Paul Blakemore, a visual artist, does all of our artwork, including our album cover. He’s very good. It’s lovely, we’re like a family. I live with the fiddle player and her son and there are a lot of references to her, so it’s quite inward looking. Pepino happened after university. Bizali is from even before that, Aaron and I used to be together and lived in Hereford – we started the band there. Pepino is made from friends. It was literally like: “I want to do a gig to explore my own music” “Why don’t your play fiddle?” “I’m thinking about getting a string quartet… who else do I know..? You’re okay, I like you.” I think Tam just came round and I just asked him. “You play the drums, don’t you? What would you play to this?”
What inspires you?
Sadly, ups and downs, I think too much about what it is to be a human being, probably to my life detriment at some level, I wish I was a bit more straightforward thinker. I’m told – you can’t do the highs unless you come down again.
Your stage outfits are always quite theatrical. How was your album launch outfit at the Tobacco Factory Theatre?
We’re pretty showy. This winter has been about me looking into what it’s like to do a gig combined with theatre. I come from theatrical background, it’s only really natural and I found I really missed it, which is great. At the launch, we were very lucky to be able to use the set of the opera that was going on at the Tobacco Factory Theatre. It had a big square of astro turf on it. I wore a green dress that sort of went into the astro turf with roses on it, so it looked like it was all one, and then I got up and I was in a minidress – quite exciting! I could run around the audience. It wasn’t perfect though. We safety pinned ourselves into red and green fabric, we got from the fabric shop. That’s the thing about Pepino, it’s never really perfect, there’s always something a bit wrong about it. It’s all in the songs and I think all of us are slightly crap in one way or another, just like everyone is, but we tend to be aware of it. we embrace our crapness and that’s part of what makes us good and the reason why we function so well on stage as a band.
Pepino by Kayleigh Bluck
So do you all have day jobs as well as Pepino?
Yes, Misha is a music therapist and so is Sarah, Tam the drummer works a lot as a drummer, but also works children with learning disabilities. Andy manages the pub that I work in and I try and do as little work as possible so I can be poor but write music and lead the band. Which sometimes leads me to wonder what I am doing with myself but yes… I try to focus and be positive and believe in myself! In the past I’ve chosen to do shit jobs thinking that it would make me lots of money. A tequila girl on Whiteladies Road. It was awful. I had to dress up. I had to try and become one of those orange women and I just ended up looking Eastern European. Everyone just thought I was Eastern European, because I don’t look like a Tequila Girl basically. I also made a green cleaning service, good money, but i got bored of it.
How are you feeling about your upcoming gigs? You were in London this weekend weren’t you?
It was a real eye opener to be in something that I guess everyone is calling nu-folk because there are quite a lot of people and places eager to find new bands, whereas in the whole rock scene it’s a lot more closed unless you have already made it- there aren’t a lot of people doing new nights and if they are then they are quite insular. But the folk, people are a lot more interested in new things and don’t mind people from the country. However, this weekend, it was the middle of the night and I met this guy on the tube. It was just me and him and he started talking to me about my trousers. He was fairly young, but had bulgy out eyes. A business guy, but a disconcerting mix with his briefcase and white cider. Odd. Then he started talking about the war and how he was part of the MOD and was going to work, I was like, hang on “at this time of the morning?” He said he had done 2 tours in Kosovo.. etc. etc. Then he got out a bullet – and called the bullet charlie. Said how his friend was killed and described what it was like when the bullet went into the neck. I was like… I’ve had a really hard day, errr. I ended up going to him, “it’s great to chat on the tube!”
Scary. What’s next for you?
Well, I’m getting 50 people to make a political photo shoot about the recession. I want to get people to dress up as lots of different kind of jobs. Originally it was going to be a battlefield shot, because I went for a walk under the Avon Gorge and I saw this amazing picture in my head and I just thought ‘let’s do it, it’s going to be fun!’ We will use the pictures as projections – get people to dress up as Chefs etc. wielding knives. So they’re all fighting for their job – including musicians obviously. We don’t have so much of what people had years ago, when it seemed everyone was part of a cause and was part of a big battle. Now we just fight for our jobs.
PEPINO-Blythe
Pepino are a culmination of plunging and rising notes, feistiness, brazen abandonment and the flouncing embracement of the reality of being a you. All shown with the theatrical showdown of your own skydiving, cloud floating, immersed mind. I can only recommend you watch them if you can. They are the middle of the night, they are your dancing dreams on stilts and your conscience.
