Amelia’s Magazine | Dent May : Howard : Single Review

Dent May

The summer festival season built to a crescendo for Dent May – Mississippi’s finest export since the eponymous mud pie – with Green Man and Bestival on his itinery. His last single release petered under the radar a little, sales so we thought here at Amelia’s Magazine that we’d give the underrated band a belated shout out. Released on the Animal Collective imprint, Paw Tracks, Howard is an ode to a man coming to terms with his new life after his band split up: ‘He’s been down since the band broke up, singing them songs got him all choked up’. Howard’s a victim of time, bless the ol’ codger. He’s grown up, gone bald and has to face life after the band, but at least he’s still got his show.

dent may2

An all-round showman, May has an uncanny ability to take bittersweet stories and turn them into shimmy inducing party pieces, Howard is the perfect example of this. His unique vocal style takes influence from a massively diverse ball pool –Prince, Serge Gainsbourg, and Lee Hazlewood to name a few. Once put to a background of his Magnificent Uke and some delicate Slide Guitar it’s just impossible not to fall in love with it.


Animal Collective spotted the charms of May and after one look at him applying chapstick in this retro DIY style video we can see why:

Categories ,Animal Collective, ,bestival, ,dent may and his magnificent ukelele, ,folk, ,Green Man, ,Indie, ,lee hazlewood, ,pop, ,prince, ,serge gainsbourg

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Amelia’s Magazine | Primavera Sound 2011 Review: Moon Duo, PiL, The Glenn Branca Ensemble, Suicide and more… (Day 1)

Photo by Chus Sanchez (Courtesy of Primavera Sound)

Primavera Sound 2011 opened in a delicate climate this year, check full of antithetical feelings and tensions. On the one hand, healing bitterness, for sale for the current political situation of Spain that translated in protests in Plaza Catalunya (one of the main squares of the city) and culminated in a shameful event on Friday 27th ; on the other hand, excitement for the gran finale of the Champions League that saw the mighty Barça winning against our ManUn. Now, I’m definitely not a football fan, nor am I that politically engaged. However, that edgy atmosphere, so in contrast with the sunny weather and the slow-paced life of the Catalan coast, had a strong impact on me. And definitely on the festival, too, that this year felt more aware of and integrated into the current affairs happening outside its fences.

San Miguel Stage by Laura Lotti
Photo by Laura Lotti

For this 11th edition, the festival counted 276 concerts spread out in a über-programme taking over the entire ciudad for a week of music, party and movida. And, figures speak, it hosted 140 thousand attendees, only for the 3-day music marathon at the Parc del Forum – no wonder the queues at the bar were the longest I’ve ever seen. Not to mention that on Wednesday night, Pobre Espanyol was so packed for the official opening night of Primavera Sound 2011 that I couldn’t even get in for Caribou’s performance!

Anyway, this is, starting from Thursday 26th May, how the most intense and tiring (but all in all, extremely enjoyable) three days of the year went.


My personal festival experience kicks off in style with Moon Duo, the San Fran real life couple formed by Wooden Shjips’ Ripley Johnson and partner Sanae Yamada. They deliver a stroboscopic performance that would be truly mind-blowing if it took place in a small dark room enlightened only by flashes of lights. Shame it is only 7 in the afternoon (I should say evening, I know, but, boy, the sun is still burning at this time in Barna!)

Moon Duo by Laura Lotti
Moon Duo by Laura Lotti

Anyway, Moon Duo was my must-see band for the beginning of the night, and after that the Clash of the Titans start. Some more rock-psychedelia from The Fresh & Onlys or Ducktails’ dreampop? It’s hard to make decisions when you’ve got so many good bands on the bill. While lost into these options, I stop by the San Miguel stage, strategically positioned at the centre of the festival site to catch some of the colourful performance of queer-pop Of Montreal that, next to the new more electronic tracks, play some good ol’ hits like ‘Suffer for Fashion’ and ‘The Party is Crushing Us’.

Music Video: Of Montreal – Suffer For Fashion
YouTube Preview Image

Time to get a flat beer (ha, this taste! I’ve craved for this for the whole year!) and I realize I’ve missed both The Fresh & Onlys and Ducktails.
The thing is, this year Primavera Sound is so big, not only in terms of the lineup but also as in “geographically spread out” that not only the stage times of some of the most exciting bands of the moment are overlapping with each other, but also that some of the most exciting stages where the aforementioned bands are playing (namely, Llevant, Pitchfork and ATP) are miles away from each other. Therefore, one needs to plan properly every move. And RUN, if required. And always remember that even going to the toilet or stopping to refuel might mean missing an entire gig.
Screw that. Note to myself: next year arm yourself with a pair of Heelys (might not be as cute as a pair of Menorca sandals, but at least you’re sure not to miss one thing).

Running by Laura Lotti
Photo by Laura Lotti

(Also, note to the organisators: DO NOT try to create an alternative festival currency, especially if you cannot provide an adequate number of tills actually able to take payments with it. Because, if queuing is already an annoying practice that makes people generally angry, queuing and having your money refused because the bar only takes Primavera Sound cards, or on the other hand, having all your pennies virtually enclosed in a piece of plastic and finding out that is worth nothing, makes people become potential killers.)

PiL by Laura Lotti
PiL by Laura Lotti

My handmade personal time table tells me that Public Image Ltd are playing now. Johnny Lydon is a controversial character indeed. Either you love him or you love to hate him. Though, you have to admit he is a freaky kind of genius. Despite last year’s reunion with Sex Pistols was something classifiable between lame and shameful, with PiL he’s giving the best of himself. His voice is the as grimly sharp as it was 30 years ago, and Lu Edmonds’s guitar is a distillate of pure syncopated virtuosism. Though übercool Connan Mockasin is on at the same time on the not far away Vice stage, I can’t help but be stuck (though dancing like crazy) under the stage. “Fuck’s sake, man, we are PiL. We’re the only friends you have in the music industry” – so Mr Lydon, clad in Burberry’s trench, salutes the ocean of enthusiasts under the stage. The sentence per se could be debatable. Though, quote: “fuck’s sake, man”, they ARE PiL indeed!

Johnny Lydon by Laura Lotti
Johnny Lydon by Laura Lotti

Dripping sweat and beer, at the end of PiL performance, I move to the ATP stage for another of the highlights of the night: The Glenn Branca Ensemble. Watching this concert (calling it ‘gig’ diminishes the majesty of it) makes me understand what it means to be able to make music. Glenn Branca certainly knows well the most hidden secrets of this fascinating practice to be able to convey such a powerful performance. The stage and the whole area around is filled with delicate but strong harmonies, drones and basses. Again, at some point, most of the people in my position would have gone to check out Grinderman (who doesn’t love Nick Cave?!), but as the Guide To Summer Music Festival suggests, let’s not be too angsty when it comes to music. Better stick to what sounds good your ear at the moment than rushing around to try bits and pieces of everything, risking not to enjoy any of the choices and ending up with a massive feet-ache that may prevent you from dancing till the wee hours. Yeah, eventually I’m very glad I stay for the whole gig.

Glenn Branca by Laura Lotti
Glenn Branca by Laura Lotti

Now it’s time for Suicide. I’ve always been a massive fan of Alan Vega and Martin Rev, but their performance of their debut album leaves me puzzled. There’s something very perverse in loving old bands and listening to old music, because when the time comes to see them live, chances are that if they cannot keep up with the time passing (and with your personal expectations – and yours, and yours and yours, too), you’ll be doubly disappointed. In fact, it breaks my heart seeing a very worn out, almost voiceless, Alan Vega attempting sensual moves on the notes of ‘Ghost Rider’. Seeing such an influential band, that threw the foundations of most of today’s electronic music, acting like the poor apology for themselves is too much.

Suicide by Laura Lotti
Suicide by Laura Lotti

But instead of breaking into tears, I decide to move towards the young and cool Jägermeister-Vice stage, where the sound of today is on. Time for Ty Segall, the Californian multi-instrumentalist, rock ‘n roll wonder-child that performs a tight set of supercharged rockabilly party tunes accompanied by a full band of cool dudes and rock chicks.

Ty Segall by Laura Lotti
Ty Segall by Laura Lotti

After their show, I’m tired as if I have just run a marathon. So I happily leave the festival site, satisfied with having witnessed one of the greatest comeback of the year, PiL, and promising to myself I’ll go see Baths and Factory Floor, that are going to play later in this never ending night, next time they play in London (that is, certainly soon).

Ty Segall by Laura Lotti
Ty Segall by Laura Lotti

Categories ,Alan Vega, ,Amelia’s Magazine, ,Animal Collective, ,Avant Gard, ,barcelona, ,baths, ,beer, ,Connan Mockasin, ,Ducktails, ,electronic, ,Factory Floor, ,festivals, ,Glenn Branca, ,grinderman, ,Jarvis Cocker, ,laura lotti, ,Martin Rev, ,Moon Duo, ,Music Festivals, ,Nick Cave, ,Of Montreal, ,Parc del Forum, ,PiL, ,Post Punk, ,Primavera Sound, ,psychedelia, ,Public Image Ltd, ,pulp, ,Queuing, ,Rebecca Elves, ,Rock and Roll, ,spain, ,Suicide, ,summer, ,The Fresh & Onlys, ,The Glenn Branca Ensemble, ,Ty Segall

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Amelia’s Magazine | Primavera Sound 2011 Review: Warpaint, PJ Harvey, Animal Collective and more! (Day 3)

Warpaint by Rebecca Elves

The first band I aim to see today is Warpaint. Breathing salty seabreeze and sipping the first flat beer of the day I make my way to the stage where they’re playing, doctor that is already packed. I’ve been into this band since the times of Billie Holiday, pill and today they confirm the first impression I had of them. They play and sing perfectly, build up intricate layers of harmonies, and they look so cool on stage – having fun between themselves and engaging with the audience – that’s a pleasure to watch their show. With this performance I’m officially sold to their magic. They’re my new favourite girls band. Better, they’re my new favourite band, and the fact that they’re girls makes me empathise with them even more. “Love is the only way out”, Theresa Wayman sings with grave voice during their stunning performance of ‘Beetles’ (from their first EP Exquisite Corpse). And for a moment I believe her. What I learn from seeing this gig is that the future of music seem to be pink. Or better, it wears laddered stockings and smeared make up. And slides the guitar like a proper guitar hero(ine).

Video: Warpaint – Billie Holiday
YouTube Preview Image

At the end of the gig the marathon starts. Gotta reach the other end of the festival site to catch tUnE-yArDs, the noise-pop princess that recently gained popularity with the release of W H O K I L L . The sweetness of her whimsical style, reminiscent of Coco Rosie, and her flashy attire gain my sympathies. However, the festival stage is not exactly what gives justice to her music. Plus, the sound here on the Pitchfork stage is just awful. We later decide to enjoy Fleet Foxes lying on the green knoll that surrounds the main stage. Given the heath and the tiredness accumulated in these days, this is a far better way to enjoy their lulling harmonies than sweating it out under the stage. Fleet Foxes’ bold sound suits very well the festival main stage and easily wins the challenge. We let ourselves be caressed by their arias and transported into pastoral landscapes and dreamy soundscapes, enjoying the sun setting on the festival site and doing some people watching (which is always an interesting activity especially in these circumstances).

tune-yards by Laura Lotti
tUnE-yArDs by Laura Lotti

On my way to restore my thirsty limbs, I pass by the ATP stage and I’m totally hypnotized by an supernatural sound of violins juxtaposed to throbbing drumbeats. Who is this, I wonder. I find out this is non the less than The Album Leaf, that, despite starting as a solo project by Californian artist Jimmy LaValle, tonight plays as a whole band – a small orchestra, I should say – formed by violins, keys, drums, guitar, trumpet and bass. Their set is simply beautiful. I must admit I didn’t know much about them before, but the conquer me with a key. If you’ve got the chance, go see them live. It’ll probably be the best concert of your life. And you will never regret it.

Einstürzende Neubauten by Rebecca Elves

Time has come to go to see Einstürzende Neubauten, the historic German band among the propulsors for the Neue Deutsche Welle movement, that revolutionised the idea of electronic music mixing industrial sounds with punk attitude in the divided Germany of the Cold War period. Equipped with various percussion kits and noise machines made out of different post-industrial paraphernalia, the stage looks more like a steam punk set than a 21st century festival stage. Blixa Bargeld sings and shrieks with his monotone charming voice, and is still as crazy and charismatic as he was 30 years ago. He’s The Gentleman of industrial music. The deep bass and tribal drum beat make it impossible to stand still. With references to Italian Futurists Marinetti and Russolo, they play a wild concert, experimenting with instruments made out of the most improbable machineries. Iron and steel are not only cold lifeless “things”. Technology (either new or old) has got a primitive, lively side. And Einstürzende Neubauten take it all out.

