Amelia’s Magazine | Our Broken Garden: The making of the Garden Grow video with Broken Pixel

Ashley Dean by Russty Brazil
Ashley Dean, adiposity as depicted by Russty Brazil.

I recently reviewed the superb second album from Our Broken Garden, information pills so when Ashley Dean got in touch to tell me he was making their latest video Garden Grow I couldn’t resist taking a peek… it’s a delightful lo-fi Fraggle Rock inspired few minutes that should tickle even the coldest of hearts, and here’s the story of how it was made…

What inspired the treatment for the video? 
The starting point for this video was a suggestion by Simon Raymonde of Bella Union. He said he’d love to see Anna of Our Broken Garden performing in a Muppet Show style set. It was this video that inspired him, so we started off from there… I love the Muppet Show, but my favourite Jim Henson creations are Fraggle Rock, The Dark Crystal and Labyrinth. They were big inspirations for the look of this video and it was a challenge to do justice to these great fantasy works, but lots of fun at the same time.

The little beasties are great… where did you get the idea from them from?
The three main puppets (the Spider, the Bird and the Tree Beast) were based on the Guitarist, Bassist and Drummer from Our Broken Garden; Søren, Moogie and Poul. My collaborator, Kevin Roper did some great concept sketches of the guys as animals and we ended up making the models pretty close to those original drawings. The little white things in the mines (we called them ‘Pale Moles’) were inspired by the Doozers from Fraggle Rock. I wanted to create a rich and detailed world for Anna to perform in; these creatures were a another layer of the eco-system, and an excuse for me to do some animating..!


The video for Garden Grow by Our Broken Garden.

Who made the little knitted spider monsters?
The jumper that the Spider wore was knitted by my Mum over 20 years ago! I thought it would look great on Søren so Kev cut it up and re-made it with 8 sleeves. I sculpted Søren’s face in clay and cast it in latex, then we used all kinds of techniques to bring the puppets to life. I like to use recycled materials in my work; Moogie is a big bundle of old clothes coated with feathers from a discarded pillow. 

How did you make the video, and where was the studio set? 
We worked in a old flax mill in Leeds called Temple Works. It is an amazing, vast place and they have big plans for the future of it. 
It took myself, Kevin and my parents a week to construct the set. The trees took a long time, with Kev spending several days coating the skeletons I made with wall paper paste and brown paper. We bought out the entire stock of gaffer tape at the local Maplin, I think we got close to consuming a mile of the stuff! On the last day of the set build, Graham Pilling from Army of Cats came to the set and painted the background scenes then my wife, Lydia helped me finish everything off on a final, exhausting Saturday. There were so many details that had to be designed and manufactured on site, I was amazed when we were finally ready to light and shoot the video! I brought in Danny North to be Director of Photography (a long time collaborator with Amelia’s Magazine:Ed) and Tim Blackwell was my assistant director and puppeteered Søren. My parents were in charge of the catering. There was a great community feel during the whole process.

What was it like to work with Anna?
Anna Bronsted came over from Denmark to star in the video. She was a pleasure to work with and was willing to try out any of the shots and effects we had planned. We she feints amongst the apples, she is leaning against a step ladder that I gradually let fall backwards… That required a lot of trust from Anna and there are a lot of out-takes where I was a bit too enthusiastic with the simulated fall. 

Any funny stories from the shoot that you can tell us about?
Although Kev didn’t find it at all funny, it was a very peculiar atmosphere on set when everyone was operating their puppets. My Dad was making Moogie bounce around on his branch, Tim was hidden behind a tree, straining to put his hand up the back of Søren, and Kev was dressed in the Poul Costume, crouched behind another tree in a horribly painful position. When all the puppets came to life, it was a magical sight and we shot dozens of takes of the ‘band’ all playing together. Eventually we took a break so that everyone could relax, but as we were getting a coffee, an anguished groan came from the set. I had totally forgotten Kev was still in his costume and he had almost passed out from the pain he was in and couldn’t move (or take his mask off, which was tied on to his head). His legs didn’t work properly for days afterwards and he cursed the day he offered to go in the Poul suit. He didn’t like it when I became Poul for a scene in his absence though, so I get the impression he was at least quite proud of his exertions…

Garden Grow Group shot
The whole ‘Garden Grow’ crew on set with Anna Bronsted of Our Broken Garden.

Do you have any plans to work with Our Broken Garden again?
I would love to. It will depend on both our schedules, but the rest of the album is great and Anna is a fantastic creative force to work with. She did mention that she wanted to make some more trees and characters to take with her on tour, but they will have to be a lot less fragile than the ones we made for the shoot!

You used to be in iliketrains, which I love (and were featured in the printed version of Amelia’s Magazine many a moon ago). Why did you leave the group?
It was the band’s decision. Our label Beggars Banquet had recently dissolved and they wanted a new start, and I think they thought it was a bit of a luxury to have a projectionist as a full time member of the group. I was quite relieved when we had the final conversation; I would have never had the heart to leave, but my film making ambitions were starting to clash with the schedule of the band and in the end, it was the best option for us all. I still have a good relationship with the guys, and I’m pleased to see how well their recent Pledge campaign (to raise money for the new album) went. I’ll just be sorely jealous when they play Glastonbury or shoot a video in the Bahamas…

Are you still making your own music?
My cornet is gathering dust under a table, just like it did in the years between school and joining the Trains… But I do have a couple of (barely) musical projects on the back burner. One involves making my own instruments and singing in Japanese. Me and Guy from iLT recorded 3 songs together years ago and I would love to bring the idea back to life one day…

What other stuff are you working on with your company Broken Pixel?
My next project is with Napoleon IIIrd. We are going to make some crazy, mashed-up projections using all kinds of old technology. I’ll be trying to bring my Super8 projectors back to life and we’ve got some old OHPs to play with. It should be a fun day out. I’ve got a couple of long term film projects in production and I’m always interested to work with new bands. I recently got a part time job as a chocolate taster (seriously!) and I’m about to launch a range of miniature sets, built into the back of canvases and inscribed with a fragmented, intertwined narrative.

My brain doesn’t sleep.

You can catch Our Broken Garden live in London on Thursday 17th November 2010: listing here.

Categories ,Anna Bronsted, ,Army of Cats, ,Ashley Dean, ,Bella Union, ,Broken Pixel, ,Danny North, ,Doozers, ,Fraggle Rock, ,glastonbury, ,Graham Pilling, ,iliketrains, ,Jim Hensen, ,Kevin Roper, ,Labyrinth, ,leeds, ,Muppet Show, ,Napoleon IIIrd, ,Our Broken Garden, ,Pledge Campaign, ,Russty Brazil, ,Super8, ,Temple Works, ,The Dark Crystal, ,Tim Blackwell

Similar Posts:






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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

still corners singer
Photo courtesy of Still Corners.

