Faux.
Vol 1.1
ELLIE GOULDING // THE RISE OF AMERICAN INDIE // THE ROAD HOT CHIP // MARINA AND THE DIAMONDS // OTHELLO WOOLF WASHED OUT // LOOKBOOK.NU // HALF-LIFE February 2010
Copyright Faux Media 2010
Gallery at St Martins 8th-14th February 2010 LOVE IN ST MARTINS Artists & Makers tackle the theme of love. 15th-21st February 2010 KAYLEIGH ASHWORTH A selection of vivid & eclectic photographs. 22nd-28th February 2010 JOHANNA COOPER An exhibition of contemporary painting. 1st-7th March 2010 THE GEMINI PROJECT A diverse selection of work from the Gemini Project, a support group for people dealing with mental health issues
37b Hungate, Lincoln, LN1 1ET Gallery for hire! For experienced & emerging artists. Contact Phil Bowman : 07720810468
Want your photo here? Email it to : ireadfaux@googlemail.com
Photo : Rob Milsom
FEATURES
INFO
Editorials // 04
This isssue was made by: Martyn Cooling, Mike Coleman, Lucy Bridger, Eleanor Doughty, Annabelle Moore, Liam Haynes, Andy George, Jay Jameson, Scott Kershaw, Rob Milsom, Paul Cook, Daniel Willis, Steve Smailes, James Thornhill, Katherine Holt, Emily Cotton, Lily Aspinall and James Edwards.
Martyn Cooling, Liam Haynes, Andy George & Jaymo talk Facebook, Albums & Australia.
Starry Eyed // 10
Liam Haynes chats to 2010’s hottest prospect, Ellie Goulding.
Hollywood Infected // 14
Mike Coleman takes a look at the rise of indie cinema.
Storm and Stress // 18
Lily Aspinall & Eleanor Doughty bring us this months dose of fashion and photos.
At World’s End // 22
Paul Cook walks us through The Road.
Escape From City 17 // 26 Steve Smailes introduces machinma.
DIGITAL ISSUE CORRECTION Hannah Cox was mislabled as marketing manager of Camden Crawl. She is not.
For business enquiries: Martyn.Cooling@ireadfaux.com For all editorial contact: Liam.Haynes@ireadfaux.com For all marketing enquiries email : Advertising@ireadfaux.com Any further enquiries should be directed to: Info@ireadfaux.com Faux Magazine is published monthly by Faux Media. All content (unless otherwise stated) is copyright of Faux Media. Any opinions expressed within do not neccessarily represent the opinions of Faux Media.
COLUMNS
MARTYN COOLING
LIAM HAYNES
So, you hate it when people let their kids eat crisps while walking around the supermarket and then pay for the empty packets at the end? Or you think your bed is really needy because it wont let you leave in the morning? Or maybe you really hate it when you try and go somewhere and a snorlax is blocking your way? But do you really need to become a “fan” of it?
In our previous issue I wrote a great little introduction to our “Albums of the Decade” piece, discussing the demise of physical formats, the rise of downloading - an old debate. To me though the most disappointing effect of music distribution going digital is that I’ll never be able to rummage through someone’s CD collection. It’s just not the same asking to browse through someone’s iTunes, or to have a look at their external hard drive.
Director of Faux Magazine
This month a new obsession has arisen on Facebook, suddenly everyone realised how to create pages and how to channel their amazingly deep and witty thoughts and memories into things others would love to join, and join they will. My feed has been flooded with notice after notice of my friends efforts at expressing themselves by joining every page under the sun. It’s not like I disagree with alot of the sentiments; I too “hate it when I go for a bath and Terry Wogan’s there using your flannel” *cough*...Or not. I also remember the time when “I texted lying down and dropped the phone on my face”. But I don’t feel this sudden urge to create or join a group to remind myself of that fact. We all do the same things and have all probably seen the broad cultural reference your referring to, however my memory is intact and my Facebook page doesnt look like the 1990’s threw up on it. So as Facebook spirals into idiocy, here’s something fresh to read... 04 || www.ireadfaux.com
Editor of Faux Magazine
There’s nothing like hitting up someone’s house for the first time and catching a sneaky glance of their CD collection as they nip out to the kitchen to grab a cup of tea. The well-worn copy of Toploader’s debut tucked out of view, the inevitable Oasis LP - perhaps a surprising bit of Of Montreal or Four Tet. It’s brilliant. My CD collection is (somehow) one of the most organised parts of my house. Meticulously stacked up, playfully jumbled about. From Wowee Zowee to Dog Man Star, I love scanning across the spines, perhaps choosing something a little less worn than the others. Plus, no matter what people say about vinyl, it’s not as practical. CD’s are bloody brilliant. Having said that, I should probably get rid of Spiceworld, tucking it under a Larry Clark film isn’t going to hide the shame for ever.
ANDY GEORGE & JAYMO Moda // Radio 1
January is traditionally a slow month in the world of music. Club promoters wind-down following the anomaly that is New Year, label A&R’s book themselves into rehab & DJ’s go on holiday. As we fit into all those categories, January can be a complex scenario. The first half of the month was spent doing radio, and lots of it! With Annie Mac on a ‘free love & no shoes’ trip in Thailand, we stepped in to cover her 7pm Friday night show for a couple of weeks, and what fun it was! Officially starting the weekend is a responsibly not to be sniffed at - years of listening to Pete Tong do this made it a real ‘pinch-yourself ’ moment in our radio careers. We also covered Edith Bowman’s Weekend Breakfast shows at the start of January. This essentially consisted of us playing the better side of the playlist (think Delphic, Sidney Samson, Little Boots) and taking the piss out of each other. Jokes! Then, of course, there was our normal monthly show - where we picked out hot tips for 2010. Once we had that lot in the bag, we promptly threw our lives into a suitcase & headed to the airport - which brings us neatly to where we are now!