PJ Harvey by Elliott Quince

Rhetoric review for PJ Harvey. She’s amazing as expected. Dressed as an otherworldly fairy, her voice sounds as strong as her pixie figure looks frail. After the first track, taken from her last success ‘Let England Shake’, though, doubts arise in my mind: is this PJ Harvey? Comparisons are too easy with another ageless pixie fairy gifted with otherworldly voice: Björk. There’s nothing wrong with PJ’s performance, but she’s just not the heroine from ‘Rid Of Me’ or ‘Down By The Water’. And with this in mind, and some misfeelings towards her, I make my way away from the crowd in a quest for new and original sounds. Anyway, it’s easy to know what to expect next from this concert – an array of awesomely performed songs by one of the greatest artists alive and active now (description that could fit both PJ Harvey and Bjork, by the way).

PJ Harvey by Rebecca Elves

I feel adventurous and go for Davila 666, a Puertorican rock band that’s meant to give us some rock and roll fun time. Indeed, Davila 666 rock-fucking-roll!! And, quite surprisingly, they’ve got their wee following of PJHarveydontgiveafuckers. Their rock á la Beach Boys with a grunge touch is infectious. I can’t stop jumping. Their strength is that…they are FUN! They play totally unpretentious, wholesome rockabilly tracks, with a hint of sexiness (well, rock and roll IS sexy after all, as Elvis teaches). It is that kind of music made with the spirit of having a good time and making people have a good time too – genuine, spontaneous. During their set, all the worries fade away in the sweat and the laughter. There’s a life to worry about things anyway, but it’s going to start tomorrow. Now there’s only music. And though not knowing the lyrics (that, by the way, are sung in Spanish) I find myself singing along. With a smile on my face.

Davila 666 by Laura Lotti

And after Davila 666, total change of atmospheres with Scottish post-rock stars Mogwai. Mogwai’s melodies lull my mind into faraway places and untouchable lands. I want to get closer and melt with the sound, that is so thick and heavy I feel I’m drowning in it. But I’m soon back to Planet Earth, Barcelona and Parc del Forum, when The Jon Spencer Blues Explosion kicks off. Their sound, a contemporary version of what rockabilly might have been interpreted into in the 1990s, has been labelled anything from garage rock to punk blues and blues-rock. Whatever. To me they sound just brilliant! The stage is packed. Everybody jumps, waves to the band and even thank them for this great gift of pure energy. The atmosphere is wired, I’m lost in the crowd, it will be difficult to find my friends, but I don’t really care now that I’m securely wrapped into this literal Explosion of rock. It’s a never ending groove. It makes even difficult to stand still and take pictures (in a very positive way, I mean). This is definitely the rock ‘n roll night of Primavera Sound for me. I haven’t had so much fun like tonight!

Animal Collective by Rebecca Elves

Then it’s time for the band I was mostly striving to see since the beginning of the festival: might sound banal, but it’s Animal Collective.
I must start by saying that I’ve got a huge amount of respect for Animal Collective. They are The Band of the Noughties, blending noise and pop in a lysergic swirl to create a distinctive sound of their own that’s given birth to a whole new genre, universally recognised and still difficult to label. And for Primavera Sound they deliver an outstanding performance, completed by trippy visuals and an awesome quality of the sound. Though, it lacks of intimacy and it feels almost stuck up. There’s no interaction with the adoring audience whatsoever, and, to the greatest disappointment of the public, they leave the stage after an overwhelming performance of Summertime Clothes without a word, without an encore. It was too perfect to be totally real.

Animal Collective’s psychedelic visuals by Laura Lotti

With my heart half broken, I head to see The Black Angels. With the Austin band, you can’t really go wrong. In fact, they are as good as I remember them from their last gig in London in February. The sound is pounding and the beer is flowing. Dancing to the notes of ‘Telephone’ and ‘Haunting at 1300 McKinley’, the night flows towards the end of this couldn’t-be-any-better festival. While technicians and operators start to dismount the stages, the few venturers still remained within the gates of the Parc del Forum gathered by the Pitchfork stage for the dark set by brainy dubstep mastermind Kode9. Most of them, no wonder, are British. I don’t last too long, though. It’s already 7am by the time that I make it to La Rambla. I’m literally OD’d in live music, my ears fizzle, my feet hurt, my back aches (what a wreck) and my bank account is overdrawn. But I’ve never been so happy. It’s time to sleep and metabolise all the inputs received in these 3 days of music marathon.

The Black Angels by Laura Lotti

All in all, the balance of this festival has been extremely positive. I’ve got two new favourite girls bands: Warpaint and No Joy.
Two acts to be excited about as soon as they come to play in London: James Blake and Tennis. Some contemporaries to invest into for the future: Deerhunter (as if we didn’t know). Some oldies that confirm their credibility in time and that I might not have the chance to see again: Pere Ubu, Einstürzende Neubauten and Jon Spencer Blues Explosion. Plus, I made peace with one of my idols: Johnny Lydon. And I had extreme fun with Davila 666. Yes, this is like old story. We all knew these acts were amazing. PR companies tell us every day through features on magazines, blogs, billboards. But the truth is, no matter how many CDs we buy, album and tracks we download (legally and non), music blogs and magazines we follow… It’s only through live music that one can experience fully what a band has to offer and potentially put her/his trust in them. Fact. Music festivals are for this, after all.

And finally, the main message I got from this festival is that music is ALIVE, in its past, present and future forms. You only have to be open to it. And let yourself be overwhelmed by it.

Leaving the Festival Site for the last time by Laura Lotti

Categories ,Amelia’s Magazine, ,Animal Collective, ,Ariel Pink, ,Ariel Pink’s Haunted Graffiti, ,Atlas Sound, ,Avant Gard, ,barcelona, ,Beach House, ,beer, ,Beetles, ,Bradford Cox, ,Chores, ,Coco Rosie, ,Common People, ,Davila 666, ,deerhunter, ,Disco 2000, ,Einstürzende Neubauten, ,electronic, ,Elliott Quince, ,festivals, ,Fleet Foxes, ,James Blake, ,Jarvis Cocker, ,Kode 9, ,laura lotti, ,Let England Shake, ,mogwai, ,Music Festivals, ,No Joy, ,Parc del Forum, ,Pere Ubu, ,PiL, ,PJ Harvey, ,Post Punk, ,Primavera Sound, ,psychedelia, ,Public Image Ltd, ,Queuing, ,Rebecca Elves, ,rock, ,Rock and Roll, ,rockabilly, ,spain, ,summer, ,Tennis, ,The Album Leaf, ,The Black Angels, ,The Jon Spencer Blues Explosion, ,Theresa Wayman, ,tune-yards, ,Warpaint

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Amelia’s Magazine | Yeti Lane – S/T – Album Review

Yeti Lane rAll Photos Couresy of Sonic Cathedral

Yeti Lane should know what they doing; with three quarters of now defunct band Cyann and Ben making up the ranks they have all the experience and credentials for making reflective, cheapest dreamy music. But Yeti Lane are no limp reincarnation, instead they’ve taken on a new challenge in their self titled debut to produce a light yet layered sound, driven by an unavoidable love affair with the playful elements of pop and rock.

You’re more likely to see members Ben Pleng, Charlie Boyer and LoAc poring over their menagerie of synths, organs and drum machines than smashing guitars in a new found cliché rock madness but nevertheless Yeti Lane place their emphasis on the dazzling relationship between rumbling drumbeats and soaring guitars.


Yeti Lane never insists on your attention, instead drawing you in slowly, hypnotized by a galaxy of layered electronic waves and hushes, but can at times appear in the wider context like a supporting cast to The Flaming Lips’ Oscar winning performance.

A naturally quiet subtlety runs through the songs of Yeti Lane but unless you can apply your full attention span to the task, the album sometimes slips away from your consciousness, an unfairly forgettable face in a crowd. First-Rate Pretender opens the album heralding the positives of Yeti Lane, all soft vocals that lead you by the hand into their world of delicate anti-romance.

first rate

The band are clearly eager to experiment with different avenues of sound and songs such as Only One Look and Lucky Bag catch glimpses of an interest in glitchy loops and synthesizers but they never truly announce themselves in the foreground. An indulgence in a fresh direction stirs an excitement for the record that is never quite satiated until standout track Lonesome George. The haunting echoes permeating previous tracks have momentarily disappeared as Yeti Lane indulge in a poignant dedication to youthful resilience and unfazed anticipation, led by stirring organs, xylophones and horns.


The trio aren’t giving much away about their French origins and lean towards an unavoidable American sensibility, though Pleng’s sweet Parisian lilt adds a bonbon charm to darker edges. A contention with stereotypes doesn’t stop there as home for Yeti Lane is the traditionally shoegaze associated label Sonic Cathedral, though the band seem to have enough ideas to distance themselves from being pigeonholed too easily, even if these adventures can come across a little diluted. They bend and navigate the framework of a pop sound, but often this meandering leads to some indulgent deviations.

And so it seems Yeti Lane, overflowing with ideas in the second phase of their musical careers, aren’t quite sure where exactly they’re heading but are taking the road travelled more confidently by stalwarts of the New York scene of decades before. Plaudits for their own ability in melding the vast array of instruments with each other to a pleasant and intriguing effect should not be denied them, though perhaps in time Yeti Lane can mature this sound to a more arresting result.

Categories ,Cyanna and Ben, ,Sonic Cathedral, ,the flaming lips, ,Yeti Lane

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Amelia’s Magazine | Filthy Animals


An eclectic mix of art work by a group of like minded people exploring expressionism through art.
Peckham Square, tadalafil page 28th of March 2- 6pm


In the Pines

Jack Strange
Limoncello 2 Hoxton St London, rx opening 27th of March 6.30 – 8.30pm, case exhibition: 26th – 28th of March 11am – 6pm and by appointment until 2nd May 2009.


Order and Disorder

Wilhelmina Barns-Graham
A look at a very unique collection of paintings and prints, several have never been publicly exhibited before.
Art first in Cork street, 24th March – 23rd April


One or Several Wolves

Priya Chohan, Coral Churchill, Annelie Fawke, Kwang-Sung Hong, Heidi Locher and Anne E Wilson.
A group of artists look at conceptual motivations within Art, using a variety of media each artist explores the relationship between concept, material and final work created.
Kingsgate Gallery, 20th March – 5th April Free


Bandits present

New installation work from Glaswegian artists littlewhitehead.
The Bun House Bandits, 96 Peckham High Street London. Preview: 15th March 2009, 4pm. Exhibition: 16th March 2009 – 29 March 2009, 11am–11pm


Being and nothing-ness

Youngmi Kim, Kiwoun Shin and Seunghyun Woo
Three Korean artists explore the notion of “being” through various multi media methods, the exhibition includes paintings, videos and sculptures.
Nolias Gallery, 60 Great Suffolk St SE1. Private view: 26thMarch at 6pm- 9pm, exhibition: 27th March- 7TH April 200 10:30Am-6pm,


We are his body

installation art work inspired by the artist’s exploration of the cross in today’s society.
Viewing at Christ Church URC 663 Barking rd Plaistow E13 9EX, 25th March 6pm


Kate Marshall: Live Painting.


This dextrous figurative painter will be doing a live drawing and painting gig at Movida, Argyll Street on April 2nd. Arrive at 9.30pm, you might get a free drinky. She’ll be starting work at 10pm. Check out the event on facebook.
I just woke up from the best nightmare I ever had, store at least I think it was a nightmare. I mean, side effects I’ve heard of mutton dressed as lamb and a wolf in sheep’s clothing, health but last night I saw a couple of ladies, dressed as a wolf and a sheep respectively, among other things.

But what was this, what had I stepped into? Well I found the best person to ask, Annie Oldfield. A lovely young lady from Leeds, dressed as a wolf! I thought it would be fun to create a one-off themed party where you can listen to music all night that`s in some way related to animals: Animal Collective (Panda Bear), Deerhunter, Modest Mouse (the list is endless), eat crackers and, of course, what themed party is complete without fancy dresses. Shark, tiger, zebra, duck, crab, swan, cat (there were lots of cats) all had turned out.