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

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

Twin Sister by Matilde Sazio
Illustration by Matilde Sazio

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

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

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

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

Similar Posts:






Amelia’s Magazine | Beauty in the broken places: A conversation with Anna Brønsted of Our Broken Garden


Erdem, information pills illustrated by Katie Walters

The Whitechapel Gallery is, this month, hosting a series of talks which see a host of London-based fashion designers in conversation with curator Kirsty Ogg. The first of these talks saw Turkish/English/Canadian designer Erdem Moralioglu take to the stage. 

Personally I’m a massive fan of Erdem and the inherent beauty he’s displayed across collection after collection. Amelia’s Magazine supported the designer since his first show, with an interview and feature in Issue 08 of the printed magazine. It’s a shame, then, that we didn’t get a ticket to his most recent show so we haven’t covered his work in a while. Yes, they probably go faster than Take That tickets, but, y’know, we’ve been on the Erdem wagon longer than it takes to correctly spell his surname.

Above: Erdem S/S 2011 Below: Erdem S/S 2010, illustrated by Michelle Urvall Nyrén

After a warm introduction from Elle‘s fashion director Anne-Marie Curtis, who thanked Erdem for her wedding dress (cringe), the conversation began, as these things tend to, rather awkwardly. We got a brief synopsis of Erdem the man so far – he relayed stories from his childhood, described his Virgin Suicides-esque hometown and discussed his fascination with right and wrong. He’s a man after my own heart who has always been fascinated by women and the impact that fashion has on their lives. The contrast of cultures – a Turkish father, an English mother, a Canadian upbringing – has had a massive impact on the designer’s work and life. He has always been obsessed by reality, fantasy and femininity.

This unusual series of talks see fashion designers talk about the influence of the art world, generally speaking, on their work. Each designer has been asked to pick 10 pieces of art that they feel have been most inspirational. Erdem had hand-picked a wide range of pieces that had been influential, from centuries-old paintings to the work of modern photographers.
From Ryan McGinley‘s ethereal firework images to Singer Sargent‘s oil paintings, all genres were covered, with an unsurprising theme of women and figures running throughout. Here are a few of his picks:

Seeing Peter Doig’s White Canoe (1990-1) in oils appeared like a close-up image of Erdem’s many digital prints, but also evoked his own memories of growing up near this ‘large lake’…

Singer Sergant’s Madame X conveyed Erdem’s fascination with mysterious women…(detail)

Ryan McGinley’s Fireworks Hysteric was a combination of the female form and his obsession with reality…

Inspiration from Tina Barney’s Matador, from the conscious influence of Erdem’s detailing to the juxtaposition of the elaborate jacket with the crispness of the shirt and tie… 

While there’s no doubt that art and fashion are physically and psychologically intertwined, it did feel at times that the emphasis was on the deeper and often patronising themes that existed in Erdem’s choices. I would have happily listened to his dulcet Canadian tones wax lyrical about fashion than hear him struggle somewhat to form concepts from pieces of art that just weren’t there. ‘There isn’t really a meaning, love!’ I kept thinking to myself as Ogg tried to worm out themes from his choices. ‘Leave him alone!’ I forced myself not to say aloud. ‘LEAVE MY ERDEM ALONE!’ It was a little like sitting in on a psychiatrist extract information from a sane person who didn’t really need to see a psychiatrist.  

Generally, the idea of a fashion designer discussing his influences, and purely artistic ones, is a great concept, but what it didn’t need was patronising drivel. Just my philistine opinion, obviously.  


Illustration by Katie Harnett

You can catch Marios Schwab in conversation with Daniel F. Herrmann on Wednesday 24th November. Click here for more details.


Erdem, viagra illustrated by Katie Walters

The Whitechapel Gallery is, viagra this month, drugs hosting a series of talks which see a host of London-based fashion designers in conversation with curator Kirsty Ogg. The first of these talks saw Turkish/English/Canadian designer Erdem Moralioglu take to the stage. 

Personally I’m a massive fan of Erdem and the inherent beauty he’s displayed across collection after collection. Amelia’s Magazine supported the designer since his first show, with an interview and feature in Issue 08 of the printed magazine. It’s a shame, then, that we didn’t get a ticket to his most recent show so we haven’t covered his work in a while. Yes, they probably go faster than Take That tickets, but, y’know, we’ve been on the Erdem wagon longer than it takes to correctly spell his surname.

Above: Erdem S/S 2011 Below: Erdem S/S 2010, illustrated by Michelle Urvall Nyrén

After a warm introduction from Elle‘s fashion director Anne-Marie Curtis, who thanked Erdem for her wedding dress (cringe), the conversation began, as these things tend to, rather awkwardly. We got a brief synopsis of Erdem the man so far – he relayed stories from his childhood, described his Virgin Suicides-esque hometown and discussed his fascination with right and wrong. He’s a man after my own heart who has always been fascinated by women and the impact that fashion has on their lives. The contrast of cultures – a Turkish father, an English mother, a Canadian upbringing – has had a massive impact on the designer’s work and life. He has always been obsessed by reality, fantasy and femininity.

This unusual series of talks see fashion designers talk about the influence of the art world, generally speaking, on their work. Each designer has been asked to pick 10 pieces of art that they feel have been most inspirational. Erdem had hand-picked a wide range of pieces that had been influential, from centuries-old paintings to the work of modern photographers.
From Ryan McGinley‘s ethereal firework images to Singer Sargent‘s oil paintings, all genres were covered, with an unsurprising theme of women and figures running throughout. Here are a few of his picks:

Seeing Peter Doig’s White Canoe (1990-1) in oils appeared like a close-up image of Erdem’s many digital prints, but also evoked his own memories of growing up near this ‘large lake’…

Singer Sergant’s Madame X conveyed Erdem’s fascination with mysterious women…(detail)

Ryan McGinley’s Fireworks Hysteric was a combination of the female form and his obsession with reality…

Inspiration from Tina Barney’s Matador, from the conscious influence of Erdem’s detailing to the juxtaposition of the elaborate jacket with the crispness of the shirt and tie… 

While there’s no doubt that art and fashion are physically and psychologically intertwined, it did feel at times that the emphasis was on the deeper and often patronising themes that existed in Erdem’s choices. I would have happily listened to his dulcet Canadian tones wax lyrical about fashion than hear him struggle somewhat to form concepts from pieces of art that just weren’t there. ‘There isn’t really a meaning, love!’ I kept thinking to myself as Ogg tried to worm out themes from his choices. ‘Leave him alone!’ I forced myself not to say aloud. ‘LEAVE MY ERDEM ALONE!’ It was a little like sitting in on a psychiatrist extract information from a sane person who didn’t really need to see a psychiatrist.  

