Make-up is all too often considered to be merely a technique used to enhance natural attributes: from the day to day beauty-conscious girl on the street, or for flawless skin under stage spot lights. It is all about the pretty.
Not, however, for Alex Box, make-up and artist extraordinaire currently exhibiting a collaboration of images created with the photographer Rankin at the Annroy Gallery in Kentish Town. Testing and subverting the traditional conception of beauty and make-up, Box’s work is known for leading the pack in experimental beauty. Having played with performance and sculpture at Chelsea, and worked at i.D, Dazed & Confused, Another Magazine and V, her CV reads like a fashion leader to watch (with self-pronounced comparisons to Gareth Pugh). Launching a book (The Make-Up Artist) to coincide with the collection, Box’s star is most certainly on the rise.
The photography displayed in the show capture strange, haunted but eerily beautiful images of women. Through featuring alien-esque, exotic creatures, the collection interrogates our ideas of “normal” and “pretty”.
Make-up focuses heavily on full-painted faces, big bad sky scraping lashes and outlined lips. With black and white geishas sitting alongside faces spray-painted kaleidoscopic colours and golden sprayed hues, Box’s work questions what is beautiful.
The works ask what is traditionally accepted as pretty, whilst showing harrowing images of those mortals who are over-sunned, under-fed and suffering from a range of general diseases. These photographs question man’s mortality through the skeleton theme and joker lips evocative of Heath Ledger’s eponymous role.
This is a serious show; you can see the influence of her young Goth days in the mask-like quality of the make-up; that idea of putting on a face that represents an entire frame of mind or mood.
To counteract the seriousness, the show includes positive images of weird and wonderfully strange beauty; celebrating the foreign, the unique and the variety of types of beautiful. Aside from the obvious geisha references and plays on colour, there were alien creatures straight out of Willy Wonka’s Chocolate factory or a Tim Burton film.
With paisley printed blue and pink cheeks extending around the eyes, and delicate golden dotted freckles painted underneath batting lashes, these girls were pretty like something out of Japanese anime. One face was disco-punk-neon-rave, with a crazy combo of bright and vivid shades splashed like a spirograph across the face.
Box stated in an interview with Katie Shillingford that the accompanying exhibition book is a diary of beauty, reflecting different moods and day to day inspirations; the contrasting images of bright young things bordering on the cute with darker, sombre creatures perfectly captures the idea of a personal storyboard.
Box’s take on make-up and beauty is thoroughly refreshing and ultimately extremely important at the moment. Refusing to fit into the mould of a typical make-up artist, she combines her own art background with her current field of work, painting faces instead of improving them through ‘tricks’ of make-up. In a world dominated by debates surrounding beauty, the fashion industry, model sizes, skin bleaching, photo editing and advertising ploys, Box’s work refuses to pinpoint what beauty is, but instead highlights the many forms it may take.
The Exhibition finishes on the 22 November and is located at the following address:
Annroy Gallery
110-114 Grafton Street
Kentish Town,
London, NW5 4BA
United Kingdom
The book is available from Turnaround and at all good book stores
Written by Becky Cope on Monday November 2nd, 2009 3:55 pm
From out of the late 80s/early 90s shadows, healingLoverman launch their ‘Human Nature’ EP amongst the Shoreditch elite at Hoxton Bar and Kitchen with all the swagger befitting an underground goth-rock outfit of the noughties.
More often than not, visit web I prefer listening to music in the confines of my kitchen, case or soothing my earholes whilst I’m grimacing on public transport, than in a live setting. A bizarre opinion in a music journalist, but it’s the opportunity to form a personal relationship with the music without the many variables that diminish one’s appreciation. No drunks spilling their plastic pints of lager over you, no frustratingly poor sound system, no nightmare journey across town and back (although at least during which I can get intimately acquainted with an as yet untapped album).
With Loverman’s music however, the live experience propagates my enjoyment of it. It’s not necessarily that I like the musicality of it any more, but seeing something amongst its own fans alerts me to its merits. Like the way you get swept up in singing the chants and blaspheming the ref at a football match even though you have no previous interest in the sport yourself. The messianic allure of front man Gabriel Bruce, as he captures his front row disciples in his visceral sermon, is enough to elevate the music to more than just a death-metal Horrors rip-off. Amongst his followers is model-come-DJ Alice Dellal who takes a moment out of her intoxicated stupor to manically toss her famous locks in time to the band’s knell. As the debonair front man flicks his bleach dyed hair, the girls around him almost physically edge forward in the hope of catching a droplet of perspiration.
