Amelia’s Magazine | London Fashion Week S/S 2011 Catwalk Review: Ashley Isham


Paul Costelloe S/S 2011, illness illustrated by Natsuki Otani

So the circus has begun, adiposity the Big Top (the BFC Marquee) is up surrounded by bizarrely dressed clowns, this and trapeze artists swing from the roof of Somerset House. Okay, that last one isn’t true, but you get the picture!

I haven’t had a bloody chance to write anything yet, and Amelia has beaten me to it with a review of fashion week S/S 2011′s opener – Paul Costelloe. But, while I have the chance, I thought I’d throw my tuppence worth in, too.
 
For the past six years, Paul Costelloe has had the rather unenviable task of opening the proceedings. I arrived super early, as I always do – I woke up actually asking if Santa had been, I was so excited I presumed it must be Christmas. Anyway, I joined the queue for Costelloe, in which the mean age must have been approximately 68. It was a crimplene snake. These lovely old dears were desperate to get inside (I suppose you can never be too careful, especially in this chilly weather) and, rather unfashionably, we were ushered inside on time.


 
Now I am familiar with Costelloe’s work, but the relationship between his collections and his audience totally and uttrerly baffles me. One by one, the first models of S/S 2011 strutted down the catwalk wearing fresh, well cut and contemporary clothes. So why do grannies in knits flock to see this? I got chatting to two gorgeous old dears who, with their enthusiastic clapping and cheering, almost threatened to steal my attention from the show. They thought every frock was ‘bloody gorgeous’ and cries of ‘Oooh, that’s STUNNING’ were heard from all sides.


My two lovely ladies, on the right during the finale


illustrated by Natsuki Otani

The show itself was a treat from start to finish, for a number of reasons. The styling was great, with bright red lipstick, back-combed hair piled atop models heads (a look Costelloe is famed for) and the soundtrack was summery and fun, featuring Eliza Doolittle’s recent hit Pack Up.

The clothes were wonderful, featuring contemporary curves with emphasis on waists, oversized bows and playful graphic prints. Such fun. I particularly like everything about this following model and her outfit, whose face and hair do reminded me of Evangelista in naughty George Michael’s Too Funky video.
 

The show, however, had the most bizarre ending. Six awkward looking blokes dressed to the nines in suits cautiously eased their way up the catwalk. They all looked alike and I instantly guessed that they were brothers. It turns out Mr Costelloe isnt just good at fashion, he also is a dab hand and breeding too. If you’ve already read Amelia’s review, then apologies, but SIX SONS! Bloody hell! SIX SONS! Imagine. My dad has four and went grey in his thirties. I can only imagine that Paul Costelloe is a devout Catholic or didn’t have a television at home. How does he find the time to produce such an exciting and polished collection with this sextet? Lord knows.

I’m with Amelia on the menswear – I probably wouldn’t wear it and it’s a long way away from the masses of creative talent we’ll see on menswear day next week. But, if his collections develop like his womenswear has over the seasons, I’m sure I’ll be changing my mind pretty swiftly!


Paul Costelloe menswear, illustrated to look far better than it was, by Natsuki Otani


Paul Costelloe S/S 2011, patient illustrated by Natsuki Otani

So the circus has begun, the Big Top (the BFC Marquee) is up surrounded by bizarrely dressed clowns, and trapeze artists swing from the roof of Somerset House. Okay, that last one isn’t true, but you get the picture!

I haven’t had a bloody chance to write anything yet, and Amelia has beaten me to it with a review of fashion week S/S 2011′s opener – Paul Costelloe. But, while I have the chance, I thought I’d throw my tuppence worth in, too.
 
For the past six years, Paul Costelloe has had the rather unenviable task of opening the proceedings. I arrived super early, as I always do – I woke up actually asking if Santa had been, I was so excited I presumed it must be Christmas. Anyway, I joined the queue for Costelloe, in which the mean age must have been approximately 68. It was a crimplene snake. These lovely old dears were desperate to get inside (I suppose you can never be too careful, especially in this chilly weather) and, rather unfashionably, we were ushered inside on time.


 
Now I am familiar with Costelloe’s work, but the relationship between his collections and his audience totally and uttrerly baffles me. One by one, the first models of S/S 2011 strutted down the catwalk wearing fresh, well cut and contemporary clothes. So why do grannies in knits flock to see this? I got chatting to two gorgeous old dears who, with their enthusiastic clapping and cheering, almost threatened to steal my attention from the show. They thought every frock was ‘bloody gorgeous’ and cries of ‘Oooh, that’s STUNNING’ were heard from all sides.


My two lovely ladies, on the right during the finale


illustrated by Natsuki Otani

The show itself was a treat from start to finish, for a number of reasons. The styling was great, with bright red lipstick, back-combed hair piled atop models heads (a look Costelloe is famed for) and the soundtrack was summery and fun, featuring Eliza Doolittle’s recent hit Pack Up.

The clothes were wonderful, featuring contemporary curves with emphasis on waists, oversized bows and playful graphic prints. Such fun. I particularly like everything about this following model and her outfit, whose face and hair do reminded me of Evangelista in naughty George Michael’s Too Funky video.
 

The show, however, had the most bizarre ending. Six awkward looking blokes dressed to the nines in suits cautiously eased their way up the catwalk. They all looked alike and I instantly guessed that they were brothers. It turns out Mr Costelloe isnt just good at fashion, he also is a dab hand and breeding too. If you’ve already read Amelia’s review, then apologies, but SIX SONS! Bloody hell! SIX SONS! Imagine. My dad has four and went grey in his thirties. I can only imagine that Paul Costelloe is a devout Catholic or didn’t have a television at home. How does he find the time to produce such an exciting and polished collection with this sextet? Lord knows.

I’m with Amelia on the menswear – I probably wouldn’t wear it and it’s a long way away from the masses of creative talent we’ll see on menswear day next week. But, if his collections develop like his womenswear has over the seasons, I’m sure I’ll be changing my mind pretty swiftly!


Paul Costelloe menswear, illustrated to look far better than it was, by Natsuki Otani


Ashley Isham S/S 2011, more about illustrated by Zarina Liew

Late afternoon it was the turn of Ashley Isham to display his wares for S/S 2011 at the On|Off venue, this web Victoria House. Amelia had beaten me there by bike (natch) and so I made my way in and joined the back of the queue. Amelia tried to persuade me to push to the front (by text) but I’m the world’s biggest scaredy cat at fashion week and so stayed where I was. On this occasion, it actually didn’t matter – I shoved my way to get a good standing spot, from where I could take pics. As I did I noticed a fashion palaver going on at the first corner of the horse-shaped catwalk. The paps were in a frenzy to capture a shot of somebody who I could only see from the back, and who was wearing a ridiculous cap that I can only describe as a disco-themed tribute to the Pontiff’s zucchetto. It turns out it was Paloma Faith.

As somebody minced down the catwalk explaining that Ashley was desperate to start and was getting bored (we were already running over half an hour late) the team soon sprang into action to get the show on its way.


Illustration by Zarina Liew

Ashley Isham is famed for his red-carpet dresses that many a celebrity is fond of. I hadn’t actually seen one of his shows before, but I was totally impressed. With so much doom and gloom and many of the designers playing it safe and producing muted, basic collections, thank heavens for Ashley Isham. Camp is an understatement with these fabulous headpieces, over-embellished frocks, glitter, sparkles, crystals, feathers, ruffles, beads and jewels. Now I know where Strictly Come Dancing gets its ideas from.

With a disco soundtrack including Wham! and The Hues Corporation, I was left desperate to grab one of the models and pay homage to Saturday Night Fever with a jazzy disco waltz.

I have no idea how to write about this collection without banging on about how wonderfully camp it was. Where to start? Well, key themes were bare shoulders, maxi-length floor sweepers, fishtail hems, silky fabrics and as much haberdashery-shop-hoard you can throw on something without actually going blind. Isham’s numbers ooze sex appeal and he’s clearly a fan of the female form. These dresses are made to emphasise the top half and the waist, and body-conscience is always key.

Wonderful headpieces constructed of artificial flowers made models look extremely exotic, and they were by far my favourite thing in the show.

I’m really struggling here. I love it, but I’m lost for words. It was utterly bonkers. You can see it all in the pictures anyway.

Colours and patterns were a bit all over the place, and while I wouldn’t want to knock this collection, if I had to I’d say it wouldn’t hurt to be a little more coherent. But when frocks make these alien-like creatures we call models look sexy, who cares?

Photographs: Matt Bramford

Categories ,Ashley Isham, ,Blow PR, ,body-conscious, ,disco, ,Fishtail, ,headpieces, ,London Fashion Week, ,onoff, ,paloma faith, ,Rock the boat don’t rock the boat baby, ,S/S 2011, ,The Hues Corporation, ,Wham!, ,Womenswear

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Amelia’s Magazine | London Fashion Week S/S 2011 Catwalk Review: House of Holland

Lu Flux S/S 2011 collection was presented in the chapel of No. 1 Greek Street, visit web also known as the House of Saint Barnabas, a space supporting those affected by homelessness for over 160 years. It is an absolutely beautiful building, with an outside courtyard and lovely lounges. The non-for-profit private members club Quintessentially Soho uses the revenue generated by members to finance the House of Saint Barnabas’s support centre.

Illustrations by Alia Gargum

The presentation consisted of live painting, as the illustrator behind the stunning designs on the shorts suit drew the models, lots of cupcakes and fabulous shoes.

I absolutely love the dress the designer was wearing from last season’s collection:


The House of Holland Team! All illustrations by Lisa Stannard

House of Holland’s show this season was held at My Beautiful Fashion, information pills in the disused Old Sorting Office on New Oxford Street. There wasn’t too much hustle and bustle when I arrived and we moved swiftly in , look along with the huge clan of the HOH friends and family who were then greeted with champagne and showed to their seats in a block close to the front of the runway.

Then in came the HOH celebrity friends which included usual suspect Aggy Deyn, who ran in and over to her friends seconds before the lights dimmed to start the show. Nick Grimshaw, Lily Allen, Jamie Winstone and Pixie Geldoff were seated together in the front row. Other celebrities included Nicola Roberts and Amber Rose…

Anyway now I’ve got the celebrities out of the way, on with the show! The show opened with Donna Summer’s ‘Love to Love You Baby‘ when the first girl walked out with an ash blonde laid back 1970s hair do, metallic banana-leaf print blazer teamed with a pleated metallic leather mini skirt and chunky era wedges. I was shocked and pleasantly surprised by the first instalment of sexiness and sophistication.

As the next girls continued to strut down the runway there was a recurring theme with the banana leaves, which were in fact a woven jacquard. These fabrics came in green, purple and blue and were used as part of shirt dresses (another recurring theme) with lots of lengthy fringing, and on cropped pants, fitted cropped jackets and flares. I was really enjoying the styling, it was preppy and cool, yet was mixed with a lot more sophistication than Henry’s past collections.

Then these pieces began to change and along came jumpsuits with appliquéd stars all over followed by flowing knee length pleated chiffon skirts teamed with slouchy vests in a bold pinky/purple print. I liked this look a lot. This was Henry’s recognisable print of the season, which was a lot tamer than past slogans, crazy paislies and polka dots.

My favourite outfit was Henry’s cropped (banana leaf) print t-shirt, with rusty metallic print pleated leather skirt. It had the most amazing oversized backpack with tan leather trims.  This wasn’t the only accessory in there; there was a lot of luxe towelling used on even more bags! Huge pom pom earrings, too – which I wouldn’t wear – but great fun for this catwalk show. There were also socks teamed with the huge metallic platforms with crazy fringing on them, I wonder if these will be sold amongst his hosiery range too?

Denim made a reappearance but this time it was decorated with metallic appliqued stars. I have to say that I did enjoy the non-star appliquéd pieces more.  The aquamarine pleated chiffon dress and the floor length banana leaf print dress were far nicer.

Henry didn’t leave out the glitz – just when you thought you had summed up the themes of this collection, out walks another 1970s disco queen in a slinky super sparkly gold dress.

I felt that the collection had moved far away from slogan tees and tights and was a more sophisticated reflection of his inspirations. Maybe I am biased – I’m totally with his fun vibe and 1980s references, but I suppose as one of his target consumers that’s entirely the point.

I’m looking forward to future collections from Henry, but desperate to get my hands on that oversized backpack…!

All illustrations by Lisa Stannard

Categories ,1970s, ,Agyness Deyn, ,Alexa Chung, ,Amber Rose, ,Banana Leaf, ,disco, ,Donna Summer, ,Glamour, ,Grimmers, ,Henry Holland, ,House of Holland, ,Jaime Winstone, ,lily allen, ,Lisa Stannard, ,London Fashion Week, ,My Beautiful Fashion, ,S/S 2011

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Amelia’s Magazine | Lako Bukia: London Fashion Week A/W 2012 Catwalk Review

Lako Bukia AW 2012 by Love Amelia
Lako Bukia A/W 2012 by Love Amelia.

This season Lako Bukia went all futuristic for Broken Mirrors in shades of silver and black, a collection that was inspired by her Georgian heritage once again, and a traditional fear of looking into shattered glass. In contrast to last season’s floaty print focused offering, this saw a return to more structured tailoring and a harder line – enhanced by the styling of Claudia Behnke, which featured severe metal top knots and an extremely strong flattened black brow. This is something we’ve seen a lot of on the catwalks this season: Desperate Scousewives, you have a lot to answer to.

Lako Bukia AW 2012 - photo by Amelia Gregory
Lako Bukia AW 2012 - photo by Amelia Gregory
Lako Bukia AW 2012 - photo by Amelia Gregory
Lako Bukia A/W 2012 by Gemma Cotterell
Lako Bukia A/W 2012 by Gemma Cotterell.

Fabrics were predominantly silverised, in silk, leather or lame – the last being notoriously hard to cut well. I’m afraid that lame reminds me of my pre-pubescent attempts to create party wear, circa 1985, and it’s very hard to make it look like a luxury fabric.

