The London Art Fair hosts a bewildering variety of artist talent under one roof at the Business Design Centre. From the banal (the LED artwork above, almost identical to a gadget in the baby sensory room at my local Sure Start centre) to the dreadful (oh god, bad painting) to the sublime (pretty much anything below) to the derivative (copycat Damian Hirst Skulls-R-Us) – you can expect to find it all here. I negotiated the thronging crowds at the 2013 London Art Fair with boyfriend and baby in tow – here are my most interesting discoveries.
At Danielle Arnaud Sarah Woodfine had constructed an installation from MDF and cardboard. Like many of the artists that catch my eye these days she ‘explores the imaginary worlds that border the familiar and the fantastical.’ Fine pencil drawings decorate 3D shapes reminiscent of vessels.
Klari Reis (showing with Cynthia Corbett) hails from San Francisco, where she creates wall installations from colourful epoxy polymers. Her current Hypochondria series features patterned groupings of petri dishes that appeal to my love of all things bright.
It was great to see one of Nadav Kander‘s Bodies photographs up close: an un-airbrushed version of the feminine that proves you can be true to reality and still utterly beautiful. You can see the whole series in his current exhibition, listing here.
Installation artist Chris Wood works with glass and light to create enchanting works of art that caught my eye last year and again this time around.
I have only ever encountered Sweet Toof artworks on the walls around East London but like most contemporary street artists he also creates pieces with the fine art world in mind. His Dark Horse series features a host of scurrilous street scenes, skeletons jousting with gummy grins. His website explains that he ‘masterfully blends urban detritus with bygone decadence,’ and the results call to mind works by Jake and Dinos Chapman, especially their cheerful defamation of prized Goya drawings.
I first saw works by Chinese artist Ye Hongxing at Scream late last year and was immediately drawn in by her kaleidoscopic use of kitsch stickers, used in their thousands to create Modern Utopian landscapes featuring wild animals (such as the zebra in this detail). Her work is a reaction to the swift changes taking place in Chinese culture.
Alabama based folk artist Butch Anthony has tapped into our love of all things skeletal; layering his own doodles on top of junk shop finds. You can see more of Butch Anthony‘s work at his new show, Intertwangleism, opening February 8th at Black Rat. ‘Intertwangleism is how I look at people and break them down to the primordial beginnings,’ explains Butch Anthony, who also hosts Doo-Nanny, his very own annual outsider folk art festival. Watch this video to find out more about the intriguing Butch Anthony.
The sculptor Simon Allen creates carved, polished, pigmented forms that appeal to all my tactile senses. His pollen series was featured alongside equally captivating carved metallic wooden forms.
We recently visited the Mel Bochner exhibition at the Whitechapel Gallery, so I am familiar with his large scale typographic works. At the London Art Fair his tactile paintings featured extraordinary mounds of screen printed paint. I couldn’t peel my eyes away from the pornographic words.
I profiled Shane Bradford many years ago in the print version of Amelia’s Magazine: assorted objects dipped until they are heavily encrusted with glossy paint take on new symbolism and meaning.
Susie Macmurray‘s huge installation bulged from the wall like an overgrown carbuncular growth, unapologetic in it’s vulgarity. A former classical musician, she is well known for her use of unconventional materials such as cling film.
Having completed a history degree at Oxford University Welsh singer songwriter Lydia Baylis has made a major career change and is set to release her debut album inspired by the literature of the suitably high brow Bronte Sisters and Virginia Woolf. Here she describes the making of her new single Life Without You:
‘My new single Life Without You is from my debut album, A Darker Trace, which will be released in 2014. It is a song about coming to terms with the end of a relationship with the first person you fall in love with but overall it is a hopeful message about living a fuller life alone – even if at first it feels like you can’t. With the video I wanted the viewers to feel close, because it is a deeply personal song. Intruding, almost by watching someone crying in the bath – but then, as the song goes on, becoming more hopeful and joyous. We shot it in my Grandmother’s house, somewhere I have a lot of fond memories from. I felt very safe there, so it was easier than I had thought letting go and sharing the song… ‘
Religious to Damn‘s lead singer is Zohra Atash, more about a cool lady with a batwingged 70s style, look a voice a bit like Alison Goldfrapp and Natasha;Bat For Lashes, approved and an excellent (seemingly well behaved) fringe. The Brooklyn band’s album, Glass Prayer, is out now on M’Lady’s Records. I caught up with Afghan-American Zohra, and asked her a few questions.