It is not just the band’s name and singer’s voice that nod to dark father Nick Cave. Before this band, the London four-piece have experienced their fair share of the scene respectively and have now found their peace with a deathlier sound. It does strike me though that even though the audience may be on trend in their 90s throw-back Goth-grunge attire, they look about as satanic as my nan and far more likely to stroke a kitten than bite its head off like a true Goth should… no?
Tonight, the tracks from their EP swill around the room, lapping up the ominous noise and repugnant imagery, like Beetlejuice sipping a straw through Kurt Cobain’s name. Getting the death theme enough? Expect the cult of Loverman to gain a momentum of deathly proportions throughout 2010.
Check out a clip of Bruce crooning the audience like it were Prom Night:
Written by Katie Weatherall on Wednesday October 7th, 2009 5:24 pm
The best thing about attending an MA final fashion show is that you can well and truly leave your preconceptions at the door. That’s not to say that there hasn’t been a lot of interest in Rachel Lamb, viagra who is showing the culmination of her Fashion Scout has a reputation for showcasing up and coming designers tipped for the big time. Rachel was selected for the MRHC Nobellini competition and has spent this past year collaborating with a leading PhD student. She was also chosen to assist fashion artist Di Mainstone during her residency at Eye Beam, information pills a leading Arts and Technology centre in New York
It’s clear a lot of blood, sweat and tears have gone into the event, rather literally in fact. The theme of the night is ‘Bodylab.’ Projections of anatomical diagrams, mixed with design illustrations flicker on the walls and the music pulsates a fuzzy beat reminiscent of a broken heart monitor. Assistants are handing out promotional packs in white doctor’s coats. The designer has laid out articles presenting the inspiration behind the collection.
The lights dim and the music switches to various female covers of tracks such as Animal Collective’s ‘My Girls’ (or rather ‘My Boys’) . The scientific spell is broken and we are presented with what is clearly a very personal and feminine collection. Each piece seems to exhibit the ironic mix of female confidence and it’s frailties. The models strike provocative poses, elbows jutting out and spines curved backwards. This is not your typical runway show, it’s a performance piece.
The model’s movements serve to highlight the asymmetric silhouettes the pieces create. Sculpted hips are softened with silky drapes cascading down the neckline and thigh. It is easy to draw comparisons as a quirky mix of Donna Karan draping and Balenciaga construction.
Cascade Claudia, one of the collection’s most eye catching pieces, shows a rigid halter neck with chutes of draped silk jersey flowing down the back. The luxurious curves down the body develop into voluminous harem pants which cut off dramatically mid calf. The neutral tones almost merge with the model’s skin, meaning it is difficult to tell where the garment ends and her skin begins.
Accessories are kept to a minimum, with the real impact of the collection coming from the prints and shapes. Shoes follow the theme of subtle nudes, and seem to blend into the neutral shaded body suits. However to contrast with the soft nature of the colour palette, Bruised Bella wears a dentist’s mirror as a pendant. Rachel explains, ‘Accessories are metaphors for the human urge to transform. Clinical chrome dentistry and doctor’s apparatuses tweak, pluck and reinvent human form.’
The delicate creamy beige tones are mixed with flashes of blotchy pinks and peaches. Using her own Celtic complexion as a muse, the colour palette explores how a woman’s skin can act as what Rachel describes as an ‘emotional barometer.’ The fabrics move from silky, to matt textures and then to moulded leather. The collection appears like a journey through the skin and indeed through femininity; from youth to maturity, from cool composure to blushes of emotion, encompassing each woman’s preoccupations with the feminine self. “I am etched into this collection, as it is everything I am.”