Currently observing New Zealand’s most affluent skyline, the view from our hotel is awash with shiny UTE’s, sprawling apartment blocks & busy looking city folk. Tonight, Matthew, we’re in Auckland for the fourth stop of a 10 day DJ tour! So far we’ve been to Perth, Melbourne & Sydney - with Brisbane & Sydney (part 2) still on the to-do list. As well as gigging we’ve hooked up with friends such as DJ Yoda (his audio/ visual set was amazing!), the Scattermish boys (wicked Aussie blog) & Flight Facilities (signed to one of the country’s coolest labels, Bang Gang). As soon as we’re done here, it’s back to London for our third Moda London party with Fake Blood, His Majesty Andre & Mowgli. Bring it on! You can catch Andy & Jaymo on the first Thursday of every month at 9pm on BBC Radio 1. Or check out www.thisismoda.com
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LOST & FOUND NEXUS ONE Google’s Nexus One is pegged to be the nail in the coffin of iPhone’s current mobile phone market dominance. Running the superior Android 2.1 operating system with a custom interface that is more expandable than the iPhone’s OS, 2010 should be an interesting year for mobile phones. The Nexus One is available on Vodafone now. www.google.com/nexusone
POLAROID Oh, Polaroid how we marvel at your limited potential and continue to pay over the odds for your poorly proccessed snaps and fall-apart camera’s. What’s that you say? It’s made of wood? Here’s my credit card...damn. The wooden Polaroid ships in the US in May. www.polaroid.com
iPAD It looks like a massive iPhone, it sits somewhere between a netbook and a smartphone, it sounds like a feminine hygiene product, but the iPad is what Apple has convinced itself is the future. The Apple iPad ships in the US in April. www.apple.com/ipad
Words : Martyn Cooling
MODA - COMPETITION Moda events are taking place all over the world (London, Milan, Barcelona, Ibiza), add to that the thriving record label and Jaymo & Andy’s BBC Radio 1 shows. It’s only right that the first Moda Lincoln event of 2010 is nothing short of monumental.
OWNS YOU
Since their 2008 Moda debut, Crookers have gone on to dominate the world. Selling out arenas from Tokyo to Texas, these Italian party starters have become one of the world’s most revered nu-skool acts. Did somebody say double-headliner? Yes indeed! Producer of amazing bands, maker of amazing remixes, owner of an amazing label – it’s the one and only Erol Alkan. All this alongside Scotland’s newest musical hero Grum, future superstars Fenech Soler (live) & of course Moda’s very own Jaymo & Andy George. For your chance to win one of 2 pairs of tickets to the event, Email your name and mobile number to: comps@ireadfaux.com, label your email MODA TIX! All entries must be in by 17/02/2010, the winner will be notified the very next day. Also, for your chance to win the one of a kind!/only one in the world Erol/Moda mashed up T-shirt pictured to the left, just email your name, address and t-shirt size to: comps@ ireadfaux.com. Label your email MODA TEE! All entries must be in by 1/03/2010, the winner will be notified within 2 weeks of the competition closing. For more information on Moda check: www.thisismoda.com
BIRDY’S BOUTIQUE - COMPETITION Birdy’s Boutique in Lincoln have given us a great prize for our readers. A very special £50 goody bag containing various Birdy’s Boutique greeting cards, brooches, badges and gift wrapped jewellery including rings (adjustable), bracelets, necklaces, and a clutch bag. For your chance to win, all you have to do is email your name and address to: comps@ireadfaux.com, label your email BIRDYS! All entries must be in by 01/03/2010, the winner will be notified within 2 weeks of the competition closing. Birdy’s Boutique is located at 29-31 Corporation Street, Lincoln, LN2 1HL www.birdys-boutique.co.uk
NEW BLOOD
OTHELLO WOOLF It’s pretty hard to rip off Talking Heads or Roxy Music without being annoying, but Othello Woolf manages it. His seriously brilliant take on white-boy soul, interbred with pop genius is both ear catching and devastatingly addictive, grabbing influences and moulding them together into a consistent texture with aplomb. In Othello’s words he just “started recording a set of songs and the sound came naturally. I didn't sit down and plan things out so to speak. That said, once I had a selection of songs recorded, I was careful to make sure those that followed used similar textures”. He’s one of the capital’s brightest rising stars with an aesthetic crafted by the cream of London’s young designers. Working with labels such as Casely-Hayford ensures he is 100% ready for the big time, as does his closeness to photographers like i-D’s Tyrone Lebon. Although Woolf is keen to point out that “as long as the music is good then everything else matters less. I just figured if I’m trying to write the best songs I possibly could, why not try to work with the best photographers and fashion labels?”.
Produced by Chris Moore, who was at the helm of the past two TV on the Radio albums, as well as Scarlet Johansson’s strangely great LP of Tom Waits covers, Woolf ’s material is like listening to David Byrne crooning from a warped 12” on the wrong speed. Deliciously disco, he manages to take on board the synth-drenched quasi-pop of bands such as Friendly Fires or Golden Silvers without becoming just another synth-pop contender. Othello Woolf ’s debut single ‘Stand’ is out now on Young & Lost Club. However it’s “just a taster - it's the first of a set of completed songs that I intend to release as an album”, something we can certainly look forward to. Songs such as b-side to next single ‘Deep Water’ are coaxing slices of dark dream-pop, promising indeed. If Othello keeps balancing the delicate threesome of brilliant songwriting, eye-catching fashion, and distinctive photography, the future is bright. Stand is out now on limited 7” vinyl and digital. For more information visit: www.myspace.com/othellowoolf Words: Liam Haynes
27-year-old Ernest Greene – perhaps better known by his moniker Washed Out – has turned more than a few heads towards South Carolina with his lo-fi tones and sleepy summer haze. Riding the annual wave of new-band hype and tipped by publications worldwide, Washed Out’s distinctive sound means the hype is more than an industry grope for financially-safe recycled ideas. Initially released on a limited set of vinyl and cassettes (yes, really), Washed Out’s first EP, 2009’s Life of Leisure, recently got a digital release on New York label Mexican Summer. Track after track of dizzy lo-fi evocations like gorgeously woozy single ‘Feel It All Around’ lilt along in a glorious stupor, like the Jesus & Mary Chain had they been raised in California rather than Kilbride. The perished sound quality does nothing to hinder tracks, instead adding an odd sort of timeless quality that bolsters tracks like the twinkling ‘New Times’, the cop-show groove of ‘Yeah’ or the hypnotic shimmer of ‘Belong’. With its blend of warm 80’s pop and the ragged edges of the Velvet Underground, it’s the tone of effortless summer reminiscing that makes Washed Out’s soft-focus nostalgia feel so incredibly personal.