When we eventually reach number 112 on my ambling walks, I find by default I look across the road towards the enormous window where everyday, the elderly lady sits and watches me make my dash into the road on my hard wheeled bike. Clank, boom. Sometimes she has a uniformed lady with her. I see them look to me before slowly chattering. The edges are softened and the time zone is another. Now the curtains are, like earlier, open to the brim. But the hard backed seat is alone in the shadow filled room. It has only the spider plant to talk to. The old lady is dreaming of another time. Most of the time I worry that I think just far, far too much. Spinning myself into a quandary, I giggle on my way down. I look happy, but really my conscience is on the edge of a bridge, wanting to feel elation before hibernating in a profusion of words. I reason it is important to experience the potential of our emotions to the fullest, however ending up in a self-made whirlwind can be a scary as well as an enlightening experience. Which is why in the night, it is so liberating. There is no expectation here, only wonder. The boy thinks I am a drama queen. I think perhaps I am not alone.
I quote Oscar Wilde: A dreamer is one who can only find his way by moonlight, and his punishment is that he sees the dawn before the rest of the world. You can see the fabulous Pepino on these occasions. I recommend that you do. Full listing info here.
A little while ago (read: ages ago and I’m only just getting around to writing this) I went along to the launch of Veja‘s new luggage line. I’ve digged Veja for ages – purveyors of neat trainers that are totally ethical in production and manufacture. They add a je ne sais quoi to the Shoreditch plimsoll trend, pills in a host of vibrant colours and fashion-forward designs.
So when I heard they were to develop a line of bags I was over the moon. The launch happened at the Darkroom– the latest hipster shop on Lambs Conduit Street, clinic with its achingly cool dark interior stocking some fabulous products that are hard to find elsewhere. A great atmosphere ensued due in large to cocktail after cocktail, which is brave of Veja considering their new range was dotted around the shop. I always have an acute fear of throwing a flirtini over an over-priced frock extremely over-priced artwork when I attend these functions.
The new line of bags is, quite simply, brilliant. In a range of a cool colours including dark blues, browns and creams, the bags come in a variety of shapes and sizes- from rucksacks to larger luggage styles. They’re al quality crafted, whether it be a canvas day bag or satchels in soft leather. And, as always, they’re totally ethical. The pure cotton canvas is always organic, the leather is vegetable-tanned and they’re all produced in Brazil using skilled workers who are paid well and looked after. So, not only do you look super-stylish, you can swagger guilt-free.
Since the bag launch, Veja have released their latest season of trainers, which I reckon is the best range yet. Vegetable-tanned suede and wild Amazonian rubber make up this delicious new footwear range, called the Indigenous. You can watch the video of the shoot right here:
Here are some photographs from the event for your delectation:
The best thing about Veja is that their ethical products won’t break the bank. Find out more about them on their website, and you can read more about ethical labels in Amelia’s new book.
A little while ago (read: ages ago and I’m only just getting around to writing this) I went along to the launch of Veja‘s new luggage line. I’ve digged Veja for ages – purveyors of neat trainers that are totally ethical in production and manufacture. They add a je ne sais quoi to the Shoreditch plimsoll trend, look in a host of vibrant colours and fashion-forward designs.
So when I heard they were to develop a line of bags I was over the moon. The launch happened at the Darkroom– the latest hipster shop on Lambs Conduit Street, with its achingly cool dark interior stocking some fabulous products that are hard to find elsewhere. A great atmosphere ensued due in large to cocktail after cocktail, which is brave of Veja considering their new range was dotted around the shop. I always have an acute fear of throwing a flirtini over an over-priced frock extremely over-priced artwork when I attend these functions.
The new line of bags is, quite simply, brilliant. In a range of a cool colours including dark blues, browns and creams, the bags come in a variety of shapes and sizes- from rucksacks to larger luggage styles. They’re al quality crafted, whether it be a canvas day bag or satchels in soft leather. And, as always, they’re totally ethical. The pure cotton canvas is always organic, the leather is vegetable-tanned and they’re all produced in Brazil using skilled workers who are paid well and looked after. So, not only do you look super-stylish, you can swagger guilt-free.
