Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: J. JS Lee


J. JS Lee S/S 2012, this web illustrated by Claire Kearns

Korean born J. JS Lee (first J for Jackie) hosted a salon show on the sunny Sunday morning of fashion week in the Portico Rooms at Somerset House. Central Saint Martins alumni, Jackie graduated with an MA in womenswear only last year and has since received the Harrods Award accolade.


J. JS Lee S/S 2012, illustrated by Phoebe Kirk

We were seated on the infamous white benches that had caused outrage at JW Anderson‘s show the previous day, when front row fashionistas stood up at the end of his presentation to find their arses covered in white paint that hadn’t had time to dry. Oops. How awful. I did a quick hand test to make sure the same wasn’t going to happen to my jeans. I took a seat right next to the photographer’s ‘pit’ – sparse in comparison to most of the shows. A lady stood so close to me in the pit that I almost offered her the chance to sit in my lap, but thought better of it. It turned out she would be a rather dominant creature, and had a flashbulb the size of my head which made it almost impossible to take pictures myself, the lighting changing so dramatically with every shot. Cheers then!






This was a simple, sophisticated show with clean lines and infinitely wearable pieces. Jackie had drawn inspiration from the 1920s, creating elongated silhouettes with jackets and dresses that were a straight-up-and-down fashion, adding an element of androgyny. The collection launched with crisp all-white pieces, progressing into a cool peach and a rich cobalt blue, breaking up this presentation nicely.

Real care and attention had been invested in the materials – strong cottons were teamed with high-gloss elements and embossed features, giving a strong futuristic aesthetic. The firmness of the fabrics allowed them to be folded like origami, adding a further contemporary element.


J. JS Lee S/S 2012, illustrated by Phoebe Kirk

While this wasn’t mind-blowing, it was refreshing to see such a considered collection. Beautiful choices in both colour and materials suggest a fashionable future for J. JS Lee.

Watch the full show here:

Categories ,1920s, ,catwalk, ,Central Saint Martins, ,Cobalt, ,fashion, ,Futurism, ,J. JS Lee, ,Jackie JS Lee, ,korea, ,Peach, ,Portico Rooms, ,review, ,S/S 2012, ,Salon Show, ,Somerset House, ,Sunday, ,White, ,Womenswear

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

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

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

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

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

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

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

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

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

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Amelia’s Magazine | Graduate Fashion Week 2010: UCA Rochester

Joo-Hee Chun

Emma Box, illness illustrated by Lesley Barnes

So, reigning champions (or at least winners of 2009 Gold Award) UCA Rochester took to the catwalks on Tuesday to show their wares in a bid to cling on to their title amongst the heavyweights we’d already seen at Graduate Fashion Week.

I’m very pleased to announce that they certainly put up a good fight. With a simple chandelier hung from the ceiling above the catwalk, the show began with a rather long romantic song – thank God too, because my guest was running late and he managed to sneak in during the song in the nick of time.


Live catwalk illustrations by Tom Gilbert

First up was Alexa Papavasileiou who presented a modest yet striking collection that packed a few discrete punches (okay, I’ll stop with the boxing metaphors now). Body-concious printed dresses with full-length sleeves wrapped models in organic suits, while drapes hung over the models creating flattering lines. The most interesting twist was the appearance of constructed stilettos which had a grungy, paper mache effect and gave this sleek collection an edgy twist.

Other escapades in weird and wonderful shoe design were brought to us by Lydia Vousvouni, whose deconstructed womenswear tailoring had a futuristic feel, teamed with crazy shoes that looked like art deco sculptures.


Lydia Vousvouni, illustrated by Abi Daker

Rebecca Watson in stark contrast dressed her models in very eery skeletal masks, bringing a little touch of death-glamour to the runway. The clothes in comparison were relatively simple, consisting of cropped-sleeve tops, two-tone leggings and some pretty neat tailoring.

More digital prints on the catwalk; this time in Emma Box’s structured collection. Micro-skirts and leggings in said prints were teamed with bolero-length jackets with exaggerated shoulders, giving models a dash of sex appeal and masses of style.

Digital prints again, from the Gareth-Pugh-esque Alex Oliver. Her models were transformed into futuristic creatures, with emphasis on shoulders (huge, huge shoulders). Catsuits or short dresses in a psychedelic print were teamed with leather jackets with scary spikes; the climax being a model with a Margiela-style eye covering as part of a hood. It was scary but sexy at the same time.