Lako Bukia AW 2012 - photo by Amelia Gregory
Lako Bukia AW 2012 - photo by Amelia Gregory
Lako Bukia AW 2012 - photo by Amelia Gregory
Lako Bukia AW 2012 - photo by Amelia Gregory
Lako Bukia A/W 2012 by Gaarte
Lako Bukia A/W 2012 by Gaarte.

There was an element of the 70s evident in the collection – wide legged glittery pants wouldn’t look out of place in the disco – whilst skater skirts teamed with sheer panelled blouses would look more at home on the deck of the Starship Enterprise. The shoes were possibly from another world entirely – unwearable in everyday life but simply stunning: slightly winged and with heels constructed out of towering pillars of jagged edged glass.

Lako Bukia AW 2012 - photo by Amelia Gregory
Lako Bukia AW 2012 - photo by Amelia Gregory
Lako Bukia AW 2012 - photo by Amelia Gregory
Lako Bukia AW 2012 - photo by Amelia Gregory
Lako Bukia A/W 2012 by Claire Jones
Lako Bukia A/W 2012 by Claire Jones.

There were some beautiful and intriguing elements to the collection, in particular some tight silver trousers and a stunning knee length dress which both featured a shattering glass emblem – the textured shards had the effect of toning down some of the overt glitz, creating a silvery sense of style. Whilst hardly practical I adored the last evening dress, which featured a stunning bodice made out of actual shattered mirror.

Lako Bukia AW 2012 - photo by Amelia Gregory
Lako Bukia AW 2012 - photo by Amelia Gregory
Lako Bukia AW 2012 - photo by Amelia Gregory
Lako Bukia AW 2012 - photo by Amelia Gregory
For the finale the catwalk head was showered with confetti (in silver, yup you’ve guessed it) – which went off with a loud bang. Down at the catwalk entrance we didn’t know what had happened and it certainly caused a skipping of the heart beat and a few nervous giggles around me. There’s nothing like an unexpected fright at LFW to lighten the mood.

Lako Bukia AW 2012 - photo by Amelia Gregory
Lako Bukia AW 2012 - photo by Amelia Gregory
Lako Bukia AW 2012 - photo by Amelia Gregory
Lako Bukia AW 2012 - photo by Amelia Gregory
All photography by Amelia Gregory.

Categories ,70s, ,A/W 2012, ,Broken Mirrors, ,Claire Jones, ,Claudia Behnke, ,Desperate Scousewives, ,disco, ,Fashion Scout, ,Freemasons’ Hall, ,Futuristic, ,Gaarte, ,Gemma Cotterell, ,Georgian, ,Glitter, ,lako bukia, ,Lame, ,Love Amelia, ,review, ,Silver, ,Starship Enterprise, ,Superstition

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Amelia’s Magazine | Inbar Spector: London Fashion Week A/W 2012 Catwalk Review

Inbar Spector AW 2012 by Mitika Chohan

Inbar Spector AW 2012 by Mitika Chohan

I first came across an Inbar Spector dress on a ‘wall’ created by Gabby Young and Katie Antoniou’s Gabberdashery for Supermarket Sarah. It was a voluminous, twisted, tulle dress in a gorgeous light ocean blue which instantly made an impression on me. Since then I have followed Inbar Spector’s work via her strong presence on Facebook, which has enabled me to have peaks into her studio, see pieces in progress, and get a glimpse of her sweet personality. I also had the pleasure of seeing one of her creations in real life worn by Gabby Young – a fan of Spector’s designs – during Gabby Young and Other Animals’ Koko gig last October.

Inbar Spector AW12 photo by Maria Papadimitriou

Inbar Spector AW12 photo by Maria Papadimitriou

So I was quite excited to see Inbar Spector‘s A/W 2012 collection at Fashion Scout’s venue, Freemasons’ Hall. I was certain that I was going to have my dose of the extraordinary, which I very much craved after a couple of less than thrilling London Fashion Week experiences the night before. I was not disappointed: I felt a smile forming the moment the show began. The models, beautifully styled by Hope Von Joel, walked slowly towards the photographers’ pit accompanied by a great soundtrack mixed by Todd Hart.

Inbar Spector AW12 photo by Maria Papadimitriou

Inbar Spector AW 2012 by Love Amelia

Inbar Spector AW 2012 by Love Amelia

Inbar Spector AW12 photo by Maria Papadimitriou

Inbar Spector AW12 photo by Maria Papadimitriou

There was a lot of continuity from S/S 2012. Inbar Spector displayed again her amazing skills in constructing, twisting and knotting generous amounts of silks in soft pastels on metallic faux leather laser cut bodysuits and dresses. The slightly 80s disco metallic bodysuits seemed to me to match perfectly with Todd Hart’s mix, which featured heavily electric keyboard sounds from that decade.

Inbar Spector AW12 photo by Maria Papadimitriou

Inbar Spector AW 2012 by Rosa and Carlotta Crepax Illustrated Moodboard

Inbar Spector AW 2012 by Rosa and Carlotta Crepax Illustrated Moodboard

Inbar Spector AW12 photo by Maria Papadimitriou

This 80s aura helped us escape for a few moments back to a time when we were younger – and maybe richer. The theme to Inbar Spector’s show was indeed Escapism. She quotes ‘fairytales, manga, dreams and circus clowns’ as some of her inspirations for this season. She also makes a connection between the perforated faux leather elements in her clothes – which allow a lot of skin to show through so that one does not know where the real body starts and ends – and people being ‘ruffled’, like some of her clothes, by having plastic surgery and so escaping from the reality of their bodies.

Inbar Spector AW12 photo by Maria Papadimitriou

Inbar Spector AW12 photo by Maria Papadimitriou

Inbar Spector AW12 photo by Maria Papadimitriou

Inbar Spector AW 2012 Lara Jensen headpiece by Love Amelia

Inbar Spector AW 2012 Lara Jensen headpiece by Love Amelia

Inbar Spector AW12 photo by Maria Papadimitriou

Inbar Spector AW12 photo by Maria Papadimitriou

Escaping or changing one’s identity or hiding behind something were relevant themes to another star in the show: the elaborately jewelled headpieces by Lara Jensen which fell in front of the models’ faces like masks. They certainly reminded me of lavishly adorned princesses and maidens from tales of exotic places, but I could not help thinking they also had an element of S&M to them, which again created a link to escapism. I think I was aided in this thought by the constant recurrence in the soundtrack mix of the song ‘Obsession’ by the band Army of Lovers.

Inbar Spector AW12 photo by Maria Papadimitriou

Inbar Spector AW12 photo by Maria Papadimitriou

Inbar Spector AW 2012 by Novemto Komo

Inbar Spector AW 2012 by Novemto Komo

Inbar Spector AW12 photo by Maria Papadimitriou

Inbar Spector AW12 photo by Maria Papadimitriou

Inbar Spector AW 2012 by Reed Rainer

Inbar Spector AW 2012 by Reed Rainer

Again similarly to what she has done in previous shows, Inbar Spector presented her collection building an impressive crescendo by starting with less theatrical pieces, gradually sending out more and more voluminous garments, finishing off with two numbers which were so heart stopping and exciting the audience could not help but clap, cheer and whistle in keen approval. When in the end a tiny, adorable Inbar walked down the catwalk holding hands with the model who was wearing her gigantic closing number, she was drowned by it in physical terms, but her potential and creativity seemed just as gigantic – and then some.

Inbar Spector AW12 photo by Maria Papadimitriou

Inbar Spector AW12 photo by Maria Papadimitriou

Inbar Spector AW12 photo by Maria Papadimitriou

Inbar Spector AW12 photo by Maria Papadimitriou

All photography by Maria Papadimitriou

Categories ,80s, ,Army of Colours, ,Bodysuit, ,Bride, ,Circus, ,Constructivism, ,Crinolines, ,disco, ,Escapism, ,Exotic, ,fairytales, ,Faux Leather, ,Freemasons’ Hall, ,Gabberdashery, ,gabby young, ,Gabby Young and Other Animals, ,Headpiece, ,Hope Von Joel, ,Illustrated Moodboard, ,Inbar Spector, ,jewellery, ,Katie Antoniou, ,Kerry Jones, ,lace, ,Lara Jensen, ,Laser Cutting, ,London Fashion Week, ,Love Amelia, ,Manga, ,Maria Papadimitriou, ,Masks, ,Metalic, ,Mitika Chohan, ,Novemto Komo, ,Obsession, ,Pastel Colours, ,pastels, ,Perforated, ,Plastic Surgery, ,Reed Rainer, ,Rosa and Carlotta Crepax, ,Ruffles, ,S&M, ,Sadomasochism, ,Silks, ,Supermarket Sarah, ,Todd Hart, ,Vauxhall Fashion Scout

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Amelia’s Magazine | Who’s the Man? exhibition and an interview with the artist, Rudy de Belgeonne

Design by Ruth Hill, pills Illustration by Dee Andrews

This week’s wet Monday was brightened up considerably by a trip to the Royal Collage of Art’s first work-in-progress show of 2011 – and before you ask, drugs no, I was not suffering from “Blue Monday” or the notion that yesterday was the most depressing day of the year. as Ben Goldacre (Bad Science) discussed over on his blog, the concept behind this ‘condition’ was made up by a PR company, with the aim to sell more holidays…

Finishing on Wednesday, 19th January, the Work-In-Progress show is a great opportunity for current BA Students, graduates and the public to see the developing ideas in the fields of Fashion, Textiles, Metalwork and Jewellery, Goldsmithing, Silversmithing, and Photography. Whilst the photography and the filmmaking are breathtaking, warranting a trip to the RCA by themselves, I will mainly be focusing on the Menswear and Womenswear Year Two students.

Tariq Mahmoud

Tariq Mahmoud’s shoe was inspired by watching the penguins at the penguin pool of London Zoo. The unique presentation of his shoe within a fish bowl with a couple of toy penguins for company, was certainly eye catching, drawing your attention to the similarities between flipper and shoe.

This wonderful sweater half suspended within the cloth, from it was cut is reminiscent of Issey Miyake’s A Piece of Cloth or A-Poc (see Fashion Editor Matt Bramford’s wonderful article on Future Beauty: 30 Years of Japanese Fashion at the Barbican). Unfortunately I could not find a name to accredit the design too…

Aleksandra Domansehay

The RCA Interim show is a fantastic opportunity to see how ideas circulating within contemporary fashion are being dissected by students studying the craft. Aleksandra Domansehay’s oversized mac in a traditional plaid is a great example of how classic shapes are constantly being reinvented.

Orshel-Read

It was amazing to discover, that one of Amelia’s Magazine favourite London Fashion Week designers Orschel-Read is still a student!
Design by Orschel-Read, Illustration by Gareth A Hopkins

Cherie Newing

I loved Cherie Newing’s take on the ubiquitous fisherman’s jumper.

Sol Auri

Menswear Year 2 student, Sol Auri’s breathtaking combination of triomphe d’oeil and matching fabrics.

Samuel Membey

Samuel Membey’s coat revisits the … as beloved by punks as captured in the wonderful photography book Skins by Gavin Watson.

Ruth Hill

In Womenswear Knit, Ruth Hill’s simple orange dress was highly reminiscent of Paul Klee.

Lily Kamber

Lily Kamber’s fantastic mixed media pieces used found objects to create pieces of jewellery more at home in the art deco settings of William Morris…

Finally I came upon the research section of the Royal College’s Mphil department and the wonderful work of Jungeun Lee. Lee’s experiments with synthetic fabrics – creating garments without the need for pattern cutting, sowing, knitting or weaving – reminded me again of the ground breaking A-Poc (A piece of Cloth) and Issey Miyake’s latest venture, 132 5 , an “experiment in steam pressed polygons of material” (thanks Fashion Ed, Matt Bramford!). Lee created her pieces by molding hot synthetic fibres into a 3D Structure.

Hurry up! What are you waiting for? Head down to the Royal College of Art before 5.30pm Wendesday 19th January.

Visit the Royal College of Art’s website for full updates on their upcoming in-progress shows and public lectures. I’m particularly looking forward to the collaboration between RCA MA Curating Contemporary Art and Goldsmiths MFA Curating students, Testing Ground: Time Scale.

Design by Ruth Hill, buy information pills Illustration by Dee Andrews

This week’s wet Monday was brightened up considerably by a trip to the Royal Collage of Art’s first work-in-progress show of 2011 – and before you ask, viagra no, I was not suffering from “Blue Monday” or the notion that yesterday was the most depressing day of the year. as Ben Goldacre (Bad Science) discussed over on his blog, the concept behind this ‘condition’ was made up by a PR company, with the aim to sell more holidays…

Finishing on Wednesday, 19th January, the Work-In-Progress show is a great opportunity for current BA Students, graduates and the public to see the developing ideas in the fields of Fashion, Textiles, Metalwork and Jewellery, Goldsmithing, Silversmithing, and Photography. Whilst the photography and the filmmaking are breathtaking, warranting a trip to the RCA by themselves, I will mainly be focusing on the Menswear and Womenswear Year Two students.

Tariq Mahmoud

Tariq Mahmoud’s shoe was inspired by watching the penguins at the penguin pool of London Zoo. The unique presentation of his shoe within a fish bowl with a couple of toy penguins for company, was certainly eye catching, drawing your attention to the similarities between flipper and shoe.

This wonderful sweater half suspended within the cloth, from it was cut is reminiscent of Issey Miyake’s A Piece of Cloth or A-Poc (see Fashion Editor Matt Bramford’s wonderful article on Future Beauty: 30 Years of Japanese Fashion at the Barbican). Unfortunately I could not find a name to accredit the design too…

Aleksandra Domansehay

The RCA Interim show is a fantastic opportunity to see how ideas circulating within contemporary fashion are being dissected by students studying the craft. Aleksandra Domansehay’s oversized mac in a traditional plaid is a great example of how classic shapes are constantly being reinvented.

Orshel-Read

It was amazing to discover, that one of Amelia’s Magazine favourite London Fashion Week designers Orschel-Read is still a student!
Design by Orschel-Read, Illustration by Gareth A Hopkins

Cherie Newing

I loved Cherie Newing’s take on the ubiquitous fisherman’s jumper.