Hello, could you introduce yourself for us please?
My name is Zohra Atash, I’m a singer/multi-instrumentalist/songwriter. My primary project is Religious to Damn.
Could you describe what your music is like?
I try to make music that’s atmospheric and elegant, thoughtful and melodic. Some people have said that it’s cinematic and evokes a certain sense of expansiveness, which I’d agree with.
Where are you from?
My parents are Afghan, but I was born in Florida and grew up in Virginia. But I’ve been in Brooklyn for quite some time now.
How does London compare to New York? Do you like England?
I’ve been in love with British culture and art for years. I may have had my raising in south, but I lived in a house full of British records – from 60’s British invasion rock, to my sister’s collection of new wave and post-punk. My favorite bands in high school were Lush and Pulp…. I really wanted to move to London and start a band!
Why the name; ‘Religious to Damn’?
I write the music, but I wanted to avoid the stigma that goes with being a singer-songwriter. The name came up in a rather fiery conversation I was having with Josh about people who seem to be attracted to religion primarily so that they can condemn others to hell. We both liked the multiple meanings, (from) Religious to Damn(ation), as in a span, and Religious (in order) to Damn, so it stuck.
Tell us about Glass Prayer?
I wanted to make a record you could really immerse yourself in, something with really grandiose imagery. There are a lot of layers. It’s subtle at times, and heavy on the drama as well. It’s meant to reveal itself after multiple listens. We’re inspired very much by artists that maximized the possibilities of production, but the thing about them was that they didn’t beat you over the head with every last sound and idea. Some things may be out in front, but others are buried, carefully placed, left in soft focus. And that’s why they reward multiple listens, because new nuances emerge gradually, and one day you notice things you may not have noticed before. It’s a gamble to make a record like that these days, given how saturated the world is with new music. But we went for it anyway.
And when will you next be on tour…?
We’re planning to be in the UK/Europe this year, hopefully sooner than later. I’m very excited.
Who would you like to sing with in an ideal world – dead or alive?!
Bryan Ferry
How did you all meet?
Josh and I knew each other for years before we started working together. We had a similar aesthetic. Charlie was a classically trained percussionist, but also just an amazing rock drummer. He has an incredibly full range of capabilities to realize the diverse aspects of the music. Allegra played in a band in Portland called Magick Daggers, as well as The Portland Cello Project, and we had mutual friends, so when she moved to New York, she came on board. And Lea was Charlie’s bandmate in a Balkan punk band, and she’s also a classical musician, so she rounded out our current lineup.
How did you get the position you’re in now?
We put a lot of heart and muscle into getting to the place we’re in now. I dedicated my whole life to this. It’s a labor of love…. it’s what I wanted to do my whole life. We’ve certainly put up with our share of obstacles. Sadly no stories that don’t fall into the category of boring rock doc cliché. It’s not an easy business and New York’s not always a kind town. But we got to where we are through perseverance and the belief that we had something worthwhile to offer to the musical landscape.
How do you see your future?
We’re excited to bring our live show to as many people as want to see it. Believe it or not, the next record’s almost written, and we’re planning on recording it later this year. I’d say the future will be at the very least, eventful. I’ve got lots of ideas, and am always eager to write new songs and record new records. I see a future filled with lots of Religious to Damn music!
Religious to Damn‘s lead singer is Zohra Atash, viagra 60mg a cool lady with a batwingged 70s style, viagra a voice a bit like Alison Goldfrapp and Natasha;Bat For Lashes, physician and an excellent (seemingly well behaved) fringe. The Brooklyn band’s album, Glass Prayer, is out now on M’Lady’s Records. I caught up with Afghan-American Zohra, and asked her a few questions.
Hello, could you introduce yourself for us please?
My name is Zohra Atash, I’m a singer/multi-instrumentalist/songwriter. My primary project is Religious to Damn.
Could you describe what your music is like?
I try to make music that’s atmospheric and elegant, thoughtful and melodic. Some people have said that it’s cinematic and evokes a certain sense of expansiveness, which I’d agree with.
Where are you from?
My parents are Afghan, but I was born in Florida and grew up in Virginia. But I’ve been in Brooklyn for quite some time now.
How does London compare to New York? Do you like England?