Generally, the idea of a fashion designer discussing his influences, and purely artistic ones, is a great concept, but what it didn’t need was patronising drivel. Just my philistine opinion, obviously.  


Illustration by Katie Harnett

You can catch Marios Schwab in conversation with Daniel F. Herrmann on Wednesday 24th November. Click here for more details.


Erdem, troche illustrated by Katie Walters

The Whitechapel Gallery is, page this month, page hosting a series of talks which see a host of London-based fashion designers in conversation with curator Kirsty Ogg. The first of these talks saw Turkish/English/Canadian designer Erdem Moralioglu take to the stage. 

Personally I’m a massive fan of Erdem and the inherent beauty he’s displayed across collection after collection. Amelia’s Magazine supported the designer since his first show, with an interview and feature in Issue 08 of the printed magazine. It’s a shame, then, that we didn’t get a ticket to his most recent show so we haven’t covered his work in a while. Yes, they probably go faster than Take That tickets, but, y’know, we’ve been on the Erdem wagon longer than it takes to correctly spell his surname.

Above: Erdem S/S 2011 Below: Erdem S/S 2010, illustrated by Michelle Urvall Nyrén

After a warm introduction from Elle‘s fashion director Anne-Marie Curtis, who thanked Erdem for her wedding dress (cringe), the conversation began, as these things tend to, rather awkwardly. We got a brief synopsis of Erdem the man so far – he relayed stories from his childhood, described his Virgin Suicides-esque hometown and discussed his fascination with right and wrong. He’s a man after my own heart who has always been fascinated by women and the impact that fashion has on their lives. The contrast of cultures – a Turkish father, an English mother, a Canadian upbringing – has had a massive impact on the designer’s work and life. He has always been obsessed by reality, fantasy and femininity.

This unusual series of talks see fashion designers talk about the influence of the art world, generally speaking, on their work. Each designer has been asked to pick 10 pieces of art that they feel have been most inspirational. Erdem had hand-picked a wide range of pieces that had been influential, from centuries-old paintings to the work of modern photographers.
From Ryan McGinley‘s ethereal firework images to Singer Sargent‘s oil paintings, all genres were covered, with an unsurprising theme of women and figures running throughout. Here are a few of his picks:

Seeing Peter Doig’s White Canoe (1990-1) in oils appeared like a close-up image of Erdem’s many digital prints, but also evoked his own memories of growing up near this ‘large lake’…

Singer Sergant’s Madame X conveyed Erdem’s fascination with mysterious women…(detail)

Ryan McGinley’s Fireworks Hysteric was a combination of the female form and his obsession with reality…

Inspiration from Tina Barney’s Matador, from the conscious influence of Erdem’s detailing to the juxtaposition of the elaborate jacket with the crispness of the shirt and tie… 

While there’s no doubt that art and fashion are physically and psychologically intertwined, it did feel at times that the emphasis was on the deeper and often patronising themes that existed in Erdem’s choices. I would have happily listened to his dulcet Canadian tones wax lyrical about fashion than hear him struggle somewhat to form concepts from pieces of art that just weren’t there. ‘There isn’t really a meaning, love!’ I kept thinking to myself as Ogg tried to worm out themes from his choices. ‘Leave him alone!’ I forced myself not to say aloud. ‘LEAVE MY ERDEM ALONE!’ It was a little like sitting in on a psychiatrist extract information from a sane person who didn’t really need to see a psychiatrist.  

Generally, the idea of a fashion designer discussing his influences, and purely artistic ones, is a great concept, but what it didn’t need was patronising drivel. Just my philistine opinion, obviously.  


Illustration by Katie Harnett

You can catch Marios Schwab in conversation with Daniel F. Herrmann on Wednesday 24th November. Click here for more details.

Our Broken Garden by Karina Yarv
Our Broken Garden by Karina Yarv.

I have to say, if there hadn’t been a very special reason to go out I would have stayed in last night. Needling icicles of rain ain’t what I need heading into town at nearly 9pm on a Pashley with a flat tire. But head I did, website like this because last night Our Broken Garden were playing their only date in the UK for the foreseeable future and this I did not want to miss. And boy was I glad I made the effort. It’s no secret to my regular readers that I’ve developed a bit of an obsession with Our Broken Garden. They are nothing short of fabulous, especially the glorious vocals of sometime Efterklang keyboardist Anna Bronsted.

Our Broken Garden-live at St.Giles
Our Broken Garden perform live at St.Giles-in-the-Fields. All photography by Amelia Gregory.

On arrival I was in a bit of a grump to discover there was some time to wait before Our Broken Garden came on stage, but all that was put to rest when I sat down to listen to their support band Still Corners.

Still Corners-St.Giles
Still Corners-perform at St.Giles
Still Corners.

Against a blood red swirl of light the singer contributed dreamy vocals on top of swirling 60s keys and the odd dash of country and western melody. The beautific tunes worked particularly well where they stepped the beat up, and I’m eager to hear more. In the meantime enjoy the video for Wish. Just delightful.

Thereafter followed some fabulous electric noodling, which I presume came courtesy of Ulrich Schnauss, a once-upon-a-time Amelia’s Magazine interviewee whose latest stuff I have not heard, but was perfectly suited to the hushed setting.

Gareth A Hopkins OurBrokenGarden
Illustration by Gareth A Hopkins.

Against the up-lit cross at the back of St Giles a bit of stage set pfaffing took place before Our Broken Garden took to the stage – four cute Scandinavian guys and one absolutely stunning lady. And by stunning I don’t just mean looks, though I was very taken with her slinky metallic wide-legged pants suit. Anna has a voice to die for. Whilst the rest of the nation is wondering if any of the X Factor vocalists can even sing in tune, the real talent can be found in places like this. Quietly going about their exceptional way. We were treated to a selection of tracks from the new album Golden Sea as well as a few tracks from earlier album The Departure, as Anna skipped and bopped in front of a large fabric tree.

Our Broken Garden-St.Giles

And we all drifted off somewhere quite magical.