After Annie along with friend Bonnie Wan came up with the idea they went to
DJ/Promoter friend Dave Bassinder (Underachievers) and Filthy animals! was born.


Not one for getting down on the dance floor, that was no problem here, you could keep yourself occupied by making animal balloons or watching films played on a big screen, obviously starring our fantastic furry friends. Or grab a piece of paper and give origami a go, make some sort of flapping pterodactyl. Of course the term filthy suggests more than balloon modeling so a few cheap drinks and many tunes later and the dance floor got the attention it deserved, well you spend all day making a costume you gotta show it off, right?


It`s a real shame it had to end as there are no plans for further repercussions. If you read this Underachievers “BRING BACK THE ANIMALS and KEEP EM FILTHY”!

Categories ,Animal Collective, ,Deerhunter, ,Filthy Animals, ,Modest Mouse, ,Music, ,Party

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Amelia’s Magazine | Music Listings: 7th – 13th September

Graham Carter’s joyful prints reference many of the most loved images in modern culture: the characters from Star Wars or the eerie but manageable magic of Spirited Away. The artistic sensibilities stop these nostalgic influences from turning into twee: the gorgeously rendered digital art glows with vibrant colours and many of the works are made 3-dimensional with painstakingly applied wood veneers, find sale or cut-out perspex shapes that lend shadows to a noir city scene.

This is the kind of art you’d love to have in your own house (I made enquiries! Prices average at around £150). The small details show wit and add a lovely personal feeling to the prints: a towerblock soars above a city landscape but is made friendly by a pair of eyes and a winning smile. When you spot a tiny figure peeping out of the digital grass you fall in love with the world in the picture. Each picture tells a story that you can imagine going on far beyond the edges of the frame, like that of the little girl and her huge Samurai friend, pictured below.


Amelia’s Magazine interviewed the artist to find out more.

AM: Tell me a bit more about the title of the exhibition, “East Meets West”.

GC: It was an intentionally open title really, to try and represent my current fascination with Eastern culture whilst also allowing me to continue experimenting with elements of early American design, which have been creeping into my work of late. I should point out that my work is never extensively researched (as you can probably tell) as I prefer to make things up – or put my own spin on things. The world as I would like it to be and not really how it is…
Towards the end of its development I wanted the show to almost be a kind of travel diary/scrapbook; a couple of recurring characters making their way from one city to the next (New York to Tokyo, via New Yokyo, a hybrid of the two). And in some pictures in the distance you can spot elements of previous images (something I always tend to do).


AM: You are obviously inspired by screen culture (especially Sci Fi!) Could you tell me about why these influences appeal to you? The original influences are quite tech-y and macho but your works are really whimsical and beautiful, they remind me more of Hayao Miyazaki than Michael Bay.

GC: I’ve always loved sci-fi films so I guess it was only a matter of time before elements crept into my work. It’s largely the machines that fascinate me rather than the action. My favourite parts of the film are usually when the protagonists are just sitting around/hiding/waiting inside their pods/spaceships without the stress of battle!
I have been watching a lot of Miyazaki of late. He and Wes Anderson are my favourite film makers as they have created their own little worlds that seem to make perfect sense despite all the unusual happenings on screen.
I’m also a sucker for a robot.


AM: Some of your works are printed on wood or made of inlaid wood. What is it about wood as a material that appeals to you? Is it very hard work getting the solid wood pieces manufactured? How are they made?

GC: A phase I am going through largely, but one I am constantly fascinated with. From getting one thing laser cut, it has opened me up into a whole new way of seeing my work and the possibilities are pretty huge.
The texture of wood appeals to me and also the ‘natural’ connotations. I love the idea that someone may have constructed a working robot from found wood for example. Wood also has that old-fashioned appeal. I’m more enamoured with the look of bygone toys and their clock-work components than anything sleek and soulless.
I worked with a company called Heritage Inlay on the laser cut images and the inlaid pieces. Usually I design them and they construct them. But in some cases I like to order the separate components and put them together myself as in the case of the 3 images composed of laser-cut perspex, silkscreen backing and screen-printed glass [see image below].


AM: I loved the perspex “landscape” pieces. Is it very different creating something 3D to making a print?

GC: I treat the process the same way as a 2D piece really. They all start out life as a digital layered file on my computer so I can see roughly how they will work. I’m never entirely sure how the 3D piece will work until I have a finished one, due to unforeseen elements such as shadows running over parts of the background print etc. That’s why I find it an exciting way to work.

Graham Carter@The Coningsby Gallery
August 31 – September 12
30 Tottenham Street , London, W1T 4RJ

If you’d like to see an online array of Carter’s works, investigate e-gallery Boxbird.

When scouring the latest releases for something worthy of talking about, unhealthy an album opener of the primary school rhyme to remember Henry VIII’s wives, is going to catch your attention. Recently signed to Andy Turner‘s ATIC Records, The Witch and the Robot are a treasure trove of oddities waiting to assault and bemuse your senses with their first release ‘On Safari.’


Aforementioned opener, ‘Giant’s Graves’, introduces a theme that runs throughout the album of pagan chanting, psychotic percussion and bizarre lyrics. With a name check to philosopher, St. Thomas Aquinas, in the following track, lead singer Andrew Tomlinson screams: “God is mackerel” against an array of fowl (as in bird) noises.

Standout track, and title for that matter, ‘No Flies On Me (Jam Head)’ is an example of the alluring world that the band create, rich in competing layers of sonic beauty. If you were wondering, it’s about wealthy golfers who employ a man to take the bait of flies by covering his bonce in the sticky stuff.


Live performances are known to emulate some kind of terrifying children’s party with helium balloons, cream pies, fighting and bunting all playing a part. In addition to putting out the most unique blend of folk, psychedelia and prose heard this year, the band run a night where each punter is entered into a compulsory meat raffle. They explain: “We sometimes play surrounded by raw meat on stage. It’s referencing our own mortality, the fragility of life, it’s visceral, sexual even, but also it is nicely weird.”


At this stage, you’re probably wondering where a band of such peculiar entities are from… That picturesque, romantic stretch of idyll, the Lake District of course… That same region of the UK that has inspired the poems of Keats, Collingwood and Wordsworth to name but a few. This could perhaps explain the spoken word entry on ‘Sex Music(Beef on Music)’, which does narrate a meeting of the sexes but in a less romantic context than our nineteenth century forefathers. Their eccentric yet catchy sounds have caught the attentions of fellow Cumbrians and Amelia’s Magazine faves, British Sea Power and they were asked to open their festival in north Yorkshire.


If you can’t make your mind up whether they are performance art with access to a recording studio or actually have the intention of being a band at all, De-Nihilism should answer this for you; a sprawling rock track that transports you to the Arizona Desert, but there you’d most probably be wearing a silly outfit and singing a shanty.

This album is humorously fun yet dark and mysterious all delivered with a conviction and musicianship that compels another listen… “Divorced, beheaded, died/Divorced, beheaded, survived.” Just in case you’d forgotten.

Less of a protest than a gentle nudge, physician the aim of the 10:10 campaign is to sign members of the public up to a pledge to reduce their carbon emissions by 10% by the end of 2010. A star-spangled event at Tate Modern encouraged thousands to sign up to make this change. It was a very different approach from the grassroots events at the Climate Camp last weekend and had an entirely different goal: to get ordinary people to make small changes to save the world.


But hasn’t this message been preached for years with little result? I always refuse carrier bags at the supermarket but this does not appear to have yet halted global warming. Support in reducing my consumption of resources in all parts of my life is very welcome and, patient having signed up, cheap I’m going to take up some of the tips on offer such as going vegan three days a week. I’m a lazy environmentalist: I care and I know what needs to be done, but I find it hard not to fly, as many people do with relatives who live abroad. I get confused as to whether this cancels out all of my efforts on the recycling and public transport front. There are many of us out there, and still more who find it hard to get motivated when the problem seems so big.


Campaigns like 10:10 often draw mixed responses from the green movement. Many of those who have informed themselves about climate change and have made meaningful changes to their lifestyle will be puzzled by the half-measure of asking people to take one less flight a year. It’s frustrating to see 10% held up as a magic figure when in reality we need to be drastically reducing our use of resources to avoid being the most reviled generation in the history of mankind. We don’t need to switch off a light every now and then; we need to stop using freezers and eating meat. These aren’t sacrifices that the majority of people are willing to have prized from their cold, dead hands, so instead they do nothing. That’s why it is necessary to have well-promoted and unintimidating ventures like 10:10, because otherwise instead of 10% it will be 0%.


However, with all the best intentions, it’s not realistic to rely on individual decision-making and a small change in some lives won’t make enough of a difference. International politics and the Western economic model, which views increased consumption and growth as the only positive outcome, make it very hard for governments to lead the way. And if they did try to radically change the way the average Briton lives it would be hard for us to stomach. But we can’t have our cake and eat it. There are very difficult decisions to be made and at the moment they are being taken by a vanishingly small minority. It can’t be one lightbulb: it must be everyone’s lightbulb, every night, forever.

Both Climate Camp and 10:10 show that green campaigning can be given a high profile in the media through well-designed websites and using new modes of communication such as Facebook and Twitter. The mainstreaming of climate change awareness can only be a good thing, and it’s important to normalise making big changes in lifestyle. Living a “green” life needs to be seen as less expensive and we need to cultivate a better array of things to do in Britain that don’t require a car or a credit card. What is required is a paradigm shift in the way the majority of the population lives and going green needs to be seen as “just something you do”. Soon enough, owning more than one car will become embarrassing rather than a status symbol, but by the time the sea is lapping at everyone’s front door, it will be a little late to argue about who was the best environmentalist in 2009.

It can be done. It just needs to be done at a slightly quicker rate. Going green needs to be cheap and cheerful and to be made easier psychologically. Efforts like 10:10 help with this, but at the end of 2010, the bar needs to be set a little higher. We need to knock off another 10% in 2011, and then another. Asking for more all in one go won’t work but perhaps turning up the heat a little at a time will.
It’s all about looking forwards, website loads of opportunities to learn about the current climate chaos and our government-led impending doom and chances to get involved in taking action and planning what on earth we can do.

Green Jobs and the Green Energy Revolution: is the government doing enough?
Date: Monday 07 Sep 2009 ?

An opportunity for people to get together to discuss the UK’s future direction in the ‘green sector.’ There are talks from Green party and Labour candidates as well as Union directors and workers from the Vestas factory who lost their jobs when the government closed down a wind turbine factory.
This meeting also comes as part of the build up to the next “Save Vestas” National Day of Action on Thursday 17th September.
morningsounds%20copy.jpg Illustration by Katy Gromball
Time: 19:00
Venue: Conway Hall, site Red Lion Square, Holborn

No New Coal Stopping Kingsnorth
Date: Wednesday 09 Sep 2009

A post Climate Camp meeting to keep the ball rolling on the planned actions and campaigns throughout the Autumn. Greenpeace will be outlining their forthcoming campaign ‘The Big If’ which asks supporters to make pledges as to what they will do if Ed Miliband gives the go-ahead for a new dirty coal power station at the Kingsnorth site in Kent. Climate activist Jonathan Stevenson will be looking back at last week’s Climate Camp and other actions that have raised awareness of the government’s lack of initiatives in reducing the UK’s carbon footprint.
There will also be film screening and a chance to discuss future strategies in combating the expansion of other coal power stations as well as Kingsnorth.
?Time: 7pm till 8.30pm
Venue: Housmans Bookshop, 5 Caledonian Road, London N1 9DX
Contacts: Nik Gorecki, 020 7837 4473

Making rustic furniture
Date: Friday 11 Sep 2009 to Sunday 13 Sep 2009

A workshop held over next weekend in Sussex where people can learn how to make their own furniture and craft their own objects from wood. It is run by people from the Low-Impact Living Initiative (LILI) which is a non-profit organisation whose mission is to help people reduce their impact on the environment, improve their quality of life, gain new skills, live in a healthier and more satisfying way, have fun and save money.
The course will also teach people to understand the different characteristics and uses of wood and hopefully come back with an elegant and unique piece of furniture for the house.