The concept behind this collection is certainly thought provoking and if I’m honest, incredibly moving. The fashion world strives for perfection, and this collection champions the beauty of imperfection, the ever-changing shape of the female body. However, even without prior knowledge one can appreciate the complex technology employed in the use of contrasting fabrics, structure and draping. The pieces are visually stunning, yet from someone who has clearly had to battle against time and budget. It is refreshing to encounter a designer who can display her own consciousness so candidly into her collections. It seems that Rachel has a bright future ahead of her; with a talent to create pieces which are both aesthetically and conceptually striking.
rachelamb@hotmail.co.uk
The best thing about attending an MA final fashion show is that you can well and truly leave your preconceptions at the door. That’s not to say that there hasn’t been a lot of interest in Rachel Lamb, click who is showing the culmination of her Fashion Scout has a reputation for showcasing up and coming designers tipped for the big time. Rachel was selected for the MRHC Nobellini competition and has spent this past year collaborating with a leading PhD student. She was also chosen to assist fashion artist Di Mainstone during her residency at Eye Beam, sildenafil a leading Arts and Technology centre in New York
It’s clear a lot of blood, viagra 100mg sweat and tears have gone into the event, rather literally in fact. The theme of the night is ‘Bodylab.’ Projections of anatomical diagrams, mixed with design illustrations flicker on the walls and the music pulsates a fuzzy beat reminiscent of a broken heart monitor. Assistants are handing out promotional packs in white doctor’s coats. The designer has laid out articles presenting the inspiration behind the collection.
The lights dim and the music switches to various female covers of tracks such as Animal Collective’s ‘My Girls’ (or rather ‘My Boys’) . The scientific spell is broken and we are presented with what is clearly a very personal and feminine collection. Each piece seems to exhibit the ironic mix of female confidence and it’s frailties. The models strike provocative poses, elbows jutting out and spines curved backwards. This is not your typical runway show, it’s a performance piece.
The model’s movements serve to highlight the asymmetric silhouettes the pieces create. Sculpted hips are softened with silky drapes cascading down the neckline and thigh. It is easy to draw comparisons as a quirky mix of Donna Karan draping and Balenciaga construction.
Cascade Claudia, one of the collection’s most eye catching pieces, shows a rigid halter neck with chutes of draped silk jersey flowing down the back. The luxurious curves down the body develop into voluminous harem pants which cut off dramatically mid calf. The neutral tones almost merge with the model’s skin, meaning it is difficult to tell where the garment ends and her skin begins.
Accessories are kept to a minimum, with the real impact of the collection coming from the prints and shapes. Shoes follow the theme of subtle nudes, and seem to blend into the neutral shaded body suits. However to contrast with the soft nature of the colour palette, Bruised Bella wears a dentist’s mirror as a pendant. Rachel explains, ‘Accessories are metaphors for the human urge to transform. Clinical chrome dentistry and doctor’s apparatuses tweak, pluck and reinvent human form.’
The delicate creamy beige tones are mixed with flashes of blotchy pinks and peaches. Using her own Celtic complexion as a muse, the colour palette explores how a woman’s skin can act as what Rachel describes as an ‘emotional barometer.’ The fabrics move from silky, to matt textures and then to moulded leather. The collection appears like a journey through the skin and indeed through femininity; from youth to maturity, from cool composure to blushes of emotion, encompassing each woman’s preoccupations with the feminine self. “I am etched into this collection, as it is everything I am.”
The concept behind this collection is certainly thought provoking and if I’m honest, incredibly moving. The fashion world strives for perfection, and this collection champions the beauty of imperfection, the ever-changing shape of the female body. However, even without prior knowledge one can appreciate the complex technology employed in the use of contrasting fabrics, structure and draping. The pieces are visually stunning, yet from someone who has clearly had to battle against time and budget. It is refreshing to encounter a designer who can display her own consciousness so candidly into her collections. It seems that Rachel has a bright future ahead of her; with a talent to create pieces which are both aesthetically and conceptually striking.
Photographs by: Paul Marr
rachelamb@hotmail.co.uk
I have a friend who trend spots for a jean company and she’s always mentioning that if you want to find out what the kids are going to be wearing next season walk around Tokyo with a camera. Recently she was unnerved to find a trend in early nineties Dreamcatcher chic. Is this good? Do we need the youth of next spring looking like refugees from the cover of Simply Red’s ‘Stars‘?
The band Teenagersintokyo, site who are actually from Sydney but spending time in London, pharmacy pull less surprises in future fashion, setting up stall in a combination of sounds we’ve had back in public domain for pretty much this entire decade now. It’s the eighties again, moving onto 1989, even 1990. Swilling the wine of sound around my gullet I can hear traces of ‘Disintegration’ era Cure, a little early shoegaze, a backwash of Stereolab.