Since the bag launch, Veja have released their latest season of trainers, which I reckon is the best range yet. Vegetable-tanned suede and wild Amazonian rubber make up this delicious new footwear range, called the Indigenous. You can watch the video of the shoot right here:
Here are some photographs from the event for your delectation:
The best thing about Veja is that their ethical products won’t break the bank. Find out more about them on their website, and you can read more about ethical labels in Amelia’s new book.
Enjoy!
Valentines schmallentines. Yup, cialis 40mg that’s what I normally think. But for some reason I’m in a good mood this year. Although that doesn’t stop me grumbling about the excessive tat for sale in absolutely every shop I enter. Who the hell wants a light up musical plastic toad covered in hearts? Just one of the ridiculous landfill-bound items available on the groaning Valentine’s Day display in one supermarket I visited.
I was leaving my singing class last night when our teacher wished us all a Happy Valentines Day and I realised that this celebration of love has become a national event not unlike Christmas or Easter. How did that happen? But maybe it is a good thing… I shall explain.
Most of the time I have been on my own on Valentine’s Day. As a teenager my first boyfriend (this is him now. EWWWWWWWWWW. Amazing what you can do with google! I swear he was a smooth looker way back when, viagra dosage and he was cool. I know you don’t believe me) gave me a squashed box of Black Magic before trying to persuade me to give him a blow job. I wasn’t impressed. Then a boyfriend who I loved very much memorably gave me some hastily bought wilting ‘petrol station flowers’. But he was young. I was in love. I forgave him and we lasted quite a bit longer.
At school and university I often made cards for my best friends instead of for a non-existent boyfriend, and during the long dry spell that I experienced in my 20s my lovely mother usually remembered to send me a card, and I would send her one too. I always felt that Valentine’s Day should be a time of year to give thanks to people who are special in our lives, regardless of whether they are our sole love interest.
And remember hearts. Hearts are just so great. Their shape, their colour. Like a circle or a square or a star, the shape of a heart says so much with so little. They’re cute and pretty and like most other girls, I probably can’t get enough of them. No, that’s a lie. When they’re bad hearts I can. Like these. Actually no, even these aren’t too bad. I have a seriously high tolerance for kitsch. But the commercial overkill of hearts makes me cross.
I think it’s best to ignore the pressurised consumerism of Valentine’s Day, but I do think it’s nice to celebrate the occasion because everyone likes to feel appreciated. And if you’ve got some singleton friends, maybe you should think about popping a card in the post to them (making it obvious that it’s from you of course, not some handsome hunk of their dreams). I am sure it would make them smile this weekend.
Best of all, make something. Surprise that special someone with a special act or a special gift that you spent time and energy on. It means so much more than a bit of thoughtless tat. Having said that, us girls would also appreciate a bit of artwork or jewellery, especially if it’s by a talented independent designer or artist. So, here for your last minute delection I offer you my pick of Valentine inspired gifts.
First up we have a beautiful print from Rob Ryan, whose sentimental art is perfectly suited to this time of year. I am reliably informed that as of earlier today there were two of these cut-outs left in the Tatty Devine Soho shop, but be quick if you’d like to snap up one because Rob Ryan grows ever more popular.
Over at Soma Gallery you can pick up a lovely silk screen print of kissing lovebirds, created by Lisa Jones.
Amelia’s Magazine favourite Thereza Rowe is offering a limited edition Amore Valentines print, lovingly created in her inimitable colour palette. This bold artwork would look good on your wall all year round.
And although it’s got darn all to do with hearts I’m kind of smitten with this beaded hummingbird necklace by Clara Francis. She’s used a traditional beading technique that I remember being fascinated by as a teenager. I told myself that I was going to learn how to do this myself. Yes well. Best intentions and all that.
Fashion editor Rachael has already mentioned this classic lollipop necklace by Tatty Devine but I thought I’d add it in again – mainly because it was the necklace that they asked me to model in their Best Of booklet about a year ago. Ohhhh missus. Get me trying to be all saucy!
And I know a certain someone who has already bought this for their loved one – a wooden squirrel broach from Lady Luck Rules Okay. I’m Nuts About You has room for your own message too. Lady Luck have a shop just moments from my house off Brick Lane. I should introduce them to the (real) squirrels who live in the ivy just below my bedroom windowsill. There’s certainly a lot of love going on between this happy (noisy) couple – in fact I’m expecting some additions to the family soon. Squirrel love. You really can’t beat it.
Oh, and I’ll let you know if I get any half dead flowers this year.