Venue: Wholewoods, Sussex
Contacts: 01296 714184
Spitalfields Show & Green Fair
Date: Sunday 13 Sep 2009

This weekend sees the start of the Green Fair which includes home-made produce and handicrafts plus a whole range of stalls run by groups and organisations with Fairtrade goods, healthy food, healing therapies and projects raising environmental awareness. Make sure to check out the Mobile Allotment designed by artist Lisa Cheung. The fair is run by Alternative Arts, which is an innovatory arts organisation based in Spitalfields, East London. They invest in new artists and new ideas and aim to make the arts highly accessible to the public.
suzyGillustration.jpg Illustration by Suzy Phillips
Venue: Allen Gardens & Spitalfields City Farm, Buxton St. E1
Time: 12 noon – 5pm
Contacts: 020 7375 0441

Disarm DSEi 2009
Date: 8 September

The worlds largest Arms fair is due to take place in the next couple of days, at DSEi 2007, there were 1352 exhibitors from 40 different countries with a total of 26,5000 visitors. The trade fuels conflict, undermines development and creates poverty around the world.
DISARM DSEi are calling for people to join together to unstick these institutions, expose the devastation they cause, and hold them to account for their actions.
Disarm DSEi call on people to come with love and rage; music and militancy; desire and determination and hope to show the government that we should no longer tolerate the death and destruction the arms trade causes.
Disarm DSEi will be meeting at 12 noon on Tuesday 8th September outside the Royal Bank of Scotland on Whitechapel High Street, near Aldgate East Tube, before going on to visit several companies in the City of London that invest in the arms trade and care little about the consequences for the victims of war.
A flash mob at the Fourth plinth today got things going with people people handing out leaflets and raising awareness by lying ‘dead’ on the ground along side a banned unfurled on the plinth, part of Antony Gormley’s One and Other project.

Meet 12 Noon Near Aldgate East Tube

Bristol Anarchist Bookfair
Date: 12 September

Much more than a bookfair, the event hosts a range of debates, discussion meetings, film showings and gives a chance for people to meet and learn from each other. There is even a cheap vegan cafe to get stuck into. 35 stalls will be set up with an extensive range of radical and alternative books, pamphlets, zines, music, badges, dvd’s, t-shirts, merchandise and free information on a range of different topics.

The Island, Bridewell Street, BS1 2PZ
10.30-6.00 Free entry
From next Monday Amelia’s Magazine will be running between various fashion related events before the opening of London Fashion Week 2009 on Friday 18th September at Somerset House. Below are some of the events occurring as the capital turns its attention towards the Strand.

Tuesday 8th September


Earlier this month Amelia’s Magazine visited the When You’re a Boy exhibition at the Photographer’s Gallery and recommends you take the chance to visit before the 4th October. The show refreshingly celebrates men in fashion and focuses on menswear stylist Simon Foxton, order who will be talking at The Photographers Gallery on Tuesday 8th September at 7pm. See the previous article here.


Prick your Finger appear at Howies shop in Carnaby Street tomorrow night to discuss the increase in hand knitting through the story ‘Cast Off Knitting Club For Boys and Girls’ and the rise of knitting in public back. Prick your Finger will move onto discuss how they established their shop and the promotion of craft as a constructive past-time alongside promoting an awareness of the textile industry.

Doors open at 7.15 and it is a free event.

Thursday 10th September

Pop up shops are spreading like a rash across the London landscape in the run up to Fashion Week. Most are money-spinners disguised as concepts taking their cue from Dover St Market and the idea that investing in a limited edition is a more acceptable version of consumerism. It is not, order please think before you buy how many times you will wear garment and how you will dispose of it, hospital once you are bored and fashion has ‘moved’ on.

Garance Dore Photography

Carnaby Street appears to be the hotspot destination for the pop up shop, starting with Beyond the Valley’s pop up store, continuing with Gap’s 40th Denim anniversary shop opening this Thursday to the music of VV Brown and a collaboration with fashion blogger extraordinaire Garance Dore, to the forth coming ‘Wish you were here’ London and New York Boutique swap
in October.

Sunday 13th September


Dazed and Confused Magazine pre-empts the opening of SHOWstudio’s Fashion Revolution with their Fashion In Film showcase as part of the onedotzero season at the BFI. Hand picked by the editorial team this showing promises to be an interesting example of documenting fashion in film.

Thursday 17th September

However, the one pop up store to watch out for is On|Off’s boutique which opens on the 16th September and runs until the 22nd. Apart from featuring the wide range of designers who have shown at On|Off during the past twelve season, the boutique will provide visitors to the shop the opportunity to watch live catwalk feed and backstage interviews with designers.

8 Newburgh Street, W1

Friday 18th September


To coincide with London Fashion Week’s move to Somerset House, SHOWstudio (the online fashion site established by Nick Knight) have organised the Fashion Revolution exhibition which will open to the public on the 17th September. The exhibition will showcase the methods used by the website in collaboration with stylists, photographers, fashion designers and cultural figures to develop the methods through which fashion is communicated. Mainly concentrating on capturing fashion on film, these explorations of interaction between clothing, body and audience will be documented in the show under the titles: ‘Process’, ‘Performance’ and ‘Participation’.



If Fashion on Film is a particular interest do not forget Rich Mix’s Fashion on Film Season starting on Sunday 20th September. To find out more about the Rich Mix Season you can visit previous posts here and here.


This week’s arts happenings, cheapest as recommended by Amelia’s Magazine.

Tonight until Thursday

Creative Review Graduate Show

This “graduate show” has a difference as, salve rather than graduating from a school, salve these are new artists who have already been featured in the pages of the learned Creative Review. There are six contributors:

Tom Lovell
Mark Boardman
James Callahan and Joe Kiers
Tomomi Sayuda
Eilin Bergum
Matt Robinson and Tom Wrigglesworth


The exhibition is on at Mother London until Thursday September 10.


$9.99 @ the onedotzero festival

Onedotzerois known for bringing an eclectic but well-edited mix of cinema from film-makers of many nationalities, dealing in shorts, animation, documentary and music video. New filmmakers and established artists show alongside one another, but all work is brand new and there is an almost overwhelming amount and variety to see. Amelia’s is intrigued to see the animated film “$9.99”, based on the short stories of Etgar Keret. Based on what one has read in his books “Kneller’s Happy Campers” and others, it promises to be full of sex (as you can see from the screenshot, above), slightly bleak but also very funny and clever, and sometimes even poignant when it comes to family and the failings of one’s parents.


Friday 11 September, 7.30pm, free

Salon Closing Night ft. Ross Sutherland & The Sunday Defensive

The closing night party for the pop-up arts project Salon London features writer Ross Sutherland, whose collection of poems “Things To Do Before You Leave Town” got him onto the Times’ list of Top Ten Literary Stars of 2008. His star is still rising, so hear him read at Salon, and while you’re listening to his wordplay, think up some clever heckles to throw at The Sunday Defensive, a comedy duo just back from the Edinburgh Fringe and therefore no doubt ready with a witty comeback.


All week 9-30 September
Mother Courage and Her Children

Fiona Shaw takes the title role in this influential play by Bertholt Brecht. It’s the story of a woman wheeling and dealing her way to profit while her children fall sacrifice to the war machine. Recent world history has shone a light on the toll in young lives that war takes while the older generation look on and, in some cases, profit. The show also features new music from The Duke Special. The magnificent Shaw starts her run as Mother Courage from Wednesday September 9.

Monday 7th September
Gemma Ray and The Rayographs
The Lexington, nurse London


Pop noirette Ray plays stomping Americana with an Essex drawl, opening London trio, Rayographs are equally as alluring.

Tuesday 8th September
The Social, London


Brooklyn via San Francisco trio, Lemonade, have a passion for cowbells and Balearic house are making party waves across the pond and play their only UK gig (apart from Bestival) right here.

Wednesday 9th September
Herman Dune, Eugene McGuinness, Gaggle, Neil’s Children and An Experiment On A Bird In The Air Pump
229, London


Opening night of the Fistful Of Fandango fest kicks off a treat with Israeli lo-fi french poppers, Herman Dune, heading the bill of an excellent line-up of robust acts.

Thursday 10th September
Peter Broderick
Bush Hall, London


Classically trained Broderick, has delighted festival crowds this summer with his multi-layered, lush tracks. There will also be a screening of short film ‘The White Door’, the directorial debut by Jason ‘My Name Is Earl’ Lee.

Friday 11th September
The Waterson Family and The Eliza Carthy Band
Southbank Centre, London


One look at 1960s footage of this clan and you’ll realise why folk is most definitely cool again. What started with The Watersons has been effortlessly handed down to the youngest Carthy.

Saturday 12th September
Tune-Yards, Jeremy Jay and more
Old Blue Last, London


DIY, experimental folk solo act, Tune-Yards, is the new signing to 4AD and is joined on the night by Jay and other acts of an avant-folk bias.

Sunday 13th September
Dirty Projectors and Tune-Yards
Scala, London


Challenging and beguiling art-poppers, Dirty Projectors, play their mix of post punk, avant pop, nu-jazz and Afro pop in this one-off London show. If you didn’t catch her at the Old Blue, Tune-Yards opens.

Categories ,adam green, ,amy winehouse, ,animal collective, ,balearic, ,dirty projectors, ,duffy, ,eliza carthy, ,eugene mcguinness, ,folk, ,gaggle, ,gemma ray, ,herman dune, ,jeremy jay, ,lemonade, ,mgmt, ,neil’s children, ,peter broderick, ,pop, ,punk, ,reggae, ,rock, ,sufjan stevens, ,the rayographs, ,the watersons, ,tune-yards, ,waterson:carthy

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Amelia’s Magazine | Watch: Video for Musée Mécanique’s new single Like Home

The lesso: A long rectangular piece of cloth, abortion brightly coloured and patterned, the traditional attire of Swahili women living along the coastal regions of East Africa. Since 2005 the lesso has taken on a different, rather more international role as the inspiration and centrepiece of clothing brand Lalesso, which is currently taking the fashion world by storm.

Over the last five years founders Alice Heusser and Olivia Kennaway have put a little known cultural garment squarely on the map, with everyone from small ethical shopping boutiques to British high street giant Topshop clamouring to get a piece of their unique vision of contemporary African fashion. In a decade that has seen dresses grow in importance Lalesso, which releases just two collections a year and focuses exclusively on summer wear, is a celebration in the rise of easy to wear feminine clothing. Designs range from the short and fitted to the long and billowy, but whatever the shape the emphasis is undoubtedly on clean, simple lines that let the fabric do the talking.

The ethics Behind the Label
With its mixing of African heritage and international design, Lalesso really is a triumph for African fashion. However the reasons to really take note of this company aren’t simply down to strong designs and command of the catwalk. Lalesso’s mark of quality actually starts with production, where the community takes centre stage.

With it now possible for garments to be turned around in two weeks (from conception to the shop floor), today’s consumers can buy into a trend literally days after it materialises. For suppliers however the rise of the micro-trend translates into ever decreasing lead times, and any pressure felt by them is felt ten fold by those actually stitching our clothes together. The past few decades have seen a worrying decline in worker’s rights and factory conditions. For Alice and Olivia however the wellbeing of employees is central to the ethos of their brand.

Keeping the number of collections down ensures workers are not put under any undue pressures. In addition seamstresses receive well above the average wage, and the company offers loans, maternity leave, crèche facilities and sick pay. Benefits few of the world’s textile workers could ever hope of receiving. Furthermore Lalesso tries to involve the local community in as many ways as possible. There are nuns making the crochet featured in designs, unemployed beachboys crafting buttons from coconuts, and Masaai fashioning up the beaded bracelets used on swing tags. In an industry that is far from transparent, Lalesso has everything to shout about: Great design and strong ethics that place social responsibility at the heart of production.

Ethical fashion sceptics often use unflattering design and exorbitant prices as a reason not to engage with the movement. But with shapes reflecting seasonal trends and prices similar to the high street, Lalesso proves a brand can be hugely successful, stylish and affordable while maintaining fair trade principles at its core. In short, Lalesso is fashion at it’s absolute best.
The lesso: A long rectangular piece of cloth, treat brightly coloured and patterned, ailment the traditional attire of Swahili women living along the coastal regions of East Africa. Since 2005 the lesso has taken on a different, generic rather more international role as the inspiration and centrepiece of clothing brand Lalesso, which is currently taking the fashion world by storm.Roho DressImagery throughout courtesy of Lalesso.