Really, more people should know about Our Broken Garden. They are surely my favourite discovery of the past few months, and every bit as good, if not better, in the live flesh. Oh, and did I mention that the drummer is really cute?…but I was so mesmerised by Anna that it took me better part of the gig to notice.

Our Broken Garden-drummer

Why not check out my review of new album Golden Sea, out now on the fab label Bella Union and an interview with the director of the Garden Grow video whilst you’re at it too. Jessica Furseth met with Anna before the performance and she will be posting an interview soon.

Anna from Our Broken Garden by Evie Kemp
Anna from Our Broken Garden by Evie Kemp.
Anna Brønsted Our Broken Garden by Alison Day
Anna Brønsted illustrated by Alison Day. Original photo by Eva Edsjö.

That is a really big sound coming from such a small woman, view I think as I’m standing at the back of the church. Anna Brønsted is up by the pulpit, sales tinkering with her microphone and ignoring the hustle of her fellow Our Broken Garden musicians doing soundchecks around her. St Giles-in-the-Fields, patient the little church tucked behind the Centre Point building, looks warm and cosy with its mood lighting – but in reality it’s barely warmer than it is outside as London is putting on a full cold and rain spectacle for its Danish guests.

‘It’s so cold in London!’ Anna exclaims as she walks over to me, holding her coat closed at the neck. She introduces herself properly, shaking my hand with a surprisingly strong grip. I ask her how she’s doing, with tonight’s gig only a couple of hours away. Does she like playing live? She smiles: ‘I like it very much! But I get nervous too. The anxiety and the … what’s the word – anticipation, they go hand in hand. You get this energy rising inside, and when you get excited the energy gets bigger as the nervousness and the joy of it mixes together. Does that make sense?’

Anna writes the songs for Our Broken Garden, while the band creates the musical arrangements. There is something of a sinister twist to the lyrics underneath the beautiful, dreamy music, I point out, thinking of the single track ‘Garden Grow’ where Anna sings: ‘make my lips bleed if you have to / throw me naked on the floor / just wake me from my sleep …’. Is this deliberate?. Anna squints at me, she’s hesitating over the meaning of the word ‘sinister’. Once explained, she immediate confirms that it is. ‘The darkness is definitely deliberate. Absolutely. I try and write happy songs and it doesn’t work. The songs always have a mellow feel at their middle.’

our broken garden by james ormiston
Our Broken Garden illustrated by James Ormiston

The band name was her idea: ‘It’s like a little take on the lost paradise. We have this innocence when we’re born and then we lose it. Our journey in life may be about finding our way back to that place where we feel natural, where we don’t have to do anything to feel like we belong. A place where we’re unique and perfect.’

She’s thoughtful, open and very eloquent, but it takes her a moment to get her words out as she wants to get it right in English. Words and lyrics are a very important part of Anna’s songwriting process. ‘I like to try and make an expression where all the little bits complement the whole. It’s difficult to explain …’ She stops herself again. The music and lyrics need to fit together, I suggest, and she nods. ‘I care very much about the words, but being Danish I use language differently so it might not make complete sense in English. I make certain mistakes because it’s not my mother tongue. But when you use words that make up pictures in your head it may be good.’

The songs are a revelation of her own self, she admits, but emphasises that it is difficult to capture everything that you are: ‘It varies from time to time which part of me dominates, but I do feel this is an expression of who I am. Who we are. Still, I’m more than this though. For instance I used to play a lot of soccer, and you might not have guessed that.’

our broken garden london 2010
Our Broken Garden’s soulful performance at St Giles-in-the-Fields

Music remains at the centre of Anna’s life also outside Our Broken Garden – she is a music teacher and student of music business management, and she also runs a small festival for women in music. ‘It’s really tough doing this, as you don’t make any money and you travel all the time. But there are moments when you feel you are connected to the people you play with, and for. Then it makes sense.’

I ask if she will tell us something unexpected about herself, and she laughs as she answers: ‘I really like reading women’s magazines, even though it’s such a waste of money. But I like the glittery paper and the pictures. I have many guilty pleasures.’ We get talking about how chocolate is presented by advertisers as a so-called guilty pleasure, but Anna shrugs it off in a true, pragmatic Scandinavian manner: ‘Chocolate isn’t guilty, it’s just a pleasure.’

Just like the music, Anna seems delicate at first – but give it a moment and you realise how much strength there is behind that gentle first impression. And once you’ve noticed it seems strange how you could ever have thought otherwise.

Read our review of Our Broken Garden at St Giles-in-the-Fields on 17th November. Also check out our review of the new album, Golden Sea, out now on Bella Union.

Categories ,Alison Day, ,Anna Brønsted, ,Bella Union, ,Golden Sea, ,James Ormiston, ,Our Broken Garden, ,St.Giles-In-The-Fields

Similar Posts:






Amelia’s Magazine | Our Broken Garden & Still Corners at St. Giles-in-the-Fields: Live Review

Annie Collinge:

For the Small Things Exhibition, treatment pills why did you decide to sidestep the girls costumes at the Comic Con convention?

There were a lot of people taking photographs there, so I wanted to take a different approach. I actually just used it as an opportunity to photograph strangers, because they were at the conference, they didn’t question why I wanted to take their picture. I actually shot a lot of men too but when I looked at the images, the pictures of the girls were much stronger.

How do you choose your subjects?

I picked out people that had a natural, though awkward, appeal which in most cases they seemed unaware of possessing. Those with the best costumes didn’t necessarily make for the best subjects

How did you become involved with the Small Things Exhibition?

I was a Brighton with Amy, Anna and Bella and they very kindly asked me if I would like to be part of the show. Having worked in editorial for a while I think showing personal projects is by far the most important thing so I am really pleased I took part in it.

Anna Leader What is the concept behind your latest photographic series?

The series was a reaction to the title of the show, Small Things. I explored something simple but wondrous, one of the first things we learn in science: light refracting through a prism and being broken down into its basic components that are usually invisible to the naked eye. Placing a crystal and a spectrum side by side, prompts the viewer to remember this phenomenon of cause and effect. The rainbow was created in a controlled environment however, using an overhead projector, a glass of water and a piece of mirror, a man-made trick that I relate with the nature of photography itself, a mechanical tool making use of the elements of what we see and creates something beyond the realm of the immediately visible. What I chose to exhibit therefore were all elements: the beautiful spectrum and the real device that allowed it to be visible, rendering the crystal inanimate. The consequence is a continual short circuit between the three images and between three versions of the same story.

Anna Leader

What intrigues you about amateur or DIY Science Experiments?

