Amelia’s Magazine | X Factor 2010: An Illustrated Retrospective

Illustration by Gareth A Hopkins

Walking into Sue Timney’s retrospective at the Fashion and Textile Museum, visit this site the viewer is greeted by the almost blinding black and white pattern that the company, Timney-Fowler, is known for. The relationship between Timney’s application of pattern and Op art are undeniable, the entire exhibition acts as an homage to one of the most vibrant elements of painting in Modern Art’s history.

The main room of the exhibition is dominated by an explosion of chairs, reminiscent of what Alice’s fall through the rabbit hole would have looked like if crossed with Beetlejuice. The ideas, sketches and prints of Timney-Fowler adorn the walls and the products the company produced (everything from pencil cases to china).

The vibrancy of Pop Art’s interpretation of household objects inspired the reoccurring motif of everyday objects, with some of the prints being described as “A design stream of consciousness” and “an extension of the sketchbook into an individualist statement.”

Upstairs, the exhibition wonderfully included Timney’s sketchbooks, personally nothing is more insightful than a glimpse into an artist’s sketches. Timney’s interpretation of the history of modern art within her designs preempts the recent revival of designers using specific artists within their catwalk collections.

Timney’s incredible application of print to all objects belies Timney’s background in sculpture and printmaking, which was in fact the rather wonderful sounding Interdisciplinary Tapestry Course, sadly as the Government’s proposed cuts land on Universities doorsteps, technicians and idiosyncratic courses will be one of the first things cut by Art departments.

Illustration by Avril Kelly

This exhibition is a wonderful insight into the progress of Sue Timney from artist to product design to interior designer and for anyone intrigued by the process of artistic design.

Illustration by Alia Gargum

My visit last week to the Fashion and Textile Museum compounded my sense of Governmental shortsightedness with regards to Higher Education and the humanities in particular. To compound the rise in tuition fees, the Coalition are suggesting the removal of up to 80% of the State funding Universities receive to subsidise the teaching of Humanities.

It over a month ago now that the first students protest took to the street, in the weeks since students and UK Uncut have taken their opposition to the Government’s austerity drive onto to the pavement. and occupied (most of the occupations have now ended) rooms within their University in protest against the Coalition’s Government’s motion to rise tuition fees. Sadly the motion was passed last week in the Commons and yesterday in the House of Lords.

Illustration by Gareth A Hopkins

Walking into Sue Timney’s retrospective at the Fashion and Textile Museum, viagra sale the viewer is greeted by the almost blinding black and white pattern that the company, Timney-Fowler, is known for. The relationship between Timney’s application of pattern and Op art are undeniable, the entire exhibition acts as an homage to one of the most vibrant elements of painting in Modern Art’s history.

The main room of the exhibition is dominated by an explosion of chairs, reminiscent of what Alice’s fall through the rabbit hole would have looked like if crossed with Beetlejuice. The ideas, sketches and prints of Timney-Fowler adorn the walls and the products the company produced (everything from pencil cases to china).

The vibrancy of Pop Art’s interpretation of household objects inspired the reoccurring motif of everyday objects, with some of the prints being described as “A design stream of consciousness” and “an extension of the sketchbook into an individualist statement.”

Upstairs, the exhibition wonderfully included Timney’s sketchbooks, personally nothing is more insightful than a glimpse into an artist’s sketches. Timney’s interpretation of the history of modern art within her designs preempts the recent revival of designers using specific artists within their catwalk collections.

Timney’s incredible application of print to all objects belies Timney’s background in sculpture and printmaking, which was in fact the rather wonderful sounding Interdisciplinary Tapestry Course, sadly as the Government’s proposed cuts land on Universities doorsteps, technicians and idiosyncratic courses will be one of the first things cut by Art departments.

Illustration by Avril Kelly

This exhibition is a wonderful insight into the progress of Sue Timney from artist to product design to interior designer and for anyone intrigued by the process of artistic design.

Illustration by Alia Gargum

My visit last week to the Fashion and Textile Museum compounded my sense of Governmental shortsightedness with regards to Higher Education and the humanities in particular. To compound the rise in tuition fees, the Coalition are suggesting the removal of up to 80% of the State funding Universities receive to subsidise the teaching of Humanities.

It over a month ago now that the first students protest took to the street, in the weeks since students and UK Uncut have taken their opposition to the Government’s austerity drive onto to the pavement. and occupied (most of the occupations have now ended) rooms within their University in protest against the Coalition’s Government’s motion to rise tuition fees. Sadly the motion was passed last week in the Commons and yesterday in the House of Lords.