Over the last five years founders Alice Heusser and Olivia Kennaway have put a little known cultural garment squarely on the map, with everyone from small ethical shopping boutiques to British high street giant Topshop clamouring to get a piece of their unique vision of contemporary African fashion. In a decade that has seen dresses grow in importance Lalesso, which releases just two collections a year and focuses exclusively on summer wear, is a celebration in the rise of easy to wear feminine clothing. Designs range from the short and fitted to the long and billowy, but whatever the shape the emphasis is undoubtedly on clean, simple lines that let the fabric do the talking.

Mbusu DressThe ethics Behind the Label
With its mixing of African heritage and international design, Lalesso really is a triumph for African fashion. However the reasons to really take note of this company aren’t simply down to strong designs and command of the catwalk. Lalesso’s mark of quality actually starts with production, where the community takes centre stage.With it now possible for garments to be turned around in two weeks (from conception to the shop floor), today’s consumers can buy into a trend literally days after it materialises. For suppliers however the rise of the micro-trend translates into ever decreasing lead times, and any pressure felt by them is felt ten fold by those actually stitching our clothes together. The past few decades have seen a worrying decline in worker’s rights and factory conditions. For Alice and Olivia however the wellbeing of employees is central to the ethos of their brand.

Bikira DressKeeping the number of collections down ensures workers are not put under any undue pressures. In addition seamstresses receive well above the average wage, and the company offers loans, maternity leave, crèche facilities and sick pay. Benefits few of the world’s textile workers could ever hope of receiving. Furthermore Lalesso tries to involve the local community in as many ways as possible. There are nuns making the crochet featured in designs, unemployed beachboys crafting buttons from coconuts, and Masaai fashioning up the beaded bracelets used on swing tags. In an industry that is far from transparent, Lalesso has everything to shout about: Great design and strong ethics that place social responsibility at the heart of production.

Kipepeo DressEthical fashion sceptics often use unflattering design and exorbitant prices as a reason not to engage with the movement. But with shapes reflecting seasonal trends and prices similar to the high street, Lalesso proves a brand can be hugely successful, stylish and affordable while maintaining fair trade principles at its core. In short, Lalesso is fashion at it’s absolute best.
musee mecanique low res photo by Xilia Faye

Delightful band Musée Mécanique have just released the video for their forthcoming single Like Home.

The eerie video, cialis 40mg directed by Leif Petersen, features a strange playground which is underwater and the music accompanying the images is simply lush. The single, released on January 25th precedes their new album which will be released on February 15th.

Watch Here

The band will also play two gigs over here in March at;

10th London Pure Groove Instore 1:15pm (Free show)

10th London Borderline (supporting Get Well Soon)

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Amelia’s Magazine | Live: Animal Collective

Monday 16th.

Name The Pet and Micron63 supply full-frontal, this remedy hard-hitting electro vogueing tunage at Madame Jojos in Soho, cialis 40mg London.
Madame Jojo’s, Brewer Street, Soho, London.

Name The Pet.

Tuesday 17th.

Betty Frances launches her spooky new bluesy folk EP at The Electroacoustic Club, with support from The Johnny Parry Trio. Get there by 8, though, to catch the amazing, 6’9”, delicate-fingered story-crooner The Black Maria Memorial Fund – this chap is a mild-mannered superhero of the first order.
The Slaughtered Lamb 34-35 Great Sutton St, Barbican EC1V 0DX

The Black Maria Memorial Fund.

Televised Crimewave are playing an Instore at Pure Groove.
6-7 West Smithfield, London EC1A 9JX

Wednesday 18th.

The Long Lost play at Prick Your Finger on Wednesday 18th March at 7.30pm. A band on Ninja Tune that sound like Astrid Gilberto dropped into a bubblebath with Bonnie ‘Prince’ Billy, Belle, and Sebastian. – London, There is a password for the resourceful with pricked fingers.
Prick Your Finger, 250 Globe Rd, Bethnal Green.

The Long Lost.

Thursday 19th.

Gold Teeth and Crystal Fighters, two bands from the Amelia’s Intray are sure to pack a lively night with afrobeat rubbing up against dark pervertronic shocks.
The Paradise, 19 Kilburn Lane, Kensal Green W10 4AE

Friday 20th.

Sparks, the band that cannot die, will be fondling their keyboards for their hardcore devotee fanbase. Infiltrate, if you dare. Is Kentish Town big enough for the both of you?
HMV Forum, 9 – 17 Highgate RD, Kentish Town

Meanwhile, Piano Magic perform their sugary wisdom. For fans of classically trained Warp records.
Barden’s Boudoir, 36 Stoke Newington Rd, N16 7XJ

There’s also a warehouse party at the Busey Building.
133 Rye Lane, SE15

Piano Magic.

Saturday 21st.

Upload Alldayer Festival. Trek out to Grays, near Thurrock for a loutish slobfest hosted by Front magazine. Highpoint will probably be Kunt And The Gang with his Bontempi synthpop ditties about unspeakably rude things. Did you spill my pint?
In a field.

A bit more relaxing and central, on the other hand, you could see Perunika performing their all-girl acapella Bulgarian Folk music.
The Cross Kings, 126 York Way, King’s Cross N1 0AX.


Sunday 22nd.

Nadja, Cappilary Action and DJs in your dream-local.
Barden’s Boudoir, 36 Stoke Newington Rd, N16 7XJ.

Maybe I have become a bit blase after so much rushing, ask but for some reason the brilliantly termed “swoop” didn’t phase me. To the point that I decided that I had time to visit the G20 Meltdown goings on with a mere half hour to spare before the swoop at 12.30 on the 1st of April outside the European Climate Exchange. Attempting to locate the Climate Action march, viagra approved led by a green horse, approved I headed down Threadneedle Street towards the Bank of England. A friendly female officer ushered me onwards as I sauntered past police lines and I decided that there was no chance of a kettle here, at least not just yet. Ahead of me was the most amazingly constructed dead canary, held aloft to symbolize the death of Canary Wharf.


Increasingly aware of the clock ticking I darted further into the morass of people spilling into the junction from all sides, snapping as I went.








In ten minutes I was ready to leave, but by now the atmosphere had changed and the kettle was on. Trying my best not to panic I asked a second police officer if I could please please leave. To my utmost surprise – having ascertained that I was on my own —he let me past the cordon where other journalists had failed.


With minutes to spare I grabbed my bike and sped off to Bishopsgate, noting the preponderance of people with trays of food, backpacks, pop-up tents and even great wreaths of flowers en route, apparently unhassled by the police. The road seemed already closed to traffic, as if we were expected!




Suddenly there was a commotion at the north end of the street, and a flurry of people clustered together in the road. Someone yelled “not yet!” to which I retorted “too late!” I mean, once you’ve started pitching your tent on a major thoroughfare in central London you’re hardly going to stop politely and wait a minute more to meet GMT time are you?! The police tried half-heartedly to drag people off, as they hastily climbed inside their tents, with one joker popping out the top of his kids’ tent in full hunting gear.





By the time I had glanced up again the whole street was a bustle of people and tents as far as the eye could see. A Carbon Casino with ghetto blaster sound system was hoisted up onto a carefully scouted bus shelter.


Bunting was unfurled and strung up between lampposts, food was trundled in on trailers, a toilet gazebo hosting the compost loos arrived and a vegetable stall was set up beneath a banner emblazoned Farmers Markets Not Carbon Markets. Vivienne Westwood walked past. All so surreal, all so very good.




Gradually the infrastructure took shape, with a kitchen sited near the centre of the site and three separate workshop spaces successfully set up at intervals along the road.


Here people could learn everything from the latest climate science to effective self defence, and of course the more intricate ins and outs of Carbon Trading and why it is such a bad idea. Perhaps now would be a good time to mention more on why Climate Camp decided to focus on Carbon Trading.


Our previous targets have included Heathrow and Kingsnorth, where huge new projects will put in peril our ability to rapidly cut carbon as quickly as we need to if we are to keep Climate Change in check. The government and big business justify their plans for a third runway and a new coal fired power station with Carbon Trading, whereby carbon is bought and sold as if it were any other commodity. The trouble with this concept is that it encourages growth which is simply not possible if we are trying to cut carbon emissions, as any sane person realises.


So by picking out the European Climate Exchange (which is a worldwide hub for this activity) Climate Camp hoped to highlight a problem that very few people talk about. We chose to swoop on the day before the G20 because this meeting of leaders from the top 20 richest countries was intended to sort out the world’s financial problems. They intend to do this with the same failed economic system that has dreamt up Carbon Trading as a solution to Climate Change. By setting up Climate Camp at the heart of the problem we sent a clear signal to our leaders that we cannot continue putting our faith in the current financial system when it so clearly doesn’t work. Needless to say, the outcome of the G20 has been as ill-considered as expected.


Over $1 trillion dollars will be magiked out of thin air to push into our failing economic systems. Hurrah, all is well!


But back to the street that I so often cycle down, now so transformed. Guerilla gardeners wandered past with mini barrows of primula and spray cans in hand – a nod to the guerilla gardening movement which aims to reclaim our common land, planting useful plants on public spaces.


Ironically, April 1st was also the 360th anniversary – to the day – of the moment when the Diggers reclaimed Saint George’s Hill as common land, and on which they planted parsnips, carrots and beans. The area is now a gated community for the rich and a sad indictment of the way that land has been parcelled off for the elite across the world. We later sang, en masse, the famous Digger’s Song – A World Turned Upside Down, by Leon Rosselson.

The media centre was busy fielding journos, and a welcome group coalesced to meet and greet newcomers, which by now numbered many badly dressed down bankers who were easily spotted a mile off.




If you got closer they could generally be heard saying something moronic, but I think they found it hard to find fault with our actions and we may even have educated some of the more open-minded ones.



However, I think it’s worth noting the sad truth is that some people will never care about any issue unless it directly affects themselves or their family. Happy in their comfortable lives they remain content to consume far more than their fair share of resources, whilst others across the world starve because of their activities.


Faces were painted, samosas were sold, guitars were strummed. A giant game, an adaption of snakes and ladders – runways and windmills – was played, complete with oversize dice. The police seemed to be leaving us alone.








As the day wore on more and more people drifted in from the surrounding protests to see what was going on. On the northern perimeter the legal observers for Climate Camp got stuck in a strange sandwich between police lines and black block.



When I returned later the mood had altered dramatically – a group of 5-Rhythms dancers dressed in orange and gold had organised themselves into a self-named gold block. They were dancing frantically, periodically dragging others into their merriment, sweating in enlightened ecstasy.



Gingerbread bankers were handed out to passersby, and everywhere I looked people were sharing their food. I bumped into a bunch of schoolgirls still in uniform from the morning’s classes. One of them recognized me – I looked after her as a small child on a camp. Legal observers sat in a row sketching the police in front of them.





Occasionally I would bump into another Climate Camper from our London neighbourhood, looking similarly frazzled to how I was starting to feel. And I bumped into Robots in Disguise, and half of Tatty Devine.




The atmosphere was still up, jovial, but I was worried that my camera battery was getting low and decided to head home to download photos and recharge batteries before the mood changed, as I suspected it would when dusk fell. On my return twilight was approaching rapidly between the tower blocks and the atmosphere had turned still more carnivalesque, with people really getting into the stop-start nature of human powered bike pedal sound systems. Limboing was all the rage and some cheeky girls got on top of a police van to boogie.









Many more people were joining us from a day at work, but the police were also increasing rapidly in number as they were called off duty elsewhere. Suddenly (at about 7.30pm) and without warning, they pushed forcefully into the site from the south end, beating people out of their way as they did so with riot shields and battons, even as surprised protesters raised their hands in the air and chanted the now familiar refrain “this is not a riot.”





Up until now everything had seemed so relaxed, but I for one knew that it was only a matter of time before the police decided to use more force. They may have stood by mildly amused as we entertained and educated each other in the hot sunshine of the afternoon, but by nightfall it was clear that things were about to get significantly more messy. We were now in a kettle, with people unable to get in or out, a state that remained for the next 5 hours. Those who had just arrived were utterly bemused as to the reasons for this, but there wasn’t any reasoning to do. A big consensus meeting was held at the north end to decide what we should do, and hundreds of people took part in hand wiggling to confirm that they would be staying the night. (I had my doubts about this outcome – those there to party no doubt mistook the implications of this, ie. that it would mean standing our ground and keeping the police out, not more dancing and getting drunk.)




Now seemed a good time to hold the much hyped celidh, so I located our new Climate Camp celidh band, the Carbon Raiders, and we put into practice the music we’ve been practicing over the past few weeks. Soon enough there in front of me was the familiar sight of hundreds of smiling people dancing together.