Amateur or DIY Science Experiments contain some of our most basic questions regarding what makes up the physical world around us and the results obtained are a celebration of the answers readily available through patient observation and the desire to see. Photography has the same power. We try to grasp what we see and record it for the future, putting the documents into categories: aesthetic; informative; emotive and so on.

Anna Leader

Annie Collinge:

For the Small Things Exhibition, check why did you decide to sidestep the girls costumes at the Comic Con convention?

There were a lot of people taking photographs there, so I wanted to take a different approach. I actually just used it as an opportunity to photograph strangers, because they were at the conference, they didn’t question why I wanted to take their picture. I actually shot a lot of men too but when I looked at the images, the pictures of the girls were much stronger.

How do you choose your subjects?

I picked out people that had a natural, though awkward, appeal which in most cases they seemed unaware of possessing. Those with the best costumes didn’t necessarily make for the best subjects

How did you become involved with the Small Things Exhibition?

I was a Brighton with Amy, Anna and Bella and they very kindly asked me if I would like to be part of the show. Having worked in editorial for a while I think showing personal projects is by far the most important thing so I am really pleased I took part in it.

Anna Leader What is the concept behind your latest photographic series?

The series was a reaction to the title of the show, Small Things. I explored something simple but wondrous, one of the first things we learn in science: light refracting through a prism and being broken down into its basic components that are usually invisible to the naked eye. Placing a crystal and a spectrum side by side, prompts the viewer to remember this phenomenon of cause and effect. The rainbow was created in a controlled environment however, using an overhead projector, a glass of water and a piece of mirror, a man-made trick that I relate with the nature of photography itself, a mechanical tool making use of the elements of what we see and creates something beyond the realm of the immediately visible. What I chose to exhibit therefore were all elements: the beautiful spectrum and the real device that allowed it to be visible, rendering the crystal inanimate. The consequence is a continual short circuit between the three images and between three versions of the same story.

Anna Leader

What intrigues you about amateur or DIY Science Experiments?

Amateur or DIY Science Experiments contain some of our most basic questions regarding what makes up the physical world around us and the results obtained are a celebration of the answers readily available through patient observation and the desire to see. Photography has the same power. We try to grasp what we see and record it for the future, putting the documents into categories: aesthetic; informative; emotive and so on.

Anna Leader

Our Broken Garden by Karina Yarv
Our Broken Garden by Karina Yarv.

I have to say, page if there hadn’t been a very special reason to go out I would have stayed in last night. Needling icicles of rain ain’t what I need heading into town at nearly 9pm on a Pashley with a flat tire. But head I did, drugs because last night Our Broken Garden were playing their only date in the UK for the foreseeable future and this I did not want to miss. And boy was I glad I made the effort. It’s no secret to my regular readers that I’ve developed a bit of an obsession with Our Broken Garden. They are nothing short of fabulous, especially the glorious vocals of sometime Efterklang keyboardist Anna Bronsted.

Our Broken Garden-live at St.Giles
Our Broken Garden perform live at St.Giles-in-the-Fields. All photography by Amelia Gregory.

On arrival I was in a bit of a grump to discover there was some time to wait before Our Broken Garden came on stage, but all that was put to rest when I sat down to listen to their support band Still Corners.

Still Corners-St.Giles
Still Corners-perform at St.Giles
Still Corners.

Against a blood red swirl of light the singer contributed dreamy vocals on top of swirling 60s keys and the odd dash of country and western melody. The beautific tunes worked particularly well where they stepped the beat up, and I’m eager to hear more. In the meantime enjoy the video for Wish. Just delightful.

Thereafter followed some fabulous electric noodling, which I presume came courtesy of Ulrich Schnauss, a once-upon-a-time Amelia’s Magazine interviewee whose latest stuff I have not heard, but was perfectly suited to the hushed setting.

Gareth A Hopkins OurBrokenGarden
Illustration by Gareth A Hopkins.

Against the up-lit cross at the back of St Giles a bit of stage set pfaffing took place before Our Broken Garden took to the stage – four cute Scandinavian guys and one absolutely stunning lady. And by stunning I don’t just mean looks, though I was very taken with her slinky metallic wide-legged pants suit. Anna has a voice to die for. Whilst the rest of the nation is wondering if any of the X Factor vocalists can even sing in tune, the real talent can be found in places like this. Quietly going about their exceptional way. We were treated to a selection of tracks from the new album Golden Sea as well as a few tracks from earlier album When Your Blackening Shows, as Anna skipped and bopped in front of a large fabric tree.

Our Broken Garden-St.Giles

And we all drifted off somewhere quite magical.

Really, more people should know about Our Broken Garden. They are surely my favourite discovery of the past few months, and every bit as good, if not better, in the live flesh. Oh, and did I mention that the drummer is really cute?…but I was so mesmerised by Anna that it took me better part of the gig to notice.

Our Broken Garden-drummer

Why not check out my review of new album Golden Sea, out now on the fab label Bella Union and an interview with the director of the Garden Grow video whilst you’re at it too. Jessica Furseth met with Anna before the performance: read her interview here.

Anna from Our Broken Garden by Evie Kemp
Anna from Our Broken Garden by Evie Kemp.

Categories ,Anna Bronsted, ,Bella Union, ,efterklang, ,Evie Kemp, ,Gareth A Hopkins, ,Golden Sea, ,Karina Yarv, ,Our Broken Garden, ,Pashley., ,Sonic Cathedral, ,St.Giles-In-The-Fields, ,Still Corners, ,Ulrich Schnauss, ,When Your Blackening Shows

Similar Posts:






Amelia’s Magazine | Our Broken Garden: Golden Sea – Album Review

Our Broken Garden Golden Sea
Our Broken Garden Golden Sea

Our Broken Garden is fronted by vocalist Anna Bronsted, more about sometime keyboardist with Efterklang, this the Danish group fabled for the same lush orchestrations that sweep throughout her second album Golden Sea. It was recorded in the countryside with friends Søren Bigum on guitar/keyboards, sick Moogie Johnson on bass and assorted other musicians when needed.

The ebb and flow of the ocean has influenced not just the name of Golden Sea but the entire rhythmical feel of the album, over which Anna’s luscious vocals float like the call of a modern day siren. It opens with the undulating notes of The Departure, a gentle wash of sound like the sleek undertow of waves, then moves into a more grandiose classical feel in the rich production of The Fiery and Loud, where choppy strings set the tone to create a dramatic backdrop for the staccato vocal. It’s as if the swell of the sea has picked up. “I’m all on fire… burns and blood…” Anna’s lyrics do not always make conventional sense, but the fluidity of English as a second language is poetically evocative.