Sol Auri

Menswear Year 2 student, Sol Auri’s breathtaking combination of triomphe d’oeil and matching fabrics.

Samuel Membey

Samuel Membey’s coat revisits the … as beloved by punks as captured in the wonderful photography book Skins by Gavin Watson.

Ruth Hill

In Womenswear Knit, Ruth Hill’s simple orange dress was highly reminiscent of Paul Klee.

Lily Kamber

Lily Kamber’s fantastic mixed media pieces used found objects to create pieces of jewellery more at home in the art deco settings of William Morris…

Finally I came upon the research section of the Royal College’s Mphil department and the wonderful work of Jungeun Lee. Lee’s experiments with synthetic fabrics – creating garments without the need for pattern cutting, sowing, knitting or weaving – reminded me again of the ground breaking A-Poc (A piece of Cloth) and Issey Miyake’s latest venture, 132 5 , an “experiment in steam pressed polygons of material” (thanks Fashion Ed, Matt Bramford!). Lee created her pieces by molding hot synthetic fibres into a 3D Structure.

Hurry up! What are you waiting for? Head down to the Royal College of Art before 5.30pm Wendesday 19th January.

Visit the Royal College of Art’s website for full updates on their upcoming in-progress shows and public lectures. I’m particularly looking forward to the collaboration between RCA MA Curating Contemporary Art and Goldsmiths MFA Curating students, Testing Ground: Time Scale.

Design by Ruth Hill, store Illustration by Dee Andrews

This week’s wet Monday was brightened up considerably by a trip to the Royal Collage of Art’s first work-in-progress show of 2011 – and before you ask, viagra buy no, this site I was not suffering from “Blue Monday” or the notion that yesterday was the most depressing day of the year. as Ben Goldacre (Bad Science) discussed over on his blog, the concept behind this ‘condition’ was made up by a PR company, with the aim to sell more holidays…

Finishing on Wednesday, 19th January, the Work-In-Progress show is a great opportunity for current BA Students, graduates and the public to see the developing ideas in the fields of Fashion, Textiles, Metalwork and Jewellery, Goldsmithing, Silversmithing, and Photography. Whilst the photography and the filmmaking are breathtaking, warranting a trip to the RCA by themselves, I will mainly be focusing on the Menswear and Womenswear Year Two students.

Tariq Mahmoud

Tariq Mahmoud’s shoe was inspired by watching the penguins at the penguin pool of London Zoo. The unique presentation of his shoe within a fish bowl with a couple of toy penguins for company, was certainly eye catching, drawing your attention to the similarities between flipper and shoe.

This wonderful sweater half suspended within the cloth, from it was cut is reminiscent of Issey Miyake’s A Piece of Cloth or A-Poc (see Fashion Editor Matt Bramford’s wonderful article on Future Beauty: 30 Years of Japanese Fashion at the Barbican). Unfortunately I could not find a name to accredit the design too…

Aleksandra Domansehay

The RCA Interim show is a fantastic opportunity to see how ideas circulating within contemporary fashion are being dissected by students studying the craft. Aleksandra Domansehay’s oversized mac in a traditional plaid is a great example of how classic shapes are constantly being reinvented.

Orshel-Read

It was amazing to discover, that one of Amelia’s Magazine favourite London Fashion Week designers Orschel-Read is still a student!
Design by Orschel-Read, Illustration by Gareth A Hopkins

Cherie Newing

I loved Cherie Newing’s take on the ubiquitous fisherman’s jumper.

Sol Ahn

Menswear Year 2 student and intriguing illustrator, Sol Ahn displayed this breathtaking combination of a triomphe d’oeil shirt and cardigan with fabrics to match the illustrations!

Samuel Membey

Samuel Membey’s coat revisits the … as beloved by punks as captured in the wonderful photography book Skins by Gavin Watson.

Ruth Hill

In Womenswear Knit, Ruth Hill’s simple orange dress was highly reminiscent of Paul Klee.

Lily Kamber

Lily Kamber’s fantastic mixed media pieces used found objects to create pieces of jewellery more at home in the art deco settings of William Morris…

Finally I came upon the research section of the Royal College’s Mphil department and the wonderful work of Jungeun Lee. Lee’s experiments with synthetic fabrics – creating garments without the need for pattern cutting, sowing, knitting or weaving – reminded me again of the ground breaking A-Poc (A piece of Cloth) and Issey Miyake’s latest venture, 132 5 , an “experiment in steam pressed polygons of material” (thanks Fashion Ed, Matt Bramford!). Lee created her pieces by molding hot synthetic fibres into a 3D Structure.

Hurry up! What are you waiting for? Head down to the Royal College of Art before 5.30pm Wendesday 19th January.

Visit the Royal College of Art’s website for full updates on their upcoming in-progress shows and public lectures. I’m particularly looking forward to the collaboration between RCA MA Curating Contemporary Art and Goldsmiths MFA Curating students, Testing Ground: Time Scale.

Design by Ruth Hill, side effects Illustration by Dee Andrews

This week’s wet Monday was brightened up considerably by a trip to the Royal Collage of Art’s first work-in-progress show of 2011 – and before you ask, viagra approved no, diagnosis I was not suffering from “Blue Monday” or the notion that yesterday was the most depressing day of the year. as Ben Goldacre (Bad Science) discussed over on his blog, the concept behind this ‘condition’ was made up by a PR company, with the aim to sell more holidays…

Finishing on Wednesday, 19th January, the Work-In-Progress show is a great opportunity for current BA Students, graduates and the public to see the developing ideas in the fields of Fashion, Textiles, Metalwork and Jewellery, Goldsmithing, Silversmithing, and Photography. Whilst the photography and the filmmaking are breathtaking, warranting a trip to the RCA by themselves, I will mainly be focusing on the Menswear and Womenswear Year Two students.

Tariq Mahmoud

Tariq Mahmoud’s shoe was inspired by watching the penguins at the penguin pool of London Zoo. The unique presentation of his shoe within a fish bowl with a couple of toy penguins for company, was certainly eye catching, drawing your attention to the similarities between flipper and shoe.

This wonderful sweater half suspended within the cloth, from it was cut is reminiscent of Issey Miyake’s A Piece of Cloth or A-Poc (see Fashion Editor Matt Bramford’s wonderful article on Future Beauty: 30 Years of Japanese Fashion at the Barbican). Unfortunately I could not find a name to accredit the design too…

Aleksandra Domansehay

The RCA Interim show is a fantastic opportunity to see how ideas circulating within contemporary fashion are being dissected by students studying the craft. Aleksandra Domansehay’s oversized mac in a traditional plaid is a great example of how classic shapes are constantly being reinvented.

Orshel-Read

It was amazing to discover that one of Amelia’s Magazine favourite London Fashion Week designers Orschel-Read is still a student!
Design by Orschel-Read, Illustration by Gareth A Hopkins

Cherie Newing

I loved Cherie Newing’s take on the ubiquitous fisherman’s jumper.

Sol Ahn

Menswear Year 2 student and intriguing illustrator, Sol Ahn displayed this breathtaking combination of a triomphe d’oeil shirt and cardigan with fabrics to match the illustrations!

Samuel Membey

Samuel Membey’s coat revisits the … as beloved by punks as captured in the wonderful photography book Skins by Gavin Watson.

Ruth Hill

In Womenswear Knit, Ruth Hill’s simple orange dress with a subtle block print was beautifully reminiscent of the artist Paul Klee.

Lily Kamber

Lily Kamber’s fantastic mixed media pieces used found objects to create pieces of jewellery more at home in the art deco settings of William Morris…

Finally I came upon the research section of the Royal College’s Mphil department and the wonderful work of Jungeun Lee. Lee’s experiments with synthetic fabrics – creating garments without the need for pattern cutting, sowing, knitting or weaving – reminded me again of the ground breaking A-Poc (A piece of Cloth) and Issey Miyake’s latest venture, 132 5 , an “experiment in steam pressed polygons of material” (thanks Fashion Ed, Matt Bramford!). Lee created her pieces by molding hot synthetic fibres into a 3D Structure.

Hurry up! What are you waiting for? Head down to the Royal College of Art before 5.30pm Wendesday 19th January.

Visit the Royal College of Art’s website for full updates on their upcoming in-progress shows and public lectures. I’m particularly looking forward to the collaboration between RCA MA Curating Contemporary Art and Goldsmiths MFA Curating students, Testing Ground: Time Scale.

Design by Ruth Hill, link Illustration by Dee Andrews

This week’s wet Monday was brightened up considerably by a trip to the Royal Collage of Art’s first work-in-progress show of 2011 – and before you ask, unhealthy no, I was not suffering from “Blue Monday” or the notion that yesterday was the most depressing day of the year. as Ben Goldacre (Bad Science) discussed over on his blog, the concept behind this ‘condition’ was made up by a PR company, with the aim to sell more holidays…

Finishing on Wednesday, 19th January, the Work-In-Progress show is a great opportunity for current BA Students, graduates and the public to see the developing ideas in the fields of Fashion, Textiles, Metalwork and Jewellery, Goldsmithing, Silversmithing, and Photography. Whilst the photography and the filmmaking are breathtaking, warranting a trip to the RCA by themselves, I will mainly be focusing on the Menswear and Womenswear Year Two students.

Tariq Mahmoud

Tariq Mahmoud’s shoe was inspired by watching the penguins at the penguin pool of London Zoo. The unique presentation of his shoe within a fish bowl with a couple of toy penguins for company, was certainly eye catching, drawing your attention to the similarities between flipper and shoe.

This wonderful sweater half suspended within the cloth, from it was cut is reminiscent of Issey Miyake’s A Piece of Cloth or A-Poc (see Fashion Editor Matt Bramford’s wonderful article on Future Beauty: 30 Years of Japanese Fashion at the Barbican). Unfortunately I could not find a name to accredit the design too…

Aleksandra Domansehay

The RCA Interim show is a fantastic opportunity to see how ideas circulating within contemporary fashion are being dissected by students studying the craft. Aleksandra Domansehay’s oversized mac in a traditional plaid is a great example of how classic shapes are constantly being reinvented.

Orshel-Read

It was amazing to discover that one of Amelia’s Magazine favourite London Fashion Week designers Orschel-Read is still a student!
Design by Orschel-Read, Illustration by Gareth A Hopkins

Cherie Newing

I loved Cherie Newing’s take on the ubiquitous fisherman’s jumper.

Sol Ahn

Menswear Year 2 student and intriguing illustrator, Sol Ahn displayed this breathtaking combination of a triomphe d’oeil shirt and cardigan with fabrics to match the illustrations!

Samuel Membey

Samuel Membey’s overcoat revisits the skinhead movement of the 1970′s, as captured in Gavin Watson’s collection of photographs: Skins.

Ruth Hill

In Womenswear Knit, Ruth Hill’s simple orange dress with a subtle block print was beautifully reminiscent of the artist Paul Klee.

Lily Kamber

Lily Kamber’s fantastic mixed media pieces used found objects to create pieces of jewellery more at home in the art deco settings of William Morris…

In the M.Phil research section, I came across the wonderful work of Jungeun Lee. Lee’s experiments with synthetic fabrics – creating garments without the need for pattern cutting, sowing, knitting or weaving – reminded me again of the ground breaking A-Poc (A piece of Cloth) and Issey Miyake’s latest venture, 132 5, an “experiment in steam pressed polygons of material” (thanks Fashion Ed, Matt Bramford!). Lee created her pieces by molding hot synthetic fibres into a 3D Structure.

Hurry up! What are you waiting for? Head down to the Royal College of Art before 5.30pm Wendesday 19th January.

Visit the Royal College of Art’s website for full updates on their upcoming in-progress shows and public lectures. I’m particularly looking forward to the collaboration between RCA MA Curating Contemporary Art and Goldsmiths MFA Curating students, Testing Ground: Time Scale.


Illustration by Alexandra Rolfe

I almost didn’t make it to Rudy de Belgeonne‘s exhibition at the Exposure Gallery. It was a rainy Thursday and I’d already hiked to the Hipstamatic exhibition, seek and all I wanted to do was go home and watch EastEnders. Occasionally, it pays to miss EastEnders.


All photography by Matt Bramford

At the Exposure Gallery on Little Portland Street, Rudy has mounted a thousand wooden blocks, each with a different phrase representing a man. Y’know, everything from ‘Pal‘ and ‘Hero‘ to ‘Bad Ass‘, ‘Mofo‘ and ‘Gay Boy‘.

The blocks all proudly own their own hand-painted idioms in a varying array of typefaces, with themes like spaghetti western, 1970s disco and 1980s computer graphics. For anybody obsessed with type, this is a must-see exhibition.

But it isn’t just about typefaces or bright colours. Oh no. Rudy has pretty much mapped all the phrases and aphorisms that have come to represent the male. Song titles, common expressions and often insults are all presented, with the design of each block perfectly suiting each word. Masculine phrases like ‘Champ‘ and ‘Jock‘ are portrayed in bold, blocked fonts; ‘Sexy Mother Fucker‘ and ‘Baby Boy‘ have the flamboyant essence of the 1970s; and ‘Faggot‘ and ‘Friend of Dorothy‘ make use of more feminine typefaces.

I had a chat with Rudy to find out more about the exhibition…

What’s the story behind Who’s The Man??
It’s a very long and winding tale, with many false starts and wrong turnings. Although I studied as a painter years ago, I had been doing mostly digital commercial projects for about 10 years.  I had been working for about a year for a client who I won’t name, on a project that I hated – unpleasant subject, quite complex, very pressurised – so I thought I would keep myself sane by  starting a ‘nice simple’ painting project in my spare time. Also, there was an appeal in the tangibility of paint on wooden panels as an antidote to the nebulous nature of software.