Illustration by Gareth A Hopkins

Upon walking into Sue Timney’s retrospective at the Fashion and Textile Museum, sales the viewer is greeted by the almost blinding black and white pattern that Sue’s company in collaboration with Grahame Fowler; Timney-Fowler, cialis 40mg is best known for. The relationship between Timney’s application of pattern and Op art are undeniable, online the entire exhibition acts as an homage to one of the most vibrant elements of painting in Modern Art’s history.

The main room of the exhibition is dominated by an explosion of chairs, reminiscent of what Alice’s fall through the rabbit hole would have looked like if crossed with Beetlejuice. The ideas, sketches and prints of Timney-Fowler adorn both the walls of the Fashion and Textile Museum as well as the products produced by the company (everything from pencil cases to china).

The vibrancy of Pop Art’s interpretation of household objects inspired the reoccurring motif of everyday objects, with some of the prints being described as “A design stream of consciousness” and “an extension of the sketchbook into an individualist statement.”

Upstairs, the exhibition wonderfully included Timney’s sketchbooks, personally nothing is more insightful than a glimpse into an artist’s sketches. Timney’s interpretation of the history of modern art within her designs preempts the recent revival of designers using specific artists within their catwalk collections.

Timney’s incredible application of print to all objects belies Timney’s background in sculpture and printmaking, which was in fact the rather wonderful sounding Interdisciplinary Tapestry Course, sadly as the Government’s proposed cuts land on Universities doorsteps, technicians and idiosyncratic courses will be one of the first things cut by Art departments.

Illustration by Avril Kelly

This exhibition is a wonderful insight into the progress of Sue Timney from artist to product design to interior designer and for anyone intrigued by the process of artistic design.

Illustration by Alia Gargum

My visit last week to the vibrant and incredibly innovative Sue Tinmey exhibition at Fashion and Textile Museum compounded my sense of the cuts to Higher Education teaching -the Humanities in particular- the Government intend to make are incredibly shortsighted, for they fail not only to take into account the continual impact these graduates have on the economy, but they appear to place all importance on quick money making results rather than on a through education.

Sue Tinmey and the design of Timney-Fowler is at the Fashion and Textile Museum until 25th April 2011.

Illustration by Gareth A Hopkins

Upon walking into Sue Timney’s retrospective at the Fashion and Textile Museum, buy the viewer is greeted by the almost blinding black and white pattern that Sue’s company in collaboration with Grahame Fowler; Timney-Fowler, website like this is best known for. The relationship between Timney’s application of pattern and Op art are undeniable, information pills the entire exhibition acts as an homage to one of the most vibrant elements of painting in Modern Art’s history.

The main room of the exhibition is dominated by an explosion of chairs, reminiscent of what Alice’s fall through the rabbit hole would have looked like if crossed with Beetlejuice. The ideas, sketches and prints of Timney-Fowler adorn both the walls of the Fashion and Textile Museum as well as the products produced by the company (everything from pencil cases to china).

Illustration by Avril Kelly

The vibrancy of Pop Art’s interpretation of household objects inspired the reoccurring motif of everyday objects, with some of the prints being described as “A design stream of consciousness” and “an extension of the sketchbook into an individualist statement.”

Upstairs, the exhibition wonderfully included Timney’s sketchbooks, personally nothing is more insightful than a glimpse into an artist’s sketches. Timney’s interpretation of the history of modern art within her designs preempts the recent revival of designers using specific artists within their catwalk collections.

Timney’s incredible application of print to all objects belies her background in sculpture and printmaking, which was in fact the rather wonderful sounding Interdisciplinary Tapestry Course, sadly as the Government’s proposed cuts land on Universities doorsteps, technicians and idiosyncratic courses will be one of the first things cut by Art departments.

Illustration by Alia Gargum

This exhibition is a wonderful insight into the progress of Sue Timney from artist to product design to interior designer and for anyone intrigued by the process of artistic design.

My visit last week to the vibrant and incredibly innovative Sue Tinmey exhibition at Fashion and Textile Museum compounded my sense of the cuts to Higher Education teaching -the Humanities in particular- the Government intend to make are incredibly shortsighted, for they fail not only to take into account the continual impact these graduates have on the economy, but they appear to place all importance on quick money making results rather than on a through education.