But OK, lets be clear. Familiarity of influence aside, this double A-side is, like The Horrors‘ recent opus, a mesmerically successful collation where the transparency of influences matter little when combined in such a haunting, atmospheric way. Isabella is lovely and distraught, an all decaying romance lilting for one final surge of hope like a drunken Isabelle Adjani tearfully carousing the memory of her dead lover in a Parisian graveyard. Long Walk Home builds on the wintery artificial synth pads much beloved of Sir Bob, and like The Cure‘s namesake song, it’s lullaby girl vocals understand misery can be sweet – heartbreak not without its beauty.
Forget the over familiarity with this well mined era, Teenagersintokyo build on tangible atmosphere and sorrow rather than Dalston Superstore posturing.
This double A-side single is released on 5th October on Back Yard Recordings.
Written by Paul Hanford on Tuesday September 22nd, 2009 12:16 pm
After witnessing a whole lot of jolly sensible fashion trends being bandied about – think short, visit thisgeneric sleek, stomachunhealthy sophisticated and feminine – we were thrilled to see a total vision of insanity at the Blow Presents… show where the models were barely human, NEVER MIND feminine. Ladies and gents, meet the new woman of 2010: the Fembot.
Wigmaker Charlie le Mindu’s collection made Danielle Scutt’s hairstyling look positively placid: models were bombing down the catwalking with “haute coiffure” teetering atop their tiny heads, like a warped modern paraphrase of 18th century wigs.
Squeezed into flesh-coloured PVC bodysuits, these were pneumatic bodies that resembled genetically mutated Barbies, with the hairpieces swelling into jackets (bearing a strong resemblance to Margiela’s two seasons ago) or even shoulder pads, evidently a trend that translates into the most avant-garde of arenas.
Next up was Gemma Slack’s collection with pieces constructed from leather and suede, it was a bold collection that turned the models into superheroes and warriors, with the conical bras making another resurgence as seen with Louise Goldin’s latest offering.
The inclusion metal studs and slashed leather also made it profoundly sexual – with the oppressive metal-plated umbrella and circular skirts mechanising the body, a territory previously explored, of course, by Hussein Chalayan. Unlike Chalayan this mechanisation was also sexualised, with the constant sado-masochistic details (even the traditional Burmese neck rings looked more like dog collars) in line with uncomfortable images of fetishised modernity that J.G Ballard expressed in Crash.
Margiela reared his head again with Lina Osterman, in a show styled by Robbie Spencer, who by masking her models also evinced a preoccupation and an evocation of Victoriana repression by playing with the effects of concealing the face and the body. A difference so far for a series of shows that has been all about long, bare legs.
A completely androgynous collection, there were undertaker-style long tailored jackets paired with trousers and shorts, with Osterman manifesting the Victorian secret obsession with sex, like Slack, with bondage-like details and choices in fabric. Lurking underneath all the bravado, however, was a surprisingly soft and wearable collection, with some fabulous knits and grandpa shirts both for the boys and the girls.
Finally upping the drama stakes was Iris van Herpen, with a slow and intense collection of sculpted leather and rubber – heavy and cumbersome pieces that were inspired by radiation waves around the body, results of collaboration with artist Bart Hess.
Proving a fantastic metaphor as a means of highlighting parts of the human body, this was true craftsmanship, with sequins and reflective panels catching the catwalk lights – as the models lined up together for the final few moments they seemed like soldiers with armour constructed from artwork.
A rather fascinating foursome on show, then, and at least Lady GaGa will have some new things to wear with those big pants of hers – well until next season anyway. Cooperative Designs presented their latest designs aboard a Bauhaus Chessboard and on entering the presentation hall I was greeted with delicious looking (and tasting) Bauhaus birthday cake. The collection titled Happy Birthday Bauhaus was a homage to a constant source of inspiration (Bauhaus and Russian Constructivism) and the only female to become a master at the school: Gunta Stolz and her 5 Chord Weave.
The display was a feast for the eyes, viagra 60mg as the garments and dressmaker dummies found themselves positioned across the black and white squares encouraging the viewer to walk freely around the set and in-between the brilliant knitwear.
The board was also interjected with giant cardboard pieces and props or pawns from Amy Gwatkin‘s elegant film projected onto the space behind the game. Filmed through prisms, visit the film portrays the delicate fluid movements, sick the bold lines and clever tailoring of Co-operative’s designs as Rahma Mohamed dreamily paraded across the presentation hall (filmed in the same room, the moving lookbook acted as an extension to the space).