WASHED OUT
The Life of Leisure EP is out now on 12” limited vinyl and digital. For more on washed out visit: www.myspace.com/thebabeinthewoods Words: Mike Coleman
Don’t let the ‘&’ mislead you– Dimbleby & Capper is the songwriter alias of 22 year old Laura Bettison. It’s clear to see the appeal. Far from being a genre-revivalist or a hackneyed, gum-flapping imitator, Bettison has fashioned a sound of her own. Her raw-hued pop is thick with eccentricity. ‘Slick Maturity’ is bulbous with the sort of throttling bass and thunderous war drums often found layering her near-mystical strains; anchoring the weighty sway of her refreshingly wrought guitars. Yet it’s the curt, Slits-esque refrain that keeps a markedly mature sense of pop sensibility. This is Dimbleby & Capper’s genuine appeal; her lilting pop is rife with thick veins of twisted saccharine, laced with a bitter sort of wisdom. ‘Black Smoke/Burnt House’ even descends temporarily from its Tegan and Sara toned delivery into a sort of bitter carol, a nursery rhyme with brooding tint and charred heart. By releasing her watertight Slick Maturity EP, garnering adulation from Radio 1’s Huw Stevens and Steve Lamacq and cutting a confident swathe through the BBC Introducing stage at Glastonbury 2009, Bettison has proved herself a worthy recipient of your attention. The Slick Maturity EP is out now on cd and digital. For more information visit: www.myspace.com/dimblebyandcapper Words: Mike Coleman
DIMBLEBY & CAPPER
STARRY EYED
Words: Liam Haynes // Photos: Lucy Bridgere
You’re going to have to trust me with this one, stick with me while I explain that Ellie Goulding is actually brilliant. Don’t dismiss her as being “2010’s La Roux” or suchlike, she’s so much more than that. What sets Ellie apart from the crowd is the ease with which her acoustic work mixes with the heavyhanded production layered over the top. Instead of feeling disjointed, they are in perfect synergy, coming together to form a refreshing whole. I sat down for a chat with Ellie to talk about her journey so far, the stunning set of remixes that have helped propel her to where she is now, and her thoughts on the inevitable La Boots comparisons. Firstly Ellie drinks tea, herbal tea and a flapjack. As she gingerly munched her flapjack, she spoke of love. More specifically she talked about ‘Starry Eyed’, the break through track that destroyed the blogsphere last year on the back of an equally breakthrough Jakwob remix. It’d been floating around in secret for a while, quietly passed around like a delicate rare egg. After all “once it’s out on the myspace everyone can get hold of it, but then there’s no point making music if no one can hear it. I think the success of ‘Starry Eyed’ still took me by surprise though, we just put it out to show people what I was doing”. As a toe in the water it was a brilliant move, for an unreleased song it secured heaps of fringe radio play, unrelenting amounts of unofficial remixes scattered across Youtube, and shifted Ellie onto the radar of her now label, Polydor.
“... IT’S STILL NOT FAIR TO PUT THAT MUCH PRESSURE ON PEOPLE.” People always seem to say there are so many female artists out there, but when you think about it the ratio of them to guys, or guy fronted bands is still low”. She’s right of course, it’s really easy for journalists, myself included, to lump female artists together, stick a lazy Kate Bush comparison on them and be done with it. “Actually we’re all really different, I mean Marina (of Marina & The Diamonds) is a really good friend of mine, I come from the middle of Wales, same as Marina. But we both, in fact all of us, have this incredible range of influences, so different and diverse, it’s more of a waste than anything to stick us all together”. When we talked, Ellie was yet to smash end-of-year prediction lists wide open, so conversation turned to the danger of acts like her or Marina being turned into the La Roux or Little Boots of 2010. “I think someone like Victoria of Little Boots had way too much hype. She’s a great artist, but I don’t think that hype really benefited anyone. What she came out with was incredible, but it’s still not fair to put that much pressure on people”.
But as soon as she was on the radar, the inevitable comparisons started. Ellie’s blasé about them though, “it’s not really a danger, it’s kind of an annoyance.
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But of course, now Ellie is in exactly the position Little Boots was, caught up in a whirlwind of hype that makes her comments on the issue even more interesting. “It’s true though, there’s always going to be more of a buzz going on before you release something, but I’m not afraid of that, you know. I think as long as I’m always making music that I’m proud of then it’ll always be going well for me, from my point of view at least”. “I can’t just go into the studio and say the kind of thing I want. It’s not a list of bullet points getting ticked off. It’s more, hearing it, appreciating it, really feeling the track”. From the moment her tracks first started seeing the light of day, Ellie has been tirelessly working with producer Starsmith, himself now signed to Island. “He’s like my musical boyfriend except he’s not my boyfriend. We’re kind of inseparable as a musical duo. Everything we’ve done we’re really proud of, we just gel really well together. We haven’t even said specifically what we’re doing, it just kind of happens”. Well, something’s working out at least, her Starsmith-produced debut album Lights is all set up for an early March release on Polydor, preceded by the track that set it all in motion, ‘Starry Eyed’.
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“... HE FELT A BIT SCREWED OVER BECAUSE JAMES WAS GETTING A LOT OF CREDIT FOR HIS PRODUCTION.” Of course the release of ‘Starry Eyed’ will bring things full circle. The track that started it all will start it all over again. For loads of people though, it’s the Jakwob remix of the track that first brought it, and Ellie with it, to their attention. “I mean, we kind of decided that we didn’t want anyone remixing the track before like, we’d decided what we wanted to be doing with it. But I sent James (-Jacob, or Jakwob) the track, not even the full parts, just the whole track, and he came back with this remix that to be honest I wasn’t that keen on. But I played it to a few people and the third one I played it to was really positive about it, everyone else started getting on board with it and stuff until I played it to Starsmith. He just, really wasn’t keen at all, he’s not the biggest fan of dubstep or anything really. I think he felt a bit screwed over because James was getting a lot of credit for his production, rather than making the track his own. Shocked over the reaction to it and protective of his track I guess”. Whichever way Starsmith wants to cut it, Jakwob has in the end brought his production to a larger audience.