Alex Oliver, illustrated by Lesley Barnes

The first menswear collection from Rochester was that of Chelsea Bravo, whose models had the appearance of modern-day gladiators. Smock t-shirts with scoop necks emphasised muscular form and Chelsea’s palette of muted colours including sand, burgundy and blue had a sophisticated edge.

Vicky Jolly presented one of the most sophisticated collections I’ve seen this year. Her couturier-like craftsmanship created elegant dresses, with twists and turns in fabrics flattering the female form.


Vicky Jolly, illustrated by Alli Coate

Finally, after what felt like waiting for decades, Hallam Burchett ramped up the glamour factor to a big fat 10. Models sashayed and swished their hips to Donna Summer’s Bad Girls whilst wearing an all-green silky collection, embellished with dazzling crystals and accessorised with demi-gloves. Sod the tits or legs rule in Burchett’s short, short strapless dress and flaunt what you’ve got at the disco! This 1970s-inspired collection had the cuts and lines to make it contemporary, though.

More menswear now, from Anachee Sae Lee and Cherelle Reid. The former was a contemporary take on colloquial dressing and conjured up images of Sherlock Holmes, Oliver Twist, chimney sweeps and Victorian funeral directors all at the same time. High values in tailoring made this a tip-top collection, with fitted suits teamed with neck-bows and crisp shirts with bib detailing were accessorised with sleek shirt-armbands and porkpie hats.


Anachee Sae Lee, illustrated by Abi Daker

Cherelle Reid, whilst employing similar tailoring elements, was an entirely different look. In a strong micro-collection worthy of a slot in any upmarket store come Autumn Winter 2010, models wore silky harem pants which tapered tightly, low-cut v-neck tops and formal jackets. The craftsmanship look exquisite, but the pecs were a bit much *fans brow*

In amidst a whole load of futuristic and structured collections at GFW this year, a welcome breath of fresh air came from show closer Carla Grima. Her magical Grecian-inspired collection was a burst of much-needed colour, and while it wasn’t a clangy hipster spectacle like some show finales, it was understated glamour at its best. Each dress created an illusionary effect as it hung effortlessly from the models, flattering their waif figures.

Having written this post-Gala Show, I now know that UCA Rochester didn’t manage to hold onto their crown as Gold Award winners for 2010. Amongst so much incredible talent, it’s so difficult to stand out. Nevertheless, each collection was incredibly strong, astonishingly creative, and never, ever boring.

Rochester, you’re all winners anyway.

Categories ,1970s, ,Abigail Daker, ,Alexa Papavasileiou, ,Anachee Sae Lee, ,Art Deco, ,Bad Girls, ,Body-con, ,Carla Grima, ,Catsuits, ,Chandelier, ,Chelsea Bravo, ,Cherelle Reid, ,Digital Prints, ,Donna Summer, ,Earls Court, ,Emma Box, ,Futurism, ,Gareth Pugh, ,God, ,Gold Award, ,Graduate Fashion Week 2010, ,Grecian, ,Hallam Burchett, ,Harem pants, ,Lesley Barnes, ,london, ,Lydia Vousvouni, ,Martin Margiela, ,menswear, ,Oliver Twist, ,Paper Mache, ,Rebecca Watson, ,Sherlock Holmes, ,UCA Rochester, ,Vicky Jolly, ,Victoriana, ,Waif, ,Womenswear

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Amelia’s Magazine | Graduate Fashion Week 2010: UCA Rochester

Joo-Hee Chun

Emma Box, illness illustrated by Lesley Barnes

So, reigning champions (or at least winners of 2009 Gold Award) UCA Rochester took to the catwalks on Tuesday to show their wares in a bid to cling on to their title amongst the heavyweights we’d already seen at Graduate Fashion Week.

I’m very pleased to announce that they certainly put up a good fight. With a simple chandelier hung from the ceiling above the catwalk, the show began with a rather long romantic song – thank God too, because my guest was running late and he managed to sneak in during the song in the nick of time.


Live catwalk illustrations by Tom Gilbert

First up was Alexa Papavasileiou who presented a modest yet striking collection that packed a few discrete punches (okay, I’ll stop with the boxing metaphors now). Body-concious printed dresses with full-length sleeves wrapped models in organic suits, while drapes hung over the models creating flattering lines. The most interesting twist was the appearance of constructed stilettos which had a grungy, paper mache effect and gave this sleek collection an edgy twist.

Other escapades in weird and wonderful shoe design were brought to us by Lydia Vousvouni, whose deconstructed womenswear tailoring had a futuristic feel, teamed with crazy shoes that looked like art deco sculptures.


