Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Christian Blanken

Christian Blanken SS12 by Gareth A Hopkins

Christian Blanken S/S 2012 by Gareth A Hopkins

This presentation in particular was enjoyable from the start. Away from the rush and fuss of the main tent, pharmacy I went to explore the bright and beautiful Portico Rooms of Somerset House to find the Christian Blanken show. As I lined up, I got a peek at the other designer exhibitions and took in the quiet calm of the wooden floors and neo-classical architecture.

Christian Blanken S/S 2012 by Rosa and Carlotta

All photography by Rosa & Carlotta Crepax of Illustrated Moodboard

I was ushered inside a room set up with some impressive-looking mirrored panels, I took a seat and got my sketchbook and pens ready for what Mr Blanken had to show us. As the lights slightly dimmed and the music began to start I got my third compliment of the day on my Bora Aksu patterned ‘Angel’ tights which were a front-row goody bag gift and have left me wanting more from his new hosiery and accessory range.

Christian Blanken SS 2012 by Gilly Rochester

Christian Blanken S/S 2012 by Gilly Rochester

Christian Blanken has a very clean and cool vision for Spring/Summer 2012, defined by shades of grey, mink, and black and occasional shots of soft coral. He really developed his sharp and luxe look with an artful use of heavy ruching and sportswear-like silhouettes.

Christian Blanken S/S 2012 illustrated by Kate Eldridge

Christian Blanken S/S 2012 by Kate Eldridge

Christian Blanken S/S 2012 by Rosa and Carlotta
Christian Blanken S/S 2012 by Rosa and Carlotta
It was all undoubtedly feminine, but not as you’d recognise it. Ruching? Sparkle? Soft silks and pale colours? Sweet, but not in the hands of Christian Blanken. I have never been a big fan of sweet, and like Christian count strong-silhouette designers like Azzedine Alaia and Helmut Lang as two of my favourites, but would most definitely embrace this wearable version of it for S/S 2012.

Christian-Blanken S/S 2012 illustrated by Alia Gargum

Christian-Blanken S/S 2012 by Alia Gargum

Inspired by the new Swarovski Elements ceramics collection, stingrays (which worked beautifully in print), bonded textiles and leathers, this collection is for those that appreciate tailoring, detail, and good fabrics. Christian sourced materials from Italy to get the best he could while following his aim of creating the ideal modern wardrobe without an impossible price range.

Christian Blanken S/S 2012 illustrated by Ada Jusic

Christian Blanken S/S 2012 illustrated by Ada Jusic

The show itself was even relaxing to draw; the clean lines, slicked-back hair and sharp tailoring flowed easily along the page. Even the latecomers that kept walking into the show space and were momentarily reflected in the cleverly designed set along with the models didn’t disrupt the calm.

Christian Blanken S/S 2012 by Rosa & Carlotta Crepax
As the show ended and I left the room, I felt curious to see what this Dutch-born designer comes up with next. Anyone who can make ruching and sparkle also behave in such a strong and structured way deserves attention, which he seemed to be in for as I strolled past the long line already patiently waiting for the next show.

Categories ,Ada Jusic, ,Alia Gargum, ,Azzedine Alaia, ,Bora Aksu, ,Christian Blanken, ,Clean Lines, ,Coral, ,Feminine, ,Front Row, ,Gareth A Hopkins, ,Gilly Rochester, ,Goddy Bag, ,Helmut Lang, ,Hoisery, ,Illustrated Moodboard, ,Kate Eldridge, ,London Fashion Week, ,Rosa & Carlotta Crepax, ,Set Design, ,Sparkle, ,Sportwear, ,Spring/Summer 2012, ,Swarovski, ,Sweet

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Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: David Koma

David Koma SS12 by Gilly Rochester
David Koma S/S 2012 by Gilly Rochester.

Ahhhhh… David Koma. One of London‘s most feted new design talents and a hot ticket on a Tuesday you would think, cialis 40mg but this show was far from full let alone packed, viagra with people scurrying forwards to the front row from all sides as the show began. Beneath the glassed roof of the old Waterloo Eurostar terminal David Koma presented a beautiful collection on some so-so models. I’d heard rumours that an early start to Milan was dragging off the more important parts of the fashion industry but if ever there was proof this was it.

David Koma SS 2011 review-photo by Amelia Gregory
David Koma SS 2011 review-photo by Amelia Gregory
David Koma SS 2011 review-photo by Amelia Gregory
David Koma SS 2011 review-photo by Amelia Gregory
David Koma SS 2011 review-photo by Amelia Gregory
David Koma SS 2011 review-photo by Amelia Gregory
David Koma SS 2011 review-photo by Amelia Gregory
David Koma SS 2011 review-photo by Amelia Gregory
David Koma SS 2011 review-photo by Amelia Gregory
David Koma Illustration By Kassie Berry
David Koma S/S 2012 by Kassie Berry.

Despite some very interesting jutting heads and flapping arms I loved this collection, wherein David Koma played with shapes and textural movement like never before. A silky cream coloured concoction opened the show, with what amounted to a huge belt gathered at the waist into multi-layered loose pleats, inspired by African Zulu style. Underneath the most gauzy of under garments represented the majority of the dress, cut up by abstract devore shapes that were inspired by a combination of Polynesian tribal body paint and the work of artist Kim Joon.

David Koma SS 2011 review-photo by Amelia Gregory
David Koma SS 2011 review-photo by Amelia Gregory
David Koma SS 2011 review-photo by Amelia Gregory
David Koma SS 2011 review-photo by Amelia Gregory
David Koma SS 2011 review-photo by Amelia Gregory
David Koma SS 2011 review-photo by Amelia Gregory
David Koma SS 2011 review-photo by Amelia Gregory
David Koma SS 2011 review-photo by Amelia Gregory
David Koma SS 2011 review-photo by Amelia Gregory

A gradual hint of summery colour was brought to the proceedings through the use of lime green and bright rose pink on sleeves and behind the devore cut outs in chest panels. As in many other collections skirted shapes encompassed both pencil and a wider skater shape, but because of the layering it was here that the different looks worked at their seamless best.

David Koma by Gareth A Hopkins
David Koma S/S 2012 by Gareth A Hopkins.

David Koma SS 2011 review-photo by Amelia Gregory
David Koma SS 2011 review-photo by Amelia Gregory
David Koma SS 2011 review-photo by Amelia Gregory
David Koma SS 2011 review-photo by Amelia Gregory
David Koma SS 2011 review-photo by Amelia Gregory
David Koma SS 2011 review-photo by Amelia Gregory
David Koma SS 2011 review-photo by Amelia Gregory
David Koma SS 2011 review-photo by Amelia Gregory
David Koma SS 2011 review-photo by Amelia Gregory

High heels by Alain Quilici were chunky with wide t-bar sections that frilled out in an echo of the waist pleats. Hair featured multiple partings similar to the abstract designs on clothing. Check out the amazing coloured Minx Nails up close in this blog on Inspirational.