I’ve been in love with British culture and art for years. I may have had my raising in south, but I lived in a house full of British records – from 60’s British invasion rock, to my sister’s collection of new wave and post-punk. My favorite bands in high school were Lush and Pulp…. I really wanted to move to London and start a band!
Why the name; ‘Religious to Damn’?
I write the music, but I wanted to avoid the stigma that goes with being a singer-songwriter. The name came up in a rather fiery conversation I was having with Josh about people who seem to be attracted to religion primarily so that they can condemn others to hell. We both liked the multiple meanings, (from) Religious to Damn(ation), as in a span, and Religious (in order) to Damn, so it stuck.
Tell us about Glass Prayer?
I wanted to make a record you could really immerse yourself in, something with really grandiose imagery. There are a lot of layers. It’s subtle at times, and heavy on the drama as well. It’s meant to reveal itself after multiple listens. We’re inspired very much by artists that maximized the possibilities of production, but the thing about them was that they didn’t beat you over the head with every last sound and idea. Some things may be out in front, but others are buried, carefully placed, left in soft focus. And that’s why they reward multiple listens, because new nuances emerge gradually, and one day you notice things you may not have noticed before. It’s a gamble to make a record like that these days, given how saturated the world is with new music. But we went for it anyway.
And when will you next be on tour…?
We’re planning to be in the UK/Europe this year, hopefully sooner than later. I’m very excited.
Who would you like to sing with in an ideal world – dead or alive?!
Bryan Ferry
How did you all meet?
Josh and I knew each other for years before we started working together. We had a similar aesthetic. Charlie was a classically trained percussionist, but also just an amazing rock drummer. He has an incredibly full range of capabilities to realize the diverse aspects of the music. Allegra played in a band in Portland called Magick Daggers, as well as The Portland Cello Project, and we had mutual friends, so when she moved to New York, she came on board. And Lea was Charlie’s bandmate in a Balkan punk band, and she’s also a classical musician, so she rounded out our current lineup.
How did you get the position you’re in now?
We put a lot of heart and muscle into getting to the place we’re in now. I dedicated my whole life to this. It’s a labor of love…. it’s what I wanted to do my whole life. We’ve certainly put up with our share of obstacles. Sadly no stories that don’t fall into the category of boring rock doc cliché. It’s not an easy business and New York’s not always a kind town. But we got to where we are through perseverance and the belief that we had something worthwhile to offer to the musical landscape.
How do you see your future?
We’re excited to bring our live show to as many people as want to see it. Believe it or not, the next record’s almost written, and we’re planning on recording it later this year. I’d say the future will be at the very least, eventful. I’ve got lots of ideas, and am always eager to write new songs and record new records. I see a future filled with lots of Religious to Damn music!
Religious to Damn‘s lead singer is Zohra Atash, illness a cool lady with a batwingged 70s style, cialis 40mg a voice a bit like Alison Goldfrapp and Natasha;Bat For Lashes, medications and an excellent (seemingly well behaved) fringe. The Brooklyn band’s album, Glass Prayer, is out now on M’Lady’s Records. I caught up with Afghan-American Zohra, and asked her a few questions.
Hello, could you introduce yourself for us please?
My name is Zohra Atash, I’m a singer/multi-instrumentalist/songwriter. My primary project is Religious to Damn.
Could you describe what your music is like?
I try to make music that’s atmospheric and elegant, thoughtful and melodic. Some people have said that it’s cinematic and evokes a certain sense of expansiveness, which I’d agree with.
Where are you from?
My parents are Afghan, but I was born in Florida and grew up in Virginia. But I’ve been in Brooklyn for quite some time now.
How does London compare to New York? Do you like England?
I’ve been in love with British culture and art for years. I may have had my raising in south, but I lived in a house full of British records – from 60’s British invasion rock, to my sister’s collection of new wave and post-punk. My favorite bands in high school were Lush and Pulp…. I really wanted to move to London and start a band!
Why the name; ‘Religious to Damn’?
I write the music, but I wanted to avoid the stigma that goes with being a singer-songwriter. The name came up in a rather fiery conversation I was having with Josh about people who seem to be attracted to religion primarily so that they can condemn others to hell. We both liked the multiple meanings, (from) Religious to Damn(ation), as in a span, and Religious (in order) to Damn, so it stuck.
Tell us about Glass Prayer?