Valentines schmallentines. Yup, physician that’s what I normally think. But for some reason I’m in a good mood this year. Although that doesn’t stop me grumbling about the excessive tat for sale in absolutely every shop I enter. Who the hell wants a light up musical plastic toad covered in hearts? Just one of the ridiculous landfill-bound items available on the groaning Valentine’s Day display in one supermarket I visited.
I was leaving my singing class last night when our teacher wished us all a Happy Valentines Day and I realised that this celebration of love has become a national event not unlike Christmas or Easter. How did that happen? But maybe it is a good thing… I shall explain.
Most of the time I have been on my own on Valentine’s Day. As a teenager my first boyfriend (this is him now. EWWWWWWWWWW. Amazing what you can do with google! I swear he was a smooth looker way back when, troche and he was cool. I know you don’t believe me) gave me a squashed box of Black Magic before trying to persuade me to give him a blow job. I wasn’t impressed. Then a boyfriend who I loved very much memorably gave me some hastily bought wilting ‘petrol station flowers‘. But he was young. I was in love. I forgave him and we lasted quite a bit longer.
At school and university I often made cards for my best friends instead of for a non-existent boyfriend, and during the long dry spell that I experienced in my 20s my lovely mother usually remembered to send me a card, and I would send her one too. I always felt that Valentine’s Day should be a time of year to give thanks to people who are special in our lives, regardless of whether they are our sole love interest.
And remember hearts. Hearts are just so great. Their shape, their colour. Like a circle or a square or a star, the shape of a heart says so much with so little. They’re cute and pretty and like most other girls, I probably can’t get enough of them. No, that’s a lie. When they’re bad hearts I can. Like these. Actually no, even these aren’t too bad. I have a seriously high tolerance for kitsch. But the commercial overkill of hearts makes me cross.
I think it’s best to ignore the pressurised consumerism of Valentine’s Day, but I do think it’s nice to celebrate the occasion because everyone likes to feel appreciated. And if you’ve got some singleton friends, maybe you should think about popping a card in the post to them (making it obvious that it’s from you of course, not some handsome hunk of their dreams). I am sure it would make them smile this weekend.
Best of all, make something. Surprise that special someone with a special act or a special gift that you spent time and energy on. It means so much more than a bit of thoughtless tat. Having said that, us girls would also appreciate a bit of artwork or jewellery, especially if it’s by a talented independent designer or artist. So, here for your last minute delection I offer you my pick of Valentine inspired gifts.
First up we have a beautiful print from Rob Ryan, whose sentimental art is perfectly suited to this time of year. I am reliably informed that as of earlier today there were two of these cut-outs left in the Tatty Devine Soho shop, but be quick if you’d like to snap up one because Rob Ryan grows ever more popular.
Over at Soma Gallery you can pick up a lovely silk screen print of kissing lovebirds, created by Lisa Jones.
Amelia’s Magazine favourite Thereza Rowe is offering a limited edition Amore Valentines print, lovingly created in her inimitable colour palette. This bold artwork would look good on your wall all year round.
And although it’s got darn all to do with hearts I’m kind of smitten with this beaded hummingbird necklace by Clara Francis. She’s used a traditional beading technique that I remember being fascinated by as a teenager. I told myself that I was going to learn how to do this myself. Yes well. Best intentions and all that.
Fashion editor Rachael has already mentioned this classic lollipop necklace by Tatty Devine but I thought I’d add it in again – mainly because it was the necklace that they asked me to model in their Best Of booklet about a year ago. Ohhhh missus. Get me trying to be all saucy!
And I know a certain someone who has already bought this for their loved one – a wooden squirrel broach from Lady Luck Rules Okay. I’m Nuts About You has room for your own message too. Lady Luck have a shop just moments from my house off Brick Lane. I should introduce them to the (real) squirrels who live in the ivy just below my bedroom windowsill. There’s certainly a lot of love going on between this happy (noisy) couple – in fact I’m expecting some additions to the family soon. Squirrel love. You really can’t beat it.
Oh, and I’ll let you know if I get any half dead flowers this year.
Jon Spiers illustration by Kayleigh Bluck
My boyfriend, more about Charlie started showing me ‘A Folk Song A Day’ a while back. There is one where two men, Jon Boden and John Spiers, frontmen of Bellowhead, sit under a tree, in an (enchanted) forest and sing a nice traditional sounding number. This is the one Charlie particularly loves, it holds the words ‘spotted pig’ within it. Most of the songs come with a healthy dollop of ‘English’ cheek, hence spotted pig.