It’s a lazy comparison, but the cross-genre buzz building that the success of his remix got Ellie is similar to the role dubstep MVP Skream played early in 2009 breaking La Roux with his now ubiquitous remix of ‘In For The Kill’. “I have this phobia of female singers. I don’t know if it’s because I think i’ll be affected by them, or they’ll start changing the way I write. But my manager forces me to listen to them and maybe I’m better off for it, who knows. I love Marina to bits obviously; she’s going to go really far”. Retrospectively looking back at it, it’s strange hearing Ellie talk so openly about the hype which would soon engulf her, the artists which she’d soon be hyped amongst. Did she want to be big? “I don’t really want to be famous, I don’t strive to be in all the papers and magazines. I do want my music to be widespread though. It’s kind of like asking someone in an office how successful they want to be in their job, you want to do well. If my music means that I’ll become famous then so be it, if it doesn’t then that’s that. As long as I am always in a position where I can keep making music then I’m fine, I don’t aspire to be famous. It would be quite cool though”.
“...I HAVE THIS PHOBIA OF FEMALE SINGERS, I DON’T KNOW IF IT’S BECAUSE I THINK I’LL BE AFFECTED BY THEM.”
I’ve always thought that as an artist, it’d probably be really weird reading your own press. Hard enough to grab all those opinions down from the blogsphere, never mind all those album reviews that stream in over the month to release. “I actually really should take that more seriously, if I see good feedback that makes me really happy, but if I see nothing then it doesn’t affect me. I think blogging and stuff is so important, it gives people this really manageable platform for expressing views about music. But then it’s also not the world, it’s not the be-all and end-all. I mean, my friends back at home don’t even know what a blog is”. The sound, I’m sure you’ll agree, of a girl inexplicably headed for the stars, falling headfirst like paper planes in playground games. Ellie Goulding’s debut album Lights is out 01/03/10 on Polydor. You can find more information at: www.myspace.com/elliegoulding Check out our extended Ellie interview this month on ireadfaux.com
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HOLLYWOOD INFECTED
Words : Mike Coleman
As our oh-so-fragile economy grinds agonizingly onwards into the new decade, the 2009-buzzword recession is still on everyone’s lips. You can see why as well; an international economic downturn like this is detrimental to nearly everything. Whether it’s the rising price of petrol or just listening to everyone say recession over and over again, it’s pretty much inescapable. It’s starting to take its toll on the entertainment industry too – with money so tight everyone seems to just want to play it safe. This is why we have to sit through torrents of miserable talent shows and we lose valuable cinema space to the likes of Saw VIII (yeah, seriously -coming 2011) - because the studios know that chances are, hundreds of thousands of people will still flock to see yet another addition to an established franchise. So as we’re drowning in a tide of hollow-skulled blockbusters, it looks like it’s time to turn to the pushers and purveyors of independent film for something - anything, the least bit compelling. So, as the po-faced action epics and queasy-hued romantic ‘comedies’ don’t look like they’re about to ebb away, it’s time to recognise directors like Croatian Goran Dukic, whose Wristcutters: A Love Story offered the sort of dark originality and subtlety that you just don’t get from watching Jason Statham chewing on a battery. A black comedy about suicide isn’t mainstream fare for a reason – risk. Opening any movie with your protagonist killing themselves is probably going to damage the gross a bit, but Dukic’s bold effort takes place in a suicides-only-purgatory; a greyscale duplication of our world -sans the pleasure- where ‘wristcutter’ Zia (Patrick Fujit) takes to the road to find ex-girlfriend Desiree (Leslie Bibb).
“DROWNING IN A TIDE OF HOLLOWSKULLED BLOCKBUSTERS...” With foundations built on suicide, the film’s dark humour skirts cheerily across heroin addiction and cultworship with a pleasingly peculiar style that, at its bare bones, is just...different. Broadly speaking, this seems to be the appeal of independent features -the way they embrace the sort of off-kilter individualist spirit that the mainstream often cannot accommodate. Be it the internal ponderings of director Michel Gondry; whose releases Eternal Sunshine of the Spotless Mind and The Science of Sleep dealt primarily with dreams and the human psyche, or the Coen Brothers -whose distinctive efforts Fargo and No Country For Old Men cemented their inimitable brand of jet-black wit and razor sharp plots, this facet of cinema seems reserved for the brightest minds and boldest visionaries. However, there are times when the seemingly disparate factions of independent and mainstream seem to overlap. Whilst independent movies are still rife with up-and-comers and relative unknowns, an established and successful clique of Hollywood actors have also been dabbling in these low(er) budget productions.
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Cult favourite Bill Murray is a habitual presence in independent films, regularly appearing in Wes Anderson’s features (including Rushmore, The Life Aquatic with Steve Zissou and vocal work in recent animation Fantastic Mr. Fox). He also crops up in Sofia Coppola’s exercise in understatement, Lost in Translation, alongside Scarlet Johansson – fresh from her first foray into indie in Ghost World. These are the stars that cut their gums in indie films. The affiliation is there, and some never leave it behind. For a handful, it’s another role, an expansion of scope. Before his recent adoption of his blisteringly awful hip-hop persona, Joaquin Phoenix made an impressive, calculated lead as a drug-dealing American troop in Gregor Jordan’s dark-humoured opus Buffalo Soldiers, and Adam Sandler even expanded his repertoire beyond his usual, slack-jawed typecasting in Paul Thomas-Anderson’s awkwardly comic Punch-Drunk Love.
“...THROUGH TIME TRAVEL AND TEEN ANGST.” With these appearances, it seems any divisive lines are beginning to blur. It’s reciprocal too – the mainstream is starting to warm to these indie ‘darlings’. Juno’s tale of teen pregnancy became a surprise smash, cementing stars like Michael Cera or Adventureland’s Jesse Eisenberg as sought after purveyors of twitchy, geekchic comedy. Donnie Darko’s cosmic voyage through time-travel and teen angst has also achieved considerably popularity, and since DVD release Zach Braff ’s Garden State has snowballed to palpable cult status. With the swelling acclaim of these releases, it’s no surprise that some of 2009’s efforts seemed to be closing in on their large-studio toting rivals. (500) Days of Summer sat especially comfortably on this narrowing rift, showcasing indie-poster-boy Joseph Gordon-Levitt’s formidable acting. Grossing marginally less than ten times its budget worldwide, a youthful adoption of High Fidelity’s angstridden informalities made it not only an indispensible indie-flick, but also a surprisingly infectious mainstream success. In fact, Gordon-Levitt almost seems to typify this gradual fusion of independent and mainstream. His performance in 2003 effort Brick demonstrated levels of sophistication and potential often unparalleled by actors of his then-diminutive celebrity status- leading him to snag a role in Christopher Nolan’s next big-budget sci-fi offering, Inception (due July 2010), as well as a hotly tipped role in potential Sundance Festival breakthrough Hesher.