I wanted to make a record you could really immerse yourself in, something with really grandiose imagery. There are a lot of layers. It’s subtle at times, and heavy on the drama as well. It’s meant to reveal itself after multiple listens. We’re inspired very much by artists that maximized the possibilities of production, but the thing about them was that they didn’t beat you over the head with every last sound and idea. Some things may be out in front, but others are buried, carefully placed, left in soft focus. And that’s why they reward multiple listens, because new nuances emerge gradually, and one day you notice things you may not have noticed before. It’s a gamble to make a record like that these days, given how saturated the world is with new music. But we went for it anyway.
And when will you next be on tour…?
We’re planning to be in the UK/Europe this year, hopefully sooner than later. I’m very excited.
Who would you like to sing with in an ideal world – dead or alive?! Bryan Ferry
How did you all meet?
Josh and I knew each other for years before we started working together. We had a similar aesthetic. Charlie was a classically trained percussionist, but also just an amazing rock drummer. He has an incredibly full range of capabilities to realize the diverse aspects of the music. Allegra played in a band in Portland called Magick Daggers, as well as The Portland Cello Project, and we had mutual friends, so when she moved to New York, she came on board. And Lea was Charlie’s bandmate in a Balkan punk band, and she’s also a classical musician, so she rounded out our current lineup.
How did you get the position you’re in now?
We put a lot of heart and muscle into getting to the place we’re in now. I dedicated my whole life to this. It’s a labor of love…. it’s what I wanted to do my whole life. We’ve certainly put up with our share of obstacles. Sadly no stories that don’t fall into the category of boring rock doc cliché. It’s not an easy business and New York’s not always a kind town. But we got to where we are through perseverance and the belief that we had something worthwhile to offer to the musical landscape.
How do you see your future?
We’re excited to bring our live show to as many people as want to see it. Believe it or not, the next record’s almost written, and we’re planning on recording it later this year. I’d say the future will be at the very least, eventful. I’ve got lots of ideas, and am always eager to write new songs and record new records. I see a future filled with lots of Religious to Damn music!
Religious to Damn‘s lead singer is Zohra Atash, capsule a cool lady with a batwingged 70s style, a voice a bit like Alison Goldfrapp and Natasha;Bat For Lashes, and an excellent (seemingly well behaved) fringe. The Brooklyn band’s album, Glass Prayer, is out now on M’Lady’s Records. I caught up with Afghan-American Zohra, and asked her a few questions.
Hello, could you introduce yourself for us please?
My name is Zohra Atash, I’m a singer/multi-instrumentalist/songwriter. My primary project is Religious to Damn.
Could you describe what your music is like?
I try to make music that’s atmospheric and elegant, thoughtful and melodic. Some people have said that it’s cinematic and evokes a certain sense of expansiveness, which I’d agree with.
Where are you from?
My parents are Afghan, but I was born in Florida and grew up in Virginia. But I’ve been in Brooklyn for quite some time now.
How does London compare to New York? Do you like England?
I’ve been in love with British culture and art for years. I may have had my raising in south, but I lived in a house full of British records – from 60’s British invasion rock, to my sister’s collection of new wave and post-punk. My favorite bands in high school were Lush and Pulp…. I really wanted to move to London and start a band!
Why the name; ‘Religious to Damn’?
I write the music, but I wanted to avoid the stigma that goes with being a singer-songwriter. The name came up in a rather fiery conversation I was having with Josh about people who seem to be attracted to religion primarily so that they can condemn others to hell. We both liked the multiple meanings, (from) Religious to Damn(ation), as in a span, and Religious (in order) to Damn, so it stuck.
Tell us about Glass Prayer?
I wanted to make a record you could really immerse yourself in, something with really grandiose imagery. There are a lot of layers. It’s subtle at times, and heavy on the drama as well. It’s meant to reveal itself after multiple listens. We’re inspired very much by artists that maximized the possibilities of production, but the thing about them was that they didn’t beat you over the head with every last sound and idea. Some things may be out in front, but others are buried, carefully placed, left in soft focus. And that’s why they reward multiple listens, because new nuances emerge gradually, and one day you notice things you may not have noticed before. It’s a gamble to make a record like that these days, given how saturated the world is with new music. But we went for it anyway.
And when will you next be on tour…?
We’re planning to be in the UK/Europe this year, hopefully sooner than later. I’m very excited.
Who would you like to sing with in an ideal world – dead or alive?! Bryan Ferry
How did you all meet?