David Koma SS 2011 review-photo by Amelia Gregory
David Koma SS 2011 review-photo by Amelia Gregory
David Koma SS 2011 review-photo by Amelia Gregory
David Koma SS 2011 review-photo by Amelia Gregory
David Koma SS 2011 review-photo by Amelia Gregory
David Koma SS 2011 review-photo by Amelia Gregory
David Koma SS 2011 review-photo by Amelia Gregory
David Koma SS 2011 review-photo by Amelia Gregory
david_koma_by_ada_jusic
David Koma S/S 2012 by Ada Jusic.

With a rattle of swaying hips iridescent perspex adornments – a collaboration with jewellery designer Sarah Angold – began to spread across thighs and breasts. A series of inky black dresses were highlighted in turquoise before the final pieces became engulfed in an oily rainbow of perspex embellishment, this time repeated in exquisite pearlised sequin designs paired with more of that luscious lime. Yum.

David Koma SS 2011 review-photo by Amelia Gregory
David Koma SS 2011 review-photo by Amelia Gregory
David Koma SS 2011 review-photo by Amelia Gregory
David Koma S/S 2011. All photography by Amelia Gregory.

Categories ,abstract, ,Ada Jusic, ,African, ,Alain Quilici, ,Belts, ,David Koma, ,Devore, ,Embellishment, ,Gareth A Hopkins, ,Gilly Rochester, ,Inspirational, ,Iridescent, ,jewellery, ,Kassie Berry, ,Kim Joon, ,lfw, ,London Fashion Week, ,Minx Nails, ,Pearlised, ,pencil skirt, ,Perspex, ,Pleated, ,Polynesian, ,S/S 2012, ,Sarah Angold, ,Skater Skirt, ,Tribal patterns, ,Waterloo Eurostar Terminal, ,Zulu

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Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Georgia Hardinge

Georgia Hardinge SS 2012 by Jane Young
Georgia Hardinge S/S 2012 by Jane Young.

Former One to Watch and Merit Award winner Georgia Hardinge presented her S/S 2012 to an eager audience at Fashion Scout. Cubed was ‘inspired by the dark nature of cubo-futurism‘ – obvious in the multi-layered geometric lines that followed the contours of the female models on sheer blouses, this tight bodycon dresses and swirling capes.

Georgia Hardinge SS 2012 review-photo by Amelia Gregory
Georgia Hardinge SS 2012 review-photo by Amelia Gregory
Georgia Hardinge SS 2012 review-photo by Amelia Gregory
Georgia Hardinge SS 2012 review-photo by Amelia Gregory
Georgia Hardinge SS 2012 review-photo by Amelia Gregory
Georgia Hardinge SS 2012 review-photo by Amelia Gregory
Georgia Hardinge SS 2012 review-photo by Amelia Gregory
LFW Georgia Hardinge S/S 2012 by Celine Choo
Georgia Hardinge S/S 2012 by Celine Choo.

A predominant colour palette of soft grey was broken with luscious tangerine orange, recipe summery yellow and stark white. With Georgia Hardinge the question has always been how to combine her more avante garde sculptural creations with commercial wearability and if Cubed was anything to go by she has figured this out with the utmost panache: a conversation with an eager buyer confirmed my feelings that this was her most saleable collection yet, especially now that Mary Katrantzou has paved the way for a new generation of extravagantly shaped garments. Even boxy mini skirts with sharpened edges and fold down details on chests were eminently wearable without losing anything of the signature Georgia Hardinge aesthetic.

Georgia Hardinge SS 2012 review-photo by Amelia Gregory
Georgia Hardinge SS 2012 review-photo by Amelia Gregory
Georgia Hardinge SS 2012 review-photo by Amelia Gregory
Georgia Hardinge SS 2012 review-photo by Amelia Gregory
Georgia Hardinge SS 2012 review-photo by Amelia Gregory
Georgia Hardinge SS 2012 review-photo by Amelia Gregory
Georgia Hardinge SS 2012 review-photo by Amelia Gregory
georgia_hardinge_by_ada_jusic
Georgia Hardinge S/S 2012 by Ada Jusic.

Digital printing has allowed for a revolution in textile design that simply wasn’t possible when I was studying the old methods of screenprinting at university in the 90s. I can’t deny that I sometimes miss the limitations that screenprinting enforced on design but when digital printing is done well the results are wholly unique, as in Georgia Hardinge‘s stunning new collection. In Cubed the complexity and cleverness of Georgia’s print techniques reached its apotheosis in the last dress to float away in a cloud of cubist wonder. A beautiful collection.

Georgia Hardinge SS 2012 review-photo by Amelia Gregory
Georgia Hardinge SS 2012 review-photo by Amelia Gregory
Georgia Hardinge SS 2012 review-photo by Amelia Gregory
Georgia Hardinge SS 2012 review-photo by Amelia Gregory
Georgia Hardinge SS 2012 review-photo by Amelia Gregory
Georgia Hardinge SS 2012 review-photo by Amelia Gregory
Georgia Hardinge SS 2012 review-photo by Amelia Gregory
Georgia Hardinge SS 2012 review-photo by Amelia Gregory
Georgia Hardinge SS 2012 review-photo by Amelia Gregory
Georgia Hardinge SS 2012 review-photo by Amelia Gregory
Georgia Hardinge SS 2012 review-photo by Amelia Gregory
Georgia Hardinge SS 2012 review-photo by Amelia Gregory
Georgia Hardinge SS 2012 review-photo by Amelia Gregory
Georgia Hardinge SS 2012 review-photo by Amelia Gregory
Georgia Hardinge SS 2012 review-photo by Amelia Gregory
Georgia Hardinge S/S 2012. All photography by Amelia Gregory.

Categories ,Ada Jusic, ,bodycon, ,Capes, ,Celine Choo, ,Cubism, ,Cubo-Futurism, ,Digital Printing, ,Fashion Scout, ,Futurism, ,geometric, ,Georgia Hardinge, ,Grey, ,Jane Young, ,London Kills Me, ,Merit Award, ,Ones To Watch, ,Orange, ,screenprinting, ,Sculptural, ,Sheer

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Amelia’s Magazine | Halloween 2011: a Ghoulish Celebration of the Dead in Illustration

Halloween by Karolina Burdon
Halloween by Karolina Burdon.