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If you’re unfamiliar with the Sundance Festival, here’s your brief. Initially generated to expand the Utah film industry, the Robert Redford-chaired festival has expanded since its 1978 conception to become the unofficial home of ‘Indiewood’. In its 30 years Sundance has supplied big breaks to the likes of Kevin Smith and Quentin Tarantino, as well as premiering a variety of films; the warm and unusual Little Miss Sunshine, the sharp-eyed satire of Thank You For Smoking, Kevin Smith’s low-budget/high-content Clerks and oddball success story Napoleon Dynamite. Always an abundant ground for new film, Sundance 2010 looks set to supply the year with a bounty of worthy efforts. Trauma and grief seem to be the keywords in Welcome to the Rileys, a tale of crumbling marriage and prostitution featuring former Sopranos patriarch James Gandolfini and Kristen Stewart (presumably attempting to buck any potential vampire-based typecasting). Representing the UK, Four Lions looks set to offer up some controversy as the beyond-irreverent Chris Morris serves up a much-hyped black comedy effort about...terrorists. With a role occupied by outspoken MC Riz Ahmed, (star of the excellent UK release Shifty), potential for this post-Brass Eye satire is limitless. Also tipped for critical triumphs are Howl – the biopic of outspoken US beat poet Allen Ginsberg, and Jack Goes Boating, the directorial feature debut of the consistently excellent Phillip Seymour-Hoffman, (just watch his scene-stealing turns in The Big Lebowski, Almost Famous or Happiness), who adapts the play of the same name.
By no means to everyone’s taste, the efforts of ‘Indiewood’ have nonetheless almost consistently exceeded the quality of their mainstream rivals. With a ballsy cocktail of inspired originality and sheer guts, though often hard to locate or on limited release, independent features are edging ever closer to the cusp of the mainstream. Think about it - Saw V saw its return dip considerably in comparison to its predecessors, whilst 2009’s indie films regularly profited by multiples of their budgets. So how long is it until the mainstream realise that playing it safe isn’t the way to go? For more information on Sundance Festival and to take a look at this years crop of talent visit: www.festival.sundance.org
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STORM AND STRESS
Photography: Eleanor Doughty Model: Lily Aspinall Styling: Eleanor Doughty
Velvet Jacket: Vintage T-shirt: Topshop Necklace: Model’s own
Tshirt: Zara Jacket: Vintage Necklace: Model’s own
Blazer: Topshop Tshirt: Vintage Shorts: Vintage Necklace: Model’s own
AT WORLD’S END Words: Paul Cook
Cinema is becoming increasingly dominated by adaptation. Film history shows that the most successful films, both financially and critically, have been adaptations of novels. Eight of the top ten highest-grossing films of all time have been cinematic reimaginings of bestsellers. Suffice to say that adapting a book is often the best method to ensure at least some, if not absolute, box office success. That’s not to say it is an easy task. Every film adaptation is at the mercy of the source material’s loyal fans, and none are more passionate than Cormac McCarthy’s; considered by many to be the greatest living American author. Only a handful of Cormac McCarthy’s literary creations have been brought to life on the silver screen and John Hillcoat’s adaptation of The Road feels as natural and made-for-cinema as No Country For Old Men did just two years previous. Telling the tale of an unnamed man and his son’s struggle to survive in post-apocalyptic America, The Road is a book that encapsulates the epic subject matter of the ‘globally-warmed’ end of the world, whilst maintaining the humanistic, emotional qualities of a father/son relationship. It is perhaps the balance of the two, with poignant performances from Viggo Mortensen and Kodi Smit-McPhee in the father/son roles, which form the recipe for success. Based on Slumdog Millionaire clearing up at last year’s Academy Awards however, The Road is by no means a certain Oscar contender. Morbid, dark and overtly cynical, the film is far from the ‘feel-good film of the year’ that so many Oscar winners of the noughties have been.
“VIGGO MORTENSEN BRILLIANTLY PERSONIFIES THE BOOK’S GRAVE, GLOOMY OUTLOOK.” The Road’s subject matter, whilst remaining worryingly close-to-home, is indeed something particularly difficult to connect with. Post-apocalyptic tales have never before been told with such terrifying realism and the genre’s desolation and hopelessness often tempt our natural instincts into discarding it as fiction. The Road however, attains an element that horror films often lack, able to force the audience into recognising the possibility of such an event. The film’s trailer best demonstrates Hillcoat’s use of implicit touches, showing a sequence of news footage of natural disasters. Interestingly, the film itself does not feature the sequence, relying rather on the audience’s understanding of the scenario. It’s a further method by which Hillcoat remains faithful to the novel’s unspoken sense of natural disaster, something that is attested to throughout the film.
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What is striking about the way in which the novel has transposed to the screen is its pace. In essence it simply shouldn’t work as a feature length film. Much like the Mother’s (Charlize Theron) birth scene in the film, the route from page to screen must have been excruciatingly difficult and riddled with obstacles and doubts. The book treads a delicate path through its subject matter, and at times can feel somewhat slow. The child’s naivety, in the novel as in the film, can be aggravating. However, the film successfully manages to negotiate the balance between suspense and narrative throughout, picking the most shocking and heart-warming moments from the text in equal measure, whilst remaining as loyal as possible. The child’s unwavering desire to be one of the ‘good guys’ and his father’s unequivocal love and protection for him provides the film’s emotional backbone, whilst the darkest portrayals of cannibalism and human survival offer the film a disturbing yet refreshingly different alignment with the horror genre. The film is cold and unforgiving from start to finish, made all the more horrifying by the constant portrayal of a world ruined by humanity itself. Stylistically too the film is very much on the same page as the novel. McCarthy’s bleak, grey and ash-covered America has been recreated for the screen with attention to every apocalyptic detail. Cars stand abandoned, roads crumbled and human remains strewn along the journey. The world’s cold lifelessness is realised in a perfect combination of CGI-enhanced wide shots and intimately shot close-ups. Viggo Mortensen brilliantly personifies the book’s grave, gloomy outlook. Despite having hope for his child and faith in his survival, Mortensen displays in his subtle gestures and distant gazes that, like his wife, he has lost almost all hope for humanity.