We only managed to follow a few steps correctly, but it didn’t matter; freestyling joy was the order of the day. It was as if the lines of riot cops were a million miles away, rather than 2 metres over my shoulder. For awhile afterwards much carried on as before, with many enjoying the fluffy baked potatoes for tea that remained warm to the touch – despite having been cooked the day before – many in my very own oven.



Towards midnight many were getting anxious – they’d been planning to get home, to get to work the next day. We started to become aware that there were hundreds of people outside trying to get in and those sitting on the bus shelter could see people being violently beaten back from our perimeter.


It wasn’t until yesterday that I found out the full extent of the surrounding kettles – one friend was caught in a mini kettle of 25 people for 2 hours in a narrow and claustrophobic alley, some beaten to the ground before finally being released. Marina had come down from the Meltdown and, finding herself unable to get in set up camp in the middle of Broadgate with her kettle and teacups. She showed me the bruises from the police the next day – huge great welts down her arm, but she was proud that her fine china remained unscathed throughout the ordeal. Why were these people kept away from us? Many of my friends were unable to get into the camp, despite having travelled long distances to protest. Still others were trying to retrieve belongings left inside the camp, which have since vanished – the police sent in cleaning crews at the end that apparently sent everything straight to landfill. Is this lawful? To keep someone from their belongings and then consign them to oblivion?

Once the police had beaten everyone away from our perimeters they drafted in huge amounts of riot cops (10 deep in places) to drive us off the road. There was clearly no way they were going to let us stay there for the full 24 hours and risk having us block the road for another day of commuter traffic. I believe their orders were something along the lines of needing to keep the streets clear in case a world leader wanted to get past. Most people, tired and intimidated, left as soon as they were able to, with just a dedicated few left to guard the lines. The police surged forward with no advance warning once more, picking up and tossing carelessly aside our beloved Pedals bike powered sound system. A great cry of dismay went up from the crowd – this was willful destruction of property for no discernible reason.




Police, jaws set in aggressive grimaces, were flailing out at cowering protestors who sat on the floor with their hands in the air. Is this what democracy looks like? When the right to protest is treated with such disdain? Despite promises to the contrary, no attempt at communication was made. The same old story seems to be repeating itself time and time again.



As a camper climbed a traffic light to retrieve a banner I overheard a policeman sneering that he hoped he slipped and fell. Is this what we pay our taxes for? The police are not here to protect the interest of the ruling elite, they are here to facilitate lawful protest and protect the welfare of all citizens. Yet this attitude is sadly lacking. For every friendly humane copper there are 50 behind him or her who revel in the carnage that provoking a riot ensures.

My friend was snatched from the front line and so I retreated from my position inches from the police to retrieve his belongings and take them out to him. I was also concerned by this point about my camera being taken and the photos erased – there were already reports of this having happened to other photographers earlier in the day. It seemed increasingly obvious how things were going to end, and sure enough when I made it back around the block ten minutes later the street was clear, apart from a dreadful mess of abandoned tents and bedraggled bunting. It was very sad to see the state of the street, when Climate Camp is so committed to clearing up so that no trace remains. But what choice did we have? We just didn’t have the resources to clear up more than those individuals left behind could personally manage. We stuffed as much bunting as we could into a backpack and trundled home, feeling emotionally bruised and battered.


…But what a day! We swooped, we camped, and we raised the issue of Carbon Trading higher up the political agenda than it has ever been before. I feel certain that many people came away feeling much more empowered and assured that it is possible to create another world. Now we start work on ideas for the Climate Camp this summer, August 26th – September 2nd. Throughout 2009 we will be focusing on the failures of our current economic system, for the same principles of free markets cannot possibly save us from Climate Chaos. The only solution is to decrease consumption, increase efficiency, and find alternatives to fossil fuels, fast. Put the dates in your diary now. And follow us on the main Camp Twitter and Twitter for London-based campers.



Coming from a rural upbringing the staple jumble sale was as much engrained into the infrastructure of village life as the Women’s Institute’s flower arranging classes and the humble church cake sale. It sounds decidedly twee but I still recollect as if yesterday the village hall brimming with ornate table clothes, viagra approved wooden chairs, price the bric and brac stands, the tombola, the fairy cakes and the strangely gratifying musty scent of hand me downs.Alas since flying the nest from my pastoral abode in favour of the city hustle. I feared the modest jumble sale would be cast aside as a mere nostalgic whim I would recall fondly in childhood anecdotes .


However recently fortune led me to unearth a hidden organisation seeking to rekindle this quintessential past time. With the pretence of transforming the jumble sale into the new cultural phenomena, the group aptly entitled “jumble” have set up a monthly event at the Amersham Arms in the depths of New Cross, South London. Jumble has targeted their cliental with outstanding precision, supplying all any fashion-focused individual could ever ask for under one rooftop. Who could scorn at vintage clothing, crafts, records, bric and brac, alcohol and scrabble tournaments, oh and I nearly forgot the cakes! I hope I am not fuelling a stereotype but jumble appear to have catered for every kooky shopping habit of most 18-25 year olds.I am not ashamed to admit I fall right into that category myself!


The 300 capacity venue every month transforms into a sea of eager revellers on the prowl for bargains. Watching people transcend from idle window shoppers to style scavenging primitives is a rather refreshing change. With a bar to quench your thirst amidst your hunt jumble provide you all the sustenance you require for a healthy afternoon of hunting.

If the prospect of heading to the uncharted terrain of South London fills you with dread then never fear. If you’re Shoreditch born and bred you don’t have to egress the comfort zone. Emily Morris’s Extraordinary Dancing Bazaar is held at the Old Blue Last, however its on a sporadic basis so this is one you have to really keep your ears pricked up for. The former DJ at Ministry and Turnmills turns her hands to fashion in this hip haven on the second floor. Perfect for those fashion forerunners, but be warned this is not for the fainted hearted, expect some zany finds in this haunt.

There is also the Bi- annual jumble sale at the art gallery Studio 1-1, run by Uscha Pohl publisher and editor of the VERY style guide, a self professed “ store phobia” she hates the concept of hoarding. Artists use this as an outlet to shed everything from kooky furniture to vintage treasures and some odd bits and pieces thrown in their for good measure.


Unlike my school years of the 90′s we have now become akin to second hand clothing, society now fully embraces the jumble sale aesthetic. When I was in secondary school you would not only be scorned at but faced intolerable mockery if someone unearthed you bought from Oxfam. I was profusely laughed at once for giving out Oxfam christmas cards. But in my college years it was deemed highly innovative to shop in charity shops. Second hand clothing now symbolizes a complete rejection of the ubiquity of todays global fashion sphere. Now there is hierachical obscurity, style no longer denotes class it serves in conveying personality and not financial privilege. Even the vintage market is utterly oversaturated and so consciously scouted and merchandised the joy of unearthing a diamond is eradicated. The real exhilarant comes from resorting to our primitive psychological make up, our “hunter, gather” instinct. So go on get hunting those jumble sales and reel in some prize catches!
Monday 16th March – March 23rd

Sustainability and Conservation Lecture
6.30pm, check
Room B04, information pills 43 Gordon Square, tadalafil
Birkbeck, London University, WC1

?The Ecology and Conservation Studies Society/Birkbeck is hosting free lectures on Monday evenings on the topic of living within our environmental limits.?For more information, call 020 7485 7903


illustration provided by

Tuesday 17th March
Royal Geographical Society, 1 Kensington Gore, SW7
The Future Shape of Capitalism, Vince Cable MP, Andrew Neil. £10/£7, Info: 0207 591 310

35 – 47 Bethnal Green Road, London, E1 6LA
Tibet Film Festival, 13 March-5 April Programme includes:
17 March, Unmistaken Child, documentary on the search for the reincarnation of a revered religious master who spent 26 years in meditation in a mountain hermitage.

020 7613 7498


Wed 18th March

(illustration provided by Faye Katerai)

Sustainable Haringey Monthly Co-ordination Meeting
?@ Big Green Bookshop, Brampton Park Rd, N8??6pm – Co-ordination Meeting: All those active in the SH network and working groups etc are invited to attend. New people also welcome. Further details below.?7.30pm – Film Show and discussion: The inspirational ‘Power of Community‘ film about how the people of Cuba survived the loss of access to oil imports after the collapse of the Soviet Union in the 1990s. They had to become predominantly self-sufficient in food and other products, and change their economy and lifestyles quickly – yet this was an opportunity for a remarkable re-birth of community spirit. Could it happen here? [Part of a week of films put on at the bookshop as a ‘fringe’ venue during the Wood Green Film Festival].
Check for more details.

* Can the World Meet The Energy Needs Of The Poorest?, Saleemul Huq, Tony Juniper, Dr Victoria Johnson, 7pm, £8, St James’s Church, Piccadilly, W1. Info: Global Development Forum/ Ethical Events

Thursday 19 March,

‘What Remains Of Us‘, a Tibetan-Canadian born in exile travels to Tibet with a video recorded message of hope from the Dalai Lama to the people of Tibet and records the reactions of Tibetans on hearing his message, 7.30pm
35 – 47 Bethnal Green Road, London, E1 6LA

020 7613 7498

Friday 20th March

Remnants of a War + Q&A

20 March 2009

6.30 pm

The Mall, London SW1Y 5AH. Box Office: 020 7930 3647 / Switchboard: 020 7930 0493

In Lebanon, hundreds of thousands of unexploded cluster munitions are scattered across tobacco fields, orange groves, roads and backyards after the 2006 war between Israel and Hezbollah; this film looks at the men and women of southern Lebanon who work to clear their land of these deadly objects. Followed by Q&A with the film-maker and Marc Garlasco, senior military analyst, Human Rights Watch.


Sat 21 March

WDM Speaker tour:?Europe’s Trade deals – Who Benefit


(Illustration provided by

Dragon Hall, 17 Stukeley Street?

London  WC2B 5LT

Trade can help poorer countries to overcome poverty, by generating jobs and supporting livelihoods. But the European Union is currently negotiating trade deals with over 100 countries in Africa, Asia and Latin America which will secure big profits for European companies at the expense of development.
These trade deals will particularly harm the poorest and most vulnerable people in developing countries, destroying jobs, local industries and the livelihoods of small-scale farmers.
Hear from Mary Lou Malig, trade campaigner from the Philippines, and learn what you can do to stop these disastrous trade deals. 
for further details

Sat 21-22nd March

Climate Camp London Trading Ed Development

E8 2DJ

Sunday will now start at 12 noon. Saturday will still take place from 10am to 6pm.

Day 1: ?Workshops and discussions on the problems with carbon trading, with speakers from the Cornerhouse, FERN, Carbon Trade Watch and the World Development Movement. Subjects will include the basics of carbon trading, similarities with the financial crisis, carbon markets and forestry and how emissions trading in the EU paves the way for Kingsnorth and the 3rd Runway.
Day 2?Action planning and trainings. A big chunk of this will be devoted to the Climate Camp in the City on the 1st of April, but it will also deal with our plans for the Summer and Copenhagen, and will include options like speaker training, media training and action planning.
07534 598 733

WE CAN postcards to Ed Miliband and MPs: Monday 23rd March


On Monday 23rd March, hundreds of children dressed as endangered animals will write postcards to Secretary of State Ed Miliband and to their MPs, in an effort to make the government call a halt to plans to build a third runway at Heathrow and a new coal-fired power station at Kingsnorth.
According to NASA scientist James Hansen, who is now advising President Obama, up to 400 species of animals are threatened with extinction by the emissions from Kingsnorth.
Filmmaker, mother of three and founding member of WE CAN, Rebecca Frayn said, ‘The children are horrified that so many animals could be wiped out. Ed Miliband has said that carbon capture and storage will be introduced to clean up the emissions, but nobody knows when, or if the technology is even practical.’
The postcards will be coloured in and presented after a gathering in Old Palace Yard at 5pm on Monday 23rd March. Several MPs including Andy Slaughter and John McDonnell have agreed to meet children in the lobby of the House of Commons

Nikki Pinder is a freelance multi media artist based in Cheshire, capsule her style is boldly experimental and modern. She was previously featured in Amelia’s Magazine and has been invited back for a more indepth interview.

What inspires you to be creative?