In Garden Grow the beats have become more tribal. “Rip out my heart, if you have to…” Behind the angelically sweet notes there’s the dramatic threat of lurking doom but by Nightsong all is calm again as Anna channels the ethereal lyrics of Bat For Lashes, sighing of moons and tears… Share hypnotises with an intensely beating heart and The Darkred Roses ends with the lyrics “and the black waters arising…” before the eery sounds of a church organ emerge gently as if from the sea mists.

A totally hypnotic album to soundtrack those long winter nights. Golden Sea by Our Broken Garden comes out today on Bella Union.

Listen to it streamed on Sound Cloud here, or check out their myspace. They have just announced their biggest UK headline show at St. Giles-In-The-Fields, the parish church in the heart of London’s West End, on Wednesday 17th November. Tickets can be bought here. Catch our listing here.

The Departure by Our Broken Garden:
YouTube Preview Image

Categories ,album review, ,Anna Bronsted, ,Bat for Lashes, ,Bella Union, ,efterklang, ,Golden Sea, ,Moogie Johnson, ,Our Broken Garden, ,St.Giles-In-The-Fields, ,Søren Bigum

Similar Posts:






Amelia’s Magazine | My Best Albums of 2010


Image courtesy of Rogue

Initiating a relationship over the Internet is an age-old tale and I have friends who have successfully trodden this path, viagra dosage no rx but not without some initial trepidation. There’s always the joke about boys being deluded about their height, unhealthy often adding an inch or four to their profiles (or being axe-murderers), and girls uploading old photos when they were a good few pounds lighter (or being bunny boilers). But beyond the aesthetics, how much do you really know about your online confidante? And on the flipside, how far are you willing to stretch the truth to ensure that you are presenting yourself in the best light?

Produced by filmmaker Andrew Jarecki, who directed the brilliant docufilm “Capturing the Friedmans” in 2003, Catfish is the directorial feature film debut of Ariel Schulman and Henry Joost, who explore these themes, human psychology and the modern technological landscape as a medium for communication, closely following a ‘virtual’ relationship as it unfolds over Facebook and phone calls. Made with a budget of only around $30,000, the film was an unlikely hit at the Sundance Film Festival last year, which had audience members and critics alike hyperventilating with excitement.


Illustration courtesy of Avril Kelly

When I received my invite to the press screening, I was urged to read as little about Catfish as possible to avoid spoiling my experience of the film. As I would urge you to do the same, I can tell you that writing this review is going to prove difficult but here goes…

Filmed using a grainy handheld camera, the story revolves around the film’s protagonist, Nev Schulman, a young, charismatic, sleepy-eyed New-York based photographer who becomes involved, via Facebook, with an eight-year-old art prodigy named Abby in Michigan. Abby approaches Nev to ask for his permission to use a photograph for a painting and a fraternal relationship ensues between Nev and Abby, which becomes increasingly complex as Nev becomes involved with the rest of her family: Abby’s mother, Angela, and Abby’s attractive horse-riding, guitar-playing, party-loving 19-year-old sister, Megan, along with Megan’s intricate network of friends.  Needless to say, a less fraternal relationship develops between Nev and Megan and before we know it, they are “sexting”, amalgamating naked photos of themselves and speaking every night via the plethora of the networking tools that we have at our disposal today. Nothing, however, is quite as it seems as the film takes several unexpected twists and turns to reach a not entirely surprising yet poignant conclusion. 


Illustration courtesy of Avril Kelly

One of the film’s key strengths lies in Nev’s engaging hopeless romantic, drawing empathy from his viewers as we are taken on a journey of his evolving feelings for Megan and her family. Throughout the course of the film, we see Nev experience infatuation, doubt, anger, disappointment, betrayal and then sympathy – feelings of which are all doubtless familiar to us, whether in the virtual or real world. The way in which the film is shot, where Nev talks about his thoughts and feelings directly to the camera as if we were talking to a family member or a close friend (fitting really seeing as Schulman is Nev’s brother and Joost is one of his best friends), makes us feel as if we are sharing a very private experience with Nev, helping us to bond and identify with his character.

Where David Fincher and Aaron Sorkin’sThe Social Network” is about the creation of Facebook, Catfish is a film about the consequences of such creations, which may explain why its subject matter has resonated so strongly with audiences, seeing as approximately 5 billion of us across the globe are subscribed to a mobile phone contract and 500 million of us are active users of Facebook (although I exclude myself from the latter).


Illustration courtesy of Avril Kelly

At the risk of revealing too much, “Catfish” goes far deeper than simply being “another film about Facebook”. It throws up moral questions such as to what extent one can indulge in what superficially appears to be harmless innocent fantasies before we start to infringe on the wellbeing of others. This issue, however, is not strictly confined to the realms of an online environment, although it can be argued that modern technological advances, especially social networking, has made this deception somewhat easier to play out and sustain.

There has been much debate about the authenticity of “Catfish” and I for one am not completely convinced that we are not being taken for a ride, however, regardless of whether the movie is a hoax, Catfish is an absorbing, thought-provoking and affecting indie about hope, crushed dreams and the society that we live in where social media and modern technology provides a platform for our inner-narcissist, potential to deceive or desire to escape reality to a fictional world where life is more kind. In Joost’s own words, “Our profiles are a chance to present ourselves to the world in a way we can completely control – unlike face-to-face interaction”.

Read our exclusive interview with the director of Catfish, Henry Joost, here.

Catfish is currently showing at selected cinemas across the UK and available on DVD from today.  

Ariel “Rel” Schulman (left) and Henry Joost (right); illustration courtesy of Matilde Sazio

The co-directors of Sundance favourite Catfish, for sale   Ariel Schulman and Henry Joost, page met in high school and have been filmmaking partners since 2006. Together they founded the New York City production company Supermarché and have produced award-winning advertisements and documentaries for well-known companies and institutions, this including Nike, American Express, Harvard Business School, Pitchfork Media and The National Scrabble Association. As an acknowledgement of their talent, the duo’s web short “What’s the Big Idea“, starring Danny DeVito, was nominated for a Webby in 2008.

Born in Frankfurt, Germany, Joost spent most of his childhood travelling the world with his mother, a photographer, and his father, an international banker. He is still an avid traveller and collector of cameras, which he uses to capture both film and still.