And so Halloween rolls around again! I’ve loved Halloween since I was a pre-teen, when I hosted annual parties for my schoolmates where I always dressed as a witch. We had apple bobbing and ‘guess the body part’ style games. (peeled grapes, cold spaghetti, jelly mashed up, etc…) Ever since then I have taken many an opportunity to dress up as a ghoul or a monster – especially during ‘night games’ hosted on Forest School Camps for children. I don’t know why, but I really relish spooking people out in the dark.

Halloween by Emmeline Pidgen
Halloween by Emmeline Pidgen.

More recently a few Amelia’s Magazine parties have conveniently coincided with this time of year – my second issue was memorably launched in the ancient disco room behind the George Tavern on Commercial Road, now boarded up. And a few years ago I went out on the town with a group of my interns – all of us sporting fake blood and fangs.

All Hallows Eve by Devin McGrath
All Hallows Eve by Devin McGrath.

I’ve just come back from Poland where the Americanised version of Halloween has yet to make a serious dent on traditions. All Saints’ Day on 1st November is a national holiday and families take the time to remember much loved relatives by placing flowers and candles on their graves. It’s a tradition I think we could do more of in the UK since we no longer seem to have much space to honour those we have lost. Instead Halloween (which has come from a combination of remembering our dead and a celebration of autumn) is merely a garish commercial opportunity. When I was little I had to make all of my own Halloween outfits and decorations, but in the past ten years I have noticed a huge increase in the amount of Halloween tat (and branded food) for sale come late October.

Halloween by Ada Jusic
Halloween by Ada Jusic.

Don’t get me wrong though, I still love Halloween even if I no longer have time to properly enjoy it myself. And I am going to make damned sure my child has the opportunity to dress up, play games and scare themselves and others senseless too. In the meantime, feast your eyes on these ghoulish illustrations.

Halloween Pumpkin by Jacqueline Valencia
Halloween Pumpkin by Jacqueline Valencia.

Sugar Skull by Jacqueline Valencia
Sugar Skull by Jacqueline Valencia.

Bacall SugarSkull Halloween by SarahJayneDraws
Brooks SugarSkull Halloween SarahJayneDraws
garbo by Sarah Jayne morris
Halloween Sugar Skulls by Sarah Jayne Draws aka Sarah Jayne Morris.

Halloween by Estelle Morris
Halloween by Estelle Morris.

.

Categories ,Ada Jusic, ,All Saints’ Day, ,Devin McGrath, ,Emmeline Pidgen, ,Estelle Morris, ,Forest School Camps, ,Ghouls, ,Hallowe’en, ,illustration, ,Jacqueline Valencia, ,Karolina Burdon, ,October, ,poland, ,Pumpkins, ,Sarah Jayne Morris, ,SarahJayneDraws, ,Sugar Skull, ,Witches

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Amelia’s Magazine | I am on Maternity Leave: Burlesque Baby Bump Photography by Tigz Rice and Pregnancy Illustrations

TigzRiceStudios Amelia Gregory
Is that really a baby in there? Or is it just a giant beach ball? It’s hard to believe I am this big, for real.
Photography by Tigz Rice Studios.

Well, the time is nigh…. my due date is approaching with inexorable rapidity, and this baby is definitely going to arrive sometime soon. As a result you may have noticed a drop off in blogs on this website as my nesting instinct inevitably kicks in – the last few months have seen a flurry of activity in a house that up until now has been a workplace. For years back issues of Amelia’s Magazine, promotional CDs, look books and other paraphernalia have dominated my home space… but now what used to house my interns has finally become what could be baby’s room (still full of boxes and clothes mind you), and my kitchen is no longer of the cheap student variety but rather a clean white affair from IKEA. The plumbing is no longer exploding in a dramatic fashion everywhere, fuses are mostly fixed, the wooden floors have been filled and sanded, I have become obsessed with painting all the walls totally white and the dust is vaguely under control.

Amelia-by-Sally-Jane-Thompson
Amelia by Sally Jane Thompson from a photo by Tigz Rice.

Amelia burlesque bump by Janneke de Jong from a photo by Tigz Rice
Amelia’s burlesque bump by Janneke de Jong from a photo by Tigz Rice.

Of course, I run my own business and have no capacity to employ someone to take it over for me… so maternity leave is but a dim and distant fantasy. However, this blog is my attempt to tell the world what’s happening and why I might be gone for a little while I adjust to becoming a mother. Right now I have no idea how it will affect my ability to maintain this website but the plan is to take a bit of time off and then dive back in again once I have the energy to do so. I’m sure I won’t be able to resist the lure for long…

Amelia's Bump by Gemma Cotterell
Amelia’s Bump by Gemma Cotterell from a photo by Tigz Rice.

Amelia Gregory by Love Amelia, from a photo by Tigz Rice
Amelia Gregory by Love Amelia, from a photo by Tigz Rice.

Mindful that my body will only stay in this exciting beach ball-like state for a short while longer, and inspired by my friend’s pregnancy photos, I decided to get some *bump shots* done before I return to normality, and this was how I found myself at Tigz Rice’s studio in Bromley one morning two weeks ago. Tigz Rice is best known as a burlesque and boudoir pin-up portrait specialist, but I thought she might like to have a go at something different. In the process we decided to muck around with some of her burlesque props – the results being some fun shots with ostrich feathers (and nipple tassels, though I am afraid those aren’t going to see the light of day on here) I found it much more relaxing to pose with these props, and strangely enough one of her burlesque regulars commissioned her to do some *burlesque bump* shots the very same week that I visited her, so there’s definitely an idea in the air. Tigz might just have an interesting side career on her hands… so if you fancy something special to commemorate pregnancy why not get in touch with her?

Amelia maternity_by_Ada Jusic
Amelia: maternity by Ada Jusic from a photo by Tigz Rice.

Amelia by Janneke de Jong from a photo by Tigz Rice
Amelia by Janneke de Jong from a photo by Tigz Rice.

Here I share one of the fully clothed shots that she took, and the rest I asked illustrators to interpret since lovely as they are for my personal record I am not really ready to bare nearly all in photographic form on the internet. Plus… illustrators can work wonders with things like fat thighs. I think you’ll agree that an illustrated image to remind you of pregnancy is a fine idea, and if you find yourself in the baby way maybe you’ll consider contacting one of these talented ladies to do the honours – they’re all happy to receive commissions! Just head to their respective websites to get in touch.

Amelias Baby by Claire Jones for Beautiful Moment Art
Amelia’s Baby by Claire Jones for Beautiful Moment Art from a photo by Tigz Rice. The flowers are Lotus, Myrtle and Daisies, which all symbolise birth, innocence, purity and new life.