I had always been interested in lists and collections – and also in typefaces and logos, and had an idea that I might do something that played on the words typography/type, and different types of women – the whole housewife, mother, goddess, whore thing amused me.  So I set about collecting as many words for a woman as I could think of.  Trouble was, when I started to actually paint them, something didn’t feel right.  I was painting the word ‘whore’, and it just felt – well – a bit impolite!  It occurred to me how most of the history of art is about the male gaze, woman as subject, men imposing their labels, philosophies, fantasies on their models.  It was then that I had a bit of a lightbulb moment.  Bought up without any paternal role model myself, I think I struggled a bit when I was younger with how one is suppose to behave as a man – what degree of sensitivity, what degree of softness should one allow to show.  So how much more interesting, more personal, how much….funnier,  to turn the gaze around and look at myself, to look at the male.  And how much more culturally relevant, at this time of true female ascendancy in the west, when male roles, behaviour – even purpose – are being questioned on a daily basis in culture and media.  There’s not much call for fighting or hunting these days, and that’s after all what we’re hard-wired to do. Even our breadwinning role is questionable, and there are many many men who – consciously or subconsciously – don’t quite know how they are meant to be.

So I started all over again – and I’m pleased I did, because the Man work has had such a good critical reception – I think in retrospect I may have been given a much harder time if I had worked away for five years and then presented 1000 clichés about women.  I have also become more wrapped up in the subject as it has evolved – reading up on gender politics and masculinity studies.  I came across the phrases ‘gender landscape’  and ‘psychic landscape’ which I hadn’t heard before,  and have come to think of the work almost as some kind of map that a man can stand in front of, and see arrayed before him all the things he could possibly be, and maybe plot his way through these landscapes – who am I? Who would I like to be? Who do I have the option to be but choose not to be? 

What do you hope to achieve with the project?
?First and foremost, with every project I have done, my aim is to seduce – to appeal through beautiful colour schemes and by making people laugh.  If they then start thinking about what kind of man they are, what kind of man they could be, what kind of man they are with, or what kind of man they have bought into the world, then that’s a total bonus for me.
I’m happy for the installation to travel around the world, being reconfigured to fit into different spaces – there are discussions about it going to Tokyo and San Francisco in coming months – selling prints and panel sets off the back of it.  There are also discussions about other merchandise – enamel dog-tags with the words of your choice.  I’m very interested in that point where the art of idea meets mass culture.


Illustration by Avril Kelly

How long has Who’s the Man been in the making? Have you had any help with it??
I started the project 5 years ago in quite a casual way just fitting it in around my day jobs, but I spent more and more time on it as it gained momentum and I realized I was onto something.  I took a studio 2 years ago and I started only doing part-time work so that I could spend more time painting, researching words and typefaces, and thinking about the composition of the piece.  For the last year I worked exclusively on Who’s The Man, and for the first half of 2010, even engaged some interns to help paint backgrounds as I struggled to finish in time for its first showing at the Future Gallery in June.  So it’s all my own work – but with the assistance of everyone who has seen it and given feedback. 
How did you come up with the different words, and how did you source the different typefaces??I have an Excel spreadsheet with more than 4000 words and phrases for a Man. I started out just listing every word I could think of – which was surprisingly many – I have always enjoyed language, and my everyday speech is peppered with phases such as Good Egg, Queer Fish, Rum Cove, Charlie Big Potatoes.  Then, when that started to run dry I turned to dictionaries and thesauruses.  Then I realised that there were a lot of song titles – Good Rockin’ Daddy, Sweet Talkin’ Guy, Mr Boombastic – and movie titles – Godfather, Invisible Man, Mr Majestic – so I turned to IMDB and iTunes.  Then of course, whenever people visited my studio they would challenge themselves to find words I had missed. It still happens whenever show the work – 99% of the time I already have the word people suggest, but I’m still happy to find a place for new ones if something really juicy comes up.

In terms of typefaces, I have a huge collection that I have gathered over the years – I’m a bit of a type geek – I photograph it whenever I see it, clip it from magazines, scan it in, and of course there are many good resources online.

Do you have any particular favourites?
?I’m a fan of all the old fashioned words and phrases that I have already mentioned – ones that I think should be more widely used.  But I also enjoy the juxtaposition of sets of words – Alpha Dog/Pussy Boy, Fancy Dan/Mama Man, Diamond Geezer/Flash Harry Champagne Charlie/Golden Bollocks

What or who has influenced Who’s the Man, or any of your other projects?
?Inspiration comes from all over the place. Conceptually, pop artists like Peter Blake, with his obsessive collections, bold forms and bright flat colours.  Graffiti artists like Margaret Kilgallen, and Ben Eine working today, for the power they manage to invest in the words.  I like a lot of outsider art for its sincerity and obsessive tunnel vision.  But also product packaging, advertising and vintage movie posters of course.

What’s next for the installation and Rudy?
?At the moment I’m still busy dealing with the interest stirred up by Who’s The Man? The installation rolls on from venue to venue, I’m repainting a lot of the panels as bespoke sets to order on a commission basis, and also releasing different configurations as limited edition prints. But I’m conscious that I need to balance all this with taking the idea forwards – I’m working on a range of projects to present the work in different ways – as animation, as an interactive installation, in book form, alongside photos/illustrations of actual men. And developing my next project of course – can’t say too much about it at this stage, but it will be a similar format, except involving images this time, alongside the words… •

Interestingly, I posted an image of ‘16 Gay Types‘ on Twitter – a screen-printed montage of 16 words Rudy has used to represent gay men, which is available as a large-scale print. I had a barrage of replies with suggestions for what could have been on there, and all the gays seemed to love it. I spoke to Rudy about this afterwards, and all of my Twitter pals’ suggestions (fruity examples such as ‘Backdoor Pirate‘) were on Rudy’s original list but he’d been reserved in which to use. Interestingly, he told me the exhibition had resonated mostly with women and gay men, and he believes this is because gay men have experienced longer periods of self-reflection and women think more about the men that surround them and the men they’ve brought into the world. Apparently, it just doesn’t do it for straight men. ‘I have had the odd hetero friend who has looked at it and I can see from looking at their face that it just doesn’t compute,’ Rudy told me.

I guess that’s down to machismo, but even the most alpha of males can find something to enjoy in this unique exhibition, even if it is only swooning over macho typefaces and words. But that’s just the start of it…

Categories ,1970s, ,1980s, ,Baby Boy, ,Ben Eine, ,Champ, ,Charlie Big Potatoes, ,Computer graphics, ,disco, ,EastEnders, ,Exposure Gallery, ,Faggot, ,Friend of Dorothy, ,Gay Boy, ,Good Egg, ,hero, ,IMDB, ,iTunes, ,Jock, ,london, ,Man, ,Margaret Kilgallen, ,MEN, ,Mofo, ,Pal, ,Peter Blake, ,Queer Fish, ,Rudy de Belgeonne, ,Rum Cove, ,Sexy Mother Fucker, ,Typefaces, ,Who’s The Man

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Amelia’s Magazine | The Pipettes – Interview

The Pipettes were a pretty big deal a few years ago, prostate bursting onto the indie club scene with their 50s and 60s-influenced polka-dot pop song album Meet The Pipettes and its hit singles like ‘Pull Shapes‘ and ‘Your Kisses Are Wasted On Me‘. That was half a decade ago, information pills though – since then, and they’ve had several members come and go, leaving the band in its current incarnation of sisters Gwenno and Ani [right and left, respectivaly, in the photo above], along with the boys who play the instruments and help write the music. After a long delay they’ve managed to get a second album ready for release, so I caught up with them earlier this week to see how they’ve been coping with all this commotion.

I thought that we’d start with just clarifying something that I’m not entirely sure about, which is the songwriting – who writes what?

Gwenno: It’s the same as it’s always been. How it works is that one person will write the song, and they’ll bring it in, usually in something like a finished form – it might need a few more chords, or a second verse – but they’ll bring it to the band, and we’ll all interpret it in our own way.
Ani: Everyone’s a songwriter in the band.

I’ve been listening to the new album. It’s an interesting change in direction because it’s not as doo-wop any more, is it? There are a couple of songs that still have that Phil Spector kind of sound, like the first album, but there’s a big change towards synths and electronics and stuff. Almost like moving forward through time a bit? That’s kind of what it sounded like to me. It’s called Earth vs The Pipettes which, in my mind, means space and sci-fi and lasers and things like that – futuristic things. Is that roughly what the thinking behind the album title was?

Gwenno: Well, we were going to call it In Colour, but then there was the whole sci-fi thing – there’s this b-movie called Earth vs The Flying Saucers, and there’s a poster for the film, with all these monsters coming down and people on the floor, and we were going to imitate it with the boys all on the floor and us coming down as the monsters. The album is slightly more grown-up and more serious to a certain extent, but there’s still that silliness and that sense of ridiculousness.

There’s a lot less playground-romance in the new songs.

Ani: [whistfully] I think we should be honest that our school days are well and truly gone…

Time to put the photos away in the album?

Ani: Heh, yeah. Although I never liked school much. We were 100% losers.
Gwenno: But now you’re a winner!
Ani: Yeah! Um. A winner all the way.

So there’s the sci-fi influence on the new album, but what else was coming into your heads when you were making it?

Gwenno: Well, everyone had different takes on it, really.
Ani: When I first came into the band…

Sorry, how long have you been in the band now?

Ani: Two years. When I first came into the band I thought, “yay, I’m in a 50s pop band,” and the first songs that I wrote were songs like that, but they’re not now, they’re more disco.
Gwenno: But also there was a natural evolution, if you’re wanting to be pseudo-academic about it, but at the same time it was a natural thing for us to move in that direction. And of course, being in a band together for so many years, you start to think…

Something different?

Gwenno: Well… Actually, I don’t know.
Ani: It’s not going to be the same, is it?
Gwenno: I know, but I do think that it’s a development anyway, in a way. Everyone can be themselves more.
Ani: Who are you?
Gwenno: [Laughs] I don’t know… Well, I really love a lot of British 80s bands, Bananarama and things like that.
Ani: Which you reference on the first album quite a lot.
Gwenno: Not sonically, though.

Lyrically?

Gwenno: Yeah. And I like old Kylie songs and things like that, and I think that you can hear that more.

So are you saying that you weren’t as keen on the Phil Spector-influenced stuff from the first album?

Gwenno: No, it wasn’t that. There was a point to it, and it was a really good point. I remember seeing the band play in Cardiff and thinking it was absolute genius, and that I wanted to be in this band. None of us were massively into 60s pop music or anything like that, but it was about the history of pop music. Like, if this makes sense then we can make our own year zero here. It was a slightly more intelligent approach than just, “oh, I like playing, I like singing.”

And with your new songs you don’t feel tied down to a single aesthetic?

Gwenno: No. I think it feels… The longer you make music with someone, the more that you trust them, and the more you understand, and you can trust their input. It’s not as controlled.
Ani: And also, with this album, everyone in the band now is at the same point. You [gestures to Gwenno] came in later than the start, I came in even later, so everyone could start from the same point and everyone worked together as a unit, wrote it as a unit.
Gwenno: I guess the common thread is Martin [Rushent, producer], apart from the space theme, of course.

I was watching your video for the first single off the album, ‘Stop The Music’ – you’ve got your dance moves in that, and lots of costumes…

Gwenno: Yeah, and again, it’s quite an organic development, and I don’t think that that song is very ‘Bam! We’re Back!’ – people have been a bit slow to get behind it, and me too. I didn’t write this song and it took me quite a while to actually understand it, to really, really get into it. It’s such a grower.
Ani: It’s a much more confident approach. I don’t want to undermine ourselves, but it doesn’t sound as desperate, like, “hey, we’re in a band.”

So you’re more sure of yourself? The album does sound very cohesive despite the change in direction, I think.

Gwenno: Well, it was a move away from songs like ‘Pull Shapes’, which we ended up feeling quite defined by. Putting ‘Stop The Music’ out first is quite a deliberate thing from us, as in, “here’s a song, we really love it, and it stands on its own and doesn’t need gimmicks.” Which, again, is what this album is about. You have to take it as it is – you like the music, you like the music, if you don’t, you don’t. I think ‘Stop The Music’ confirms that statement, really. The video, too, I don’t think is at all a gimmick, I just think it’s shot very beautifully. It’s probably the proudest I’ve ever felt in making something, visually. I don’t feel like I’m being stupid, jumping around clapping my hands.

You don’t worry at all that the change of direction will alienate some of your fans?

Gwenno: Well, I think that was inevitable. I think, even had it been the same lineup, someone isn’t going to like the new direction anyway. It’s easy to think that we’re alienating fans with a change in direction.

But you’re picking up new ones, too?

Gwenno: I think so, too. To be honest with you, the only reason we’re still here is for the songs. We knew it was going to be difficult with the new lineup, but had we not had so much faith in the songs we just wouldn’t have done it.
Ani: Yeah, and I’m not going to lie – over the past two years it’s not been easy to keep going, at all. There’s been no reason except that we’re making this record.

A labour of love?

Gwenno: Well it is, but having done the first record and having had people respond to it by saying, “it’s a bit gimmicky, it’s a bit throwaway,” it just made us feel that we wanted to do quite a serious thing. Yes, we do dress up and do silly dances, but we feel very passionate about that!
Ani: And then there’s the whole thing that we’re doing it independently, by ourselves, not on a major label or with co-writers forced on us. We would never do that, even though it was an option.

You said that the first album was a bit gimmicky – but surely that’s the point of pop music? To criticise pop for being throwaway and fun is a bit like criticising water for being wet.

Ani: Yep. That’s a thing I find with pop, that it can still be great music, it’s not just throwaway. Someone’s writing it, it’s someone singing someone’s emotions. Just because it’s pop…
Gwenno: I do think it’s completely different, though, when you have artists drawn up in a marketing board meeting.

But that’s still someone’s words that they’re singing, someone’s emotions.

Gwenno: I suppose. I just have a real detachment from modern pop music at the moment.
Ani: I’m not talking about Rihanna – I love Rihanna! I love Girls Aloud! But I’m talking more about…

Straightforwardly manufactured acts who are designed deliberately to make sales?