To celebrate the release of Catfish, Joost talks exclusively to Amelia’s Magazine about the inspiration behind the film, his views on social networking and the emotional rocky road he shared with the Schulman brothers (Nev, the film’s protagonist and Ariel, co-director), from the moment the cameras started rolling…


Illustration courtesy of Matilde Sazio

How was the initial idea for ‘Catfish’ conceived? What made you start filming Nev in the first place?
From my perspective the film began as one of Rel’s pet projects that I became increasingly interested in. When Nev and Abby’s story became like a living soap opera I joined in, filming Nev as well. We have a deal with each other and with our friends that it’s ok to film all the time. We keep a personal record of our lives with these little HD cameras we keep in our pockets. Sometimes it turns into something but more often than not the footage lives on a hard-drive, unwatched.

Did you have any expectations when you started filming?
Rel had an instinct that he was shooting what could become a charming short film about two artists meeting on the internet and inspiring each other. Or just another strange episode in his brother’s life. That’s enough for us to go on. It was only after 8 months of filming sporadically in the midst of our busy lives, that we realized that true nature of the story we were telling.

What makes Nev compelling as a protagonist? Why should we care what happens to him?
Nev is compelling to me because he’s one of my best friends and plays a huge part in my life. I think he has a natural charisma that people connect with.  He wears his heart on his sleeve and he’s not afraid to expose himself, which people respect. In Catfish he’s an everyman. We’re all looking for connections online, hoping to find love, friendship, or inspiration.

How did you find your directorial relationship with Ariel evolve over the course of filming? Were there any debates at any stage in how you wanted to approach things?
Rel and I have been working together for about 6 years now, so we have a natural and largely unspoken dynamic. I think our personalities complement each other and we rarely disagree. My role was often to keep the peace between the two brothers.


Illustration courtesy of Matilde Sazio

What was the most challenging thing about filming ‘Catfish’?
The most difficult thing for me was balancing making the film with fear for my personal safety, although that fear turned out to be unfounded. There is a moment in the film that was the scariest of my life, but I felt emboldened by the camera and knowing that we were on a quest for truth.

Has Nev’s experience made you more cautious of social networking?
I was cautious about social networking to start with, so this has only confirmed my suspicions. Although the contradictory effect of the film is that I’m also much more open to people I meet online now, because those people could turn out to be real friends or collaborators.

Do you think social networking has served to strengthen or weaken the depth of the relationships that we build with people?
I don’t think it’s possible to have more than a few close friends with or without Facebook.  Social networking has allowed us to maintain more superficial relationships than ever before with incredible speed and ease, but I don’t think it particularly affects our few real relationships.

I don’t have a Facebook account – can you give me one fool-proof reason why I should join?
Wouldn’t you like to know what your boyfriend from 8th grade looks like now?

SPOILER ALERT!! READ ON ONLY IF YOU HAVE SEEN THE FILM…


Illustration courtesy of Aysim Genc

Prior to the revelatory moment where Nev discovers that ‘Megan’ has uploaded Suzanna Choffel’s version of Tennessee Stud as her own, did you at any point have any suspicions about Megan and her family? Did anything seem odd to you?
We did have suspicions at first. It seemed strange that this artist was giving her valuable paintings away for free. But suspicions about a potential financial scam were assuaged when Angela sent Nev a check for $500 – half of the winnings from an art contest Abby won with a painting of one of Nev’s photos. Suspicions were always addressed in a clever way or buried under a mountain of contradictory evidence.


Illustration courtesy of Aysim Genc

What were you most surprised about when you first met Angela?
I was completely surprised by Angela. We imagined a lot of scenarios, but in my wildest imagination I don’t think I could have ever conjured up Angela in all of her complexity. More surprising still was how well we all got along so well.

What were your own feelings towards Angela initially and did they change as you got to know her better?
I expected to meet some kind of villain behind all of this deception, so it was a relief to meet Angela. We found her to be fun, smart, and engaging and were happy that she and Vince really welcomed us into their lives.


Illustration courtesy of Aysim Genc

Is there a message you’d like viewers to go away with after having seen ‘Catfish’?
I think one of the great things about the film is that everyone brings their own experiences into the theater with them, and walks away with a different message. I would hate to color that in any way with my own personal opinion.

Do you think there is an element of Angela in all of us in how we go about presenting ourselves in the ‘virtual world’?
I think we all curate our online personae and what Angela did is incredibly relatable. Who among us has not de-tagged a photo, or agonized about our “interests” or “relationship status” on Facebook? Our profiles are a chance to present ourselves to the world in a way we can completely control – unlike face-to-face interaction.

Read our review of Catfish here.

Catfish is out at selected cinemas across the UK now and available on DVD from Monday 10th January.  
Best Albums of 2010 by LJG Art & Illustration
Best Albums of 2010 by LJG Art & Illustration.

Last year I discovered a whole slew of marvellous new albums. So I thought I would round them up before we got too far into 2011 – some I have already reviewed, approved and some I meant to review but didn’t get around to it, sildenafil thereby giving me the perfect opportunity to do so now. Without further ado here are my picks of 2010.

Trevor Moss and Hannah-Lou by Abigail Nottingham
Trevor Moss and Hannah-Lou by Abigail Nottingham.

Trevor Moss and Hannah-Lou – England
Loose Music
We’ve been championing this duo in various musical guises over the years… and their current husband and wife incarnation perfectly suits the harmonic beauty of their unique song-writing. England is a beautiful folk album that brings a modern flavour to age old tales of “peas, mash and pie” and “the catch of the day.” They have been working on a new album over the past few months and they start their extensive Tin Tabernacle tour soon, full listing here. Last summer they blew me away when they played an impromptu gig with Danny and the Champions of the World at our Climate Camp stage at Glastonbury. Make sure you catch up with them.

YouTube Preview Image

I Like Trains – He Who Saw The Deep
self-released
I first fell in love with the historical tales of iliketrains many years ago when I featured them in the print version of Amelia’s Magazine. Since then they have become I Like Trains (small but crucial difference), parted with their label and lost cornet player Ashley Dean – who has since created a fab video for Our Broken Garden which you can read about here. The crowd funded new album He Who Saw The Deep retains the gravelly baritone voice of lead singer David Martin but ditches the historical references in favour of a stirring elegy to the perils of an uncertain future “as Europe slips into the sea”. They go on tour at the start of February. Full listing info here.

the golden filter by daria h
The Golden Filter by Daria Hlazatova.