Amelia Gregory_Amelias Magazine by Nicola Ellen
Amelia by Nicola Ellen from a photo by Tigz Rice.

Finally, there will still be the occasional blog going up until I give birth, and then I’m sure I could be persuaded to share some baby pics… but this won’t ever become a place where I share all about raising baby. So don’t panic! I hope you will bear with me whilst I adjust to this new phase of my life, and enjoy the huge back catalogue of nearly 4000 blogs that reside on this website in the meantime. Why not explore?

Categories ,Ada Jusic, ,Beautiful Moment Art, ,Bump Photography, ,Burlesque, ,Burlesque Baby Bump, ,Claire Jones, ,Gemma Cotterell, ,Ikea, ,illustration, ,Janneke de Jong, ,Love Amelia, ,Maternity Leave, ,photography, ,Pregnancy, ,Sally Jane Thompson, ,Tigz Rice, ,Tigz Rice Studios

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Amelia’s Magazine | I am on Maternity Leave: Burlesque Baby Bump Photography by Tigz Rice and Pregnancy Illustrations

TigzRiceStudios Amelia Gregory
Is that really a baby in there? Or is it just a giant beach ball? It’s hard to believe I am this big, for real.
Photography by Tigz Rice Studios.

Well, the time is nigh…. my due date is approaching with inexorable rapidity, and this baby is definitely going to arrive sometime soon. As a result you may have noticed a drop off in blogs on this website as my nesting instinct inevitably kicks in – the last few months have seen a flurry of activity in a house that up until now has been a workplace. For years back issues of Amelia’s Magazine, promotional CDs, look books and other paraphernalia have dominated my home space… but now what used to house my interns has finally become what could be baby’s room (still full of boxes and clothes mind you), and my kitchen is no longer of the cheap student variety but rather a clean white affair from IKEA. The plumbing is no longer exploding in a dramatic fashion everywhere, fuses are mostly fixed, the wooden floors have been filled and sanded, I have become obsessed with painting all the walls totally white and the dust is vaguely under control.

Amelia-by-Sally-Jane-Thompson
Amelia by Sally Jane Thompson from a photo by Tigz Rice.

Amelia burlesque bump by Janneke de Jong from a photo by Tigz Rice
Amelia’s burlesque bump by Janneke de Jong from a photo by Tigz Rice.

Of course, I run my own business and have no capacity to employ someone to take it over for me… so maternity leave is but a dim and distant fantasy. However, this blog is my attempt to tell the world what’s happening and why I might be gone for a little while I adjust to becoming a mother. Right now I have no idea how it will affect my ability to maintain this website but the plan is to take a bit of time off and then dive back in again once I have the energy to do so. I’m sure I won’t be able to resist the lure for long…

Amelia's Bump by Gemma Cotterell
Amelia’s Bump by Gemma Cotterell from a photo by Tigz Rice.

Amelia Gregory by Love Amelia, from a photo by Tigz Rice
Amelia Gregory by Love Amelia, from a photo by Tigz Rice.

Mindful that my body will only stay in this exciting beach ball-like state for a short while longer, and inspired by my friend’s pregnancy photos, I decided to get some *bump shots* done before I return to normality, and this was how I found myself at Tigz Rice‘s studio in Bromley one morning two weeks ago. Tigz Rice is best known as a burlesque and boudoir pin-up portrait specialist, but I thought she might like to have a go at something different. In the process we decided to muck around with some of her burlesque props – the results being some fun shots with ostrich feathers (and nipple tassels, though I am afraid those aren’t going to see the light of day on here) I found it much more relaxing to pose with these props, and strangely enough one of her burlesque regulars commissioned her to do some *burlesque bump* shots the very same week that I visited her, so there’s definitely an idea in the air. Tigz might just have an interesting side career on her hands… so if you fancy something special to commemorate pregnancy why not get in touch with her?

Amelia maternity_by_Ada Jusic
Amelia: maternity by Ada Jusic from a photo by Tigz Rice.

Amelia by Janneke de Jong from a photo by Tigz Rice
Amelia by Janneke de Jong from a photo by Tigz Rice.

Here I share one of the fully clothed shots that she took, and the rest I asked illustrators to interpret since lovely as they are for my personal record I am not really ready to bare nearly all in photographic form on the internet. Plus… illustrators can work wonders with things like fat thighs. I think you’ll agree that an illustrated image to remind you of pregnancy is a fine idea, and if you find yourself in the baby way maybe you’ll consider contacting one of these talented ladies to do the honours – they’re all happy to receive commissions! Just head to their respective websites to get in touch.

Amelias Baby by Claire Jones for Beautiful Moment Art
Amelia’s Baby by Claire Jones for Beautiful Moment Art from a photo by Tigz Rice. The flowers are Lotus, Myrtle and Daisies, which all symbolise birth, innocence, purity and new life.

Amelia Gregory_Amelias Magazine by Nicola Ellen
Amelia by Nicola Ellen from a photo by Tigz Rice.

Finally, there will still be the occasional blog going up until I give birth, and then I’m sure I could be persuaded to share some baby pics… but this won’t ever become a place where I share all about raising baby. So don’t panic! I hope you will bear with me whilst I adjust to this new phase of my life, and enjoy the huge back catalogue of nearly 4000 blogs that reside on this website in the meantime. Why not explore?

Categories ,Ada Jusic, ,Beautiful Moment Art, ,Bump Photography, ,Burlesque, ,Burlesque Baby Bump, ,Claire Jones, ,Gemma Cotterell, ,Ikea, ,illustration, ,Janneke de Jong, ,Love Amelia, ,Maternity Leave, ,photography, ,Pregnancy, ,Sally Jane Thompson, ,Tigz Rice, ,Tigz Rice Studios

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Amelia’s Magazine | A Trip to Venice with Swatch

Venice by Sally Jane Thompson
Venice by Sally Jane Thompson.

It’s quite something to be utterly spoilt on a press trip. It doesn’t happen to me often and in fact it’s only in the last year that people have started to invite me places… a mere eight years since I started Amelia’s Magazine: these perks of the job have not exactly fallen in my lap. But it says something about the rise of blogging (which my website is undeniably in the form of, recipe even if I still like to think of it as a magazine) that bloggers of all persuasions are now being offered similar opportunities to mainstream journalists.

Venice by Madalina Andronic
Venice by Madalina Andronic.

Venice-Biennale-by-Alia-Gargum
Venice by Alia Gargum.