Ani: Yeah…
Gwenno: [To Ani] I don’t get what you’re trying to say…
Ani: I’m trying to say that just because it’s pop music that doesn’t make it less good, or less credible, than indie or whatever. I think that because we clap hands and dance and wear silly things…

Lots of bands wear silly things, mind. You guys seen Of Montreal?

Gwenno: Hah, yes!

Just because pop music might be, as you say, manufactured, doesn’t make it any less worthy, does it? But you guys are clearly not that kind of mainstream pop music, you’ve got that weird twist to it still by bringing in elements of disco and soul and so on.

Gwenno: I do think that it’s important, with this album, that even though it’s four to the floor most of the time it has still be played and written by a real band. I was talking to [former member] Rose about it yesterday – I like that in songs like ‘Stop The Music’ it’s grounded in very good music. It’s not just an electro-dance-slash-hip-hop song, it’s clearly grounded in 60s soul and all of that stuff. We were having a discussion in studio the other day about having a backing track – obviously Martin has done a lot of stuff to make us not really sound like we’re real, which is brilliant, we love that, and you can never recreate that live unless you played along with a backing track, which we would never, ever do. I really dislike bands that play to backing tracks, on the whole, and I have yet to see a band I’ve enjoyed the feeling of who have played along to a backing track. I would rather have less instrumentation, and see what everyone is doing on stage, and have that being what I hear.
Ani: It loses a lot of its soul. The way it feels, when it’s played in a certain way…

Like having an old record where it always skips in a certain place, and when you hear it on the radio and it doesn’t have that little clip in it, it feels less real?

Gwenno: Yeah, and I think where we differ, as a pop band, to a producer in a studio just making up something for a hired songwriter, is that we don’t have to justify ourselves by saying, “we’re real.” I think that’s an interesting distinction.
Ani: You always feel like you have to validate why you do something. I feel like we’ve thought a lot about the point of us doing this now.
Gwenno: Yeah, because the point is different now. When we started we were sort dressing up and being all anti- those indie guitar bands that were around, but they’ve all gone now, so where do we stand in the grand scheme of things? [Laughs] You need to know who your enemies are, you know, who the bad man is, fighting against what system. It’s finding out what your context is, sort of doing that all over again, really – and I think the songs are wicked. I genuinely do. I think Martin’s done a really good job.

He’s been around for a while – almost old to enough to have worked on some of the original doo-wop records.

Ani: Yeah he has. There’s just some amazing stuff that he’s done. The thing that I love about Martin is how ridiculously enthusiastic about music he still is. He’s not at all cynical, which is just great, because you’d think that you’d lose enthusiasm by then. He’s kind of done more than anyone I’ve ever met.

So who’s he worked with?

Gwenno: Well, I think his biggest thing was Dare by The Human League. Buzzcocks, Stranglers, Shirley Bassey, Altered Image… I think he turned Madonna down.

Really?

Ani: A guy called and said, “I’ve got this girl, Madonna, do you want to make a record with her?” and he said he was too busy because he was doing another Human League album. Even if that’s not true, I think it’s great.

Rehearsals for your tour are going well?

Gwenno: Really good, actually. We’d done a gig as a duo in October at S?n Festival, Huw Stephens’ festival… it seemed a bit of a curse, the S?n Festival, because we couldn’t do it the year before because a girl left the band, but this year we decided we were definitely going to do it because my mum was there, my dad was there, my friends… And then we hadn’t rehearsed, and rehearsing as a duo has really changed the dynamic of the band which I hadn’t expected so much. There’s a lot more singing in unison – I feel so much more confident about it. Obviously, it’s good because we’re siblings, and if we’re singing out of tune we’re going to be harmonising out of tune, if that makes sense. I remember with Rose and Becky that it wasn’t always in tune, there wasn’t that natural instinct, and we were always counteracting each other, we weren’t really harmonising. This is good, I’m quite excited about this new thing, there’s more of a unified voice.
Ani: And also with the old songs we haven’t found that it massively affects them, and we were worried about the old songs mostly because of the freaky harmonies, but there really weren’t any three-piece harmonies anywhere. I do Rose and Becky’s parts, though – I rock ‘n roll AND I hip-hop, which is great.

Does this mean that you’re not looking to find a third member of the band, to get it back to how it was before?

Gwenno: No, not really. I think it was quite nice realising that we’re not the Sugababes, and you can’t just fill that gap. It feels like an evolution, because obviously having a third person who you don’t know can be really weird. They’re not Rose, they’re not Becky, and that’s just not how it is any more. Getting a randomer doesn’t really work…

Kind of like a session musician?

Gwenno: I think that’s what happened, by the third girl who came in. She ended up being really more of a session singer, really, because they couldn’t join in the writing because we’d already written the album, it was finished, they could only sing along with us. It was kind of a redundant thing, and there was no point in them joining the band if they couldn’t help to create anything. Much more of an urge to get the album out, because it’s been going for the last couple of years, and now it’s finally coming out…

Scary?

Gwenno: Yeah, actually! I’m just so happy, that we’re not sitting on this album. It was recorded in the spare bits of studio time that Martin had, which is great, we appreciated that so much, but I remember we read a book which mentioned him, talking about when he made Dare. He said it took him more than a year to make it, and were already three months into recording so we were a bit worried because he was comparing our album to Dare – though obviously it’s probably not going to be anywhere near as big! – and in the end it took him, I think, one more day to finish than for Dare.
Ani: It’s just so good to have the album out really. I’m not nervous at all. You don’t know what’s going to happen, but we have tried our best.

(All images courtesy of the band, taken from the shoot for their latest album)

Categories ,50s, ,60s, ,70s, ,Ani, ,Bananarama, ,Becky, ,Dare, ,disco, ,Doo-Wop, ,Earth vs The Pipettes, ,Gwenno, ,Human League, ,ian steadman, ,interview, ,Kylie Minogue, ,Madonna, ,Martin Rushent, ,Meet The Pipettes, ,pop, ,Pull Shapes, ,Rose, ,Shirley Bassey, ,soul, ,Stop The Music, ,The Human League, ,The Pipettes, ,video, ,Your Kisses Are Wasted On Me

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Amelia’s Magazine | The Pipettes – Interview

The Pipettes were a pretty big deal a few years ago, prostate bursting onto the indie club scene with their 50s and 60s-influenced polka-dot pop song album Meet The Pipettes and its hit singles like ‘Pull Shapes‘ and ‘Your Kisses Are Wasted On Me‘. That was half a decade ago, information pills though – since then, and they’ve had several members come and go, leaving the band in its current incarnation of sisters Gwenno and Ani [right and left, respectivaly, in the photo above], along with the boys who play the instruments and help write the music. After a long delay they’ve managed to get a second album ready for release, so I caught up with them earlier this week to see how they’ve been coping with all this commotion.

I thought that we’d start with just clarifying something that I’m not entirely sure about, which is the songwriting – who writes what?

Gwenno: It’s the same as it’s always been. How it works is that one person will write the song, and they’ll bring it in, usually in something like a finished form – it might need a few more chords, or a second verse – but they’ll bring it to the band, and we’ll all interpret it in our own way.
Ani: Everyone’s a songwriter in the band.

I’ve been listening to the new album. It’s an interesting change in direction because it’s not as doo-wop any more, is it? There are a couple of songs that still have that Phil Spector kind of sound, like the first album, but there’s a big change towards synths and electronics and stuff. Almost like moving forward through time a bit? That’s kind of what it sounded like to me. It’s called Earth vs The Pipettes which, in my mind, means space and sci-fi and lasers and things like that – futuristic things. Is that roughly what the thinking behind the album title was?

Gwenno: Well, we were going to call it In Colour, but then there was the whole sci-fi thing – there’s this b-movie called Earth vs The Flying Saucers, and there’s a poster for the film, with all these monsters coming down and people on the floor, and we were going to imitate it with the boys all on the floor and us coming down as the monsters. The album is slightly more grown-up and more serious to a certain extent, but there’s still that silliness and that sense of ridiculousness.

There’s a lot less playground-romance in the new songs.

Ani: [whistfully] I think we should be honest that our school days are well and truly gone…

Time to put the photos away in the album?

Ani: Heh, yeah. Although I never liked school much. We were 100% losers.
Gwenno: But now you’re a winner!
Ani: Yeah! Um. A winner all the way.

So there’s the sci-fi influence on the new album, but what else was coming into your heads when you were making it?

Gwenno: Well, everyone had different takes on it, really.
Ani: When I first came into the band…

Sorry, how long have you been in the band now?

Ani: Two years. When I first came into the band I thought, “yay, I’m in a 50s pop band,” and the first songs that I wrote were songs like that, but they’re not now, they’re more disco.
Gwenno: But also there was a natural evolution, if you’re wanting to be pseudo-academic about it, but at the same time it was a natural thing for us to move in that direction. And of course, being in a band together for so many years, you start to think…

Something different?

Gwenno: Well… Actually, I don’t know.
Ani: It’s not going to be the same, is it?
Gwenno: I know, but I do think that it’s a development anyway, in a way. Everyone can be themselves more.
Ani: Who are you?
Gwenno: [Laughs] I don’t know… Well, I really love a lot of British 80s bands, Bananarama and things like that.
Ani: Which you reference on the first album quite a lot.
Gwenno: Not sonically, though.

Lyrically?

Gwenno: Yeah. And I like old Kylie songs and things like that, and I think that you can hear that more.

So are you saying that you weren’t as keen on the Phil Spector-influenced stuff from the first album?

Gwenno: No, it wasn’t that. There was a point to it, and it was a really good point. I remember seeing the band play in Cardiff and thinking it was absolute genius, and that I wanted to be in this band. None of us were massively into 60s pop music or anything like that, but it was about the history of pop music. Like, if this makes sense then we can make our own year zero here. It was a slightly more intelligent approach than just, “oh, I like playing, I like singing.”

And with your new songs you don’t feel tied down to a single aesthetic?

Gwenno: No. I think it feels… The longer you make music with someone, the more that you trust them, and the more you understand, and you can trust their input. It’s not as controlled.
Ani: And also, with this album, everyone in the band now is at the same point. You [gestures to Gwenno] came in later than the start, I came in even later, so everyone could start from the same point and everyone worked together as a unit, wrote it as a unit.
Gwenno: I guess the common thread is Martin [Rushent, producer], apart from the space theme, of course.

I was watching your video for the first single off the album, ‘Stop The Music’ – you’ve got your dance moves in that, and lots of costumes…

Gwenno: Yeah, and again, it’s quite an organic development, and I don’t think that that song is very ‘Bam! We’re Back!’ – people have been a bit slow to get behind it, and me too. I didn’t write this song and it took me quite a while to actually understand it, to really, really get into it. It’s such a grower.
Ani: It’s a much more confident approach. I don’t want to undermine ourselves, but it doesn’t sound as desperate, like, “hey, we’re in a band.”

So you’re more sure of yourself? The album does sound very cohesive despite the change in direction, I think.

Gwenno: Well, it was a move away from songs like ‘Pull Shapes’, which we ended up feeling quite defined by. Putting ‘Stop The Music’ out first is quite a deliberate thing from us, as in, “here’s a song, we really love it, and it stands on its own and doesn’t need gimmicks.” Which, again, is what this album is about. You have to take it as it is – you like the music, you like the music, if you don’t, you don’t. I think ‘Stop The Music’ confirms that statement, really. The video, too, I don’t think is at all a gimmick, I just think it’s shot very beautifully. It’s probably the proudest I’ve ever felt in making something, visually. I don’t feel like I’m being stupid, jumping around clapping my hands.

You don’t worry at all that the change of direction will alienate some of your fans?

Gwenno: Well, I think that was inevitable. I think, even had it been the same lineup, someone isn’t going to like the new direction anyway. It’s easy to think that we’re alienating fans with a change in direction.

But you’re picking up new ones, too?

Gwenno: I think so, too. To be honest with you, the only reason we’re still here is for the songs. We knew it was going to be difficult with the new lineup, but had we not had so much faith in the songs we just wouldn’t have done it.
Ani: Yeah, and I’m not going to lie – over the past two years it’s not been easy to keep going, at all. There’s been no reason except that we’re making this record.

A labour of love?

Gwenno: Well it is, but having done the first record and having had people respond to it by saying, “it’s a bit gimmicky, it’s a bit throwaway,” it just made us feel that we wanted to do quite a serious thing. Yes, we do dress up and do silly dances, but we feel very passionate about that!
Ani: And then there’s the whole thing that we’re doing it independently, by ourselves, not on a major label or with co-writers forced on us. We would never do that, even though it was an option.

You said that the first album was a bit gimmicky – but surely that’s the point of pop music? To criticise pop for being throwaway and fun is a bit like criticising water for being wet.

Ani: Yep. That’s a thing I find with pop, that it can still be great music, it’s not just throwaway. Someone’s writing it, it’s someone singing someone’s emotions. Just because it’s pop…
Gwenno: I do think it’s completely different, though, when you have artists drawn up in a marketing board meeting.

But that’s still someone’s words that they’re singing, someone’s emotions.

Gwenno: I suppose. I just have a real detachment from modern pop music at the moment.
Ani: I’m not talking about Rihanna – I love Rihanna! I love Girls Aloud! But I’m talking more about…

Straightforwardly manufactured acts who are designed deliberately to make sales?

Ani: Yeah…
Gwenno: [To Ani] I don’t get what you’re trying to say…
Ani: I’m trying to say that just because it’s pop music that doesn’t make it less good, or less credible, than indie or whatever. I think that because we clap hands and dance and wear silly things…

Lots of bands wear silly things, mind. You guys seen Of Montreal?

Gwenno: Hah, yes!

Just because pop music might be, as you say, manufactured, doesn’t make it any less worthy, does it? But you guys are clearly not that kind of mainstream pop music, you’ve got that weird twist to it still by bringing in elements of disco and soul and so on.