Sue Tinmey and the design of Timney-Fowler is at the Fashion and Textile Museum until 25th April 2011.

Illustration by Gareth A Hopkins

Upon walking into Sue Timney’s retrospective at the Fashion and Textile Museum, page the viewer is greeted by the almost blinding black and white pattern that Sue’s company in collaboration with Grahame Fowler; Timney-Fowler, is best known for. The relationship between Timney’s application of pattern and Op art are undeniable, the entire exhibition acts as an homage to one of the most vibrant elements of painting in Modern Art’s history.

The main room of the exhibition is dominated by an explosion of chairs, reminiscent of what Alice’s fall through the rabbit hole would have looked like if crossed with Beetlejuice. The ideas, sketches and prints of Timney-Fowler adorn both the walls of the Fashion and Textile Museum as well as the products produced by the company (everything from pencil cases to china).

Illustration by Avril Kelly

The vibrancy of Pop Art’s interpretation of household objects inspired the reoccurring motif of everyday objects, with some of the prints being described as “a design stream of consciousness” and “an extension of the sketchbook into an individualist statement.”

Upstairs, the exhibition wonderfully included Timney’s sketchbooks, personally nothing is more insightful than a glimpse into an artist’s sketches. Timney’s interpretation of the history of modern art within her designs preempts the recent revival of designers using specific artists within their catwalk collections.

Timney’s incredible application of print to all objects belies her background in sculpture and printmaking, which was in fact the rather wonderful sounding Interdisciplinary Tapestry Course, sadly as the Government’s proposed cuts land on Universities doorsteps, technicians and idiosyncratic courses will be one of the first things cut by Art departments.

Illustration by Alia Gargum

This exhibition is a wonderful insight into the progress of Sue Timney from artist to product design to interior designer and for anyone intrigued by the process of artistic design.

My visit last week to the vibrant and incredibly innovative Sue Tinmey exhibition at Fashion and Textile Museum compounded my sense of the cuts to Higher Education teaching -the Humanities in particular- the Government intend to make are incredibly shortsighted, for they fail not only to take into account the continual impact these graduates have on the economy, but they appear to place all importance on quick money making results rather than on a through education.

Sue Tinmey and the design of Timney-Fowler is at the Fashion and Textile Museum until 25th April 2011.

Illustration by Gareth A Hopkins

Upon walking into Sue Timney’s retrospective at the Fashion and Textile Museum, sildenafil the viewer is greeted by the almost blinding black and white pattern that Sue’s company in collaboration with Grahame Fowler; Timney-Fowler, is best known for. The relationship between Timney’s application of pattern and Op art are undeniable, the entire exhibition acts as an homage to one of the most vibrant elements of painting in Modern Art’s history.

The main room of the exhibition is dominated by an explosion of chairs, reminiscent of what Alice’s fall through the rabbit hole would have looked like if crossed with Beetlejuice. The ideas, sketches and prints of Timney-Fowler adorn both the walls of the Fashion and Textile Museum as well as the products produced by the company (everything from pencil cases to china).

Illustration by Avril Kelly

The vibrancy of Pop Art’s interpretation of household objects inspired the reoccurring motif of everyday objects, with some of the prints being described as “a design stream of consciousness” and “an extension of the sketchbook into an individualist statement.”

Upstairs, the exhibition wonderfully included Timney’s sketchbooks, personally nothing is more insightful than a glimpse into an artist’s sketches. Timney’s interpretation of the history of modern art within her designs preempts the recent revival of designers using specific artists within their catwalk collections.

Timney’s incredible application of print to all objects belies her background in sculpture and printmaking, which was in fact the rather wonderful sounding Interdisciplinary Tapestry Course, sadly as the Government’s proposed cuts land on Universities doorsteps, technicians and idiosyncratic courses will be one of the first things cut by Art departments.

Illustration by Alia Gargum

This exhibition is a wonderful insight into the progress of Sue Timney from artist to product design to interior designer and for anyone intrigued by the process of artistic design.

My visit last week to the vibrant and incredibly innovative Sue Tinmey exhibition at Fashion and Textile Museum compounded my sense of the cuts to Higher Education teaching -the Humanities in particular- the Government intend to make are incredibly shortsighted, for they fail not only to take into account the continual impact these graduates have on the economy, but they appear to place all importance on quick money making results rather than on a through education.

Sue Tinmey and the design of Timney-Fowler is at the Fashion and Textile Museum until 25th April 2011.