The static presentation enables the viewer the opportunity to be up close and personal with the clothes, to view the extensive variety of fabric used in construction. I enjoyed being able to carefully consider the patterns adorning large hanging pieces and the distinctive body conscience garments. Whilst the film portrayed how the clothes would move when adorning the human body complimented by the bold jewellery.
Several people became statuesque through their bodies occupying a variety of past season’s designs, displaying the constant craftsmanship of the design duo: Annalisa Dunn and Dorothee Hagemann. the collection is instantly desirable from the exquisite knitwear combining “wild silks, paper cotton and linen yards” to the jewerelly designed by Corrie Williamson and the shoes made in collaboration with Daniel Harrison.
The entire ethos of the show was Bauhaus and it’s ideas on the importance of experiment through collaboration; from the film to the set designed by alex Cunningham to the shoe and jewellery collection.
I could have stayed in the room all day, visually digesting the block colours peeking amongst the patterns. Whilst examining the construction of sleeves that hung from the manikin at right angles as if an invisible elbow occupied the negative space.
Watch the film here:
All Photographs by Matt Bramford
Explore the mindset of protest movements, website like this learn from previous campaigns and make your own affinity group, side effects this week is all about getting ready for action, page wether it be at the Climate Swoop in October or campaigning against your local Tesco.
A flash mob extravaganza, on the 21st of September people will be gathering at hundreds of locations around the world. It’s an opportunity to vent your frustration against the government’s lack of initiatives towards climate change and to raise awareness of the issue. Check all the events all ready happening on the website or alternatively set up your own
and register it online. Avaaz and partners will help turn out a group of fellow-citizens to participate in each event, and send you all the information you need. Remember Global leaders have only three months to get their act together and sign a strong Climate Treaty in Copenhagen.
Tourism and climate change
Tuesday 22nd September
An event to look at the problems relating to the tourism Industry and the threat of climate change. What can be done to lessen the impacts from the Industry which sees huge amounts of carbon dioxide let into the atmosphere each year. The rise of short haul flights in the UK will be discussed as well as the future threat to people and communities across the globe that
rely on tourism for their livelihood at home and abroad.
A protest picnic at the proposed site for a new Tesco, just behind the current Tesco car park, I presume after taking over all the local businesses they need some more expansion. Bring food, friends and ideas to stop the plans from going ahead.
Venue: Titnore Woods
Time: Meet 12 noon, then move to the field.
Chronicle of a Road Protest
Wednesday 23rd September
The legacy of the road protest movement lives on, Adrian Arbib will be holding a talk and presentation from his experience in 1994 at camps set up in Solsbury Hill, where ‘eco warriors’ launched a bid to halt construction of the Batheaston to Swainswick bypass at Bath. The campaign was also credited for boosting numerous other activists to set up similar
camps against road building projects which eventually led to 300 road schemes being axed by the government.
Adrian Arbib lived on site photographing the events. In so doing he captured all aspects of life on the protest, a talk that is sure to inspire and educate the next generation of protest movements.
Time: 7pm till 9pm
Venue: Housmans Bookshop, 5 Caledonian Road, London N1 9DX
RSA debate: Food in a World Without Oil
Wednesday 23rd September
Hosted by Roger Harrabin, BBC Environmental Analyst, the debate will look at the politics of food and farming, and the consumers carbon footprint. The UK Government has signed up to a target to reduce our emissions by 80% by 2050 but so far hasn’t addressed the problem of the food and farming issue.
With oil running out the panel will also discuss what the implications of this are on the industry, joined by Peter Melchett, Policy Director at the Soil Association; Tim Lang, Professor of Food Policy, City University London the audience will also hear about some solutions such as Transition Towns and possible controversial methods like GM crops.
Time: 6.00-7.15
Free entrance, but places need to be booked
Venue: John Adam Street, London WC2N 6EZ
Landscapes of the Mind
Friday 25th- Sunday 27th September
One of the biggest threat to climate action is peoples lack of belief that anything can be done, how many times have you heard the phrase “but what can i do?” With the ‘tipping point’ just around the corner, where climate change will have irreversible effect on the planet, why is there such a lack of conviction in the world? Landscape of the mind, a conference held at the Eden project, will focus on this issue, along with a panel of experts and commentators. It will look at our awareness of nature and our mental health in relation to it. A fascinating weekend long set of talks and workshops chaired by Professor David Peters and Nick Totton which challenges one of the biggest challenges we face in the modern world.
Venue: The Eden project
The Incredible Veggie Roadshow
Saturday 26th September
A chance to learn everything you ever wanted to know about being a veggie or a vegan, the day is a great day out for the family with loads of stalls, food tasting, cooking demonstrations as well as a range of books, information and campaign news.
Time: 10.30am-4.30pm
Venue: Town Hall, Cheltenham
The Great Climate Swoop Affinity Group Speed
Saturday 26th September
The climate swoop is almost upon us, in only a few weeks groups like Plane Stupid, Rising Tide and Climate Rush are going to take over Ratcliffe on Soar, a coal fired power station.
This event is for people to meet up with other like-minded souls who are planning to go to Ratcliffe in October. It will also host some inspiring speakers for people that may need some convincing. Speakers will include one of the Drax 29, a Great Climate Swooper and an expert on the history of direct action.
The day is for all experience levels of direct action, from newbies to road protesting veterans. Hopefully you will finish the day with your new affinity group, with a workshop that explains the roles within an affinity group and how you can achieve your aims on your action.
Time: 5pm
Venue: Hampstead Friends Meeting House, 120 Heath Street, Hampstead, NW3 1DR
This event is free (donations welcome). There will be tea, coffee and cakes!
RSVP to London@climatecamp.org.uk
Not only does he have a cool name, but his dad played Norman Bates in Hitchcock‘s ‘Psycho‘. Oh and his music pretty alright too. Perkins will be joined by a troupe of multi-instrumentalists to perform his new album, LP, which brings a cheerier 50s pop sound to his sterner debut.
Amelia’s Magazine will be catching up with this Sydney quintet before this in-store, so look out for the interview on the blog soon. Their ability to blend grunge, goth, and punk whilst adhering to an altogether pop aesthetic is fast making them a dance floor disciple.
Curious singer songwriter, Wolfe, launches his album, ‘Morning Brings A Flood’, along with a screening of his short film starring Emilia Fox and based on, ‘Stuck Under September’, one of Wolfe‘s songs. Talented chap. See you down the front.
If you go down to the outer reaches of South London today, you’ll be sure for a nice surprise. Intriguing venue, Croydon Clocktower will see Mercury Prize nominated post-jazz quintet, Polar Bear, play tracks from their forthcoming album, ‘Peepers’ alongside favourites from their acclaimed ‘Held On Tips Of Fingers’.
Influential post-punkers have reformed of late and we’re thankful for it. To celebrate its 30th anniversary they will play their eponymous debut, Entertainment!, in it’s entirety as well as other tracks old and new – enough to wet the appetite of the, no doubt, mix of balding rockers and indie youths in attendance.
Sunday 27th September: Autumn Equinox Fair, Cecil Sharp House, London
Enrico David, information pills Roger Hiorns, Lucy Skaer and Richard Wright are the lucky shortlisted ones on the Turner Prize’s notepad this year and it’s been noted that the Prize has gone for less shock and awe than usual, resulting in a more thoughtful set of works on show. You will probably have at least heard of Roger Hiorns via his incredible work coating an entire flat in blue crystals.But it’s not about the fame of course. From Tuesday, you can go along to the Tate Britain and see for yourself.
Grayson Perry is trying his hand at something other than ceramics with his “Walthamstow Tapestry”, an amazing, detailed piece of work a bit like a Bayeaux Tapestry for 2009. They cared about war, we care about shopping, it seems. Perry examines our consumerism but has also made something that is anti-consumerist: a one-off object that is the opposite of fast fashion or instant gratification.
Dance Umbrella
In recent years we’ve all rediscovered how amazing it is to watch and do dancing that is more involved than shuffling from one foot to the other while hoping that person over there will notice you. A big part of this change, other than Strictly of course, is Dance Umbrella. The influential dance festival-makers annual season kicks off this week, with the theme “African Crossroads”. They are staging performances and “days out” where you can get a little taster of lots of the shows going on around London over the next few weeks.
Origin London Craft Fair
There’s something special about an item that’s been made with love by another human being and not just generated by a machine or made under duress in a sweatshop. All the 300-odd artisans at this craft fair at Somerset House make beautiful pieces that are worth treasuring or just getting inspiration for your own Autum projects from.
We’re great fans of Wild Beasts’ elegant indie-tronica here at Amelia’s Magazine and singer Hayden Thorpe’s falsetto vocals in partilcular. Tonight, they celebrate the release of their stonking new album ‘Two Dancers’.
Twenty acts and fourteen DJs over two floors equates to a mini-festival celebrating the late great DJ John Peel. You get the feeling with many a Peel dedication that he would actually back a small percentage of the line-up, but we’re sure there’s something amongst this eclectic mix – that’d feature on his posthumous playlist. If not, bowling if fun I hear.
Sunday 11th October, Nick Cave reads from ‘The Death Of Bunny Munroe,’ Palace Theatre
Close your week in an unconventional manner, with gangly goth punk stalwart Cave as he reads excerpts from his new book and performs with the Bad Seeds, Warren Ellis and Martyn Casey.
Last week I had the pleasure of reviewing Petter & the Pix‘s second album, hereGood As Gold, malady an eclectic bundle of folk and rock that never sits still longer than one track at a time. I urge you to seek it out, and you can listen to the first single off the album (Never Never) here. Petter, lead singer and ringleader of the group, of sorts, is an Icelandic chap from something of a musical family – his brother, Pontus, is half of the successful pop songwriting duo Bloodshy & Avant (not sure which one), and Petter himself used to be in Iceland’s first big reggae band, Hjálmar, as well as in a few other acts making everything from house beats to jazz. The Pix is Petter’s band, consisting of Mike Svensson on piano, Andreas Gabrielsson on bass, Nils Törnqvist on drums, and Mattias Franzen and Klas Ericsson on guitars. I had a quick catch-up with him to ask about his songwriting process.
Hi, Petter. What is it that you’re trying to do with the Pix? As in, what are you aiming for?
To make music and let everyone that is involved feel as involved as we are. I see music as some sort of get together, and I don’t want to work with anyone unless I can trust them to do their very best. For me a very big part of making music is to find situations where you can create moments of trust, with both your fellow musicians and a possible audience.
How would you describe your sound?
I’d say it some sort of pop.
Your music is extremely varied in style and instrumentation – how much to do you draw upon your experience with genres other than just ‘indie’ in making music?
I don’t really know how to define indie or pop if you are referring to it as a certain style of music. There are so many different music styles that people call indie or pop. The expressions seem to change depending on the decade in which they’re used. I think that for musicians, every piece of music they participate in changes the way they think about making music. If the musical history of the members in a group is varied, the outcome will somehow be a reflection of this.
What’s it like working with such a talented range of musicians? How much do they help in achieving that semi-orchestral breadth of sound?
The musicians are everything that there is! If I would choose another constellation of musicians then I’m sure that it would sound very different, not necessarily bad, but different. The fact that we’re all old friends makes it easier to work together.
What else influences you in your work? Where do you draw your ideas from? The world around you, friends, things like that?
The fact that it’s possible to survive as a musician, and that I enjoy playing and recording music, of course, are definitely the reasons why it’s worth making the effort to finish a song. But I think that what actually triggers the ideas could be just about anything, most likely it’s a combo of different components that effects your emotional state and I believe that music is just a product of that process.
This is your second album – do you feel that you’re progressing as a band?
Yes, I think that this album sounds different from the first one, so that would be progress. We haven’t been touring with this band so we haven’t been able to evolve in terms of meeting an audience. But we’ve played together in different constellations for at least ten years so I think that gives us the comfort to play what we like, even if doesn’t happen that often.
Last week I had the pleasure of reviewing Petter & the Pix‘s second album, this siteGood As Gold, capsule an eclectic bundle of folk and rock that never sits still longer than one track at a time. I urge you to seek it out, about it and you can listen to the first single off the album (Never Never) here. Petter, lead singer and ringleader of the group, of sorts, is an Icelandic chap from something of a musical family – his brother, Pontus, is half of the successful pop songwriting duo Bloodshy & Avant (not sure which one), and Petter himself used to be in Iceland’s first big reggae band, Hjálmar, as well as in a few other acts making everything from house beats to jazz. The Pix is Petter’s band, consisting of Mike Svensson on piano, Andreas Gabrielsson on bass, Nils Törnqvist on drums, and Mattias Franzen and Klas Ericsson on guitars. I had a quick catch-up with him to ask about his songwriting process.
Hi, Petter. What is it that you’re trying to do with the Pix? As in, what are you aiming for?