Just like Bellowhead’s songs, which tend to chat vigorously about strange animals, wizardry and prostitution. But they’re all done with a little glint in the eye and an elbow nudge. ‘English’ cheek makes these things Ok, I reckon. It also makes it all very amusing and you feel yourself holding back an ‘hoooo arrrgh’ as they announce the next song’s topic and sing about ‘whores’. Maybe the ‘hoooo arrrgh’ is because I am watching the band in the West Country and I’ve finally lost my South Eastern ways and become western in spirit. So lovable, they are… and darn! It just seems so quintessentially English to sing like this! *In the depths of dirty 18th century London, a pub glows orangey red, and bursts music from its heart- beers spills from tankards and bosoms heave.*
Of course London and Brighton still love a ho-down. But I have to say it is the county of Cornwall, that Bellowhead reminds me of the most. Cornwall still retains that mystical charm, where the fairies hang out dressed in corsets and the boys wear waistcoats. It is where you will find wooden floor stomping and ‘proper’ local pubs bursting with dancing and singing – natural coloured, ethereally moving fabrics flaying about. Although some Cornish say they are not English, it feels like it is they who hold onto my own nostalgic vision of England hundreds of years ago. And it is true that most music nights in Kernow’s pubs and bars centre around acoustic music and folk struts. You would certainly be hard pushed to find any minimal or electro going on down there.
BUT I digress! We are in Bristol tonight and although I may think i’m entering a pub called Jacob’s Ladder in Falmouth, Cornwall, I am actually in The Bristol Old Vic. Charlie is made up because he is seeing his spotted pig superstars and due to last minute actions, i’ve just had to squash past a row of people to get to my red velvet (?) seat in the middle of the seating line. There are eleven instruments on stage, which the eleven band members begin to attach themselves to. Most of the instruments look enormous. One of them, has to be worn, which makes it look like it is engulfing its player with its own gigantic structure. Like a fish with a massive head.
They start. And it’s like being dunked in ocean water, blasted with air and then bounced up and down. Before you know it, you’re bouncing up and down because you can’t help doing it. Then you’re clapping. Then you’re standing up, and dancing, and clapping. Because you literally can not help it. Bellowhead have injected you and the whole audience with some sort of extreme happiness on a November night. How very talented.
When looking at the audience, I wouldn’t call it a ‘young person’ – as my Granny would label it – night. However there is a very broad demographic of people in attendance. Which lays testament to their talent. They are able to cross the divisions and bring people together with a related inner excitement. Initially I had thought the lady sat next to me appeared very reserved when I apologetically sank into my seat. But she really went for it, and I mean went for it. I had to tell myself to loosen up a bit, I was so impressed with her enthusiasm.
Bellowhead are so very confident on stage too. Jon Boden leads them on their whizz around their elation inducing music, and they all respect and work together so well. It’s great to see the purposeful movements, belief in performance and joy from being there. Enjoying the riotous music making, Boden continuously raises up his arms, embracing, welcoming and encouraging the spirited feelings. Everyone dances around on stage and I feel like i’m watching a vibrant musical.
This stage presence and professional style now transports them from Cornwall to the Moulin Rouge! Now, Boden is standing on top of the windmill as he sings, and all the players are on a platform in the sky. It’s all loaded with humour and full of energy as I realise that these guys are actually epic.
I begin to wish there had been no seats and we could have pranced around and stamped our feet from the start. However, of course although Bellowhead are about the dancing, they are also about the performance. Huge accolades have been bestowed upon this mega-folk band. They have won the BBC award for Best Live Folk Act four times, with The Independent stating: ‘With the exception of The Who, Bellowhead are surely the best live act in the country.’ Indeed. With 11 hugely talented musicians on stage, I didn’t want to miss a thing.
Before I sign off, going back to A Folk Song A Day, Boden says: “The main idea behind A Folk Song A Day. com is to try and do my bit for raising the profile of unaccompanied social singing. Most of the songs on the site are songs that I have sung for years but rarely on stage and never on albums – songs that I have learnt because I wanted to be able to sing them in a pub.” I’ll tell you this, their album is nothing compared to a live performance by Bellowhead. You WILL want to start singing in pubs and you WILL be singing all the way home.