Gwenno: I do think that it’s important, with this album, that even though it’s four to the floor most of the time it has still be played and written by a real band. I was talking to [former member] Rose about it yesterday – I like that in songs like ‘Stop The Music’ it’s grounded in very good music. It’s not just an electro-dance-slash-hip-hop song, it’s clearly grounded in 60s soul and all of that stuff. We were having a discussion in studio the other day about having a backing track – obviously Martin has done a lot of stuff to make us not really sound like we’re real, which is brilliant, we love that, and you can never recreate that live unless you played along with a backing track, which we would never, ever do. I really dislike bands that play to backing tracks, on the whole, and I have yet to see a band I’ve enjoyed the feeling of who have played along to a backing track. I would rather have less instrumentation, and see what everyone is doing on stage, and have that being what I hear.
Ani: It loses a lot of its soul. The way it feels, when it’s played in a certain way…

Like having an old record where it always skips in a certain place, and when you hear it on the radio and it doesn’t have that little clip in it, it feels less real?

Gwenno: Yeah, and I think where we differ, as a pop band, to a producer in a studio just making up something for a hired songwriter, is that we don’t have to justify ourselves by saying, “we’re real.” I think that’s an interesting distinction.
Ani: You always feel like you have to validate why you do something. I feel like we’ve thought a lot about the point of us doing this now.
Gwenno: Yeah, because the point is different now. When we started we were sort dressing up and being all anti- those indie guitar bands that were around, but they’ve all gone now, so where do we stand in the grand scheme of things? [Laughs] You need to know who your enemies are, you know, who the bad man is, fighting against what system. It’s finding out what your context is, sort of doing that all over again, really – and I think the songs are wicked. I genuinely do. I think Martin’s done a really good job.

He’s been around for a while – almost old to enough to have worked on some of the original doo-wop records.

Ani: Yeah he has. There’s just some amazing stuff that he’s done. The thing that I love about Martin is how ridiculously enthusiastic about music he still is. He’s not at all cynical, which is just great, because you’d think that you’d lose enthusiasm by then. He’s kind of done more than anyone I’ve ever met.

So who’s he worked with?

Gwenno: Well, I think his biggest thing was Dare by The Human League. Buzzcocks, Stranglers, Shirley Bassey, Altered Image… I think he turned Madonna down.

Really?

Ani: A guy called and said, “I’ve got this girl, Madonna, do you want to make a record with her?” and he said he was too busy because he was doing another Human League album. Even if that’s not true, I think it’s great.

Rehearsals for your tour are going well?

Gwenno: Really good, actually. We’d done a gig as a duo in October at S?n Festival, Huw Stephens’ festival… it seemed a bit of a curse, the S?n Festival, because we couldn’t do it the year before because a girl left the band, but this year we decided we were definitely going to do it because my mum was there, my dad was there, my friends… And then we hadn’t rehearsed, and rehearsing as a duo has really changed the dynamic of the band which I hadn’t expected so much. There’s a lot more singing in unison – I feel so much more confident about it. Obviously, it’s good because we’re siblings, and if we’re singing out of tune we’re going to be harmonising out of tune, if that makes sense. I remember with Rose and Becky that it wasn’t always in tune, there wasn’t that natural instinct, and we were always counteracting each other, we weren’t really harmonising. This is good, I’m quite excited about this new thing, there’s more of a unified voice.
Ani: And also with the old songs we haven’t found that it massively affects them, and we were worried about the old songs mostly because of the freaky harmonies, but there really weren’t any three-piece harmonies anywhere. I do Rose and Becky’s parts, though – I rock ‘n roll AND I hip-hop, which is great.

Does this mean that you’re not looking to find a third member of the band, to get it back to how it was before?

Gwenno: No, not really. I think it was quite nice realising that we’re not the Sugababes, and you can’t just fill that gap. It feels like an evolution, because obviously having a third person who you don’t know can be really weird. They’re not Rose, they’re not Becky, and that’s just not how it is any more. Getting a randomer doesn’t really work…

Kind of like a session musician?

Gwenno: I think that’s what happened, by the third girl who came in. She ended up being really more of a session singer, really, because they couldn’t join in the writing because we’d already written the album, it was finished, they could only sing along with us. It was kind of a redundant thing, and there was no point in them joining the band if they couldn’t help to create anything. Much more of an urge to get the album out, because it’s been going for the last couple of years, and now it’s finally coming out…

Scary?

Gwenno: Yeah, actually! I’m just so happy, that we’re not sitting on this album. It was recorded in the spare bits of studio time that Martin had, which is great, we appreciated that so much, but I remember we read a book which mentioned him, talking about when he made Dare. He said it took him more than a year to make it, and were already three months into recording so we were a bit worried because he was comparing our album to Dare – though obviously it’s probably not going to be anywhere near as big! – and in the end it took him, I think, one more day to finish than for Dare.
Ani: It’s just so good to have the album out really. I’m not nervous at all. You don’t know what’s going to happen, but we have tried our best.

(All images courtesy of the band, taken from the shoot for their latest album)

Categories ,50s, ,60s, ,70s, ,Ani, ,Bananarama, ,Becky, ,Dare, ,disco, ,Doo-Wop, ,Earth vs The Pipettes, ,Gwenno, ,Human League, ,ian steadman, ,interview, ,Kylie Minogue, ,Madonna, ,Martin Rushent, ,Meet The Pipettes, ,pop, ,Pull Shapes, ,Rose, ,Shirley Bassey, ,soul, ,Stop The Music, ,The Human League, ,The Pipettes, ,video, ,Your Kisses Are Wasted On Me

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Amelia’s Magazine | Kotki Dwa, Still Corners and Twin Sister at the Lexington: Live Review

Since the first protest over two weeks ago -to use a slightly naff cliche- there has been something in the air; occupation, troche malady occupation, buy occupation! Across Britain students have left the streets and occupied their university halls in protest against the outcome of Lord Browne’s report: tuition fees to rise, the abolishment of EMA’s and the suggested removal of the state funding received by Universities to aid their research and teaching. At the beginning, in the face of the Coalition’s seemingly never ending barrage of cuts, there have been the inevitable attempts to label the student protests as self indulgent, (though what is self indulgent about fighting to preserve access to higher education for all in perpetuity?!) I was disappointed to see this article from Polly Toynbee, personally we should avoid turning the terrifying breadth and width of the cuts into a hierarchical system of which are more deserving to be saved. Yet the students are proving their opposers wrong, one of the demands of the UCLOccupation is for everyone who works in the university to be paid the London Living Wage, which is to be two pounds higher than the minimum wage. The inclusion of this demand has lead to increased support from Toynbee, as they are using their platform not only to campaign for themselves, but to join forces with other groups protesting against these draconian, unnecessary and dogmatic cuts.

Personally, I completely support the occupations of Universities, I’ve tasted the education cuts proposed by the Coalition and the impact they had on my student body was terrible, morale was low, people questioned why there were plunging into debt when they were receiving so little. Which is the inevitable problem when turning education into a market rather than a social right – it becomes about outcomes and fixed measurable points, rather than the continued development and sharing of knowledge. Maybe I was idealistic at what university would offer, but a sly cut in teaching, space and access to workshops was not what I was expecting. During my second year at Goldsmiths we spent the year fighting bigger class sizes on a third of the teachers, the loss of workshops and the loss of studio space to the point where people stopped coming to the studios because there was no room. Goldsmiths was the second university I tried, I left my first in protest against their education cuts. I bring up my experiences because despite Clegg’s lame protestations, it is not only the higher fees that would put me off if I was applying now, it is the slow destruction of our higher education system. The forcing of universities to act like businesses is not working and nor should it. Education is not a marketable commodity and we need to protect it alongside our incredible welfare state (the first hospital has already been all but privatised – Andrew Lansley’s white paper is a slippery slope), why are we allowing free universal access to medical care slip through our fingers? No-one in the Cabinet paid for their higher education and they experienced the best it had and still has to offer. We need to support the student occupations, we need to support the preservation of higher education.

I visited the UCL occupation on Saturday and it was amazing hive of activity (as I am sure all the occupied universities are). This weekend the Slade are mobilising art against the cuts, you can see their manifesto here.
Since the first protest over two weeks ago -to use a slightly naff cliche- there has been something in the air; occupation, illness occupation, approved occupation! Across Britain students have left the streets and occupied their university halls in protest against the outcome of Lord Browne’s report: tuition fees to rise, the abolishment of EMA’s and the suggested removal of the state funding received by Universities to aid their research and teaching. At the beginning, in the face of the Coalition’s seemingly never ending barrage of cuts, there have been the inevitable attempts to label the student protests as self indulgent, (though what is self indulgent about fighting to preserve access to higher education for all in perpetuity?!) I was disappointed to see this article from Polly Toynbee, personally we should avoid turning the terrifying breadth and width of the cuts into a hierarchical system of which are more deserving to be saved. Yet the students are proving their opposers wrong, one of the demands of the UCLOccupation is for everyone who works in the university to be paid the London Living Wage, which is to be two pounds higher than the minimum wage. The inclusion of this demand has lead to increased support from Toynbee, as they are using their platform not only to campaign for themselves, but to join forces with other groups protesting against these draconian, unnecessary and dogmatic cuts.

Personally, I completely support the occupations of Universities, I’ve tasted the education cuts proposed by the Coalition and the impact they had on my student body was terrible, morale was low, people questioned why there were plunging into debt when they were receiving so little. Which is the inevitable problem when turning education into a market rather than a social right – it becomes about outcomes and fixed measurable points, rather than the continued development and sharing of knowledge. Maybe I was idealistic at what university would offer, but a sly cut in teaching, space and access to workshops was not what I was expecting. During my second year at Goldsmiths we spent the year fighting bigger class sizes on a third of the teachers, the loss of workshops and the loss of studio space to the point where people stopped coming to the studios because there was no room. Goldsmiths was the second university I tried, I left my first in protest against their education cuts. I bring up my experiences because despite Clegg’s lame protestations, it is not only the higher fees that would put me off if I was applying now, it is the slow destruction of our higher education system. The forcing of universities to act like businesses is not working and nor should it. Education is not a marketable commodity and we need to protect it alongside our incredible welfare state (the first hospital has already been all but privatised – Andrew Lansley’s white paper is a slippery slope), why are we allowing free universal access to medical care slip through our fingers? No-one in the Cabinet paid for their higher education and they experienced the best it had and still has to offer. We need to support the student occupations, we need to support the preservation of higher education.

I visited the UCL occupation on Saturday and it was amazing hive of activity (as I am sure all the occupied universities are). This weekend the Slade are mobilising art against the cuts, you can see their manifesto here. Since visiting the protestors marched again on tuesday and there are many excellent accounts of what happened available on the internet, this Saturday sees a national day of action against the cuts and I believe there is another protest happening on the 9th. These occupations matter because the students are using their platform to join forces with other public sectors impacted from the lose of Mental Heath workers to the drastic cuts in legal aids that are happening at the same time as the benefit system is being overhauled. This was a banking crisis, this is a banking crisis, the government bailed out the banks and are still paying the price. This type of capitalism continually fails to work, unregulated markets failed. Why would we let people involved in this crisis, advise us that the best model for Universities is one based on the market??

Rather disappointingly UCL Lawyers have been called in to secure an injunction to evict the students. On the 9th December another day of protest – this time with parents and teachers joining in- will be held to oppose the Government’s to raise tuition fees.

During my visit to UCL I caught the end of Billy Bragg, saw the support of the National Union of Journalists in support of the occupation, sat through a book reading and the tutor’s support for the plight of students across Britain and had the opportunity to listen to David Wearing and Dan Hind discuss the history of capitalism and … It was a rather amazing day and if you are free this weekend or at any time, please check out an occupation near you events and the opportunity to speak to the students.
Since the first protest took place over two weeks ago -to use a slightly naff cliche- there has been something palatable in the air; occupation, capsule occupation, stuff occupation! Across Britain students have left the streets and occupied their university halls in protest against the outcome of Lord Browne’s report: tuition fees to rise, what is ed the abolishment of EMA’s and the suggested removal of the state funding received by Universities to aid their research and teaching budgets.

In the face of the Coalition’s seemingly never-ending barrage of cuts targeting every section of the welfare state, there have been the inevitable attempts to label the student protests as self indulgent, (though what is self indulgent about fighting to preserve access to higher education for all, in perpetuity?!) I was disappointed to see the always readable Polly Toynbee state: personally we should avoid turning the terrifying breadth and width of the cuts into a hierarchical system of the most deserving. Yet the students are proving their opposers wrong, one of the demands of the UCLOccupation is for everyone who works in the university to be paid the London Living Wage, which is to be two pounds higher than the minimum wage. The inclusion of this demand has lead to increased support from Toynbee, as they are using their platform not only to campaign for themselves, but to join forces with other groups protesting against these draconian, unnecessary and dogmatic cuts.

Personally, I completely support the occupations of Universities, I’ve tasted the education cuts proposed by the Coalition and the impact they had on my student body was terrible, morale was low, people questioned why there were plunging into debt when they were receiving so little. Which is the inevitable problem when turning education into a market rather than a social right – it becomes about outcomes and fixed measurable points, rather than the continued development and sharing of knowledge. Maybe I was idealistic at what university would offer, but a sly cut in teaching, space and access to workshops was not what I was expecting. During my second year at Goldsmiths we spent the year fighting bigger class sizes on a third of the teachers, the loss of workshops and the loss of studio space to the point where people stopped coming to the studios because there was no room. Goldsmiths was the second university I tried, I left my first in protest against their education cuts. I bring up my experiences because despite Clegg’s lame protestations, it is not only the higher fees that would put me off if I was applying now, it is the slow destruction of our higher education system. The forcing of universities to act like businesses is not working and nor should it. Education is not a marketable commodity and we need to protect it alongside our incredible welfare state (the first hospital has already been all but privatised – Andrew Lansley’s white paper is a slippery slope), why are we allowing free universal access to medical care slip through our fingers? No-one in the Cabinet paid for their higher education and they experienced the best it had and still has to offer. We need to support the student occupations, we need to support the preservation of higher education.

I visited the UCL occupation on Saturday and it was amazing hive of activity (as I am sure all the occupied universities are). This weekend the Slade are mobilising art against the cuts, you can see their manifesto here. Since visiting the protestors marched again on tuesday and there are many excellent accounts of what happened available on the internet, this Saturday sees a national day of action against the cuts and I believe there is another protest happening on the 9th. These occupations matter because the students are using their platform to join forces with other public sectors impacted from the lose of Mental Heath workers to the drastic cuts in legal aids that are happening at the same time as the benefit system is being overhauled. This was a banking crisis, this is a banking crisis, the government bailed out the banks and are still paying the price. This type of capitalism continually fails to work, unregulated markets failed. Why would we let people involved in this crisis, advise us that the best model for Universities is one based on the market??

Rather disappointingly UCL Lawyers have been called in to secure an injunction to evict the students. On the 9th December another day of protest – this time with parents and teachers joining in- will be held to oppose the Government’s to raise tuition fees.

During my visit to UCL I caught the end of Billy Bragg, saw the support of the National Union of Journalists in support of the occupation, sat through a book reading and the tutor’s support for the plight of students across Britain and had the opportunity to listen to David Wearing and Dan Hind discuss the history of capitalism and … It was a rather amazing day and if you are free this weekend or at any time, please check out an occupation near you events and the opportunity to speak to the students.
Since the first protest over two weeks ago, buy information pills there has been something palatable in the air; occupation, viagra approved occupation, approved occupation! Across Britain students have left the streets and occupied their University halls in protest against the outcome of Lord Browne’s report: tuition fees to rise, the abolishment of EMA’s and the suggested removal of the state funding Universities receive to aid their research and teaching budgets.

In the face of the Coalition’s seemingly never-ending barrage of cuts targeting every section of the welfare state, there has been the inevitable attempts to label the student protests as self indulgent (though what is self indulgent about fighting to preserve access to higher education for all, in perpetuity?!). I was disappointed to see the always readable Polly Toynbee state: personally we should avoid turning the terrifying breadth and width of the cuts into a hierarchical system of the most deserving.

Yet the students are fighting back against charges of indulgency, one of the demands made by the UCLOccupation is for all University employees to be paid the London Living Wage. The inclusion of this demand has lead to increased support from Toynbee and her more recent article signaled a change in approach. The Studetns are using their platform of occupation not only to campaign against sweeping changes to the perception of Higher Education, but to join forces with other groups (NHS, Library Workers, Legal Aid etc) to protest against these draconian, unnecessary and dogmatic cuts.

Personally, I completely support the occupations of Universities, I’ve tasted the education cuts proposed by the Coalition and the impact they had on my student body was terrible, morale was low, people questioned why they were plunging into debt when they were receiving so little in return. It made many students question the worth of their courses, which is exactly what this report wants to achieve. Education is not about financial worth, society will quickly become lacking if this thinking becomes the norm.

For me, this is the inevitable problem when turning education into a competitive market rather than an individual’s choice – it becomes about outcomes and fixed measurable points, rather than the continued development and sharing of knowledge. Maybe I was idealistic at what university would offer, but the sly cuts in teaching, space and access to workshops was not what I was expecting. During my second year at Goldsmiths we spent the year fighting against bigger class sizes on a third of the teachers, compounded by the loss of workshops and studio space so small, people stopped coming into the studios. Luckily for our third year, we managed to claw back studio space and instigate a system of visiting tutors, but the depth of knowledge we lost with tutors was unmistakable.

Goldsmiths was the second university I tried, I left my first in protest against their education cuts. I bring up my experiences because despite Clegg’s lame protestations, it is not only the higher fees that would put me off if I was applying now, it is the slow destruction of our higher education system. The forcing of universities to act like businesses is not working and nor should it. Education is not a marketable commodity and we need to protect it alongside our incredible welfare state (the first hospital has already been all but privatised – Andrew Lansley’s white paper is a slippery slope), why are we allowing free universal access to medical care slip through our fingers? No-one in the Cabinet paid for their higher education and they experienced the best it had and still has to offer. We need to support the student occupations, we need to support the preservation of higher education.

I visited the UCL occupation on Saturday and it was amazing hive of activity (as I am sure all the occupied universities are). This weekend the Slade are mobilising art against the cuts, you can see their manifesto here. Since visiting the protestors marched again on tuesday and there are many excellent accounts of what happened available on the internet, this Saturday sees a national day of action against the cuts and I believe there is another protest happening on the 9th. These occupations matter because the students are using their platform to join forces with other public sectors impacted from the lose of Mental Heath workers to the drastic cuts in legal aids that are happening at the same time as the benefit system is being overhauled. This was a banking crisis, this is a banking crisis, the government bailed out the banks and are still paying the price. This type of capitalism continually fails to work, unregulated markets failed. Why would we let people involved in this crisis, advise us that the best model for Universities is one based on the market??

Rather disappointingly UCL Lawyers have been called in to secure an injunction to evict the students. On the 9th December another day of protest – this time with parents and teachers joining in- will be held to oppose the Government’s to raise tuition fees.

During my visit to UCL I caught the end of Billy Bragg, saw the support of the National Union of Journalists in support of the occupation, sat through a book reading and the tutor’s support for the plight of students across Britain and had the opportunity to listen to David Wearing and Dan Hind discuss the history of capitalism and … It was a rather amazing day and if you are free this weekend or at any time, please check out an occupation near you events and the opportunity to speak to the students.
Since the first protest over two weeks ago, store there has been something palatable in the air; occupation, occupation, occupation! Across Britain students have left the streets and occupied their University halls in protest against the outcome of Lord Browne’s report: tuition fees to rise, the abolishment of EMA’s and the suggested removal of the state funding Universities receive to aid their research and teaching budgets.

In the face of the Coalition’s seemingly never-ending barrage of cuts targeting every section of the welfare state, there has been the inevitable attempts to label the student protests as self indulgent (though what is self indulgent about fighting to preserve access to higher education for all, in perpetuity?!). I was disappointed to see the always readable Polly Toynbee state: we should be avoiding the desire to turn the terrifying breadth and width of the cuts into a hierarchical system of the most deserving.

Yet the students are fighting back against charges of indulgency, one of the demands made by the UCLOccupation is for all University employees to be paid the London Living Wage. The inclusion of this demand has lead to increased support from Toynbee and her more recent article signaled a change in approach. The Students are using their platform of occupation not only to campaign against sweeping changes to the perception of Higher Education, but to join forces -as I learnt whilst visiting UCLOccupation- with other groups (NHS, Library Workers, Legal Aid etc) to protest against these draconian, unnecessary and dogmatic cuts.

Personally, I completely support the occupations of Universities, I’ve tasted the education cuts proposed by the Coalition and the impact they had on my student body was terrible, morale was low, people questioned why they were plunging into debt when they were receiving so little in return. It made many students question the worth of their courses, which is what The Browne report wants to achieve – the commodification of learning. Education is not about financial worth and society will quickly become lacking in innovation and discussion if this thinking becomes the norm.

This is the inevitable problem when turning education into a competitive market rather than an individual choice about whether or not to further their learning. Maybe I was idealistic at what university would offer, but the sly cuts in teaching, space and access to workshops was not what I was expecting. During my second year at Goldsmiths we spent the year fighting against bigger class sizes on a third of the teachers, compounded by the loss of workshops and studio space so small, people stopped coming into the studios. Luckily for our third year, we managed to claw back studio space and instigate a system of visiting tutors, but the depth of knowledge we lost with the axed tutors was unmistakable.

Goldsmiths was the second university I tried, I left my first in protest against their education cuts. I bring up my experiences because despite Clegg’s lame protestations, it is not only the higher fees that would put me off if I was applying now, it is the slow destruction of our higher education system. The forcing of universities to act like businesses is not working and nor should it. Education is not a marketable commodity and we need to protect it alongside our incredible welfare state (the first hospital has already been all but privatised – Andrew Lansley’s white paper is a slippery slope), why are we allowing free universal access to medical care slip through our fingers? No-one in the Cabinet paid for their higher education and they experienced the best it had and still has to offer. We need to support the student occupations, we need to support the preservation of higher education.

I visited the UCL occupation on Saturday and it was amazing hive of activity (as all the occupied universities will be). This weekend the Slade are mobilising art against the cuts, you can see their manifesto here. Since my visit the protestors marched again on tuesday and ran circles around the police’s attempt to kettle them or in the words of newspeak, ‘detain.’ There are many excellent accounts of what happened available across the internet or join twitter for live updates.

Rather disappointingly UCL Lawyers have been called in to secure an injunction to evict the students, a move being instigated no doubt by all Universities currently occupied. It would be a breath of fresh air for the University bodies to support the students who fill their halls.

Do check out what events are happening at the various spaces, during my visit to UCL I caught the end of Billy Bragg, saw the rousing support of the National Union of Journalists, sat through a book reading and the tutor’s rallying support for the plight of students across Britain and had the opportunity to listen to David Wearing and Dan Hind discuss the history of capitalism and …

For me the Occupation’s summerise Education, the ability to move between disciplines and try out new lectures on whatever subject that interests you. It should not be the continued separation of courses or a separation of thinking between the Humanities and the Sciences. We should strive for a University model in which debate happens across disciplines.

This Saturday (4th) sees a national day of action against ALL cuts proposed by the coalition and another protest with teachers, students and parents is being planned for the 9th. This was originally and remains banking crisis, a crisis of capitalism, we can negotiate a new space if we work together. The government bailed out the banks and populations across the world are paying the price. This type of capitalism continually fails as do the unchecked belief in unregulated markets. Why would we let people involved in this crisis, advise us that the best model for Universities is one based on the market??
Since the first protest over two weeks ago, discount there has been something palatable in the air; occupation, sildenafil occupation, occupation! Across Britain students have left the streets and occupied their University halls in protest against the outcome of Lord Browne’s report: tuition fees to rise, the abolishment of EMA’s and the suggested removal of the state funding Universities receive to aid their research and teaching budgets.

In the face of the Coalition’s seemingly never-ending barrage of cuts targeting every section of the welfare state, there has been the inevitable attempts to label the student protests as self indulgent (though what is self indulgent about fighting to preserve access to higher education for all, in perpetuity?!). I was disappointed to see the always readable Polly Toynbee state: we should be avoiding the desire to turn the terrifying breadth and width of the cuts into a hierarchical system of the most deserving.

Yet the students are fighting back against charges of indulgency, one of the demands made by the UCLOccupation is for all University employees to be paid the London Living Wage. The inclusion of this demand has lead to increased support from Toynbee and her more recent article signaled a change in approach. The Students are using their platform of occupation not only to campaign against sweeping changes to the perception of Higher Education, but to join forces -as I learnt whilst visiting UCLOccupation- with other groups (NHS, Library Workers, Legal Aid etc) to protest against these draconian, unnecessary and dogmatic cuts.

Personally, I completely support the occupations of Universities, I’ve tasted the education cuts proposed by the Coalition and the impact they had on my student body was terrible, morale was low, people questioned why they were plunging into debt when they were receiving so little in return. It made many students question the worth of their courses, which is what The Browne report wants to achieve – the commodification of learning. Education is not about financial worth and society will quickly become lacking in innovation and discussion if this thinking becomes the norm.

This is the inevitable problem when turning education into a competitive market rather than an individual choice about whether or not to further their learning. Maybe I was idealistic at what university would offer, but the sly cuts in teaching, space and access to workshops was not what I was expecting. During my second year at Goldsmiths we spent the year fighting against bigger class sizes on a third of the teachers, compounded by the loss of workshops and studio space so small, people stopped coming into the studios. Luckily for our third year, we managed to claw back studio space and instigate a system of visiting tutors, but the depth of knowledge we lost with the axed tutors was unmistakable.

Goldsmiths was the second university I tried, I left my first in protest against their education cuts. I bring up my experiences because despite Clegg’s lame protestations, it is not only the higher fees that would put me off if I was applying now, it is the slow destruction of our higher education system. The forcing of universities to act like businesses is not working and nor should it. Education is not a marketable commodity and we need to protect it alongside our incredible welfare state (the first hospital has already been all but privatised – Andrew Lansley’s white paper is a slippery slope), why are we allowing free universal access to medical care slip through our fingers? No-one in the Cabinet paid for their higher education and they experienced the best it had and still has to offer. We need to support the student occupations, we need to support the preservation of higher education.

I visited the UCL occupation on Saturday and it was amazing hive of activity (as all the occupied universities will be). This weekend the Slade are mobilising art against the cuts, you can see their manifesto here. Since my visit the protestors marched again on tuesday and ran circles around the police’s attempt to kettle them or in the words of newspeak, ‘detain.’ There are many excellent accounts of what happened available across the internet or join twitter for live updates.

This Saturday (4th) sees a national day of action against ALL the cuts and another protest with teachers, students and parents is being planned for the 9th. These occupations matter because the students are using their platform to join forces with other public sectors impacted from the lose of Mental Heath workers to the drastic cuts in legal aids that are happening at the same time as the benefit system is being overhauled. This was a banking crisis, this is a banking crisis, the government bailed out the banks and are still paying the price. This type of capitalism continually fails to work, unregulated markets failed. Why would we let people involved in this crisis, advise us that the best model for Universities is one based on the market??

Rather disappointingly UCL Lawyers have been called in to secure an injunction to evict the students, a move being instigated no doubt by all Universities currently occupied. It would be a breath of fresh air for the University bodies to support the students who fill their halls.

Do check out what events are happening at the various spaces, during my visit to UCL I caught the end of Billy Bragg, saw the rousing support of the National Union of Journalists, sat through a book reading and the tutor’s rallying support for the plight of students across Britain and had the opportunity to listen to David Wearing and Dan Hind discuss the history of capitalism and …

For me the Occupation’s summerise Education, the ability to move between disciplines and try out new lectures on whatever subject that interests you. It should not be the continued separation of courses or a separation of thinking between the Humanities and the Sciences. We should strive for a University model in which debate happens across disciplines.
kotkidwa by daria h
Illustration by Daria Hlazatowa

It was a cold Thursday night twixt Angel and Kings Cross, link but about to warm the cockles of our hearts were Kotki Dwa, order opening a sold out RockFeedback night at the Lexington. This was their second “comeback” gig in the space of a week (having appeared at the Hobby Horse the previous Saturday), price after a spot of extra-curricular activity by the trio. I’d never caught Kotki Dwa (so named after a Polish lullaby involving two little kittens) before, though I know that regular readers of Amelia’s Magazine will be familiar with them (they also contributed a song to the Amelia’s Tunes compilation a couple of years ago).

With singer and guitarist Alex Ostrowski bedecked in a decorated waistcoat (possibly homemade, as I believe the guys are a bit partial to the DIY approach), Kotki Dwa kicked off the proceedings in a typically quirky fashion. Musically, they energetically mix up the guitar chops with some beep-tastic synth action, occasionally resulting in some spectacular freakouts, such as on frenetic Kiss and Make Up. I was really impressed by them, and they were cheered on by the faithful who crowded to the front of the stage ahead of the other bands sets. We even got a cordial invitation to a free Wycinanki workshop that they’re running at the Topolski Century Gallery on the South Bank! See our listing here.

still corners singer
Photo courtesy of Still Corners.

Still Corners provided quite a contrast when they took the stage. With the lights down low and myriad images being played behind them, this was a band going for atmosphere with a capital A. And, to be fair, they succeeded. With a lead guitar so drowned in reverb that it sounded like it was coming from another dimension, Still Corners purveyed a woozy kind of 60’s influenced psychedelic pop, like Some Velvet Morning by Lee Hazelwood and Nancy Sinatra covered by My Bloody Valentine. Like Kotki Dwa, they too are no strangers to Amelia’s Magazine, having recently been caught supporting Our Broken Garden.

The Lexington had really started to fill up by this point, and the newcomers were treated to the ethereal delights of songs like Don’t Fall In Love and Endless Summer, the latter eerily recalling Joy Division’s Decades. There was even an instrumental number which allowed the band a bit of a Neu! styled workout. Still Corners are being hotly tipped at the moment, and they certainly stand out from the current crop of bands riding the C86 revival. Most definitely worth checking out live, if you get the chance.

Twin Sister by Matilde Sazio
Illustration by Matilde Sazio

Another hotly tipped band are Long Island’s Twin Sister, currently in the midst of a jaunt around Europe. The five-piece took to the stage with breathy-voiced singer Andrea Estella adorned in a voluminous green wig (for reasons never actually explained) and the bass guitar of Gabel D’Amico sporting what looked like a bit of shrubbery.

Twin Sister are a bit more difficult to pigeonhole than a lot of their US contemporaries, navigating a path between the 60’s garage sound of Vivian Girls or Dum Dum Girls and the My Bloody Valentine influenced indie pop of Pains of Being Pure at Heart. Playing a selection of tracks from the EPs Vampires with Dreaming Kids and Color Your Life, they mix up cool guitar pop with an electronic edge though, if anything, they reminded me of the Cardigans (I’m not sure if that’s a good thing or not!). Current single All Around and Away We Go throws in another stylistic twist, with a New Wave disco beat sounding not unlike Blondie produced by Barry White. A packed out Lexington was certainly getting its collective groove on by this point, whilst onstage guitarist and co-vocalist Eric Cardona proved to be a master of multi-tasking by taking on some electronic drum pads.

I think there were a few doubters in the audience to begin with, and I certainly didn’t know what to expect as I wasn’t that familiar with them, but after seeing Twin Sister in action, I think they can certainly justify the excitement that’s followed them cross the Atlantic.

Categories ,Barry White, ,blondie, ,c86, ,Cardigans, ,Daria Hlazatova, ,disco, ,Dum Dum Girls, ,Hobby Horse, ,Indie Pop, ,joy division, ,Kotki Dwa, ,Lee Hazelwood, ,Lexington, ,Matilde Sazio, ,My Bloody Valentine, ,Nancy Sinatra, ,neu!, ,new wave, ,Our Broken Garden, ,Pains Of Being Pure at Heart, ,psychedelic pop, ,RockFeedback, ,Still Corners, ,Topolski Century Gallery, ,Twin Sister, ,Vivian Girls, ,Wycinanki

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Amelia’s Magazine | Donna Summer 1948 – 2012


Donna Summer by Naomi Ryder

Rumours had been circulating all year that undisputed Queen of Disco, matriarch of the 12″ record and five-times Grammy award-winning Donna Summer would perform at London’s Lovebox festival. I bought a ticket in advance and, even when Grace Jones was announced as the headline act, I hoped that Donna Summer would make a surprise appearance and I would finally see one of my favourite artists of all time perform live. So it came as a massive shock to discover (via Twitter as is fast becoming the norm) that the legend had lost her battle with cancer; a battle we didn’t even know she was fighting.


Donna Summer by Sam Parr

Most tributes you’ve read by now probably tell you that LaDonna Adrian Gaines was born on New Year’s Eve 1948, performed in church from the age of ten and moved to Munich in her teens, where she met and married Helmut Sommer – anglicising his name when they split. It was a chance meeting with producers Giorgio Moroder and Pete Bellotte in Germany that would change Donna Summer‘s life forever.


Donna Summer by Nicola O’prey

It was in 1975 that Donna Summer had the idea for a song with the lyric ‘I love to love you’ and Moroder developed the track for another artist, asking Donna only to record a demo. Rumour has it that Donna asked for the lights to be turned off so she could get into the zone, as it were, and her recorded version was so powerful that Moroder insisted it should be released. Casablanca Records‘ chief Neil Bogart was impressed with the song but felt that discotheques would desire a longer track. Wasting no time, Summer moaned her way through 17 minutes – played in full in clubs – and the 12″ record was born.

In 1977, Moroder got his synthesiser out, and with Donna Summer created, in my opinion, one of the greatest dance records of all time – I Feel Love. This song is THIRTY FIVE years old. Its hypnotic beat and Summer‘s ethereal vocals are an impeccable match. The video’s elegant and raunchy simplicity makes it timeless. It makes my knees knock even now.


Donna Summer by Gemma Champ

A string of Summer/Moroder hits and albums followed: I Remember Yesterday featured dance floor classic Love’s Unkind (see below) and I Feel Love; Once Upon a Time has my favourite photograph of Summer that many of our illustrators have used as a source. The end of the seventies saw Summer trying to break from disco with album Bad Girls, featuring some of my favourite records ever – the title track and Dim All The Lights and the infamous Hot Stuff, for which Donna won the Grammy for Best Female Rock Vocal (making her the first woman and first African-American to win a Rock performance Grammy). You could argue, considering that this category was created the year Donna Summer won, that it was created especially for her – it would have been criminal if she hadn’t won for this incredible performance.


Donna Summer by Inês Neto dos Santos

It’s at this point where things go a bit grey. Tensions rose with Casablanca Records, eventually parting ways in 1980. Summer renounced her saucy past as a born-again Christian and said that she resented her sex-symbol image and erotic persona. Whatever her reasons, it is my firm belief that nobody can fake an orgasm for 17 minutes with such conviction like on Love to Love You, Baby. I just don’t buy it. Hell, we’ve all had a go, but that breathy performance is definitely not a fake. Also, check her out in the I Feel Love video – she’s hot for that microphone stand and it looks pretty real to me.


Donna Summer by Gemma Champ


Donna Summer by Gilly Rochester

Some pretty ambiguous comments followed about HIV, AIDS and the gay community. Most reports suggest Summer said that AIDS was a punishment for homosexuality. She consistently denied it whenever questioned, but I never felt like she really meant it – her documented responses always skirt around the issue, when really she should have just said ‘ LOOK, I HEART GAYS, THEY BOUGHT MY RECORDS.’ A lot of fans never forgave her, but as has been evident from press coverage, social media and online tributes, it’s her music that we’ll remember her for.


Donna Summer by Sarah Ushurhe


Donna Summer by Claire Kearns

As a tribute, here are five of my favourite Summer songs. Ask me tomorrow and this list would probably change entirely, but here goes anyway:

Last Dance

Last Dance is one of my favourite disco records ever. It introduced a completely revolutionary song structure that, like Dim All The Lights and Enough is Enough after it (see below), began as a ballad before speeding up to the up-tempo mainstay that we love. It received an Oscar, a Golden Globe and earned Donna Summer her first Grammy award for best vocal performance. It’s a beautiful example of the genre at its finest – with disco strings and horns aplenty and Donna soaring vocals.

Love’s Unkind

Love’s Unkind always has me leaping around a dance floor. The lyrics are hilarious – Donna fancies some bloke who fancies her mate, but her mate fancies somebody else – oh, the drama. She’s desperate to cop off with him at the dance but the love rat has already asked her best mate and Donna is left legging it from the school in tears. It’s no sonnet but it’s a camp disco classic that I adore.

Bad Girls

Toot toot, beep beep. Need I say more? Look out for Twiggy’s hilarious cameo in this video.

Enough is Enough (No More Tears)

1979 saw Barbra Streisand‘s melancholic vocals teamed with Donna Summer‘s powerhouse disco sound . Legend has it that Summer went wild the night before and turned up to the recording studio with a terrible hangover, passing out whilst Babs was singing – hence the super long note Barbra delivers before the beat kicks in.

Love to Love You, Baby

I hadn’t got this on my original list, but the burden of not including it was too much. Enjoy 16 minutes 50 seconds (or, according to the BBC‘s statistics department, 23 orgasms) of disco heaven.


Donna Summer by Rebecca Strickson

I haven’t even included Summer‘s epic version of Could it Be Magic, the hypnotising Try Me, I know We Can Make It, the wonderful Dim All the Lights, the epic cover of the bonkers MacArthur Park or Sunset People, On The Radio, I Love You or Love Is In Control. The list is endless. Donna Summer was the Queen of a genre that transformed not only dance music but music as a whole, and continues to influence the greatest producers and performers. I’m sure you’ll agree that all of the songs I’ve mentioned (and more) sound as fresh today as they ever did, and I hope they’ll be continued to be played – now more than ever. Long Live the Queen!

Categories ,1948 – 2012, ,African-American, ,AIDS, ,Bad Girls, ,Best Female Rock Vocal, ,Casablanca Records, ,Claire Kearns, ,Could it Be Magic, ,Dim All The Lights, ,disco, ,Donna Summer, ,Enough is Enough, ,gay, ,Gemma Champ, ,Gilly Rochester, ,Giorgio Moroder, ,Grace Jones, ,Grammy, ,Helmut Sommer, ,HIV, ,I Feel Love, ,I Love You, ,I Remember Yesterday, ,Ines Neto dos Santos, ,Last Dance, ,Love Is In Control, ,Love to Love You Baby, ,Love’s Unkind, ,Lovebox Festival, ,MacArthur Park, ,Matt Bramford, ,Naomi Ryder, ,Nicola O’prey, ,No More Tears, ,On the Radio, ,Once Upon A Time, ,Orgasm, ,Oscar, ,Pete Bollette, ,Queen of Disco, ,Rebecca Strickson, ,Sam Parr, ,Sarah Ushurhe, ,Sunset People, ,Try Me I Know We Can Make It, ,twitter

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Amelia’s Magazine | Contort Yourself: Sounds From The City

The last time I saw Final Fantasy was in the tiny Spitz venue. Tonight he is playing to full capacity at the Scala; word has clearly spread and expectations are high. I am here on my own with only a monster coldsore for company. Prior to the gig I sit down at a table opposite a morose and unenthusiastic man in his mid-30s (that point where the unfulfilled of the gender start to become manically desperate) who is nevertheless keen to talk to me – his profession changes from writer on the blag to “actually I work at an internet company and I am a frustrated musician” at the drop of my job description. Not so worth trying to impress me, purchase buy eh?! I persuade him that Canadian impresario Owen, decease the man who is Final Fantasy, will be well worth watching. Post-set I am vindicated, but Mr. Morose is nowhere to be seen.

Owen takes to the stage with his inimitable banter in full flow, and proceeds to play his entire set on his lonesome, with just his trusted viola, a keyboard, and some looping mechanism (that I can’t hope to understand) for company. Oh, and a lovely young lady, who stands with her back to the crowd in front of an old fashioned projector that she proceeds to masterfully manipulate. Final Fantasy‘s music has been set to acetate drama, and the result is mesmerizing, even if I have to struggle to see the events unfold through the lighting rig that obscures my view on the top balcony.

Final Fantasy is on a one-man misson to coax as many sounds as he can possibly can from a viola, and in his looping hands this one instrument becomes a full orchestra, and the crowd loves it. There is even a lady at the front of the audience whose frantically waving hands can’t decide whether they are vogueing or conducting throughout the entire set. “Has anyone got any questions?” he asks at one point. “Any constructive criticism?” “No, I don’t normally do poppers!” he replies to the one query he gets. “Lesson learned, never talk to the audience!” Even when things go slightly pear-shaped with the looping business, which they inevitably do, he carries on in such a postive manner that no one minds. As the climax is reached and the star-crossed silhouette of lovers finally meet on the projection screen, Owen lifts his miniature partner into the air and they both stumble off stage. There will be a wave of enquiries into viola lessons across the capital shortly.

Did you know that the man who designed Battersea Power Station (Sir Giles Gilbert Scott) also designed the classic red phone box? Clearly a talented guy. I went to see the Chinese exhibition at the Power Station (as it has now been rebranded) for the same reason as everybody else was there – mainly to see the station before it is at last transformed. The art I could give or take – it was haphazard and I was unsure of its meaning, remedy although I particularly enjoyed the fermenting apple wall (mmmm, store yummy appley smell) – the other stuff was merely an adjunct to the amazingly damp interior of the building, (you will find out a lot more about Chinese contemporary arts by reading my new issue). I really hope that the ludicrously long-in-the-planning development will do this amazing building justice – the ominous and ugly “luxury resort hotel” going up next to it must surely be one of the ways in which they have at last found funding. I hadn’t realised how much I treasure the iconic shape of the station, what with me being a sarf-Londoner and all.

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