Josh and I knew each other for years before we started working together. We had a similar aesthetic. Charlie was a classically trained percussionist, but also just an amazing rock drummer. He has an incredibly full range of capabilities to realize the diverse aspects of the music. Allegra played in a band in Portland called Magick Daggers, as well as The Portland Cello Project, and we had mutual friends, so when she moved to New York, she came on board. And Lea was Charlie’s bandmate in a Balkan punk band, and she’s also a classical musician, so she rounded out our current lineup.
How did you get the position you’re in now?
We put a lot of heart and muscle into getting to the place we’re in now. I dedicated my whole life to this. It’s a labor of love…. it’s what I wanted to do my whole life. We’ve certainly put up with our share of obstacles. Sadly no stories that don’t fall into the category of boring rock doc cliché. It’s not an easy business and New York’s not always a kind town. But we got to where we are through perseverance and the belief that we had something worthwhile to offer to the musical landscape.
How do you see your future?
We’re excited to bring our live show to as many people as want to see it. Believe it or not, the next record’s almost written, and we’re planning on recording it later this year. I’d say the future will be at the very least, eventful. I’ve got lots of ideas, and am always eager to write new songs and record new records. I see a future filled with lots of Religious to Damn music!
Religious to Damn‘s lead singer is Zohra Atash, information pills a cool lady with a batwingged 70s style, online a voice a bit like Alison Goldfrapp and Natasha;Bat For Lashes, mind and an excellent (seemingly well behaved) fringe. The Brooklyn band’s album, Glass Prayer, is out now on M’Lady’s Records. I caught up with Afghan-American Zohra, and asked her a few questions.
Hello, could you introduce yourself for us please?
My name is Zohra Atash, I’m a singer/multi-instrumentalist/songwriter. My primary project is Religious to Damn.
Could you describe what your music is like?
I try to make music that’s atmospheric and elegant, thoughtful and melodic. Some people have said that it’s cinematic and evokes a certain sense of expansiveness, which I’d agree with.
Where are you from?
My parents are Afghan, but I was born in Florida and grew up in Virginia. But I’ve been in Brooklyn for quite some time now.
How does London compare to New York? Do you like England?
I’ve been in love with British culture and art for years. I may have had my raising in south, but I lived in a house full of British records – from 60’s British invasion rock, to my sister’s collection of new wave and post-punk. My favorite bands in high school were Lush and Pulp…. I really wanted to move to London and start a band!
Why the name; ‘Religious to Damn’?
I write the music, but I wanted to avoid the stigma that goes with being a singer-songwriter. The name came up in a rather fiery conversation I was having with Josh about people who seem to be attracted to religion primarily so that they can condemn others to hell. We both liked the multiple meanings, (from) Religious to Damn(ation), as in a span, and Religious (in order) to Damn, so it stuck.
Tell us about Glass Prayer?
I wanted to make a record you could really immerse yourself in, something with really grandiose imagery. There are a lot of layers. It’s subtle at times, and heavy on the drama as well. It’s meant to reveal itself after multiple listens. We’re inspired very much by artists that maximized the possibilities of production, but the thing about them was that they didn’t beat you over the head with every last sound and idea. Some things may be out in front, but others are buried, carefully placed, left in soft focus. And that’s why they reward multiple listens, because new nuances emerge gradually, and one day you notice things you may not have noticed before. It’s a gamble to make a record like that these days, given how saturated the world is with new music. But we went for it anyway.
And when will you next be on tour…?
We’re planning to be in the UK/Europe this year, hopefully sooner than later. I’m very excited.
Who would you like to sing with in an ideal world – dead or alive?! Bryan Ferry
How did you all meet?
Josh and I knew each other for years before we started working together. We had a similar aesthetic. Charlie was a classically trained percussionist, but also just an amazing rock drummer. He has an incredibly full range of capabilities to realize the diverse aspects of the music. Allegra played in a band in Portland called Magick Daggers, as well as The Portland Cello Project, and we had mutual friends, so when she moved to New York, she came on board. And Lea was Charlie’s bandmate in a Balkan punk band, and she’s also a classical musician, so she rounded out our current lineup.
How did you get the position you’re in now?
