Amelia’s Magazine | Central Saint Martins: Ba Fashion Graduate Show 2011 review, the winners

Flaminia Saccucci by Laura Warecki
Flaminia Saccucci by Laura Warecki.

Central Saint Martins showed for the last time at York Hall on Tuesday 31st May. I sat next to someone from L’Oreal – the principle course sponsors who fund the yearly awards show. There’s no wonder that Central Saint Martins fashion students are able to put on a professional standard graduate show, case what with the huge amount of monetary help that the course attracts. But there’s a reason why Central Saint Martins attracts the cash – the standard of design on show for 2011 was unremittingly high and in the next few blog posts I’ll pick out my favourites from an extremely talented bunch. First up, malady though – the winners.

Momo Wang by Karolina Burdon
Momo Wang by Karolina Burdon.

Momo Wang was the very deserving joint second runner up in an awards ceremony presented by Hilary Alexander and delivered by Meadham Kirchhoff and Sarah Burton. Or as Hilary put it: “You know Sarah; wedding dress, Pippa Middleton’s bum, need I say more?

Central Saint Martins Ba Show 2011-Momo Wang. Photography by Amelia GregoryCentral Saint Martins Ba Show 2011-Momo Wang. Photography by Amelia GregoryCentral Saint Martins Ba Show 2011-Momo Wang. Photography by Amelia GregoryCentral Saint Martins Ba Show 2011-Momo Wang. Photography by Amelia GregoryCentral Saint Martins Ba Show 2011-Momo Wang. Photography by Amelia GregoryCentral Saint Martins Ba Show 2011-Momo Wang. Photography by Amelia GregoryCentral Saint Martins Ba Show 2011-Momo Wang. Photography by Amelia GregoryCentral Saint Martins Ba Show 2011-Momo Wang. Photography by Amelia GregoryCentral Saint Martins Ba Show 2011-Momo Wang. Photography by Amelia GregoryCentral Saint Martins Ba Show 2011-Momo Wang. Photography by Amelia GregoryCentral Saint Martins Ba Show 2011-Momo Wang. Photography by Amelia Gregory
Momo Wang. All photography by Amelia Gregory

Her playful print presentation featured smiling girls with pigtails and balloons, bubble machines, dragon headgear and a mish mash of tribal influences thrown together in a unique and inspiring way. Super talented and with a refreshing take on the typical catwalk show.

Ivan Curia Nunes by Gareth A Hopkins
Ivan Curia Nunes by Gareth A Hopkins.

Central Saint Martins Ba Show 2011-Ivan Curia Nunes. Photography by Amelia GregoryCentral Saint Martins Ba Show 2011-Ivan Curia Nunes. Photography by Amelia GregoryCentral Saint Martins Ba Show 2011-Ivan Curia Nunes. Photography by Amelia GregoryCentral Saint Martins Ba Show 2011-Ivan Curia Nunes. Photography by Amelia GregoryCentral Saint Martins Ba Show 2011-Ivan Curia Nunes. Photography by Amelia Gregory
Ivan Curia Nunes.

Ivan Curia Nunes also came joint second, with his stylish sandy menswear, definitely one of the most instantly wearable collections on the catwalk.

Central Saint Martins Ba Show 2011-Nicholas Aburn. Photography by Amelia GregoryCentral Saint Martins Ba Show 2011-Nicholas Aburn. Photography by Amelia GregoryCentral Saint Martins Ba Show 2011-Nicholas Aburn. Photography by Amelia GregoryNicholas-Aburn-by-Victoria-Haynes
Nicholas Aburn by Victoria Haynes.

I hadn’t been so impressed with the cutting in Nicholas Aburn‘s collection, but maybe the first runner up was just unlucky enough to have been lumbered with the most gargantuan models in the show.

Central Saint Martins Ba Show 2011-Nicholas Aburn. Photography by Amelia GregoryCentral Saint Martins Ba Show 2011-Nicholas Aburn. Photography by Amelia Gregory
Nicholas Aburn.

He completely won me over by the time he had walked to the end of the catwalk, smiling like a little imp as the models towered over him in their 80s influenced tailored striping and printed outfits, topped off with some eye-catching wide rimmed hats.

Central Saint Martins Ba Show 2011-Flaminia Saccucci. Photography by Amelia GregoryFlaminia-Saccucci-by-Rebecca-Elves
Flaminia Saccucci by Rebecca Elves.

First prize went to Flaminia Saccucci, who showed an extremely confident and unusual latex printed floral collection in shades of pink, green and yellow featuring tyre printed legs that continued racing over waistlines and across bosoms.

Central Saint Martins Ba Show 2011-Flaminia Saccucci. Photography by Amelia GregoryCentral Saint Martins Ba Show 2011-Flaminia Saccucci. Photography by Amelia GregoryCentral Saint Martins Ba Show 2011-Flaminia Saccucci. Photography by Amelia GregoryCentral Saint Martins Ba Show 2011-Flaminia Saccucci. Photography by Amelia GregoryCentral Saint Martins Ba Show 2011-Flaminia Saccucci. Photography by Amelia GregoryCentral Saint Martins Ba Show 2011-Flaminia Saccucci. Photography by Amelia Gregory
Flaminia Saccucci.

Sadly none of these students appears to have a website. Since this is a gripe that I fear I may have to repeat far too often over the next few weeks I’ll say it just this once during my reports from the Central Saint Martins show. Pffffff.

My next blog will be online soon because there was plenty more to get excited about from 40 graduating students.

Categories ,80s, ,Awards, ,Central Saint Martins, ,CSM, ,Flaminia Saccucci, ,florals, ,Gareth A Hopkins, ,Gareth Hopkins, ,Graduate Shows, ,Hilary Alexander, ,Ivan Curia Nunes, ,Karolina Burdon, ,L’Oreal, ,Laura Warecki, ,Meadham Kirchhoff, ,Meadham Kirchoff, ,menswear, ,Momo Wang, ,Pippa Middleton, ,print, ,Rebecca Elves, ,Sarah Burton, ,Tribal, ,Victoria Haynes, ,York Hall

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Amelia’s Magazine | Central Saint Martins: Ba Fashion Graduate Show 2011 review. Womenswear tailoring.

Tracey Wong  CSM by Laura Frame
Tracey Wong by Laura Frame.

Womenswear tailoring at Central Saint Martins centred around a classical monochrome base exemplified by James Nolan, malady who opened the whole show with a high collared nanny wielding a giant old fashioned pram. Models with pin rolled hair were lent a strict air with shiny tight leather gloves.

Central Saint Martins Ba Show 2011-James Nolan photography by Amelia GregoryCentral Saint Martins Ba Show 2011-James Nolan photography by Amelia Gregory
James Nolan. All photography by Amelia Gregory

Mathilde le Gagneur showed a floaty commercial collection of tie-waisted garments to traditional church music. I liked the twirly number at the end.

Central Saint Martins Ba Show 2011-Mathilde le Gagneur photography by Amelia GregoryCentral Saint Martins Ba Show 2011-Mathilde le Gagneur photography by Amelia GregoryCentral Saint Martins Ba Show 2011-Mathilde le Gagneur photography by Amelia GregoryCentral Saint Martins Ba Show 2011-Mathilde le Gagneur photography by Amelia Gregory
Mathilde le Gagneur.

Li Wai Yin was all about the block coloured tailoring. Pointy hats and overlong sleeves emphasised the strong minimalist shapes.

Central Saint Martins Ba Show 2011-Li Wai Yin photography by Amelia Gregory
Li Wai Yin.

Khrystyna Fomenko presented a strong and highly wearable collection based on golden and pastel shades with wide palazzo trousers and multi height hem lines. We did an interview with Khrystyna Fomenko back in 2009 – why not take a gander and see just how much her style has changed since then!

Central Saint Martins Ba Show 2011-Khrystyna Fomenko photography by Amelia GregoryCentral Saint Martins Ba Show 2011-Khrystyna Fomenko photography by Amelia GregoryCentral Saint Martins Ba Show 2011-Khrystyna Fomenko photography by Amelia GregoryCentral Saint Martins Ba Show 2011-Khrystyna Fomenko photography by Amelia GregoryCentral Saint Martins Ba Show 2011-Khrystyna Fomenko photography by Amelia GregoryCentral Saint Martins Ba Show 2011-Khrystyna Fomenko photography by Amelia Gregory
Khrystyna Fomenko.

Hannah Barr showed flouncy pleated and backless numbers in lacy blues and coppery knits.

Central Saint Martins Ba Show 2011-Hannah Barr photography by Amelia GregoryCentral Saint Martins Ba Show 2011-Hannah Barr photography by Amelia GregoryCentral Saint Martins Ba Show 2011-Hannah Barr photography by Amelia Gregory
Hannah Barr.

Tracey Wong incorporated jutting beaded ornamental panels onto pastel and black dresses of intriguing proportions.

Tracey Wong by Laura Frame
Tracey Wong by Laura Frame.

Central Saint Martins Ba Show 2011-Tracey Wong photography by Amelia GregoryCentral Saint Martins Ba Show 2011-Tracey Wong photography by Amelia GregoryCentral Saint Martins Ba Show 2011-Tracey Wong photography by Amelia GregoryCentral Saint Martins Ba Show 2011-Tracey Wong photography by Amelia GregoryCentral Saint Martins Ba Show 2011-Tracey Wong photography by Amelia Gregory
Tracey Wong.

Christopher Tai’s collection was a bizarre ensemble of loose fitting pieces and unflattering wired accessories that curled up the arm.

Central Saint Martins Ba Show 2011-Christopher Tai photography by Amelia GregoryCentral Saint Martins Ba Show 2011-Christopher Tai photography by Amelia Gregory
Christopher Tai.

Satoshi Kuwata did ruched and draped pastels with interesting hem lines and button detailing. A very strong collection.

Satoshi Kuwata by Casey Otremba
Satoshi Kuwata by Casey Otremba.

Central Saint Martins Ba Show 2011-Satoshi Kuwata photography by Amelia GregoryCentral Saint Martins Ba Show 2011-Satoshi Kuwata photography by Amelia Gregory
Satoshi Kuwata. All photography by Amelia Gregory

Categories ,Casey Otremba, ,Central Saint Martins, ,Christopher Tai, ,Graduate Fashion Week, ,Hannah Barr, ,James Nolan, ,Khrystyna Fomenko, ,Laura Frame, ,Li Wai Yin, ,Mathilde le Gagneur, ,Satoshi Kuwata, ,tailoring, ,Tracey Wong, ,Womenswear, ,York Hall

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Amelia’s Magazine | Diamond Mine by Jon Hopkins and King Creosote. An interview with Kenny Anderson.

King Creosote and Jon Hopkins by Rosemary Cunningham
King Creosote and Jon Hopkins by Rosemary Cunningham.

In the second part of my attempt to delve into the creation of the amazing collaborative album Diamond Mine, physician Kenny Anderson (aka King Creosote) answers my questions with a frankness and candour that matches the genius of his songwriting. Thanks so much for your wonderful answers Kenny! And if you haven’t heard it yet, viagra you must get a copy of Diamond Mine by Jon Hopkins and King Creosote, out now on Domino Records.

Jon Hopkins and King Creosote by Sarah Alfarhan
Jon Hopkins and King Creosote by Sarah Alfarhan.

How did Jon first approach you and what were your first thoughts about his proposal?

Diamond Mine is the latest instalment of many years of different sorts of collaborations between JH and KC. In 2004 (I think) Jon approached me at a Fence Collective show in Pittenweem and asked if I’d re-record a version of a track called Your Own Spell with him. He’d heard the original on an old KC album, but he asked in a way that didn’t make me question the quality of my version, and I thought ‘what a clever, tactful chap’. 

YouTube Preview ImageYour Own Spell

He remixed a track called A Sad Ha Ha that I recorded with Magnetophone for 4AD, and that made me all teary at the end of a Homegame when I heard it.

YouTube Preview ImageThe Vice-like Gist of It

Next up he remixed The Vice-like Gist of It as a B-side which stopped Janice Forsyth in her tracks, and at the end of 2006′s Green Man Festival he played me And the Racket They Made. I shed real tears and instantly agreed to play at a stranger’s wedding because of it. 

YouTube Preview ImageAnd the Racket They Made

We started on a collaboration album proper late in 2006, and the initial efforts were drafted into Bombshell for 679 once we’d secured the producer’s job for Jon, and in 2008 he worked on a couple of the Flick the Vs songs.  

Even with all that under our collaborative belt, I think Jon felt he hadn’t quite made a true and genuine collaboration with my voice very much to the fore, band and record label concessions very much to the aft. Two years ago he called me back to London – this time there’d be no siphoning off of our labours.

King Creosote. Photo by Steve Gullick
King Creosote. Photo by Steve Gullick.

How well do you think you have both managed to evoke “space, longevity and timelessness”?

As a collection of songs spanning my entire songwriting history, sung in what is undoubtedly my best recorded singing voice to date, for my part I hope that was enough to push the record away from just the period leading up to a 2011 release. There’s everything from the naive views of an impatient student right through to the cynical musings of an impatient middle aged grump. Jon’ll tell you the in & outs of the music content, but most of what you hear is acoustic guitar, accordion, piano and voices – all of them timeless instruments I’d say. Jon’s given the whole thing a fairly light and airy touch.

Longevity … Well, I should be quite a few dozen listens ahead of our most ardent fans, and I still hear brand new sounds with every listen. The tracklisting still surprises me from time to time, and the album can take an hour to pass, sometimes just a few seconds. In brief, we’ve nailed it on all three counts :)

King Creosote and Jon Hopkins by Sam Parr
King Creosote and Jon Hopkins by Sam Parr.

How is middle age treating you? I like the way that you say you intend to make the most your “thinning hair and diet of white flour and sugar” but it can’t be all bad?

I’m enjoying middle age immensely. I’ve resigned myself to most of the physical wear and tear, but in my head it’s not as bad as when I actually see my ageing mush in a mirror. I only have to look at an Ampeg bass rig and my back starts to hurt, and so as a rule I avoid reflective surfaces and load ins.

YouTube Preview ImageJohn Taylor’s Month Away

What’s the best part about growing older?

There’s a certain smugness comes with the realisation that I was incredibly lucky to grow up in the 70s & 80s – not only had national service long ended, but we enjoyed immense freedoms. Being young in the 2010s with all these mobile phones, digital cameras, youtube, facebook and twitter sites tracking your every move has absolutely no appeal. Hahahahahahahaha! And we TREASURED records, making live gigs and the latest album releases real moments of excitement and joy.    

YouTube Preview ImageBubble

Some of these songs were written as long ago as 20 years and more. What did it feel like to dredge them up again? Did you experience lots of weird emotions?

I’ve re-recorded many of my songs for lots of different albums, so I’m used to it. It’s difficult to explain now just what Your Own Spell from 1988 is truly about, so I just say it’s a banal ‘be careful what you wish for’ type tale. I’ve got a better, more emotionally believable voice now than I did back then, so not so hard to get the mindset right. Thankfully there are no real happy songs on Diamond Mine – that’s the one emotion I haven’t cracked yet.

King Creosote by Victoria Haynes
King Creosote by Victoria Haynes.

How do you feel about modern technology?  

On one hand a genius from the modern age can come along and make something that sounds as good as Diamond Mine, but in general I find it a real drag and best avoided whenever possible. If technology results in a machine that drops one back into a pre-technological era, than I’m all for it. I’d punch 1974 into the dial and would probably expire in time for the millenium celebrations. 

YouTube Preview ImageBats in the Attic

You say that “being a dad lights the way out”. How do your family fit into the musical world? Do they join you, and do they take part in your projects in any way?   

My dad, uncle, brothers and cousins are all musical, but quite different in their approach, so it doesn’t feel like competition in any way. My daughter has an incredible ear for melody and a limitless memory for lyrics – she wants to do medicine, so she didn’t get my squeamish gene. I used to play with one of my brothers – Iain – in a bluegrass outfit yonks ago, and I’ve backed up the other brother Gordon on many live sets, but as we get older, the brothers and I tend to avoid interaction with each other’s music as much as possible, and stick to comedy impersonations of our dad, clicking heels and all. I’m a bigger fan of their music than they are of mine, so that helps!

YouTube Preview ImageYour Young Voice

My dad recently organised an Anderson showcase for charity. It was an incredibly surreal afternoon of many different musical styles played in front of a white haired audience, so not a chance of any of it landing up on youtube. 
And relax.

Thankyou so much for your wonderful answers Kenny!

King Creosote and Jon Hopkins by Laura Warecki
King Creosote and Jon Hopkins by Laura Warecki.

Diamond Mine is intended to be listened to in one sitting, so once you’ve had a chance to sample the tracks above make sure you grab a copy of the whole thing. Jon Hopkins and King Creosote will be back on tour in September. Full Diamond Mine tour listing information here. Don’t forget to also check out my interview with Jon Hopkins here.

Categories ,4ad, ,679 Recordings, ,A Sad Ha Ha, ,album, ,And the Racket They Made, ,Bats in the Attic, ,Bombshell, ,Bubble, ,Diamond Mine, ,Domino Records, ,Fence Records, ,Fife, ,Flick the Vs, ,interview, ,Janice Forsyth, ,John Taylor’s Month Away, ,Jon Hopkins, ,Kenny Anderson, ,King Creosote, ,Laura Warecki, ,Magnetophone, ,Pittenweem, ,review, ,Rosemary Cunningham, ,Sam Parr, ,Sarah Alfarhan, ,Steve Gullick, ,The Vice-like Gist of It, ,Victoria Haynes, ,Your Own Spell, ,Your Young Voice

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Amelia’s Magazine | An interview with CocknBullKid on the release of new album Adulthood

Cocknbullkid by Laura Warecki
CocknBullKid by Laura Warecki.

When Amelia’s Magazine first met CocknBullkid she stood out as a unique singer, purchase flying far from any obvious pigeon hole. I was impressed. Now, case a couple of years later, ambulance Anita Blay is back with a much bigger anthemic sound on second album Adulthood, confidence emanating from every danceable tune. Anita may now be ready to embrace the life of a grown up, yet Adulthood still retains a good dose of the individualistic charm that appealed to me in the first place, all sung in the honeyed vocals that attracted industry attention when as a teenager she took part in Hackney youth music project Tribal Tree. I caught up with the inimitable East Londoner on the release of her album, which came out today.

cocknbullkid_cover

Firstly, hello, how are you, it’s been awhile! What have you been up to since you were last featured in Amelia’s Magazine.
Learning loads, writing loads and the obligatory bit of soul searching, of course.

Why the name change? I’m getting a wee bit confused…
I just wanted to make it more concise really. Nothing more elaborate than that. I didn’t even think anyone would notice!

cocknbullkid by daria hlazatova
CocknBullKid by Daria Hlazatova.

I love your voice, what was your training? Did you sing as a little girl, and do you think your voice has changed over the years and if so how?
Thank you. I think it takes most singers years to find their true voice. We are all influenced by our surroundings and what we hear so it’s easy to start singing in an affected voice. I hear so many singers do it and they don’t even realise. Part of my going away was to really scratch away at all the affectations. And hopefully I’ve done that. As for training – I haven’t had a singing lesson in a years. Which I’m not proud of. Even if you can sing you still need to learn how to improve and protect your voice.

YouTube Preview ImageHold on to your Misery.

How was Tribal Tree formative in your development as a musician and a person? What did being part of it give to you?
It was great in terms of learning how to use software and discipline yourself into writing all the time. We also used to do X Factor style showcases every month. We’d play to a bunch of A&Rs in a room the size of a shoe box and listen to their criticism of the performance. It helped in growing thick skin.

CocknBullKid Papercut by Lou Taylor
CocknBullKid Papercut by Lou Taylor.

You are influenced by The Knife and Morrissey. How would you say these most diverse of influences feeds into your current songwriting process?
Morrissey has influenced my lyrical approach massively. I’d always been into lyrics foremost but it wasn’t until I discovered him that I understood that I had the freedom I had to write about anything I wanted. Regardless of how dark it was. The Knife were quite an early influence for me in terms of their experimental style. When I first started trying to make music on my laptop I was fascinated with how they played with vocals and sonics. 

YouTube Preview ImageOne Eye Closed.

Your music is much bigger now, why did you feel it was important to get away from minimal home grown electro? How did you ensure you retained that personal charm?
I’ve always believed that I’m not an artist that will be a slave to a genre. Hopefully, my appeal comes from who I am and my lyrics. So even if I decided to make a country record ,as long as the lyrics were still ‘me’ then  people shouldn’t feel too alienated. Also, when you listen to a lot of the earlier stuff, you’re actually listening to me trying t figure out how to write a song. I had a lot of things I wanted to say but didn’t know how to get it out in the most coherent way. I hope I’ve achieved that on this album. I think that is what pop music is and does.

CocknBullKid-by-Victoria-Haynes
CocknBullKid by Victoria Haynes.

Asthma Attack is quite a party tune, who do you hope will listen to it, and in what situation?
Anyone. It’s for anyone in any situation.

Asthma Attack.

Why are you anti Diva?
Most of the time it’s unnecessary BUT there are times when you need to get a message across and if no one is listening to you you may have to make a noise. I wouldn’t say that’s being a diva though. If it was a man he would be called ‘assertive’. 

CocknBullKid by Alison Day
CocknBullKid by Alison Day.

Your live shows sound exciting, can you tell us a little bit about what we might expect from these?
I’ve been told by people that the live show is completely different to what you hear on the record and I think it is. It takes me a while to  really connect in a vocal booth. I’m a quite visual person so when I’m on stage it’s a completely different experience. It’s visual, it’s adrenaline fuelled. I come alive.

I did in fact see CocknBullKid live at the end of last week – read my review of her performance at Stag and Dagger, and listen to a special Soundcloud remix stream of CocknBullKid songs by Metronomy’s Olugbenga. Adulthood is out today on Moshi Moshi / Island Records.

Categories ,Adulthood, ,album, ,Alison Day, ,Anita Blay, ,Asthma Attack, ,CocknBullKid, ,Daria Hlazatova, ,hackney, ,Hold on to your Misery, ,Island Records, ,Laura Warecki, ,Lou Taylor, ,metronomy, ,morrissey, ,Moshi Moshi, ,Olugbenga, ,One Eye Closed, ,Stag and Dagger, ,The Knife, ,Tribal Tree, ,Victoria Haynes, ,X Factor

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Amelia’s Magazine | Diamond Mine by Jon Hopkins and King Creosote. An interview with Kenny Anderson.

King Creosote and Jon Hopkins by Rosemary Cunningham
King Creosote and Jon Hopkins by Rosemary Cunningham.

In the second part of my attempt to delve into the creation of the amazing collaborative album Diamond Mine, Kenny Anderson (aka King Creosote) answers my questions with a frankness and candour that matches the genius of his songwriting. Thanks so much for your wonderful answers Kenny! And if you haven’t heard it yet, you must get a copy of Diamond Mine by Jon Hopkins and King Creosote, out now on Domino Records.

Jon Hopkins and King Creosote by Sarah Alfarhan
Jon Hopkins and King Creosote by Sarah Alfarhan.

How did Jon first approach you and what were your first thoughts about his proposal?

Diamond Mine is the latest instalment of many years of different sorts of collaborations between JH and KC. In 2004 (I think) Jon approached me at a Fence Collective show in Pittenweem and asked if I’d re-record a version of a track called Your Own Spell with him. He’d heard the original on an old KC album, but he asked in a way that didn’t make me question the quality of my version, and I thought ‘what a clever, tactful chap’. 

YouTube Preview ImageYour Own Spell

He remixed a track called A Sad Ha Ha that I recorded with Magnetophone for 4AD, and that made me all teary at the end of a Homegame when I heard it.

YouTube Preview ImageThe Vice-like Gist of It

Next up he remixed The Vice-like Gist of It as a B-side which stopped Janice Forsyth in her tracks, and at the end of 2006’s Green Man Festival he played me And the Racket They Made. I shed real tears and instantly agreed to play at a stranger’s wedding because of it. 

YouTube Preview ImageAnd the Racket They Made

We started on a collaboration album proper late in 2006, and the initial efforts were drafted into Bombshell for 679 once we’d secured the producer’s job for Jon, and in 2008 he worked on a couple of the Flick the Vs songs.  

Even with all that under our collaborative belt, I think Jon felt he hadn’t quite made a true and genuine collaboration with my voice very much to the fore, band and record label concessions very much to the aft. Two years ago he called me back to London – this time there’d be no siphoning off of our labours.

King Creosote. Photo by Steve Gullick
King Creosote. Photo by Steve Gullick.

How well do you think you have both managed to evoke “space, longevity and timelessness”?

As a collection of songs spanning my entire songwriting history, sung in what is undoubtedly my best recorded singing voice to date, for my part I hope that was enough to push the record away from just the period leading up to a 2011 release. There’s everything from the naive views of an impatient student right through to the cynical musings of an impatient middle aged grump. Jon’ll tell you the in & outs of the music content, but most of what you hear is acoustic guitar, accordion, piano and voices – all of them timeless instruments I’d say. Jon’s given the whole thing a fairly light and airy touch.

Longevity … Well, I should be quite a few dozen listens ahead of our most ardent fans, and I still hear brand new sounds with every listen. The tracklisting still surprises me from time to time, and the album can take an hour to pass, sometimes just a few seconds. In brief, we’ve nailed it on all three counts :)

King Creosote and Jon Hopkins by Sam Parr
King Creosote and Jon Hopkins by Sam Parr.

How is middle age treating you? I like the way that you say you intend to make the most your “thinning hair and diet of white flour and sugar” but it can’t be all bad?

I’m enjoying middle age immensely. I’ve resigned myself to most of the physical wear and tear, but in my head it’s not as bad as when I actually see my ageing mush in a mirror. I only have to look at an Ampeg bass rig and my back starts to hurt, and so as a rule I avoid reflective surfaces and load ins.

YouTube Preview ImageJohn Taylor’s Month Away

What’s the best part about growing older?

There’s a certain smugness comes with the realisation that I was incredibly lucky to grow up in the 70s & 80s – not only had national service long ended, but we enjoyed immense freedoms. Being young in the 2010s with all these mobile phones, digital cameras, youtube, facebook and twitter sites tracking your every move has absolutely no appeal. Hahahahahahahaha! And we TREASURED records, making live gigs and the latest album releases real moments of excitement and joy.    

YouTube Preview ImageBubble

Some of these songs were written as long ago as 20 years and more. What did it feel like to dredge them up again? Did you experience lots of weird emotions?

I’ve re-recorded many of my songs for lots of different albums, so I’m used to it. It’s difficult to explain now just what Your Own Spell from 1988 is truly about, so I just say it’s a banal ‘be careful what you wish for’ type tale. I’ve got a better, more emotionally believable voice now than I did back then, so not so hard to get the mindset right. Thankfully there are no real happy songs on Diamond Mine – that’s the one emotion I haven’t cracked yet.

King Creosote by Victoria Haynes
King Creosote by Victoria Haynes.

How do you feel about modern technology?  

On one hand a genius from the modern age can come along and make something that sounds as good as Diamond Mine, but in general I find it a real drag and best avoided whenever possible. If technology results in a machine that drops one back into a pre-technological era, than I’m all for it. I’d punch 1974 into the dial and would probably expire in time for the millenium celebrations. 