And so it was that I found myself on my way to Venice last week for a two day jolly courtesy of Swatch. Swatch, look as I am sure anyone who was around in the 1980s will recall, capsule are big lovers of art. They don’t make fancy schmancy watches that cost the earth (literally, since they are often made of rapidly depleting precious metals), instead they make easily attainable fun watches, often in collaboration with artists. Back in the 80s they were really the done thing to wear, and I still treasure my much loved Swatch, even if it is a bit yellowed and deteriorated around the edges.

Swatch 80s pop
For quite a few years the brand was off my radar, but now they are firmly planted back in the centre of the art world thanks to the guidance of current president, the formidable and charismatic Madame Emch, a former fashion PR with a pure passion for art… and Venice.

Venice-by-Jessica-Knight
Venice by Jessica Knight.

Venice by Madalina Andronic
Venice by Madalina Andronic.

Venice-by-Jessica-Knight
Venice by Jessica Knight.

We were in Venice because Swatch is the principal partner of the famous Venice Biennale, but also because Madame M (as her name is wont to sound and I rather like because it sounds like something out of a Bond movie) has been visiting since she was five years old and loves Venice more than any other city in the world. Finally, a triple whammy: Swatch‘s newest collaborator makes much of his artwork with the help of the Murano glass makers of Venice. Jean-Michel Othoniel creates huge glowing jewelled necklaces that he hangs from trees and drapes from buildings, and for his Swatch collaboration he has again worked with murano glass makers to create something really quite special… but more on that here.

venice_by_ada_jusic
Venice by Ada Jusic.

Venice by Madalina Andronic
Venice by Madalina Andronic.

venice-by-Jessica-Knight
Venice by Jessica Knight.

Venice Treasure by Laura Frame
Venice Treasure by Laura Frame.

During our visit we were thoroughly spoilt, staying in an infamous hotel called the Excelsior that features in the film Death in Venice, and being ferried everywhere on private speedboats or gondolas – the later being a lot better for the environment, but also more sedate (ie, less fun). We had a private guided tour of the Peggy Guggenheim museum before dining in style on the rooftop, were served lunch on the roof of the head office of the Biennale with fabulous views over the centre of Venice, ate at the Cipriani (frequented by George Clooney and ilk) and had another guided tour of the Biennale itself (read my reviews). I have only visited Venice once before when I was inter-railing, aged 17. I remember feeling overwhelmed by the crowds (which this time we avoided due to the time of year and our posh transport options) as well as the high cost of everything. By contrast this trip truly was a beautiful experience which made me dream of returning to Venice one day, although sadly I think the state of my own finances would mean anything else than what I experienced this time around would likely be far less fabulous. Still, one can dream…

Venice Biennale 2011 Swatch review Excelsior
Arriving at the Excelsior by speedboat.

Venice Biennale 2011 Swatch review-Veronica of Red Ant
The beautiful Veronica of Red Ant, who invited me to Venice.

Venice Biennale 2011 Swatch review Excelsior
The art deco influenced interior of the Excelsior.

Venice Biennale 2011 Swatch review
The view from my room.

Venice Biennale 2011 Swatch review-travelling by gondola
Venice Biennale 2011 Swatch review-travelling by gondola
Venice Biennale 2011 Swatch review-travelling by gondola
Travelling by gondola.

Venice Biennale 2011 Swatch review-Exterior of the Excelsior from the beach
Exterior of the Excelsior from the beach.

Venice Biennale 2011 Swatch review-madame Emch
Madame Emch charms everyone.

Venice Biennale 2011 Swatch review-Amazing Italian style
Amazing Italian style.

Venice Biennale 2011 Swatch review-Meeting the director of the Guggenheim
Meeting the director of the Guggenheim.

Venice Biennale 2011 Swatch review-speedboat
Venice Biennale 2011 Swatch review
Venice Biennale 2011 Swatch review-speedboat
More travelling by speedboat: that’s me with some Russian journalists.

Venice Biennale 2011 Swatch review-Cinzia and Romain Colin
Italian blogger Cinzia and French blogger Romain Colin of Fubiz in the backwaters of Venice.

Venice Biennale 2011 Swatch review
Venice Biennale 2011 Swatch review-cinzia, dadanoias, vero
Myself with Italian blogger Cinzia of Frizzi Frizzi, Spanish blogger Marta of Dadanoias and Veronica of Red Ant on the rooftop of the Biennale offices.

Categories ,80s, ,Ada Jusic, ,Alia Gargum, ,Bloggers, ,Blogging, ,Bond, ,Cinzia, ,Dadanoias, ,Death in Venice, ,film, ,Frizzi Frizzi, ,Fubiz, ,George Clooney, ,Glass, ,Gondola, ,Guggenheim, ,Hotel Cipriani, ,Hotel Excelsior, ,Jean-Michel Othoniel, ,Jessica Knight, ,Laura Frame, ,Madalina Andronic, ,Madame Emch, ,Madame M, ,Marta, ,Murano, ,Peggy Guggenheim, ,Red Ant, ,Romain Colin, ,Sally Jane Thompson, ,Speedboat, ,Venice, ,Venice Biennale, ,Veronica Sambonet, ,Watch

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Amelia’s Magazine | A Trip to Venice with Swatch

Venice by Sally Jane Thompson
Venice by Sally Jane Thompson.

It’s quite something to be utterly spoilt on a press trip. It doesn’t happen to me often and in fact it’s only in the last year that people have started to invite me places… a mere eight years since I started Amelia’s Magazine: these perks of the job have not exactly fallen in my lap. But it says something about the rise of blogging (which my website is undeniably in the form of, recipe even if I still like to think of it as a magazine) that bloggers of all persuasions are now being offered similar opportunities to mainstream journalists.

Venice by Madalina Andronic
Venice by Madalina Andronic.

Venice-Biennale-by-Alia-Gargum
Venice by Alia Gargum.

And so it was that I found myself on my way to Venice last week for a two day jolly courtesy of Swatch. Swatch, look as I am sure anyone who was around in the 1980s will recall, capsule are big lovers of art. They don’t make fancy schmancy watches that cost the earth (literally, since they are often made of rapidly depleting precious metals), instead they make easily attainable fun watches, often in collaboration with artists. Back in the 80s they were really the done thing to wear, and I still treasure my much loved Swatch, even if it is a bit yellowed and deteriorated around the edges.

Swatch 80s pop
For quite a few years the brand was off my radar, but now they are firmly planted back in the centre of the art world thanks to the guidance of current president, the formidable and charismatic Madame Emch, a former fashion PR with a pure passion for art… and Venice.

Venice-by-Jessica-Knight
Venice by Jessica Knight.

Venice by Madalina Andronic
Venice by Madalina Andronic.

Venice-by-Jessica-Knight
Venice by Jessica Knight.