We put a lot of heart and muscle into getting to the place we’re in now. I dedicated my whole life to this. It’s a labor of love…. it’s what I wanted to do my whole life. We’ve certainly put up with our share of obstacles. Sadly no stories that don’t fall into the category of boring rock doc cliché. It’s not an easy business and New York’s not always a kind town. But we got to where we are through perseverance and the belief that we had something worthwhile to offer to the musical landscape.
How do you see your future?
We’re excited to bring our live show to as many people as want to see it. Believe it or not, the next record’s almost written, and we’re planning on recording it later this year. I’d say the future will be at the very least, eventful. I’ve got lots of ideas, and am always eager to write new songs and record new records. I see a future filled with lots of Religious to Damn music!
Religious to Damn‘s lead singer is Zohra Atash, buy information pills a cool lady with a batwingged 70s style, a voice a bit like Alison Goldfrapp and Natasha;Bat For Lashes, and an excellent (seemingly well behaved) fringe. The Brooklyn band’s album, Glass Prayer, is out now on M’Lady’s Records. I caught up with Afghan-American Zohra, and asked her a few questions.
Hello, could you introduce yourself for us please?
My name is Zohra Atash, I’m a singer/multi-instrumentalist/songwriter. My primary project is Religious to Damn.
Could you describe what your music is like?
I try to make music that’s atmospheric and elegant, thoughtful and melodic. Some people have said that it’s cinematic and evokes a certain sense of expansiveness, which I’d agree with.
Where are you from?
My parents are Afghan, but I was born in Florida and grew up in Virginia. But I’ve been in Brooklyn for quite some time now.
How does London compare to New York? Do you like England?
I’ve been in love with British culture and art for years. I may have had my raising in south, but I lived in a house full of British records – from 60’s British invasion rock, to my sister’s collection of new wave and post-punk. My favorite bands in high school were Lush and Pulp…. I really wanted to move to London and start a band!
Why the name; ‘Religious to Damn’?
I write the music, but I wanted to avoid the stigma that goes with being a singer-songwriter. The name came up in a rather fiery conversation I was having with Josh about people who seem to be attracted to religion primarily so that they can condemn others to hell. We both liked the multiple meanings, (from) Religious to Damn(ation), as in a span, and Religious (in order) to Damn, so it stuck.
Tell us about Glass Prayer?
I wanted to make a record you could really immerse yourself in, something with really grandiose imagery. There are a lot of layers. It’s subtle at times, and heavy on the drama as well. It’s meant to reveal itself after multiple listens. We’re inspired very much by artists that maximized the possibilities of production, but the thing about them was that they didn’t beat you over the head with every last sound and idea. Some things may be out in front, but others are buried, carefully placed, left in soft focus. And that’s why they reward multiple listens, because new nuances emerge gradually, and one day you notice things you may not have noticed before. It’s a gamble to make a record like that these days, given how saturated the world is with new music. But we went for it anyway.
And when will you next be on tour…?
We’re planning to be in the UK/Europe this year, hopefully sooner than later. I’m very excited.
Who would you like to sing with in an ideal world – dead or alive?! Bryan Ferry
How did you all meet?
Josh and I knew each other for years before we started working together. We had a similar aesthetic. Charlie was a classically trained percussionist, but also just an amazing rock drummer. He has an incredibly full range of capabilities to realize the diverse aspects of the music. Allegra played in a band in Portland called Magick Daggers, as well as The Portland Cello Project, and we had mutual friends, so when she moved to New York, she came on board. And Lea was Charlie’s bandmate in a Balkan punk band, and she’s also a classical musician, so she rounded out our current lineup.
How did you get the position you’re in now?
We put a lot of heart and muscle into getting to the place we’re in now. I dedicated my whole life to this. It’s a labor of love…. it’s what I wanted to do my whole life. We’ve certainly put up with our share of obstacles. Sadly no stories that don’t fall into the category of boring rock doc cliché. It’s not an easy business and New York’s not always a kind town. But we got to where we are through perseverance and the belief that we had something worthwhile to offer to the musical landscape.
How do you see your future?
We’re excited to bring our live show to as many people as want to see it. Believe it or not, the next record’s almost written, and we’re planning on recording it later this year. I’d say the future will be at the very least, eventful. I’ve got lots of ideas, and am always eager to write new songs and record new records. I see a future filled with lots of Religious to Damn music!
You may have seen my review of Smoke Fairies, visit web with Sea of Bees supporting, visit this site last month in Bristol. ‘I’m telling you when they play together live on stage, it feels, well… I will have to use a simile – here follows: You know that advert for Ireland, when the lady is singing in her Enya (is it her?) voice and the camera is sweeping over the ridiculously green fields and coastlines of Ireland? A bit cringe but you get the image, it feels like you are the sweeper – as in you are sweeping/flying over amazing landscapes. Possibly wearing some tweed, definitely a cape with a hood. The music is more The Cranberries than Enya, but the flying sensation fits.’ I was lucky enough to get hold of Katherine and Jessica, just as their tour finished. I asked them a whole bunch of questions, on a range of subjects; from Jack White to New Orleans and Sussex.
Could you introduce yourself for us please?
We are Katherine and Jessica from the Smoke Fairies
And what is your music like?
A concoction of harmonies, riffs, blues, folk, long drives, late nights, nostalgia, stories of loss, dark thoughts, changing light, memories.
When and how did you get together?
k.We met at school when we were about 11 and started singing together as a way to make the school years more interesting. It soon became pretty obsessive with us playing at every opportunity.
Do you miss Sussex?
K. Sometimes living in London gets a bit intense and I think deep down we both love getting out to the countryside and back near the sea. I miss the space and the ability to get out on your own. But London has more opportunities and of course we are drawn to all the activity and creativity happening here. It would be equally hard to tear myself away from here now that it has become a home base.
What was Canada and New Orleans like?
K. We lived in New Orleans for a year at quite a pivotal time in our lives and we absorbed a lot of influences from the environment and people. We used to hang out in a coffee shop where we were given gigs and a lot of musicians from across the States would pass through. We felt free to explore our sound. We were affected musically as well as by the heartache that came from leaving it behind. Canada was a less focused and more calamitous year and that came out in the music we were writing at that time, but again the environment was the main influence seeping in. From our apartment we could see the mountains stretching off into the distance as well as the sky line of the city. Those places were important in our development, but nowadays we are just as much influenced by the heavy air of London, as England has really become our home.
Who have you toured with? What was it like?
J: We have toured with a range of artists; Bryan Ferry,The Handsome Family, Richard Hawley and Laura Marling. All have been completely different experiences due to the venues, the audiences and the way we were travelling. For some tours we have driven ourselves which requires a lot of organisation.
And what is touring as the headline band like?
K. It has given us a lot more confidence as performers. It is a completely different feeling to being the support band, there is more of the feeling that you are able to own the stage and that brings a sensation of immense freedom and enjoyment. It’s very satisfying to be able to headline shows now.
What was it like working with Jack White?
K. At first we couldn’t really believe we were there, but it was amazing how relaxed we felt once we got into the studio and we had never had the chance to record with analogue equipment before so that was really interesting.
Who would you like to work with next?
K. I think any musician dreams about working with many of the people they admire.
What’s coming up for you?
J. At the moment we are getting ready for festival season, writing the new album and making plans to release ‘Through Low Light and Trees’ in the US.
How are you enjoying your successes?
J. It is great at the moment but we will always want more. We are pleased with ‘Through Low Light and Trees’ and the way it was received but we are eager to move on to the next album.
What inspires you?
J. Sometimes it will be music but mostly ideas from songs will come from a combination of experience, books, tv, the weather, the seasons…. Sometimes one idea will strangely keep presenting itself in different ways, forcing you to write about it.
Do you write your own music?
K. Yes. We write it all. Except, recently we have been experimenting with some covers. We worked on a cover of Killing Joke’s Requiem and played it a lot on our last tour. We ended up releasing it on the B Side of our special edition tour vinyl of our single Strange Moon Rising. We also recorded a cover of Neil Young‘s Alabama. We are hoping to expand the covers we do into more unexpected genres, so there will hopefully be more on the way. The Killing Joke cover was really inspiring as it was probably a surprising direction for us to take, but it gives you a different perspective on your own songs and how you could think about writing songs in another way.
Where did you learn to play the guitar like that?
K. I think its just taken us a really long time to develop our style. Its a bit like singing I think, it takes a while to find your voice and feel confident. That came mostly from listening to a lot of music and watching folk and blues musicians playing live. Sitting in the front row and watching their fingers. I don’t think our style of playing is particularly conventional or based on a technical background.
Where do you see yourself in ten years?
K. Hopefully still alive and reaching more people with our music, maybe I’ll be able to get a dog, but I’m not sure with all the touring.