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The Road is by far one of the best novels of the 21st Century. Absolutely uncompromising in it’s depiction of an innate fear for all of us, not to mention starvation and cannibalism to boot. The film shows complete loyalty to McCarthy’s story and dialogue, but in doing so, perhaps lacks the cinematic drive in which action and character form a vital balance. Whilst both elements are enacted effectively by Hillcoat and his cast, the film’s stark realisation of the subject matter make it extremely difficult to watch without discomfort. The Road is the death of Hollywood’s happy ending. The Road is out now on general release. For more information on the film or the book visit: www.theroadmovie.com or www.cormacmcarthy.com
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ESCAPE FROM CITY 17
Words : Steve Smailes // Photo : Valve
Machinima is the name given to a film or video that is created using a computer game. It started back in the 90’s when players of games like Quake realised they could capture footage of the games they play and then add their own dialogue and sounds over the top to create their own films. Machinima has been the platform for one company, The Purchase Brothers, to step up and gain some serious exposure. They produced Escape from City 17; an attempt to create a film version of Half Life 2, the classic game by Valve, using a mix of on location shooting and ingame footage. This is done in big budget films, where graphics and location shots come together, but for a small company armed with only some toy guns, costumes, and $500 it’s a pretty neat achievement. The basic plot for the first episode follows closely with the plot from Half Life 2, with two characters who are part of a resistance group against an oppressive regime known as the Combine attempting to flee from City 17 before the citadel (the Combine HQ) is destroyed. Far from being a nerdy attempt to create something for fan-boys to geek out over, Escape From City 17 is perhaps the first machinima film to cross the gap between machinima and traditional film. Composite footage from the game blends seamlessly with on-location footage of the characters, adding another level to the machinima genre. They received numerous calls from industry insiders and were soon snapped up to work on commercials for Coca Cola
“... FOR A SMALL COMPANY WITH ONLY SOME TOY GUNS AND $500 IT’S A PRETTY NEAT ACHIEVEMENT.” Valve, the company that produced Half Life and who have for years refused numerous offers from Hollywood to make a film version of it, were so blown away by what the Purchase Brothers had created that they invited them to their studios to go behind the scenes of the making of the game in appreciation for what the brothers had produced. The Purchase Brothers are now working on the follow up to Escape From City 17. Other machnima series worth a mention are Red vs Blue (A series made using Halo) which was developed by Rooster Teeth Productions and Clear Skies using a mix of footage from Eve Online and Half Life 2. It follows a ship’s crew on their somewhat eventful and everlasting journey to survive and prosper in space. Although to date machinima has been quite an underground affair, more and more is creeping into the mainstream, a sign if there ever was one that the times are changing. For more information on machinima visit: www.machinima.com or www.bit.ly/a8gdao
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ATTIRE & DESIRE
Words: Annabelle Moore Photo: Lookbook.nu
The main thing Kate Moss is associated with, apart from allegedly snorting loads of coke, is being a style icon. You can’t have existed in the 21st Century without hearing that incessant doubleworded noun quoted from countless magazines used to describe her. Even other celebrities gush over how fabulous her wardrobe is. Granted she does have great clothes, yet where did many of them come from? Designers. They happily send her, and many other A-list stars, their brand new fashion pieces for free just so they get any spotlight from the media photographing her wearing said item; even if she’s just walked out after having another one night stand. However, if she, or any other major star, is getting their clothes free from designers, or hunted out by stylists, then surely any style icon crown that is being awarded to them is not fully deserved as they haven’t found these unique pieces of clothing by themselves; they have just been handed out on a plate. So why should individuals such as Cheryl Cole and Victoria Beckham, usual queens on the style throne, be the people that the masses look to for style, when they have money to lavishly spend on designer garments, which oftentimes are sought out via stylists? Everyday individuals that effortlessly carry off whatever they decide to sling on, are the ones, if any, that the style icon slogan should be stamped on. These are the people that shop vintage and high street as they, like most of us that don’t happen to earn £100k a month, don’t have the funds to afford bespoke and designer. Yet these are the ones who manage to still look unique, without bordering on a hedonistic Lady Gaga look.
“...THESE ARE THE KIDS WITH TRUE STYLE.”
Lookbook.nu is a site which embraces and exposes thousands of completely original and diverse styles from individuals across the globe. These are the kids with true style. These are the ones who have to work on their outfits, making sure any new items they buy go with something else in their mesmerising wardrobe of cosmopolitanism as they simply cannot afford to just cast things away after one wear. Lookbook boasts being “the Internet’s largest source of fashion inspiration from real people around the world,” a statement which it should wholeheartedly be proud of. Whatsmore, is that the website is broken down into sections such as garment type and colour, so that if one is struggling to find ideas of what to wear with a bat wing style top, or white skinny jeans, she/he can browse through a vast range of photos of existing outfits that ‘real people’ have put together for inspiration. So give Moss and Cole the V’s, and hail the true style of Lookbook. You can read Annabelle’s Weekly Fashion piece Fringed Harmonies on ireadfaux.com
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ALBUMS
Hot Chip One Life Stand (2010) Out now on Parlophone/EMI Hot Chip’s new album One Life Stand is what you might call unassuming. The album is undoubtedly unbalanced and it seems Hot Chip have duplicated their last albums causing a similar result. Of course they have created timeless tunes like ‘Over And Over’ and ‘Boy From School’. However, these again appeared on each album with a package deal of demos. ‘One Life Stand’ minutely progresses by pulling at every note accessible. This is noticeable even at the beginning of the first song, ‘Thieves In The Night’, where we learn that the sound of a turning carousel together with a mass of intense drumming combines well.Hot Chip have always managed to match their lyrics to their songs well, a feat which is shown in what I believe to be the greatest song on this album, ‘I Feel Better’. There is a definite use of auto-tune thrown together with the sound of steel drums and a distinct stringbased melody. The lyrics here relate to being lost in a relationship but realising that now is all we have and that we are to make every second count. One Life Stand is worth a listen and if they continue to produce songs like ‘I Feel Better’ then in my opinion they have a bright future ahead. Words: Emily Cotton
Second Opinion The dawn of the new year sees the return of everyone’s favourite geeks-done-good, Putney’s Hot Chip. Quiet and unassuming, they hardly seem the type, but instead of pouring their energies into (perhaps more fitting) pursuits, like checking the words on Countdown or haunting train stations in the Home Counties with a battered notepad and a lack of social decorum, the quintet chose to produce three album’s worth of triumphant laptop-funk elegies. We’re certainly not complaining. Perennially a fixture on the UK gig scene, their ‘difficult fourth album’ sees them breaking new ground – the hedonistic fervour of ‘Over and Over’ and ‘Ready For The Floor’ replaced by a more sombre, delicate sound. This is best demonstrated in lead single and title track “One Life Stand”. Though this approach is pleasant for a time, by the end of the album the heart-onsleeve posturing begins to drag. Only on few tracks does it remain business as usual for Hot Chip, including the taut electro bangers ‘I Feel Better’ and ‘We Have Love’, which show why we fell in love with the group in the first place, showering us with soaring choruses and monstrous hooks. It’s not that the album as a whole is disappointing, rather that the songs would have been better served in a different form; shearing off the excess fat and leaving what would make a most excellent E.P. Words: James Edwards
Shy Child Liquid Love (2010) Out 15/03/10 on Wall of Sound
Taking the increasingly interminable 1980’s renaissance to a crippling new low, keytar-wielding duo Shy Child offer up their woefully unsubtle Liquid Love. Anyone hoping Shy Child might recapture the giddy simplicity of their 2007 release Noise Won’t Stop will be hanging up their headphones stony-faced. Here, the stampeding warmth of ‘Summer’ and the terse whirlwind energy of ‘Drop The Phone’ are clumsily substituted for a mess of falsetto vocals and ideas so startlingly unoriginal that it’s surprising that Pete Cafarella (vocals, keytar) and Nate Smith (drums) have the balls to put their name on it. First single ‘Disconnected’ dissipates into the album’s plodding haze of derivative synths and uninspiring ideas, lacking any truly infectious hook, whilst the flimsy lyricism of grating middlepoint ‘The Beatles’ probably marks the album’s ultimate low. ‘Criss Cross’, recently released as a free download, offers a brief moment of reprisal, closing on a stomping breakdown so thick with roughedged synths that it verges on being bearable. Whether or not adopting the mannerisms of slick (see: greasy) retro-lotharios was intentional, Shy Child have apparently entirely abandoned their jittery brand of frenetic keytar-funk for halfbaked cod electro. The simplistic lo-fi hooks, the warm energy, the fun -they’ve all gone. It’s not like they were ever a particularly great band, but Liquid Love entirely abandons the rambunctious joy that warranted Shy Child such affectionate cult status. Words: Mike Coleman
Marina and the Diamonds The Family Jewels (2010) Out 22/02/10 on 679 / Atlantic
As with any vaguely alternative female artist, Marina is already inevitably being compared to Kate Bush. Of course she partly deserves this comparison, but with such an abundance of melodrama she’s perhaps more akin to Meatloaf with Andrew Lloyd Webber arranging the backing. The horrible thing about this image is that the album is actually pretty good. ‘Are You Satisfied’ could open an opera as well as a pop album (“I was pulling out my hair/ The day I got the deal/ Chemically calm/ Was I meant to feel happy?”). Songs which would be the most horrific, pretentious rubbish in the hands of someone with an ounce of self-consciousness come out powerfully anthemic and captivating. Diamandis appears as an ultimately self-satisfied, superior drama freak who needed to learn an instrument for drama school and was surprisingly articulate with a good sense of rhythm. A bit like a member of Glee Club brought up on Little Boots and Arcade Fire. This is perhaps a bit of a patronising view as there are also real moments of originality when the diamond shines. ‘Mowgli’s Road’, a hit from the summer festivals last year, remains upbeat with a jungle cacophony of sound. ‘Obsessions’ is tender and allows Marina to explore her tone with a more restrained sound. Elements of music hall, opera and, ultimately, melodrama permeate each aspect of an album you may not expect to like. There are massive verges on cringe, which are sometimes not avoided, but they actually give the album a strong personality which makes it ultimately, very entertaining. Words: Daniel Willis
Massive Attack Heligo Land (2010) Out now on Virgin Records
As promised with the release of 2009’s Splitting The Atom EP, Massive Attack have returned with Heligoland, the duo’s fifth studio album. Put simply, it’s a blazing success, utilising production as complex and pristine as any previous work while maintaining the dazed simplicity that defines the sound of trip-hop. Staying true to the genre, this album does not boast high energy songs to drive the masses onto the dance floors, but provides a vibrant musical accompaniment to any late night trip. In true Massive Attack form Heligoland boasts a variety of vocalists. These include regulars of the genre Horace Andy and Martina Topley-Bird, as well as indie icons Guy Garvey and Damon Albarn. With slow tempo tracks averaging at five minutes each, Heligoland risks becoming nothing more than just another Massive Attack record, overshadowed by the huge success of Mezzanine and the magnificence of Blue Lines. Luckily, the album proves its worth with surprising spurts of grandeur, such as the stunning climax of ‘Paradise Circus’ - a song as mysteriously delicate as its ethereal vocalist, Mazzy Star’s Hope Sandoval. With the next decade expected to belong to the electronic generation, Heligoland provides a clear warning to any youngsters with a synthesiser that happen to wander into the world of trip-hop: stay away kids, Massive Attack have still got it covered. Words: Scott Kershaw There are always going to be suspicions surrounding a band named after a wrestling move; the students and young journalists creating the hype around Swanton Bombs for the past year or so are of the generation most likely to find some nostalgia in the pre-teen glory of WWF. It is unfortunate that their two-piece arrangement and sound also leads to numerous “British White Stripes” comparisons.