Lydia Vousvouni, illustrated by Abi Daker

Rebecca Watson in stark contrast dressed her models in very eery skeletal masks, bringing a little touch of death-glamour to the runway. The clothes in comparison were relatively simple, consisting of cropped-sleeve tops, two-tone leggings and some pretty neat tailoring.

More digital prints on the catwalk; this time in Emma Box’s structured collection. Micro-skirts and leggings in said prints were teamed with bolero-length jackets with exaggerated shoulders, giving models a dash of sex appeal and masses of style.

Digital prints again, from the Gareth-Pugh-esque Alex Oliver. Her models were transformed into futuristic creatures, with emphasis on shoulders (huge, huge shoulders). Catsuits or short dresses in a psychedelic print were teamed with leather jackets with scary spikes; the climax being a model with a Margiela-style eye covering as part of a hood. It was scary but sexy at the same time.


Alex Oliver, illustrated by Lesley Barnes

The first menswear collection from Rochester was that of Chelsea Bravo, whose models had the appearance of modern-day gladiators. Smock t-shirts with scoop necks emphasised muscular form and Chelsea’s palette of muted colours including sand, burgundy and blue had a sophisticated edge.

Vicky Jolly presented one of the most sophisticated collections I’ve seen this year. Her couturier-like craftsmanship created elegant dresses, with twists and turns in fabrics flattering the female form.


Vicky Jolly, illustrated by Alli Coate

Finally, after what felt like waiting for decades, Hallam Burchett ramped up the glamour factor to a big fat 10. Models sashayed and swished their hips to Donna Summer’s Bad Girls whilst wearing an all-green silky collection, embellished with dazzling crystals and accessorised with demi-gloves. Sod the tits or legs rule in Burchett’s short, short strapless dress and flaunt what you’ve got at the disco! This 1970s-inspired collection had the cuts and lines to make it contemporary, though.

More menswear now, from Anachee Sae Lee and Cherelle Reid. The former was a contemporary take on colloquial dressing and conjured up images of Sherlock Holmes, Oliver Twist, chimney sweeps and Victorian funeral directors all at the same time. High values in tailoring made this a tip-top collection, with fitted suits teamed with neck-bows and crisp shirts with bib detailing were accessorised with sleek shirt-armbands and porkpie hats.


Anachee Sae Lee, illustrated by Abi Daker

Cherelle Reid, whilst employing similar tailoring elements, was an entirely different look. In a strong micro-collection worthy of a slot in any upmarket store come Autumn Winter 2010, models wore silky harem pants which tapered tightly, low-cut v-neck tops and formal jackets. The craftsmanship look exquisite, but the pecs were a bit much *fans brow*

In amidst a whole load of futuristic and structured collections at GFW this year, a welcome breath of fresh air came from show closer Carla Grima. Her magical Grecian-inspired collection was a burst of much-needed colour, and while it wasn’t a clangy hipster spectacle like some show finales, it was understated glamour at its best. Each dress created an illusionary effect as it hung effortlessly from the models, flattering their waif figures.

Having written this post-Gala Show, I now know that UCA Rochester didn’t manage to hold onto their crown as Gold Award winners for 2010. Amongst so much incredible talent, it’s so difficult to stand out. Nevertheless, each collection was incredibly strong, astonishingly creative, and never, ever boring.

Rochester, you’re all winners anyway.

Categories ,1970s, ,Abigail Daker, ,Alexa Papavasileiou, ,Anachee Sae Lee, ,Art Deco, ,Bad Girls, ,Body-con, ,Carla Grima, ,Catsuits, ,Chandelier, ,Chelsea Bravo, ,Cherelle Reid, ,Digital Prints, ,Donna Summer, ,Earls Court, ,Emma Box, ,Futurism, ,Gareth Pugh, ,God, ,Gold Award, ,Graduate Fashion Week 2010, ,Grecian, ,Hallam Burchett, ,Harem pants, ,Lesley Barnes, ,london, ,Lydia Vousvouni, ,Martin Margiela, ,menswear, ,Oliver Twist, ,Paper Mache, ,Rebecca Watson, ,Sherlock Holmes, ,UCA Rochester, ,Vicky Jolly, ,Victoriana, ,Waif, ,Womenswear

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Amelia’s Magazine | Fashion Philosophy Fashion Week Poland Off Out Of Schedule S/S 2012 in Łódź: Olga Szynkarczuk

Olga Szynkarczuk S/S 2012 by Gareth A Hopkins
Olga Szynkarczuk S/S 2012 by Gareth A Hopkins.

I loved Olga Szynkarczuk‘s show on Sunday. BIOmimicry featured plenty of neon fabrics mixed with clever textured knitwear, sheers and laser cut showpieces, all worn with oversized perspex visors and accessorised with on trend clutches. Shapes were rounded at hemlines and around shoulders, with cut-out details a big feature of summery ice-cream coloured separates. Metallic highlights culminated with the most amazing final creation – a flexible laser cut top with a huge hooped train.

Olga Szynkarczuk Fashion Week Poland SS 2012-photography by Amelia Gregory
Olga Szynkarczuk Fashion Week Poland SS 2012-photography by Amelia Gregory
Olga Szynkarczuk Fashion Week Poland SS 2012-photography by Amelia Gregory
Olga Szynkarczuk Fashion Week Poland SS 2012-photography by Amelia Gregory
Olga Szynkarczuk S/S 2012. All photography by Amelia Gregory.

I was delighted to discover that Olga Szynkarczuk works according to fair-trade principals, using organic materials where possible and working with craftspeople to modernise traditional techniques. Her exhibition was inspired by an exhibition called My Way by artist Jean Michel Othoniel (who designed the new Swatch watches) and the spectacle of Planet Lem at the Biuro Podrozy Theatre. ‘It is an analysis of society and its weaknesses contrasted with the superhuman world of outer space and robots.’ She is currently based in London, and I was told that she has just secured a full time job designing for a well known high street brand. I hope she still finds the time to create her own collections, because her talent is too good to be lost.

Olga Szynkarczuk Fashion Week Poland SS 2012-photography by Amelia Gregory
Olga Szynkarczuk Fashion Week Poland SS 2012-photography by Amelia Gregory
Olga Szynkarczuk Fashion Week Poland SS 2012-photography by Amelia Gregory
Olga Szynkarczuk Fashion Week Poland SS 2012-photography by Amelia Gregory
Olga Szynkarczuk Fashion Week Poland SS 2012-photography by Amelia Gregory
Olga Szynkarczuk Fashion Week Poland SS 2012-photography by Amelia Gregory
Olga Szynkarczuk Fashion Week Poland SS 2012-photography by Amelia Gregory
Olga Szynkarczuk Fashion Week Poland SS 2012-photography by Amelia Gregory
Olga Szynkarczuk Fashion Week Poland SS 2012-photography by Amelia Gregory
Olga Szynkarczuk Fashion Week Poland SS 2012-photography by Amelia Gregory
Olga Szynkarczuk Fashion Week Poland SS 2012-photography by Amelia Gregory
Olga Szynkarczuk Fashion Week Poland SS 2012-photography by Amelia Gregory
Olga Szynkarczuk Fashion Week Poland SS 2012-photography by Amelia Gregory
Olga Szynkarczuk Fashion Week Poland SS 2012-photography by Amelia Gregory
Olga Szynkarczuk Fashion Week Poland SS 2012-photography by Amelia Gregory
Olga Szynkarczuk Fashion Week Poland SS 2012-photography by Amelia Gregory
Olga Szynkarczuk Fashion Week Poland SS 2012-photography by Amelia Gregory
Olga Szynkarczuk Fashion Week Poland SS 2012-photography by Amelia Gregory
Olga Szynkarczuk Fashion Week Poland SS 2012-photography by Amelia Gregory
Olga Szynkarczuk Fashion Week Poland SS 2012-photography by Amelia Gregory

Categories ,Biuro Podrozy Theatre, ,craft, ,fairtrade, ,Fashion Philosophy Fashion Week Poland, ,Futurism, ,Gareth A Hopkins, ,Jean-Michel Othoniel, ,knitwear, ,Lodz, ,My Way, ,Neon, ,Olga Szynkarczuk, ,Planet Lem, ,S/S 2012, ,Sheer, ,Swatch, ,traditional

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Amelia’s Magazine | The Eccentronic Research Council at Village Underground: Live Review

Eccentronic Research Council and Maxine Peake by Laura Hickman

The Eccentronic Research Council by Laura Hickman

For the first in a series of events celebrating a century since Italian Futurist Luigi Russolo published L’Arte dei Rumori (The Art of Noises), his manifesto on “machine music”, cross-platform artistic collective Noise of Art had gathered together an eclectic mix of collaborators. Perhaps fittingly, the venue chosen was Village Underground, a former Victorian warehouse adjacent to a disused railway viaduct on the fringes of London’s East End – a symbol of the industrialisation that had originally inspired Russolo.