YouTube Preview ImageBats in the Attic

You say that “being a dad lights the way out”. How do your family fit into the musical world? Do they join you, and do they take part in your projects in any way?   

My dad, uncle, brothers and cousins are all musical, but quite different in their approach, so it doesn’t feel like competition in any way. My daughter has an incredible ear for melody and a limitless memory for lyrics – she wants to do medicine, so she didn’t get my squeamish gene. I used to play with one of my brothers – Iain – in a bluegrass outfit yonks ago, and I’ve backed up the other brother Gordon on many live sets, but as we get older, the brothers and I tend to avoid interaction with each other’s music as much as possible, and stick to comedy impersonations of our dad, clicking heels and all. I’m a bigger fan of their music than they are of mine, so that helps!

YouTube Preview ImageYour Young Voice

My dad recently organised an Anderson showcase for charity. It was an incredibly surreal afternoon of many different musical styles played in front of a white haired audience, so not a chance of any of it landing up on youtube. 
And relax.

Thankyou so much for your wonderful answers Kenny!

King Creosote and Jon Hopkins by Laura Warecki
King Creosote and Jon Hopkins by Laura Warecki.

Diamond Mine is intended to be listened to in one sitting, so once you’ve had a chance to sample the tracks above make sure you grab a copy of the whole thing. Jon Hopkins and King Creosote will be back on tour in September. Full Diamond Mine tour listing information here. Don’t forget to also check out my interview with Jon Hopkins here.

Categories ,4ad, ,679 Recordings, ,A Sad Ha Ha, ,album, ,And the Racket They Made, ,Bats in the Attic, ,Bombshell, ,Bubble, ,Diamond Mine, ,Domino Records, ,Fence Records, ,Fife, ,Flick the Vs, ,interview, ,Janice Forsyth, ,John Taylor’s Month Away, ,Jon Hopkins, ,Kenny Anderson, ,King Creosote, ,Laura Warecki, ,Magnetophone, ,Pittenweem, ,review, ,Rosemary Cunningham, ,Sam Parr, ,Sarah Alfarhan, ,Steve Gullick, ,The Vice-like Gist of It, ,Victoria Haynes, ,Your Own Spell, ,Your Young Voice

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Amelia’s Magazine | Welsh singer Lydia Baylis introduces her new single Life Without You

Lydia Baylis by Daria Hlazatova
Lydia Baylis by Daria Hlazatova.

Having completed a history degree at Oxford University Welsh singer songwriter Lydia Baylis has made a major career change and is set to release her debut album inspired by the literature of the suitably high brow Bronte Sisters and Virginia Woolf. Here she describes the making of her new single Life Without You:

YouTube Preview Image
‘My new single Life Without You is from my debut album, A Darker Trace, which will be released in 2014. It is a song about coming to terms with the end of a relationship with the first person you fall in love with but overall it is a hopeful message about living a fuller life alone – even if at first it feels like you can’t. With the video I wanted the viewers to feel close, because it is a deeply personal song. Intruding, almost by watching someone crying in the bath – but then, as the song goes on, becoming more hopeful and joyous. We shot it in my Grandmother’s house, somewhere I have a lot of fond memories from. I felt very safe there, so it was easier than I had thought letting go and sharing the song… ‘

Lydia Baylis by Novemto Komo
Lydia Baylis by Novemto Komo.

Lydia Baylis by Antonia Parker
Lydia Baylis by Antonia Parker.

Lydia Baylis by Claire Kearns
Lydia Baylis by Claire Kearns.

Get your free download of Happy Man by Lydia Baylis here.

Categories ,A Darker Trace, ,Antonia Parker, ,Bronte Sisters, ,Claire Kearns, ,Daria Hlazatova, ,Happy Man, ,interview, ,Life Without You, ,Lydia Baylis, ,Novemto Komo, ,Oxford University, ,video, ,Virginia Woolf, ,Welsh

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