Swanton Bombs Mumbo Jumbo and Murder (2010) Out 15/02/10 on Quiff Records
On listening to Mumbo Jumbo Murder though, it appears that this is because there is not much else you can think about them. The lo-fi simplicity of the White Stripes is not attempted; this is a band who sounds like they are lacking a member or two. At worst, Swanton Bombs are a good Sixth Form band who might have won a local Battle of the Bands competition. At best however, there are positives to be found. ‘Who’s Asking’ trembles with paranoia and angst and presents itself as a potential dancefloor filler, its status as an actually good song spoilt by a ponderous middle section. The occasional moments of DFA 1979 influence come together to make a respectably strutting sound which would not be uncomfortable to dance to, not least on ‘If You Will’, when McGuinness’ wayward vocals sound less like mumbo-jumbo-murder and more like an intended atmosphere of suspense. The lack of direction, variation and originality is damaging though and descends into complete rubbish at first single ‘Viktoria’. There is enough here to get plenty of kids interested, songs which will be played in clubnights across the country, but there is not enough to sustain the hype. Words: Daniel Willis
FICTION
Olivia Joules is a journalist, but more than that she is entirely constructed from her own ‘rules for living’. Following a tragic event in her past she changed her name, her shape and her hair and became a brand new person, leaving her dull life in Worksop for the glamorous world of journalism. Except it isn’t all that glam, since her overactive imagination leads to her being taken off the top stories and put into the relative safety of the style section, where her misreporting will cause much less trouble. Sent unwillingly to a face cream launch in Miami, Olivia’s imagination runs riot upon meeting the magnetic Pierre Ferramo, and there just seems to be something not quite right about him. For a start, he reminds her very strongly of Osama Bin Laden, and despite being told by everyone, including herself, that she’s being stupid, she can’t shake her suspicions. Going against orders from her editor, Olivia decides to investigate further. At first it looks like another trick of her mind, but then a bomb goes off, sinking a major cruise liner and killing hundreds, in circumstances which are highly incriminating against Ferramo. What follows is a gripping investigation around the world in which you can never quite be sure if what Olivia sees is real or not.
Olivia Joules and the Overactive Imagination Helen Fielding (2004) Out now via Picador ISBN : 0330432737 Do you remember Bridget Jones’ Diary? Of course you do - we all loved it. It was like the Da Vinci Code of the late nineties and early noughties only well written. So let’s say you’re Helen Fielding and you’ve just written the inevitable sequel to Bridget, cowritten the screenplay to the sequel, and you’ve now got a bit of time on your hands. What do you do next? Milk every last penny from Jones’ big knickers? No. What Fielding did was write something completely different, and dare I say, better than Bridget Jones. Even if it does have a really stupid title.
The thing about Olivia Joules and the Overactive Imagination is that while it’s a book for girls, it isn’t a girly book, certainly not in the way Bridget Jones was. If you were put off by the idea that all females are charmingly bumbling and weight-obsessed, then perhaps a forthright, independent and intelligent heroine is more up your street. And who wouldn’t want a bra with a concealed knife in it? While often the plot strays into the absurd and completely unbelievable, it’s worth sticking with it simply as a well-worked piece of escapism. You can find it for the amazing price of zero pence (postage unsurprisingly not included) on the internet. I got mine on a buy one get one free in the charity shop. The other book, which I won’t name, I couldn’t even finish. Olivia Joules and the Overactive Imagination, which I almost didn’t buy purely because of the title, more than made up for it. Words : Katherine Holt
FILM
Blur No Distance Left to Run (2010) Out on DVD 15/12/2010 on EMI music No Distance Left to Run is a warts-and-all delve into the tumultuous history of one of Britain’s greatest bands. Pinned on Blur’s triumphant come-back gigs last year but covering their extensive past, this is the film fans have been waiting for. The vibrant cinematography and collage-esque editing of Distance is fitting for a band whose iconography is almost as important as its music. Blur played an integral part in the redefining of Britain’s artistic identity. Cut with various bits of live footage, television appearances and home-video shots the whole thing is a mix of nostalgia-fest as well as a delve into the unseen world of Blur. But there’s much more on offer than visual excitement, Blur’s is a story well worth telling. The quality in the tale comes from directors Dylan Southern and Will Lovelace’s unparalleled access to the four band members, from who they draw frank and honest interviews about the highs and lows of their time as a band. The decision to not interject this with a narrator or the usual cast of sycophantic talking-heads only adds to the realism and honesty of the narrative.
No Distance Left to Run is the tale of a band crushed under the weight of the massive success they enjoyed. The band’s problems with each other, the press and alcohol are honestly laid bare. Damon Albarn raises the issue of heroin being something that was very destructive in his life in the late 90s, although (despite the assertions of other music scribes) it is not made clear as to whether he or the other members of Blur were on the drug, or simply those around them. It is the skirting around such important issues that is the films only down-point, whilst certain aspects of the bands troubles are mentioned you get the feeling that there has been a decision to avoid laying all the details down on celluloid for all to see. Coming back constantly to the bands various performances during their triumphant comeback tour the underlying message is one of optimism, that the quality of Blur’s art saw them overcome adversity and problems they faced. No Distance Left to Run is a masterfully executed, Technicolor tribute to a bands who’s story is worthy of a full-length documentary. This is a must for Blur fanatics, but also a worthwhile experience for anyone with just a passing interest in popular music. Words: James Thornhill
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After dominating Lincoln’s Thursdays for 5 years with its frantic weekly parties Ctrl+Alt+Del is back and ready to dominate every Thursday in 2010. Returning to SCY for another inevitably hectic year, Ctrl+Alt+Del brings a slick mix of hyped-up electro, stylish indie anthems, rumbling dubstep and thunderous party bangers every Thursday. As well as 5 years of heavy partying in spiritual home SCY, Ctrl+Alt+Del have also hosted DJ sets from the mighty Pendulum in the Engine Shed. With its infamous 6-shot Megajug on sale for a paltry £5, and just £2 entry before midnight, student economy has never been so cool. With SCY packed to the rafters every week, expect to see its bustling clientele raving to the likes of MIA, Daft Punk, LCD Soundsystem, Friendly Fires, Blondie, Soulwax, The Beatles, Yeah Yeah Yeahs, Delphic, MGMT, Justice and a further eclectic, expansive range of sounds - both fresh and classic. As always, the tunes are spun on SCY’s two floors by Ctrl+Alt+Del’s talented DJs, whilst it’s soon to be re-opened VIP terrace is set to add another level to the action. Established, exciting, and effortlessly cool, where else would you think of going on a Thursday?
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