As well as a series of DJ sets covering electronic music old and new, there was a brief appearance from the ever impressive alternative all-female choir Gaggle. Kicking off a short set with a thunderous Gaslight, they then unveiled their very own app, the Gaggle Phone (which certainly puts the tone into ringtone!). As has become custom whenever I’ve seen them perform, Gaggle finished with their album closer, the mournful Leave The City, with the various members departing the stage in groups as the music played out.

Eccentronic Research Council by Nadine Khatib

The Eccentronic Research Council by Nadine Khatib

The most anticipated part of the night, though, was the appearance of headliners The Eccentronic Research Council, playing their first show in the capital. Formed by two veterans of the Sheffield music scene, Dean Honer and Adrian Flanagan (who have, in the past, collaborated with such luminaries as Jarvis Cocker and Philip Oakey), they enlisted the considerable talents of actor Maxine Peake (most recently seen in the BBC period piece The Village) and released a concept album, 1612 Underture, based on the infamous Pendle witch trials of the 17th century.

The story of the Pendle witches looms large in the popular psyche of Lancashire (much like Pendle Hill itself, a distinctive feature on the skyline overlooking Burnley) – from the coaches on a bus route from Manchester named after each of the accused to Live At The Witch Trials, the debut album by The Fall, who just happened to be playing across town tonight (a band that, in a curious twist, Adrian Flanagan was once briefly a member of). With 1612 Underture, The Eccentronic Research Council recount the tale through a partly fictionalised, often witty modern day road trip (brought to life in an accompanying short film), which also touches on contemporary social parallels.

A full house cheered as the band appeared – Honer and Flanagan, the self styled “practical electronics enthusiasts”, took their place at the back, behind a table loaded with vintage analogue synths (and kept company by two imitation skulls), whilst on other either side and dressed all in white, like extras from the finale of the Wicker Man, Philly Smith and Lucy Cunsolo provided extra keyboards, percussion and vocals. Most definitely centre stage, however, was Maxine Peake, attired all in black.

Eccentronic Research Council with Maxine Peake at Village Underground by Sam Parr

The Eccentronic Research Council by Sam Parr

The set opened with the steady motorik of Autobahn 666, a Kraftwerk referencing ride along the A666, the so called Devil’s Highway that connects Manchester, Bolton and Blackburn, that Peake narrated with her rich Boltonian tones. This set the mood for much of the rest of the night, with otherworldly synths alternating between bouncy, burbly and just plain sinister acting as a soundtrack for Peake, a dominant presence, to recite from her little black book. Philly Smith and Lucy Cunsolo took over for Wicked Sister Chant, whilst another Sheffield colleague, Lucy Hope, took the stage for The Hangman’s Song (naturally enough, with a noose adorning her neck). Flanagan left his gadgets momentarily to duet with Peake on Another Witch Is Dead, probably the sort of song Lee Hazlewood and Nancy Sinatra would come up with if asked to score a film for Hammer studios (though I doubt Ms Sinatra could cackle quite so maniacally as Maxine Peake does at the song’s end).

Eccentronic Research Council by EdieOP

The Eccentronic Research Council by EdieOP

Not all was doom and gloom, and there was a fair bit of banter from the stage. Adrian Flanagan asked the audience if anyone was from Lancashire (being Salford born himself), but when he was overwhelmed by replies, he just gave up and joked “just shout random places at me!”

The core trio of Flanagan, Honer and Peake returned for an encore, the rather unseasonal but reassuringly acerbic Black ChristMass, which descended into an electro wig-out before they departed the stage for the last time.

With a London show now grudgingly under their belt, The Eccentronic Research Council headed back North once more and, with new material a current work in progress, we shall wait to see where their analogue odyssey takes them next.

Categories ,Adrian Flanagan, ,Dean Honer, ,EdieOP, ,Futurism, ,gaggle, ,Hammer studios, ,Jarvis Cocker, ,Kraftwerk, ,Lancashire, ,Laura Hickman, ,lee hazlewood, ,Lucy Cunsolo, ,Lucy Hope, ,Luigi Russolo, ,Maxine Peake, ,Nadine Khatib, ,Nancy Sinatra, ,Noise of Art, ,Pendle, ,Philip Oakey, ,Philly Smith, ,Sam Parr, ,sheffield, ,The Eccentronic Research Council, ,The Fall, ,Village Underground, ,Wicker Man

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