We were in Venice because Swatch is the principal partner of the famous Venice Biennale, but also because Madame M (as her name is wont to sound and I rather like because it sounds like something out of a Bond movie) has been visiting since she was five years old and loves Venice more than any other city in the world. Finally, a triple whammy: Swatch‘s newest collaborator makes much of his artwork with the help of the Murano glass makers of Venice. Jean-Michel Othoniel creates huge glowing jewelled necklaces that he hangs from trees and drapes from buildings, and for his Swatch collaboration he has again worked with murano glass makers to create something really quite special… but more on that here.

venice_by_ada_jusic
Venice by Ada Jusic.

Venice by Madalina Andronic
Venice by Madalina Andronic.

venice-by-Jessica-Knight
Venice by Jessica Knight.

Venice Treasure by Laura Frame
Venice Treasure by Laura Frame.

During our visit we were thoroughly spoilt, staying in an infamous hotel called the Excelsior that features in the film Death in Venice, and being ferried everywhere on private speedboats or gondolas – the later being a lot better for the environment, but also more sedate (ie, less fun). We had a private guided tour of the Peggy Guggenheim museum before dining in style on the rooftop, were served lunch on the roof of the head office of the Biennale with fabulous views over the centre of Venice, ate at the Cipriani (frequented by George Clooney and ilk) and had another guided tour of the Biennale itself (read my reviews). I have only visited Venice once before when I was inter-railing, aged 17. I remember feeling overwhelmed by the crowds (which this time we avoided due to the time of year and our posh transport options) as well as the high cost of everything. By contrast this trip truly was a beautiful experience which made me dream of returning to Venice one day, although sadly I think the state of my own finances would mean anything else than what I experienced this time around would likely be far less fabulous. Still, one can dream…

Venice Biennale 2011 Swatch review Excelsior
Arriving at the Excelsior by speedboat.

Venice Biennale 2011 Swatch review-Veronica of Red Ant
The beautiful Veronica of Red Ant, who invited me to Venice.

Venice Biennale 2011 Swatch review Excelsior
The art deco influenced interior of the Excelsior.

Venice Biennale 2011 Swatch review
The view from my room.

Venice Biennale 2011 Swatch review-travelling by gondola
Venice Biennale 2011 Swatch review-travelling by gondola
Venice Biennale 2011 Swatch review-travelling by gondola
Travelling by gondola.

Venice Biennale 2011 Swatch review-Exterior of the Excelsior from the beach
Exterior of the Excelsior from the beach.

Venice Biennale 2011 Swatch review-madame Emch
Madame Emch charms everyone.

Venice Biennale 2011 Swatch review-Amazing Italian style
Amazing Italian style.

Venice Biennale 2011 Swatch review-Meeting the director of the Guggenheim
Meeting the director of the Guggenheim.

Venice Biennale 2011 Swatch review-speedboat
Venice Biennale 2011 Swatch review
Venice Biennale 2011 Swatch review-speedboat
More travelling by speedboat: that’s me with some Russian journalists.

Venice Biennale 2011 Swatch review-Cinzia and Romain Colin
Italian blogger Cinzia and French blogger Romain Colin of Fubiz in the backwaters of Venice.

Venice Biennale 2011 Swatch review
Venice Biennale 2011 Swatch review-cinzia, dadanoias, vero
Myself with Italian blogger Cinzia of Frizzi Frizzi, Spanish blogger Marta of Dadanoias and Veronica of Red Ant on the rooftop of the Biennale offices.

Categories ,80s, ,Ada Jusic, ,Alia Gargum, ,Bloggers, ,Blogging, ,Bond, ,Cinzia, ,Dadanoias, ,Death in Venice, ,film, ,Frizzi Frizzi, ,Fubiz, ,George Clooney, ,Glass, ,Gondola, ,Guggenheim, ,Hotel Cipriani, ,Hotel Excelsior, ,Jean-Michel Othoniel, ,Jessica Knight, ,Laura Frame, ,Madalina Andronic, ,Madame Emch, ,Madame M, ,Marta, ,Murano, ,Peggy Guggenheim, ,Red Ant, ,Romain Colin, ,Sally Jane Thompson, ,Speedboat, ,Venice, ,Venice Biennale, ,Veronica Sambonet, ,Watch

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Amelia’s Magazine | An interview with Rapunzel and Sedayne on the release of new album Songs From The Barley Temple

rapunzel_sedanye_by_ada_jusic
Rapunzel and Sedanye by Ada Jusic.

It’s no secret that I am partial to a bit of old time folk music: it’s the sound of many a campfire singalong, viagra buy a narrative tradition of music that is participatory rather than merely made for an audience to consume. And I love to discover new folk that dwells on old time tunes but with new arrangements, new harmonies and new stories to tell. I fell for Rapunzel and Sedayne as soon as I heard them on Soundcloud, a gorgeous duo clammering away on a variety of exotic instruments to create subtly haunting tunes that sound as relevant and wonderful today as their influences.

Can you tell us a bit about your life up to now? It sounds most intriguing. For example how did you come to fall in love with folk music, and what other things have you done before this album?
Rapunzel: I’ve always loved singing since I was a child – influenced by my dad who is a great harmony singer himself, but not musically trained so he made sure my sister and I got music lessons early on. I started piano at six, but far from being a child prodigy I hated it and really only started understanding music in my late teens when I stopped trying to read it and started listening to what I was playing. There is an annual folk festival in my home town and I remember seeing the likes of Fred Jordan, Jim Eldon, Peter Bellamy and June Tabor who all had an influence on me as I was growing up. In my late teens and twenties I did the singer-songwriter thing with my guitar, but in recent years and by working with Sean I have got back in touch with the old folk songs.

Rapunzel and Sedayne cover
Sedayne: Folk was part of the zeitgeist of my childhood. Everything from Dr Who and Catweazle to Strawbs, Gentle Giant and the Third Ear Band and a shelf load of books on folksong and folklore most of which are now entirely discredited but still mean a lot to me. It was integral to the landscapes in which I grew up – ballads and legends and bagpipes – all of which informed my own approach and most crucially in the areas I explore with Rachel. We’ve done a number of projects over the years from experimental music with Martin Archer to neo-folk tracks on various compilation albums such as Infernal Proteus and three volumes of John Barleycorn Reborn. We’ve just done a song on the subject of Werewolves for a project in Sweden – it is an exquisite facsimile of a 19th century study of Werewolves in Swedish folklore with a disk of specially composed songs. Think Porcupine meets Being Human


 
Fairytale Folk by Claire Jones
Fairytale Folk by Claire Jones.