Music is a huge inspiration for me. I listen to it almost all day as it helps me to focus and also allows me to escape into different worlds when I listen to certain sounds and lyrics. Films are also a huge inspiration for me and I admire the work created by directors such as David Lynch, Tim Burton and Alfred Hitchcock. A few other inspirations are antiques shops and curiosities, photography, travelling around, being spontaneous, grandfather clocks, pocket watches and time, top hats and bowlers, true love, fresh air and open spaces, riding my bike, honesty, beautiful places in the countryside, poetry, confident people, museums, beautiful women, amazing architecture which makes me stop and stare, galleries, inventions, dreams, aliens, robots, birds, and trees.


How did you get into Art and what attracted you to the medium you use?

I’ve always drawn and made things with my hands ever since I can remember as I just love to make and invent stuff. Also I lived with my gran for a while when I was a kid and she loved art too so she was a big influence on me as she taught me how to hold a pen properly and bought me my first watercolour set (which I still use)!

I use many different mediums as I love to experiment, but I fell in love with dipping pen and ink several years ago as it’s so freeing and allows you to create beautiful fluid marks with no limitations. I also love to create and utilise textures as they allow me to build up layers and depth in the surfaces of canvases and even within my digital artwork.

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

I don’t really aspire to be like anybody as I’m happy being myself, but I aspire to be the best artist and thinker that I can be in my life. The people who inspire me most are those who push the boundaries, those who are brave in what they say creatively and do, and those who actually contribute positively to the world in some way. The following people are a huge inspiration for me: Amanda Palmer, Tim Burton, Robert Smith, Billy Corgan, Josh Homme, Trent Reznor, Thom York, Vermillion Lies, and my friend Catherine AD as she’s one of the cleverest and talented people I know.


Where do you see yourself in 5 years from now?

I would like to have several books published, I want to have travelled around the world at least once, I would like to have lived in Paris for at least 6 months, I want to have written a film script, established my own publishing company, figured out a way to help people through my work, and there are hundreds of other things I want to achieve in the next five years.

What advice would you give to someone trying to get into the Arts?
Be honest in what you say through what you create, work hard, experiment, don’t get put off by anything negative anyone says to you – allow it to motivate you more, don’t be afraid to draw as skills can be developed over time and also confidence through practice helps you to develop good drawing skills. Think outside the box, write your ideas down so take a note-book with you everywhere, and don’t ever look at someone and think…I could never be like them or do what they’ve achieved as you can do and be anything you want to be.

Do you have a muse?

I don’t really know what a muse is, but if it’s the thing that drives me to create then I’d say life, happiness and making the world a better place is my muse.

If you could invite any two artists (dead or alive) to diner, who would it be and why?

Ummmm…that’s such a hard question but I’d like to invite Robert Smith as I think he’s so talented and fascinating, and also Josh Homme as he’s really strong, powerful and I think I would feel really enlightened after talking to them both for an evening.

London-based, discount twice awarded Fashion Designer of the Year Hussein Chalayan’s first major solo exhibition is halfway through its run at the Design Museum and it is soon approaching the eve of a sold out talk with the masterful rogue as he looks back over 15 years of groundbreaking fashion and collaborations…although he cautions us not to call it a retrospective, this because as he points out, ambulance he is neither dead nor approaching it. Never one to be bound by the clumsy dog collars of definitions, Chalayan and curator Donna Loveday presented a powerful sampling of amuse-bouches, bite-sized bursts of the fashion maverick’s best. With a marked lack of belabored and lengthy wall texts, it was an edited and approachable introduction to the work of this architect-philosopher-scientist-fashion designer. The only dialogue becomes the one I’m having with the environment, the cleverly orchestrated mannequins and the clothes themselves as I revel in the fact that I can finally get up close to these pieces and get some answers. How does it work? What’s it made of? It makes me feel like I’m sneaking around backstage at a magician’s show!
The exhibition snaked up the stairs starting with paper dresses which fold up into postable air mail envelopes. Further along, hanging flat against the wall is a stunning floor length dress covered in oxidized iron filings which, just as he famously did with his diploma from St. Martins, the designer had buried and exhumed months later. This is where we both enter and exit the exhibit. Glimpsing into the future I see Chalayan’s latest creations, windblown triplets wearing what looks like taffy dresses being blown right off them. It’s his latest collection and one of my favorites yet. Images of car crashes are hand painted onto foam with shards of safety glass protruding here and there. It’s a shrewd observation of the precarious speed at which our lives are accelerating at. chalayancrashsingle.jpg
Rather than being mere clothes hangers, the mannequins were cleverly posed, some of them wiping the inside of their vitrine with cloths while others white washed the gallery walls with long rollers. Others had little travel kit scissors and were trimming away at the tulle dresses they were wearing.
The show triggered questions about displacement, genetics, technology and cultural identity. I could hardly wait to get to Shoreditch Town Hall where Chalayan would be joining playwrights, curators , journalists and architects in a panel discussion about their experiences living and creating in London. The panel discussed the unique composition of London’s East End and how living its grit, aggression and cultural diversity was the unique pressure cooker from which to create. For many the husks of their developmental years are something to be shed but this group believes it is the struggle itself that is at the core of the creative process. Nobody wants to read about the kid with the silver spoon, they want to cheer the underdog. It is also true that the successes we all strive for become our gilded cage. If its tension and struggle you desire London is happy to oblige. The talk had barely ended when a plague of fashion students inelegantly rushed the stage to elbow out the other speakers and shove cameras in Chalayan’s face as he tried to carry on a conversation I believe I could hear him rattling the clunky bars of his own uncomfortable celebrity.
When Fashion Designer Ingrid Hass graduated in 2008 from Central St Martins, stomach she was shrouded with accolades, website like this dubbed the “one to watch” by both Vogue and Marie Claire, ambulance a compliment that should not be shrugged off as mere flattery, it means serious business in the fashion sphere. However Ingrid’s success was perceptible, she won a hand full of internships on the run up to her degree collection. The first being with Luxury Knitwear company Ballantyne, she then teamed that with a grant from Pan Uk, a sponsorship from Bora and to top it all off she received backing from none other then the backbone of British print Liberty itself! So with the backing of some of the most fundamental companies within the fashion sphere Hass had a solid financial platform to create her sumptuous collection.


Deriving from the leafy terrains of Wiltshire, Hass has defiant rural roots, which play a significant part in her working ethos. Hass’s collection is a pastiche of rural England, evoking all the whimsy and romanticism of our British heritage. Inspired by our rich textile traditions in tapestry and embroidery, Ingrid creates exclusive pieces utilising the technique hand intarsia, a method used for centuries by artisans. Hass strives to revive this quintessential past time which regrettably is on the decline due to mass over seas production.


Inspired by the wistful and quixotic works of photographer Tim Walker. Hass evokes a candid naivety to her pieces, luring you into a state of reverie. Everything from the subdued pastel palette, the delicate floral head pieces, the dungarees to the ethereal cloud prints all exude imaginative thought.


I caught up with Ingrid to see what she had been getting up to since graduating last year.

So, tell me a little bit about yourself Ingrid? ?

I am 25 years old , originally from the English countryside where I was brought up. I then moved to London where I completed my foundation course at London College of Fashion, and then progressed to Central St Martins where I studied Fashion Design with Knitwear. I graduated in Summer 2008 and am currently living in Milan where I work for Ballantyne.

?What have you been doing since graduating at central st martins last year? ?

I have been working on a freelance basis for a high street company whereby I am going to have my own line which will go into the stores this Autumn, and most recently I was winner of the Ballantyne Design initiative. As such, I am now living in Milan and working at their head offices here.


?How have you found the progression from university to the daunting world of ?the fashion industry? ?

I was fortunate in that after a nice relaxing and much needed break after final year I went to New York to meet with someone who approached me with regard to my final collection. It was this that led to the formation of my freelance label and work began quickly once again. Following this, I later found out I was a finalist for the Ballantyne Design Initiative and was flown out to Milan for the interview. I then moved here in January and it has been two months now! But, yes it is undoubtedly daunting but I think you just need to be open minded, hard working and forward about approaching companies.

?Would you have any advice for budding designers? ?

I still feel a budding designer myself, and not sure if I really have the experience or right to offer advice yet!


?Your work evokes a rather nostalgic feel, did you have a rural up bringing? ?

Yes, I was brought up on a farm in the Wiltshire countryside, where my parents still live. It has undoubtedly inspired the aesthetic I like and the way in which I work.

?What leads your thought processes when your designing? ?

An amalgamation of lots of things…people I meet, my books, old fashioned knitting journals and magazines, places I visit, photographs I take. I think most importantly though I love to learn and use traditional techniques that in this day and age are no longer utilized any longer, like needlepoint, tapestry and embroidery. I love the challenge of adapting these in a modern and contemporary way.


?Are you inspired by any other artists or designers?

Yes, of course. I love art and fashion and so it is a natural element of my work. My final collection looked particularly towards the romanticism of Tim Walker’s photographs and the colours of Henri Matisse’s paintings.

?How would you say your artistic style has progressed since your graduate ?collection?

Well, I think making the transition from producing my own work on a small scale to helping towards the creation of a larger scale collection has meant I have learnt the opposite side of the spectrum in the industry. As such this I suppose has meant my artistic style has not been compromised but now I can see how complimentary elements, textures and materials work together in a larger context.

So keep your eyes peeled, you might be seeing an original Ingrid Hass on your local high street in the foreseeable future!
It was immediately clear to us upon arrival that Antwerp is city that oozes class and modernism. Artistic intelligence is literally everywhere you look, viagra buy even Antwerp’s central station is a truly amazing architectural feat. Kings Cross seems like a poor imitation in comparison to the beautiful modernist belgian levels of trains on top of trains.

Suffciently in awe of the city not to mention delighted by its thousands of varieties of beer we decided some culture was in order and headed through streets of wonderful shops, viagra including those of the Antwerp six, buy and this amazing dvd rental shop to MoMu, the fashion museum to see the Martin Margiela exhibition.


On walking in to the exhibition after getting our tickets at the caravan reception we are greeted by a strange white pop-up Styrofoam audience. It transpires that this is in fact a group portrait of the Martin Margiela team of Paris. Margiela’s own silhouette is however not included. No fashion designer works alone and in shunning any kind of personal publicity (he has never been publicly photographed and you certainly won’t see him take a bow after a catwalk show) Margiela is one of the only designers to make this fact clear, separating him from others who are anxious to take credit and ownership of work that has been created by many people. It is obvious that Margiela isn’t in fashion for glory or fame, rather to set about the wonderful business of creation.

The exhibition goes to great lengths to recreate the artists working space and ideas. This white cotton covered furniture can be found both in Margiela’s Paris offices and In the exhibition where the chairs form a circle facing outwards in the middle of a room with walls full of films. We sat for over an hour in them completely absorbed in watching videos of catwalk shows, milk bottles, lamps, eggs and whiter than white object montages.

Margiela doesn’t do things by the book, par example le plate-invitation! And in his next collection he shattered the plates and made them into waistcoats.

In a dark room bodices were lit up one by one, cleverly focusing your attention on one garment at a time, including this one adorned with square mirror tiles.

Printed below the outfits are the length of time it took to make them, the emphasis on the working processes behind the clothes makes the exhibition that bit more interesting and different to others on designers that focus purely on final outcomes. Margiela is interested in the ‘life history’ of garments and this exhibition was superb in showing his interest in making the production processes public, thereby showing that the true value of the pieces can be found in the time and energy it took to make them.
This amazingly comfy duvet-coat had different bedspread patterns projected onto it.

In short I heart Antwerp, I heart belgian beer, and I heart Martin Margiela.

Now if someone comes along and blows your head off, healing splattering your t-shirt with cerebral fluid with their debut album as soon as the follow up comes along, information pills you can’t help but fear that it’ll fall somewhat shy of the original mark. However, Bromst is just as powerful as the first album in fact more so. Its like recording the sound of a police car, with sirens wailing, crashing into the microphone.


What with the closure of Wham City and other heartbreaks over the last year, its hardly surprising that Bromst has taken a more serious tone; Bromst has a wider range of emotion and direction than the previous album.It’s an embodiment of Deacon and Wham city ethos to bring people together, something that Deacon doesn’t take lightly.


Whilst retaining the essence of Spiderman of the rings, offering a little more in the way of heart; Bromst is much warmer with more instrumentation than computerisation which seeps through the pores and infuses itself into your veins following the blood cells on a path to your heart. It’s a much more organic album and not as plastic as Deacon says.