Illustration by Gareth A Hopkins

Upon walking into Sue Timney’s retrospective at the Fashion and Textile Museum, pilule the viewer is greeted by the almost blinding black and white pattern that Sue’s company in collaboration with Grahame Fowler; Timney-Fowler, more about is best known for. The relationship between Timney’s application of pattern and Op art are undeniable, the entire exhibition acts as an homage to one of the most vibrant elements of painting in Modern Art’s history.

The main room of the exhibition is dominated by an explosion of chairs, reminiscent of what Alice’s fall through the rabbit hole would have looked like if crossed with Beetlejuice. The ideas, sketches and prints of Timney-Fowler adorn both the walls of the Fashion and Textile Museum as well as the products produced by the company (everything from pencil cases to china).

Illustration by Avril Kelly

The vibrancy of Pop Art’s interpretation of household objects inspired the reoccurring motif of everyday objects, with some of the prints being described as “a design stream of consciousness” and “an extension of the sketchbook into an individualist statement.”

Upstairs, the exhibition wonderfully included Timney’s sketchbooks, personally nothing is more insightful than a glimpse into an artist’s sketches. Timney’s interpretation of the history of modern art within her designs preempts the recent revival of designers using specific artists within their catwalk collections.

Timney’s incredible application of print to all objects belies her background in sculpture and printmaking, which was in fact the rather wonderful sounding Interdisciplinary Tapestry Course, sadly as the Government’s proposed cuts land on Universities doorsteps, technicians and idiosyncratic courses will be one of the first things cut by Art departments.

Illustration by Alia Gargum

This exhibition is a wonderful insight into the progress of Sue Timney from artist to product design to interior designer and for anyone intrigued by the process of artistic design.

My visit last week to the vibrant and incredibly innovative Sue Timney exhibition at Fashion and Textile Museum compounded my sense of the cuts to Higher Education teaching -the Humanities in particular- the Government intend to make are incredibly shortsighted, for they fail not only to take into account the continual impact these graduates have on the economy, but they appear to place all importance on quick money making results rather than on a through education.

Sue Timney and the design of Timney-Fowler is at the Fashion and Textile Museum until 25th April 2011.

Illustration by Gareth A Hopkins

Upon walking into Sue Timney’s retrospective at the Fashion and Textile Museum, what is ed the viewer is greeted by the almost blinding black and white pattern that Sue’s company in collaboration with Grahame Fowler; Timney-Fowler, is best known for. The relationship between Timney’s application of pattern and Op art are undeniable, the entire exhibition acts as an homage to one of the most vibrant elements of painting in Modern Art’s history.

The main room of the exhibition is dominated by an explosion of chairs, reminiscent of what Alice’s fall through the rabbit hole would have looked like if crossed with Beetlejuice. The ideas, sketches and prints of Timney-Fowler adorn both the walls of the Fashion and Textile Museum as well as the products produced by the company (everything from pencil cases to china).

Illustration by Avril Kelly

The vibrancy of Pop Art’s interpretation of household objects inspired the reoccurring motif of everyday objects, with some of the prints being described as “a design stream of consciousness” and “an extension of the sketchbook into an individualist statement.”

Upstairs, the exhibition wonderfully included Timney’s sketchbooks, personally nothing is more insightful than a glimpse into an artist’s sketches. Timney’s interpretation of the history of modern art within her designs preempts the recent revival of designers using specific artists within their catwalk collections.

Timney’s incredible application of print to all objects belies her background in sculpture and printmaking, which was in fact the rather wonderful sounding Interdisciplinary Tapestry Course, sadly as the Government’s proposed cuts land on Universities doorsteps, technicians and idiosyncratic courses will be one of the first things cut by Art departments.

Illustration by Alia Gargum

This exhibition is a wonderful insight into the progress of Sue Timney from artist to product design to interior designer and for anyone intrigued by the process of artistic design.

My visit last week to the vibrant and incredibly innovative Sue Tinmey exhibition at Fashion and Textile Museum compounded my sense of the cuts to Higher Education teaching -the Humanities in particular- the Government intend to make are incredibly shortsighted, for they fail not only to take into account the continual impact these graduates have on the economy, but they appear to place all importance on quick money making results rather than on a through education.

Sue Tinmey and the design of Timney-Fowler is at the Fashion and Textile Museum until 25th April 2011.

Illustration by Gareth A Hopkins

Upon walking into Sue Timney’s retrospective at the Fashion and Textile Museum, viagra 100mg the viewer is greeted by the almost blinding black and white pattern that Sue’s company in collaboration with Grahame Fowler; Timney-Fowler, is best known for. The relationship between Timney’s application of pattern and Op art are undeniable, the entire exhibition acts as an homage to one of the most vibrant elements of painting in Modern Art’s history.

The main room of the exhibition is dominated by an explosion of chairs, reminiscent of what Alice’s fall through the rabbit hole would have looked like if crossed with Beetlejuice. The ideas, sketches and prints of Timney-Fowler adorn both the walls of the Fashion and Textile Museum as well as the products produced by the company (everything from pencil cases to china).

Illustration by Avril Kelly

The vibrancy of Pop Art’s interpretation of household objects inspired the reoccurring motif of everyday objects, with some of the prints being described as “a design stream of consciousness” and “an extension of the sketchbook into an individualist statement.”

Upstairs, the exhibition wonderfully included Timney’s sketchbooks, personally nothing is more insightful than a glimpse into an artist’s sketches. Timney’s interpretation of the history of modern art within her designs preempts the recent revival of designers using specific artists within their catwalk collections.

Timney’s incredible application of print to all objects belies her background in sculpture and printmaking, which was in fact the rather wonderful sounding Interdisciplinary Tapestry Course, sadly as the Government’s proposed cuts land on Universities doorsteps, technicians and idiosyncratic courses will be one of the first things cut by Art departments.

Illustration by Alia Gargum

This exhibition is a wonderful insight into the progress of Sue Timney from artist to product design to interior designer and for anyone intrigued by the process of artistic design.

My visit last week to the vibrant and incredibly innovative Sue Tinmey exhibition at Fashion and Textile Museum compounded my sense of the cuts to Higher Education teaching -the Humanities in particular- the Government intend to make are incredibly shortsighted, for they fail not only to take into account the continual impact these graduates have on the economy, but they appear to place all importance on quick money making results rather than on a through education.

Sue Tinmey and the design of Timney-Fowler is at the Fashion and Textile Museum until 25th April 2011.

Illustration by Gareth A Hopkins

Upon walking into Sue Timney’s retrospective at the Fashion and Textile Museum, pills the viewer is greeted by the almost blinding black and white pattern that Sue’s company in collaboration with Grahame Fowler; Timney-Fowler, ambulance is best known for. The relationship between Timney’s application of pattern and Op art are undeniable, the entire exhibition acts as an homage to one of the most vibrant elements of painting in Modern Art’s history.

The main room of the exhibition is dominated by an explosion of chairs, reminiscent of what Alice’s fall through the rabbit hole would have looked like if crossed with Beetlejuice. The ideas, sketches and prints of Timney-Fowler adorn both the walls of the Fashion and Textile Museum as well as the products produced by the company (everything from pencil cases to china).

Illustration by Avril Kelly

The vibrancy of Pop Art’s interpretation of household objects inspired the reoccurring motif of everyday objects, with some of the prints being described as “a design stream of consciousness” and “an extension of the sketchbook into an individualist statement.”

Upstairs, the exhibition wonderfully included Timney’s sketchbooks, personally nothing is more insightful than a glimpse into an artist’s sketches. Timney’s interpretation of the history of modern art within her designs preempts the recent revival of designers using specific artists within their catwalk collections.

Timney’s incredible application of print to all objects belies her background in sculpture and printmaking, which was in fact the rather wonderful sounding Interdisciplinary Tapestry Course, sadly as the Government’s proposed cuts land on Universities doorsteps, technicians and idiosyncratic courses will be one of the first things cut by Art departments.

Illustration by Alia Gargum

This exhibition is a wonderful insight into the progress of Sue Timney from artist to product design to interior designer and for anyone intrigued by the process of artistic design.

My visit last week to the vibrant and incredibly innovative Sue Tinmey exhibition at Fashion and Textile Museum compounded my sense of the cuts to Higher Education teaching -the Humanities in particular- the Government intend to make are incredibly shortsighted, for they fail not only to take into account the continual impact these graduates have on the economy, but they appear to place all importance on quick money making results rather than on a through education.

Sue Tinmey and the design of Timney-Fowler is at the Fashion and Textile Museum until 25th April 2011.

Wagner by Karina Yarv
Wagner by Karina Yarv.

Another year, pills another X Factor out of the way. I went through a period of not watching any telly at all, advice and oh how I used to poo poo this show, buy but then, in 2009 I got sucked in. It was the only break I used to allow myself as I was creating my first book Amelia’s Anthology of Illustration – a bit of enjoyably vacuous pop culture on a plate. And it was then that I discovered the joy of X Factor watched with my twitter stream open. Trying to think of the bitchiest tweets as fast as possible has now become a something of a national sport, and I thoroughly recommend you do both at the same time once the whole bloody thing rolls around again next year.

X-Factor_Dannii Minogue wearing J'Aton Couture by Krister Selin
X-Factor_Dannii Minogue wearing J’Aton Couture by Krister Selin

As for the final outcome? I couldn’t stand Cher Lloyd’s sneery face but thought her final effort was at least IN TUNE, whilst even on the same note the One Direction cuties struggled (harmonies, what are they?)

Dee-Andrews-Cher-Lloyd-X-Factor1
Cher Lloyd by Dee Andrews.

I loved Rebecca Ferguson’s voice until it started to grate on my nerves, as did the fact that she could not move, even singing the danciest of songs. I quite enjoyed some of Matt Cardle’s songs, but he was clearly not on form during the last few weeks. All in all, as could be predicted, I’ve heard better singers at small indie gigs.

Matt Cardle by Karina Yarv
Matt Cardle by Karina Yarv

My fave live performance by Matt:
YouTube Preview Image

What really grabs the audience is of course the whole spectacle – the cliched dramatisations of the contestant’s back stories, the ridiculously over the top stage effects and the outrageously expensive outfits and stupendous styling choices of the judges and contestants. Here, then, is a chance to revel in the sheer glory of the X Factor experience, as seen through illustrators’ eyes.

Abi Daker Cher Lloyd
The Lovechild of Jordan, Minnie Mouse and Jimmy Saville. Illustration by Abigail Daker.

Gareth A Hopkins Cher Lloyd
Cher Lloyd by Gareth A Hopkins.

jenny robins - amelias magazine -  x factor
Illustration by Jenny Robins.

Katie Waissel by Karina Yarv
Katie Waissel by Karina Yarv

Cher Lloyd by Antaya Lendore
Cher Lloyd by Antaya Lendore

GarethAHopkins Wagbo
Wagbo (a character from Harry Hill’s TV Burp that was supposedly the love child of Wagner and Tesco Mary) by Gareth A Hopkins

X-Factor_Rebecca Ferguson wearing Lisa Marie Fernandez by Krister Selin
X-Factor_Rebecca Ferguson wearing Lisa Marie Fernandez by Krister Selin

xfactor wagner by elliott quince
Wagner by Elliott Quince.

katie waissel and rebecca ferguson by ellie sutton
Katie Waissel and Rebecca Ferguson by Ellie Sutton

Cheryl Cole by Antaya Lendore
Cheryl Cole by Antaya Lendore.

Cher Lloyd by Gemma Pharo
Cher Lloyd by Gemma Pharo

Categories ,Abigail Daker, ,Antaya Lendore, ,Cher Lloyd, ,Dee Andrews, ,Ellie Sutton, ,Elliott Quince, ,Gareth A H, ,Gareth A Hopkins, ,Gemma Pharo, ,J’Aton Couture, ,Jenny Robins, ,Karina Yarv, ,Katie Waissel, ,Krister Selin, ,Lisa Marie Fernandez, ,Matt Cardle, ,One Direction, ,Rebecca Ferguson, ,Tesco Mary, ,Wagner, ,X Factor

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

Warpaint-at-Primavera-by-Rebecca-Elves
Warpaint by Rebecca Elves

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

Video: Warpaint – Billie Holiday
YouTube Preview Image

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

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

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

Einsturzende-Neubauten-at-Primavera-by-Rebecca-Elves
Einstürzende Neubauten by Rebecca Elves

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

PJHarveybyElliottQuince
PJ Harvey by Elliott Quince

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

PJ-Harvey-at-Primavera-by-Rebecca-Elves
PJ Harvey by Rebecca Elves

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

Davila666byLauraLotti
Davila 666 by Laura Lotti

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

Animal-Collective-at-Primavera-by-Rebecca-Elves
Animal Collective by Rebecca Elves

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

AnimalCollectivebyLauraLotti
Animal Collective’s psychedelic visuals by Laura Lotti

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

TheBlackAngelsbyLauraLotti
The Black Angels by Laura Lotti

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

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

MorningbyLauraLotti
Leaving the Festival Site for the last time by Laura Lotti

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

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