Sedayne, I understand that you are a specialist in ancient and traditional instruments, and on this album you play kemence, violin, crwth, flute and kaossilator. I don’t know what three of those are, can you tell us more about them and the sounds they make?
Sedayne: At the high end is the kemence from Turkey – also known as the Black Sea Fiddle. It’s small, extremely versatile and ideal for the music we do. At the bottom end is the crwth – a medieval bowed-lyre that was made for me in 1983 by Tim Hobrough (long before the current crwth revival I might add) so it’s a big part of my musical life and thinking. In the middle is the violin – which is an extension of both in a way, though people say I play the violin like a crwth and the crwth like a violin. I was playing crwth and kemence long before I got into the violin, which Rachel insisted upon when she got into the banjo some years ago. The banjo and violin make good bedfellows. The Kaossilator is a looping phrase synthesizer from Korg that replaces the tyranny of the keyboard with a X-Y pad because it’s primarily designed for DJs! it’s also the size of a decent slice of toast. Along with an electric Shruti box, we use it for loops, drones and washes. 

rapunzel and sedayne by sarah-jayne
Rapunzel and Sedayne by Sarah-Jayne Morris.

You’re a couple – did the music or the romance come first and how does it inform the way that you work? 
Rapunzel:  We were friends for several years before we became a couple. We met at the Durham City Folk Club which at that time was at The Colpitts. It was a golden age for that club in terms of harmony singing and it’s true that Sean and I were communicating through singing together long before we had a conversation. 
Sedayne: Rachel’s musicality had always impressed me & she always did amazing things. It’s odd but the only time we really row together is when we’re working on music. Maybe that’s why we do it? It’s a natural catharsis that always gives rise to something because Rachel is invariably right anyway. We always record live – in real time, no multitracking, which is part of that energy too.
 
Barley Temple - 30-1-11 - Rapunzel
You have quite an old fashioned folk sound. What are your influences and how do you think you differ from those influences or include elements of them?
Rapunzel: Melodically and vocally my influences probably come from the artists I’ve listened to most: Jane Siberry, Judee Sill, Laura Nyro, Tori Amos, David Bowie. But the old songs are lyrically so much more straightforward, telling a story, reporting an event, simple but effective imagery, no hidden meanings, and that is what I love about them. 

Barley Temple - 30-1-11 - Sedayne
Sedayne: The songs are the main influence. I keep saying that we’re not trying to breathe new life into them so much as draw new life from them. It’s a cultural communion as much as it is about doing something in our way, or being deliberately idiosyncratic, though people say we are, but we’re not conscious of that. It’s an old thing as you say, but so is language, baking bread and sex. Most of time we’re listening to pop or classical or early music or jazz or tuning into Tim Westwood but when it comes to doing our own thing it tends towards something pretty archaic to most ears – even folk ears, because we’re less interested in revival conventions than we are more ancient and traditional forms. It’s folk art basically; rugged, earthy and hand-crafted.

Rapunzel & Sedanyne, Tales from The Barley Temple, by Celine Elliott
Rapunzel & Sedanyne, Tales from The Barley Temple, by Celine Elliott.

How important is the folk scene in Lancashire to your process? And are there any folk clubs or meet ups or festivals that you recommend a visitor should go to?
Rapunzel: Strangely enough I didn’t start performing until I left Lancashire, having neither the confidence nor the encouragement. But settling back home, and particularly singing and playing with the Preston Club has helped to make this album what it is.
Sedayne: The Preston Club is the Holy of Holies for us as far as the local Folk Scene goes. It’s very small though. Not select, just awkward as far as audiences or visitors go. I think of it more of a master-class where we can bask in the genius of musicians like Hugh O’Donnell, Tom Walsh, Neil Brook and Dave Peters although what we do is very different to what they do. We do things at the Fylde Folk Festival either just as ourselves or working on projects with other artists, like Ross Campbell and local song-writer Ron Baxter who has an approach we quite like. We’ve only been in Lancashire for four years though – so I don’t think we identify that much with the local scene which I get the impression hasn’t changed in fifty years, which isn’t necessarily a bad thing just Rachel and I are both essentially nomads with itchy feet. We’ve lived in Worth Abbey, Brancepeth Castle, Durham City, the Deerness Valley, Lytham Saint Annes, Lancaster… I’m amazed and disturbed that you can live in a place for over four years and still be regarded – and resented – as a newcomer. After four years I’m thinking – where next?

Rapunzel rach
How did you choose the old songs that you covered? have they been much loved for years or were they specially sourced for the album?
Rapunzel: The Max Hunter archive – an online resource from Missouri State University – is particularly important. I love the songs of Ollie Gilbert that feature on there. Silver Dagger and Diver Boy are from her singing.
Sedayne: We spend a lot of time browsing old field recordings and archives. I always think it’s best that you let the songs choose you, that way they’re easier to learn, they don’t resist you. A lot of those songs we’ve been singing since we met, like Poor Old Horse which I got off Jim Eldon twenty years ago or more. That’s the thing I really remember Rachel singing on before we talked to each other. Her harmony was the most amazingly different thing in an otherwise normal Folk club chorus, so over the years we’ve kept evolving that feel in terms of how our voices work together. I don’t think anyone can own a song, but you have your own way of doing it which is what a song is – it becomes a vehicle to help you find your own voice, which is what you hear from the old singers anyway – a gladsome diversity of an infinity of approaches. Contrary to a lot of Folk thinking, there’s no right or wrong here, and what happens happens. We also improvise a lot, so things change, and always for the better. I must stress that, because we’re doing songs now that I used to do years ago but they’ve never sounded better than they do now even though to some people the old ones will always be best, which is absurd. New fruit is always best I find…

Repunzel and Sedayne by Jennifer Crouch
Repunzel and Sedayne by Jennifer Crouch.

In Porcupine in October Sycamore there are all sorts of incidental sounds including ducks and a dog barking to the beat – what informed your choice to include these kind of sounds?
Rapunzel: What sounds like a dog is more likely a goose. The version with wildfowl is on the Soundcloud rather than the album version.
Sedayne: The field recordings are of diverse wild-fowl from Blackpool Zoo – where the Porcupines live who inspired us to make that song, which is an old-fashioned sounding song about the sorts of non-native elements we embrace as our cultural whole. I was born a multi-cultural UK – I’m a product of that, and I cherish it very dearly. In the local Folk Scene you routinely hear songs in which it is lamented that that the local fish & chip shop is now a Chinese takeaway. I despair at times, I really do. The best thing someone said about Porcupine was that they thought it was a Rudyard Kipling poem set to music by Peter Bellamy. Maybe they were confusing Porcupines with Armadillos?   