To make music and let everyone that is involved feel as involved as we are. I see music as some sort of get together, and I don’t want to work with anyone unless I can trust them to do their very best. For me a very big part of making music is to find situations where you can create moments of trust, with both your fellow musicians and a possible audience.
How would you describe your sound?
I’d say it some sort of pop.
Your music is extremely varied in style and instrumentation – how much to do you draw upon your experience with genres other than just ‘indie’ in making music?
I don’t really know how to define indie or pop if you are referring to it as a certain style of music. There are so many different music styles that people call indie or pop. The expressions seem to change depending on the decade in which they’re used. I think that for musicians, every piece of music they participate in changes the way they think about making music. If the musical history of the members in a group is varied, the outcome will somehow be a reflection of this.
What’s it like working with such a talented range of musicians? How much do they help in achieving that semi-orchestral breadth of sound?
The musicians are everything that there is! If I would choose another constellation of musicians then I’m sure that it would sound very different, not necessarily bad, but different. The fact that we’re all old friends makes it easier to work together.
What else influences you in your work? Where do you draw your ideas from? The world around you, friends, things like that?
The fact that it’s possible to survive as a musician, and that I enjoy playing and recording music, of course, are definitely the reasons why it’s worth making the effort to finish a song. But I think that what actually triggers the ideas could be just about anything, most likely it’s a combo of different components that effects your emotional state and I believe that music is just a product of that process.
This is your second album – do you feel that you’re progressing as a band?
Yes, I think that this album sounds different from the first one, so that would be progress. We haven’t been touring with this band so we haven’t been able to evolve in terms of meeting an audience. But we’ve played together in different constellations for at least ten years so I think that gives us the comfort to play what we like, even if doesn’t happen that often.
The first thing that you’ll notice about O.Children is that voice. Their singer sounds like he’s singing from the crypt – hell, physician the whole band sound like they’re howling from some horrible netherworld. Their indebtedness to the production style of the late 80s is clear (just stick on ‘Floodland‘ by the Sisters of Mercy to see exactly how much), but their sound owes just as much to more modern exponents of shoegaze and noise rock.
An introductory note here: When I first ‘got’ music, when it became something more than a tinny backing tune on the radio on the school run, it was the 80s that I fell in love with. I would stay up late listening the epic squall that opens Bauhaus’ ‘In The Flat Field‘ over and over again; or I’d search the web for grainy videos of Joy Division performing before they were canonical; or I’d even stay to the very end of Nick Cave‘s solo set at Bristol’s Colston Hall, missing my train back to London and sleeping in the station just because I couldn’t bear to miss a beat. I love how dark that music all sounded, all the space between the notes and the way that the guitars seemed to shiver while some demented sage would chant into the void about bats and judgement and all that nonsense.
Thus my fascination with O.Children, who appear to be rooted in this time period. I fired off a few quick questions to Tobi, their lead singer, on the eve of the launch of their latest single.
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Can you introduce yourselves and the rest of the band?
I’m Tobi, I sing and write the songs. Gauthier plays guitar. Harry plays bass and Andrew plays drums. Collectively we’re O.Children.
I’ve been listening to your songs, and I sense an affinity with the darker sides of early 80s post-punk, and (whilst I’m not sure you’d agree with me here) especially some of those proto-goth/industrial bands like Nick Cave & the Bad Seeds and Sisters of Mercy. Where are you coming from with you music – are those the kinds of bands that you draw upon?
We’re certainly inspired by 80s goth music but we’re also into the general sound of the 80s as well as early 90s noise. The production techniques in particular. We love bands like The Birthday Party, Ciccone Youth, Big Black and Ministry, so we just take bits from all those types of bands and add them to our own personal sound. A little bit of edge.
What’s with the name? Is it a Nick Cave reference?
We bonded on ‘Shivers‘ by Boys Next Door, but then we realised that Boys Next Door was already taken and Shivers just didn’t work. O.Children was the next best thing.
What is it that you’re trying to achieve with your sound?
We just want people to enjoy the music. We’re recording out album at the moment and people will hopefully be (pleasantly) surprised by the outcome. We just want people to listen and make up their own minds.
What are you recording or planning to release? Anything soon?
‘Ruins‘, our second single, is released on April 19. The album should be done and released sometime in June so look out for that also.
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Head over to our listings section for more info on the party to celebrate the launch of their latest single, ‘Ruins’.
Written by Ian Steadman on Wednesday April 21st, 2010 6:18 pm