Give it a chance and Bromst will become a part of you, a beautiful fusion of man and music. Be afraid, be very afraid!
Here at Amelia’s Magazine, doctor we were first introduced to French trainer label Veja during Fashion Week last year. They aren’t your average trainer label, though – they are pioneers of ecological trainers, with no compromise on style. From materials to distribution, each pair has a minimal impact on the environment.


Their organic cotton is grown by agro-ecological producers in Brazil, avoiding chemical manures and pesticides, and producers are paid fairly. Their wild rubber, sourced in the Amazon, increases the rain-forest’s economic value, therefore reducing deforestation. Each pair is assembled by Brazilian workers who are respected and provided with good working conditions, and the footwear is distributed by a social enterprise in France which seeks to get unemployed and underprivileged people into work.

The photographer Florent Demarchez was granted the opportunity to follow the two founders of Veja in Brazil as they source their fairtrade and environmentally friendly materials and met some of the Brazilian workforce. The result is a stunning and thought provoking temporary exhibition at hip East End haunt Favella Chic, until 30th March.

Photographs by Matt Bramford

The bar’s decor and atmosphere are of Latin influence, and the warming tones of the frameless prints compliment this perfectly. It’s a bit like a game of hide and seek – each photograph is placed in a different location, some obscured by the haphazard objet which forms the decor (the portrait of the old man, for example, part concealed by a tree branch).


The photographs themselves are stunning – some portraiture, some still life, some room interiors with nothing but a sole person’s effects. Glancing around the bar, you’d be forgiven for mistaking the photographs as simple imagery depicting Brazilian life commissioned for the bar itself. After half a dozen of the bar’s free Caipirinhas, you’d be forgiven for mistaking where you even were. Look a little deeper though, and the images carry a deeper, solid message. The portrait of Dignidade, lit effortlessly from behind is a worker who is paid fairly and is given the opportunity to take pride in himself. The same man in a different shot offers you, with his hand, the opportunity to see the produce. The shot of those bags there contain agro-ecological crop rather than GMOs. The shot of those two children are the children of families supported by fairtrade employers.


Novos Mundo(s) (New Worlds) aims to reveal ‘arising new initiatives, fighting for a different world’ through thought-provoking imagery. We’re given a glimpse of the people at the epicentre of the fight for fairtrade worldwide, the people who, thanks to these initiatives, are building lives, or worlds, that they can enjoy. The exhibition runs until the end of this month, so pop along, have a Caipirinha (or something else from Favella’s extensive cocktail list), admire the imagery, and have a think.


When you contemplate the word rebellion, visit web the mind conjures images of banks- esque graffiti, what is ed or abrasive and provocative painting. However one group adopt rather unorthodox methods to convey their ideas to the unsuspecting public. Disregard the spray can, this group have a more deadly tool at their disposal, the knitting needle.


So cast aside your preconceptions of knitting as a hobby confined to the slipper clad over 60s slowly declining into senility. Half casting an eye on the latest instalment of Eastenders and the other on knitting your garish christmas jumper. The Guerrilla movement have injected an edger side to our quintessential pastime, it’s no longer confined to the pastoral suburbs and rural towns.


Knitting hits urban London, taking a myriad of forms Guerrilla knitting is attacking the aethethetics of the city, be warned no object is safe. Recently the Southbank was hit in orchestrated attack, the rather dull obtrusive posts on the riverbank had never experienced such dashing ensembles. Giving the architecture of London an entirely new lease of life, the knitters tackle everything from bike locks to railings, also providing a snug extra layer of insulation to some of London’s infamous statues.



London has a deep underground network of Guerrilla Knitters .From Group Glitty Knitty Kitty,Knitta Please, Stitch and Bitch and the infamous Prick Your Finger to list but a few. All combining the same ethos, they even have their own bible to swear too “we, the knitted terrorists, are committed to knittivism through the systematic and systemic use of knitted accessories”

It’s all about usurping the line between gallery and habitat. No longer do you need to awkwardly shuffle around a clinical white gallery in silence. The Guerrilla Knitting movement is accessible art in the public domain!



Gone are the days of the passive knitter. It’s a politicised move; the age of consumerism is dwindling. Now its time to join the movement, in the words of the iconic Morrissey “the devil makes work for idle hands to do”.So go on make your grandma proud, dig your knitting needles out. Our knitting disciples of London are spreading the teachings of the knittivism bible, so if your in search of enlightenment these are your ladies. Head on down and get yarn bombing!

Having waited years before finally getting the chance to see Animal Collective in the flesh, visit web I’ll tell you the anticipation was more than un(panda)bearable (sorry, couldn’t resist, probably should’ a tried harder). I couldn’t even see 2ft in front of me; the anticipation had formed clouds over my eyes. If I could explain meteorologically, the thought of the upcoming gig caused a violent storm and rain around my brain, which on the inside was burning up with excitement causing a condensation to form over the lens of my eyeball. It took some heavy breathing and sage like wisdom from a good friend to calm myself down to a rational state.


First on the bill is new Paw Track signing Dent May. Paw track incidentally being the Animal Collective’s own label. Vocals are so diverse, ranging from tenor to bass in notes, and ever mellifluous, with his beautiful sun-kissed harmonies and excruciatingly affable ukulele melodies we are, as an audience, helpless but to be charmed into submission. Drifting away on a coconut raft, miles from dry land. What a wonderful place to be.
Startled briefly back into reality we find ourselves swept into another world of equally fantastic shapes and colours. While my companion tried to get her first glimpse of Noah Lennox (aka Panda Bear), who remained in predominant darkness for the entire set (to my amusement) I stormed to the front to get right into the action. Emerging periodically for air, and light refreshment.
Before the finale we were all encouraged into a round of Happy Birthday to Brian (The Geologist) as a cake was paraded onto the stage.


Once the whole affair was over I tried to imagine what this experience could be akin to and the best thing I could think of was a relentless and progressive train journey through an ‘experimental’ Tunnel of Love via Toy town, Toon-town and the enchanted forest, finally crashing through the teddy bears picnic and into the gingerbread house. This seems a little frenetic but it sums it up just the same.
My only advice? Stay calm, stay cool and stay collective.

Categories ,Animal Collective, ,Live, ,London, ,Music

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Amelia’s Magazine | Album Review – Gang Gang Dance: Eye Contact


It was probably down to skepticism that it took me some time to get into the latest Gang Gang Dance album. After all, erectile how on earth could they follow 2005′s Saint Dymphna, page in which Lizzie Bougatsos & co managed to mix psych, free form, drone, noise, high-pitched vocals, dance, urban music and more using both analog and digital instruments? What could possibly be left to borrow, crush, mash and cover in gold in order to convey the same sort of amazement that any listener of Saint Dymphna must surely have felt at the moment those drums kicked in around minute two of Bebey?

Illustration by Noemi Martinez Santiago.

Well here it is: Eye Contact was released on 4AD on the 9th May… think overwhelming motifs, syncopated velocities, spinning rhythms and sidereal vocals. Paint it all in silver and fluorescent pigments from the brightest star in the sky and you’re quite close to what Eye Contact sounds like. Instead of trying to fullfill similar expectations the album cleverly shifts the focus onto different musical frontiers, taking more inspiration from the electronica with hints of Far Eastern melody. Once again Gang Gang Dance manage to surprise.

Bebey from Saint Dymphna:
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The tracks perfectly intertwine with each other in an almost endless techno-psych trip that can be listened to over and over again. In fact, with its uplifting beat and at times aggressive mood, it’s the perfect album to have on your iPod while whizzing through the heat wave in a city, thinking of faraway tropical paradises and sparkling Bollywood nights.

Illustration by Noemi Martinez Santiago.

The album starts with Glass Jar, an 11 minute masterpiece of spiralling sidereal melodies and cosmic atmospheres. As a wave it gently carries you to ?, a sonic interlude that leads to the core of Eye Contact: Adult Goth, a hypnotizing lullaby in which the glistening keyboards and pressing beats layer with Lizzie Bougatsos’ otherwordly vocals. Chinese High has a syncopated theme and gold dust coloured clinks that sounds more Bollywood soundtrack than anything Chinese. The pulsating Mind Killa is one of the most ‘pop’ tracks on the album, and it has taken over the blogosphere with its whirling motif and tribal beats.

Mind Killa music video:
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Separated by the rest by another two whimsical ? (namely, ?? and ???, little evocative aural curtains) are the last 3 tracks of the album. Hot Chip’s Alexis Taylor lends his vocals to one of the most accessible tracks of the album, Romance Layers, a luscious nu(est)-disco post-soul piece that would figure well in the playlist of a party on one of the Saturn rings. Sager and Thru and Thru follow the zigzagging sprawling line traced by the first minute of Eye Contact. Think of silver sunsets on purple beaches and parties on yet-to-be-discovered planets. As I get off my bike a voice claims ‘we are forever’ at the very last second of Thru and Thru and already I could play the album all over again. The ride is over but the energy of this record will stay with me all summer.

Gang Gang Dance will be playing at Animal Collective curated ATP on May 13th to 15th and at XOYO on 16th May. For the luckiest ones, not to be missed is their performance at Primavera Sound, Barcelona on May 26th to 28th. Eye Contact is out now on 4AD.

Categories ,4ad, ,Alexis Taylor, ,Alternative, ,Animal Collective, ,art, ,atp, ,Blogosphere, ,Bollywood, ,Cosmic, ,Eye Contact, ,Gang Gang Dance, ,Hot Chip, ,Lizzie Bougatsos, ,Mind Killa, ,new york, ,Noemi Martinez Santiago, ,Primavera Sound, ,psychedelia, ,Saint Dymphna, ,techno-psych, ,XOYO

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Amelia’s Magazine | ATP Film – A Review

atp montage1

All Tomorrow Parties, clinic a music festival that largely happens at out of season holiday camps, try celebrates it’s tenth year in 2009 and part of that anniversary celebration sees the release of this film, edited from fans and filmmakers footage on equipment ranging from super 8′s to mobile phones, the viewer is let in to the world of All Tomorrow’s Parties. The ensuing montage, of performances and backstage vox pops, is a cross between a really great music documentary and an advert for the music festival.

The documentary side of this film’s personality informs the viewer that the premise of ATP started with Glasgow’s saccharine indie pop makers, Belle and Sebastien. Along with visionary ATP promoter, Barry Hogan, they originally had the idea of putting on a festival in a holiday camp, curated by artists and did just that for the ATP pre-cursor, Bowlie Weekender in Camber Sands. The viewer also learns that ATP manages to exist independently, without the help from corporate sponsors, adhering to a punk rock ethic.


The advertisement side shows you just how much fun a festival in a holiday camp can be with footage of holidaymakers looking like the cat who got the cream whilst dancing to Micah P. Hinson, or playing a rendition of ‘Maps’ on the chalet kitchen sink.


I’ve alluded here to some of the musical footage that belies the rockumentary. If Kitsune is the indie electro rave that you have to be young to get into, ATP is where you retire, where you give up on pretending to keep up with the rapidly changes fads of NME and resign to sticking to what you know best. And if what you know best hits the Richter scale somewhere between alternative and experimental, then you’ll be familiar with a fair few bands that frequent the ATP line-ups. Not only are there fantastic show-stopping ATP performances from YYYs, Nick Cave’s Grinderman, Gossip, and Mars Volta, you also get to see the spontaneous performances that may not have been billed, like the Grizzly Bear beach a capella and Daniel Johnston regaling his insecurities via music in the grass and from his chalet.


These elements of the film are weaved together with a cinematic collage of artists backstage, like Bat For Lashes dancing down the stairs of her accommodation. And just to remind you where you are, there are also vintage stills and clips of Camber Sands as it is known best, as a holiday camp, including what looks like a dance competition whose contestants could rival anyone down the front of a moshpit.


Having never been to ATP myself (but always having wanted to), I wonder whether this has captured the essence of the festival. But with enough music and merriment to keep you entertained, it really doesn’t matter.


Patti Smith closes the film and I’ll close this article with a quote in the film from her, which is in line with an underlying message of ATP, “rock and roll belongs to the kids and not the big companies.”

Categories ,Animal Collective, ,atp, ,Bat for Lashes, ,Daniel Johnston, ,festival, ,film, ,gossip, ,grinderman, ,grizzly bear, ,mars volta, ,Nick Cave, ,patti smith, ,review, ,yeah yeah yeahs

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