Rapunzel and Sedayne interior
In real life you are known as Rachel McCarron and Sean Breadin. Where do your pseudonyms Rapunzel and Sedayne come from?
Sedayne: Rapunzel got her name from a song she sang when we first met. No one knew her name at the time and in the song she sings Call Me Rapunzel, so we did, and the name stuck, even with people who knew her anyway. Sedayne comes from Brian Sedane which is a very old anagram of my given name. I don’t know how or when it acquired the Y or at which point I lost the Brian. There’s no mystical thing here, it’s just random. The best anagram of Sean Breadin is Insane Beard.
Rapunzel: I think Rapunzel was the second song I wrote, when I was 19. Still sing it occasionally.
Sedayne: You can hear Rapunzel on Rachel’s myspace page, along with Sarah Sometimes, another song about naming. People always call Rachel ‘Sarah’; it’s one of these weird things that’s happened all her life, so she wrote a song about her imaginary alter-ego. You can also hear my folk:funk remix ‘Sarah Sometimes’ which reveals some of our other sensitivities. Someone even called her Sarah on the phone the other day! Maybe we’ll do Rapunzel on the next album as people have expressed bafflement over the name, or think it’s in some way contrived (in Folk? Heaven forefend!) but Rapunzel & Sedayne is what we call ourselves because that’s what people call us anyway, and no-one could pronounce Venereum Arvum, which is the name we use for our darker projects, without making it sound like a social disease. We did our last album Pentacle of Pips of Venereum Arvum (download it on bandcamp) and are releasing Fire and Hemlock as Venereum Arvum (on vinyl) in the new year. The name means Field of Pleasure – an erotic metaphor from Sir Richard Burton‘s translations of The Sportive Epigrams of Priapus from ancient Rome.

Rapunzel and Sedayne by Rebecca Oliver
Rapunzel and Sedayne by Rebecca Oliver.

Your music is described as ‘haunting’ and I’ve certainly had it on repeat since I first received it. How do you hope that it will be enjoyed and what do you hope its effect might be on people?
Sedayne: The songs are haunting in themselves and the music we make comes from the songs. Some people see that as being weird and esoteric but we’re really just a husband and wife Folk ‘n’ Fun duo even though we like the spookier Gothic side of things which is there in spades in the old ballads and songs of ceremony. We love MR James and Diana Wynne Jones and Phil Rickman and HP Lovecraft but it’s essential to keep things in perspective regarding what they actually are, or what their actual function might be. People hearing us doing The Gower Wassail (for example) might think it’s a very occult or pagan song, but when you go to the source (the great Phil Tanner – check him out!) you’ll find it’s nothing of the sort. These things run pretty deep though and people relate to them on all sorts of levels, which is fine by us.

§Rapunzel and Sedayne Songs from the Barley Temple cover art
Will you be touring this album at all and what next in general for Rapunzel and Sedayne?
Rapunzel: We’re always finding and developing new old songs, and some new new ones, so we’re already trying to reduce the longlist for the next album.
Sedayne: We’ve been featuring a lot of those songs in our repertoire for a while now – as Rachel says we’re always evolving new songs and revisiting old ones, so our shows are always a mix of whatever it is we’re up to at any given time. We’ve got some gigs coming up in November & December which will feature a mix of things from the Barley Temple album as well certain inevitable Seasonal Material you’ll find on the Soundcloud site nearer the time. We’re playing at the Kit & Cutter club in London on 3rd December, the Kirkby Fleetham Folk Club on the 19th of November, and The Chase Folk Club in Staffordshire on the 2nd of December.  We’re also doing a session for Radio Shropshire on 23rd of October for Genevieve Tudor‘s folk programme… We have this thing of Singing the Calendar Round, but I like the fact that Songs from the Barley Temple has been called ‘The ideal October album‘ (by Stewart Lee in the Sunday Times no less) because one thing about the old songs is that they bring you home in a way – home to the hearth, the orchard, as the days get shorter and year darkens. These things are no longer literal – they’re part of a mythic idyll and that’s a very ancient which we still feel today, even if I do find notions of the viscera of pagan sacrificial victims living on in Christmas Tree decorations a little far-fetched, it still gives you a notion of continuity and of home, and belonging, which (getting back to the previous question) is maybe something we like to share with our audiences and listeners, but I bet (and hope) no one feels it in exactly the same way.

Songs From The Barley Temple is out now on Folk Police Recordings. You can hear more of Rapunzel and Sedayne on Soundcloud and Bandcamp.

Categories ,Ada Jusic, ,Black Sea Fiddle, ,Brancepeth Castle, ,Call Me Rapunzel, ,Catweazle, ,Celine Elliott, ,Claire Jones, ,Crwth, ,Dave Peters, ,David Bowie, ,Deerness Valley, ,Diana Wynne Jones, ,Diver Boy, ,Dr Who, ,Durham City, ,Durham City Folk Club, ,Field of Pleasure, ,folk, ,Folk Police Recordings, ,Fred Jordan, ,Fylde Folk Festival, ,Genevieve Tudor, ,Gentle Giant, ,HP Lovecraft, ,Hugh O’Donnell, ,Infernal Proteus, ,Insane Beard, ,Jane Siberry, ,Jennifer Crouch, ,Jim Eldon, ,John Barleycorn Reborn, ,Judee Sill, ,June Tabor, ,Kaossilator, ,Kirkby Fleetham Folk Club, ,Kit & Cutter club, ,Korg, ,Lancashire, ,Lancaster, ,Laura Nyro, ,Lytham Saint Annes, ,Martin Archer, ,Max Hunter, ,MR James, ,Neil Brook, ,Ollie Gilbert, ,Pentacle of Pips of Venereum Arvum, ,Peter Bellamy, ,Phil Rickman, ,Phil Tanner, ,Poor Old Horse, ,Porcupine, ,Preston Club, ,Radio Shropshire, ,Rapunzel and Sedayne, ,Rebecca Oliver, ,Rome, ,Ron Baxter, ,Ross Campbell, ,Rudyard Kipling, ,Sarah Jayne Morris, ,Sarah Sometimes, ,Shruti box, ,Silver Dagger, ,Singing the Calendar Round, ,Sir Richard Burton, ,Songs From The Barley Temple, ,SoundCloud, ,Stewart Lee, ,Strawbs, ,Sunday Times, ,The Chase Folk Club, ,The Colpitts, ,The Gower Wassail, ,The Sportive Epigrams of Priapus, ,Third Ear Band, ,Tim Hobrough, ,Tom Walsh, ,Tori Amos, ,Venereum Arvum, ,Werewolves, ,Worth Abbey

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