The Golden Filter – Voluspa
Brille Records
This album didn’t register on my radar until I saw The Golden Filter play live at Secret Garden Party in 2010. But here lies a clear case of an impressive live performance translating equally well into a recorded version – thereafter I’ve listened to Voluspa on a regular basis. It is impossible to find any information about The Golden Filter on the internet because they have done their best to maintain an aura of mystery around them akin to the swirling atmosphere that surrounds singer Penelope Trappes during their live performances. Other reviews have not been so kind about the hazy noodlings of the album experience but I love listening to it as a whole.

YouTube Preview Image

The Pipettes – Earth Vs The Pipettes
Fortuna Pop
In 2010 The Pipettes staged a come back with a very different flavour to their last studio album, (read our interview with them here). This time the line up features sisters Gwenno and Ani, and they’ve taken a distinctly dancey turn away from their 50′s doo-wap inspired songs… whilst still retaining their deliciously girly harmonies. This should be a good year for this truly independent pop band, starting with their DJing spot for their irresistibly bouncy tunes at my launch party for ACOFI at the end of January. After which they will be guesting on the new Does it Offend You Yeah? album. You wouldn’t find the Sugababes doing that now would you?

Our Broken Garden by Faye West
Our Broken Garden by Faye West.

Our Broken Garden – Golden Sea
Bella Union
Bella Union rarely puts a foot wrong, and Golden Sea by Our Broken Garden is no exception… an absolutely stunning album that I have listened to over and over and over again. If you get a chance to see Anna Bronsted perform live TAKE IT immediately. Her gig at St. Giles-in-the-Fields was one of the most magical performances I have ever seen. You can read my review here.

6 Day Riot by Jenny Lloyd
6 Day Riot by Jenny Lloyd.

6 Day Riot – On This Island
Tantrum
Self released on their own label, 6 Day Riot are a prime example of an uber talented band doing it for themselves. As singer Tamara candidly writes on their blog it’s hard work to get yourself heard when you are up against the promotional purchasing powers of the major labels, a fact which as an independent publisher I know only too well. On This Island is an incredibly rich and rewarding album and 6 Day Riot are just as much fun live. I can’t wait for them to play at my launch party for Amelia’s Compendium of Fashion Illustration.

Motorifik secret things

Motorifik – Secret Things
Moto
Despite a pretty terrible name – calling to mind, perhaps, Jeremy Clarkson loving rockers – Anglo-french twosome Motorifik won me over towards the end of 2010 with their 90s influenced shoegaze crossed with dance beats. Well worth checking out if you like your indie music lushly melodic.

Peggy Sue – Fossils and Other Phantoms
Wichita Recordings
Combining indie, folk, doo-wop and blues, this was my stand out favourite album at the start of 2010. The two girls in this three piece line up take turns on lead vocals, singing of complex love lives with heart rending passion. You can read my review here.

Napoleon IIIrd by illustratin grain
Napoleon IIIrd by Kiran Patel at Illustrating Rain

Napoleon IIIrd – Christiania
Brainlove Records
Starting with an intense splash of impassioned vocals yelped against a backdrop of reverberating beats, Christiania means business from the get go. Previous album In Debt To gained Napoleon IIIrd a coveted profile in the printed version of Amelia’s Magazine and this latest release does not disappoint, taking on board influences from genres as diverse as balearic beats, woozy cosmic pop and big bands. It comes out on the Brainlove label, home of all things eclectic and wonderful. Excitingly you can see both Napoleon IIIrd and I Like Trains together when they go on tour this February.

YouTube Preview Image

Malachai – Ugly Side of Love
Flying the flag for totally out there psychedelia is Bristol based Malachai. Ugly Side of Love is a wonderful stoner concoction recently given the blessing of Portishead’s Geoff Barrow. Malachai mash up stomping rock riffs, crashing moogs and sampled loops – it’s totally mental and I bloody love it. You can read our review here.

Laura Marling by Yelena Bryksenkova
Laura Marling by Yelena Bryksenkova.

Other albums that I loved probably need no further promoting as they will have done well on more mainstream “best of” lists but I will give them a brief mention here. Following a storming tour of the festival circuit Villagers‘ Becoming a Jackal did incredibly well and was nominated for the Mercury Prize. Read my review here. Perhaps inevitably Laura Marling‘s I Speak Because I Can has also done brilliantly…. because it is brilliant. What can I say? Laura is amazing. And of course you could read about her many years ago in Amelia’s Magazine, which ran one of her first interviews in print. Read our review here. The Irrepressibles finally released their incredible album Mirror Mirror, which I was lucky enough to discover several years ago when I put them in the print issue of the magazine. Read our review here.

Sea of Bees by Gemma Birss
Sea of Bees by Gemma Birss.

Helen Martin has already mentioned Mountain Man, Sea of Bees (tour listing here) and This Is The Kit albums in her excellent round up… and I loved them all too. She has great taste so I’m sure her other nominations are fabulous too, but I must confess that I haven’t heard them all for myself. Which is just as well because it left me space for this little round up.

I do hope you’ll support these incredibly talented musicians by splashing out on one or two of these releases, most of which have come out on tiny labels for the love of music. As for what to look out for in the coming year? I’ll be giving you my low down shortly… watch this space.

Categories ,6 Day Riot, ,Abigail Nottingham, ,album, ,Anna Brønsted, ,Becoming a Jackal, ,Bella Union, ,Brainlove Records, ,Brille Records, ,Christiania, ,Climate Camp, ,Danny and the Champions of the World, ,Daria Hlazatova, ,David Martin, ,Does it Offend You Yeah?, ,Earth vs The Pipettes, ,England, ,Faye West, ,Fortuna Pop, ,Fossils and Other Phantoms, ,Gemma Birss, ,Geoff Barrow, ,glastonbury, ,Golden Sea, ,He Who Saw The Deep, ,Helen Martin, ,I Like Trains, ,iliketrains, ,Illustrating Rain, ,Indigo Moss, ,Jenny Lloyd, ,Jeremy Clarkson, ,Kiran Patel, ,Laura Marling, ,LJG Art & Illustration, ,Loose Music, ,Malachai, ,Moto, ,Motorifik, ,Mountain Man, ,Napoleon IIIrd, ,On This Island, ,Our Broken Garden, ,Peggy Sue, ,Portishead, ,review, ,Sea of Bees, ,Secret Things, ,Tantrum, ,The Golden Filter, ,the irrepressibles, ,The Pipettes, ,This Is The Kit, ,Tin Tabernacle Tour, ,Trevor Moss and Hannah-Lou, ,Ugly Side Of Love, ,Villagers, ,Voluspa, ,Wichita Recordings, ,Yelena Bryksenkova

Similar Posts: