This week saw Hunter debut their first campaign under new Creative Director, Alasdhair Willis.
Titled ‘Another Wet Summer’, the SS14 advertising campaign was shot by Viviane Sassen in two different locations across Somerset and Gloucestershire.
The brand – who will show for the first time at London Fashion Week next month – also debut a new interpretation of the classic style Original Nightfall wellington, in the campaign.
On Tuesday Peter Pilotto became the 2014 winner of the BFC/Vogue Designer Fashion Fund; the label receives a prize of £200,000.
The 5th annual winner of the prize, designers Peter Pilotto and Christopher De Vos were awarded the honour ahead of other nominees Emilia Wickstead, House of Holland, Mary Katrantzou and Zoe Jordan.
And finally, Penhaligon’s has been named as the Official Scent of London Fashion Week, and not for the first time. The two worked together last September, with the perfumer scenting Somerset House while in January the air at The Hospital Club carried the label’s classic Blenheim Bouquet.
For AW14, Lily of the Valley will be scenting the LFW main space.
Penhaligon’s Head of Global Marketing, Matthew Huband said of the news, “As LFW goes from strength to strength and with so many new projects for Penhaligon’s this year, the partnership seems more relevant than ever.”
Having released the Clash-approved ‘Chrome Lips’ mixtape, with Haleek Maul, in 2012 – check out our review of it – it was obvious that we were going to be psyched to hear the new album proper from Chicago production duo Supreme Cuts.
And sure enough, when said record dropped into the inbox, shit went off. Headphones on, feet tapping, thumbs drumming: yeah, this is what we needed. ‘Divine Ecstasy’ is the record’s name, and it’s out now on Memphis Industries. Rather more accessible than the black-as-night designs of ‘Chrome Lips’, it’s a collection that could catapult its makers – Austin Keultjes and Mike Perry – into dance’s big leagues. We’re definitely feeling the potential for them to go SBTRKT massive.
So we sent some questions the way of the pair, eager to find out more about the creation of ‘Divine Ecstasy’, and what’s next for Supreme Cuts. And, wouldn’t you just know it, they got back to us…
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Supreme Cuts, ‘Down’ (feat. The GTW, Khallee, David Ashley)
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Congratulations on the album, we’re digging it. It’s immediately brighter, more upbeat, compared to what came directly before it. Was that something you were keen to present at the outset of this project?
It was a conscious effort to “quit hiding our sound under a bushel basket”. We love immersive sounds that you can really get lost in, or drown in. But with this album we didn’t want to suffocate.
What sort of influences were you drawing from here? The record’s got a lot of different vocalists involved – it gets us thinking of the SBTRKT album.
It was always intended to be a pop album in the vein of The Neptunes’ ‘Clones’ or Timbaland’s ‘Shock Value’. Not that it sounds anything like those records, just that it touches on every genre and features all types of vocalists.
In regard to the vocalists, was there any one singer who you really wanted involved, but you couldn’t make happen?
The only person that comes to mind right away was Tink, from Chicago. We started this record in the winter of 2012 and that was when her genius tape, ‘Winter’s Diary’, was out, but it’s all good. We really wanted to work with fresh new voices, base the collaborations on a mutual respect and personal connections. We didn’t want to rely on ‘star power’ or whatever you wanna call it. Although obviously Channy (Leaneagh, of Poliça) is a phenomenon at this point.
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Supreme Cuts, ‘Envision’ (feat. Channy of Poliça)
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With the variety of sounds on the record, the way it flits between styles, are you at all worried that people won’t ‘get’ it as an album? Or do you have confidence in its cohesion? Will critics feel comfortable putting it in any single genre box?
We feel that the general vibe of the record, the keys we chose to use and the horns that pop up on every song, ties it all together. Plus, there’s also the fact that we made all the instrumentals in a few months’ span, when our minds were on the same track. We also had the same dialogue with every vocalist about the theme and message of the album.
But we can pretty much guarantee that most critics will pop a blood vessel or two trying to figure out this LP, because like you said, genre is kind of like their job. Fortunately, people our age and younger really could care less about genres, and almost everyone we know “likes a little bit of everything”. Really, that’s been one of the main goals of Supreme Cuts from the start. People forget we made our first EP before ‘cloud rap’ was even a phrase, when people outside of Chicago still thought witch-house was a real genre and stuff.
For a dance-music-focused pair, what does the album format mean to you, in terms of importance? Do you buy albums on the regular, or 12”s? Are we in an era when the album format matters? Are you cool with listeners picking their favourite tracks on iTunes and just downloading those, rather than the whole LP?
We have always been dead set on being album artists since way before Supreme Cuts. Being able to let something play out, relax your thoughts, and immerse yourself in is something that we both feel is hugely important – even if that’s via a YouTube full album stream. We don’t really know if that’s worked to our advantage because we’ve heard a lot of people ask whether it’s an album, mixtape, DJ mix… people only care for two weeks and move on.
But we’re artists and at the end of the day we’d rather be able to look into the mirror and like what we see as opposed to chasing down bottle service our whole career. Although all our mixes knock pretty hard, even though they switch genres a ton.
Your own foundations, where do they lie? Are we talking about a background in hip-hop records, or are you ravers turned makers? I see a past quote says: “The best album would be a mixture of Stevie Wonder and Sonic Youth”. Do you feel like you’re any closer to achieving that yourselves?
DJing and going to house parties and clubs have affected our musical taste, for sure. The Boom Boom Room in Chicago is a big inspiration, that’s a pretty big space for classic house. But neither of us have actually been to a real ‘rave’. We prefer being surrounded by people we know and like.
We definitely both grew up huge rap heads, with a lot of punk, noise and hardcore, too. That was during our angsty middle-school daze. Dance music was always there for us – DJ Funk, especially – but didn’t really start clicking hard till late high school. It’s really hard to say, because we’ve both delved so deeply into soul music, tons of ambient, and even jazz, so it’s hard to talk genres. The whole scope really comes into play when we sit down and make an album.
Thinking about Stevie Wonder mixed with Sonic Youth, you kind of have to take into account that those rhythms on ‘Songs In The Key Of Life’ was that generation’s dance music. And in the world of Sonic Youth, ‘Goo’ was a pop record for them. But yeah, I guess we’re nowhere closer. Too vague of a comparison at this point, and we don’t wanna sing. Maybe “Richard D James meets (R Kelly’s) ‘R.’” would be closer.
As well as the ‘Divine Ecstasy’ campaign, are you undertaking any remixes or other production projects in 2014?
With remixes we always have to keep that on the down-low, because you never know what’s going to happen, especially with major label weirdness. But you’ll definitely hear from us in that world.
As far as other projects, we’re keeping it close to the family. We’re doing an EP with Chicago rapper Kit, and producing Khallee (of JODY)’s first solo LP, and both of those are almost done. Then we’ve songs here and there with David Ashley & The GTW (of JODY), Le1f, Mykki Blanco, Heems, The Underachievers, Haleek Maul, Mahaut Mondino, Py, and I believe even some instrumental splits and side projects. We’re probably gonna lock ourselves away in the dungeon with the crew to knock out our own third album this winter, as well.
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Supreme Cuts, ‘Gone’ (feat. Mahaut Mondino)
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As replied to: Mike Diver
Supreme Cuts make their UK live debut on February 20th at the Old Blue Last, London. Find the pair online here.
Music videos like to push the envelope.
Think Michael Jackson's enormous set pieces, or even the left field work of Spike Jonze, Michael Gondry and Chris Cunningham.
However few have genuinely risked life and limb during a shoot. We Are Shining and Eliza Doolittle paired up at the end of last year, producing the deadly pop-house of 'Killing'.
Morgan Zarate and Acyde supply the deft production, with Eliza Doolittle in typically seductive vocal form.
The video, though, is utterly arresting. Featuring a professional knife-thrower, dancer Shannelle 'Tali' Fergus is continually within inches of her life as blades flash around her.
Watch it now.
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The latest releases, news, gossip… you know how columns work, right?
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One of the contenders for the Academy Award for Best Original Song was disqualified. The title song of Alone Yet Not Alone, written by Bruce Broughton and Dennis Spiegel and recorded by Joni Eareckson Tada, already stood out amongst the competition like a giraffe at a crocodile convention due to the relative low profile of both the film and the artist. According to WND (link), the film “took Hollywood by storm” which is a rather artful way of saying, “it took approximately $130,000 during a very limited release” (link).
The Academy’s decision, “prompted by the discovery that Broughton, a former Governor and current Music Branch executive committee member, had emailed members of the branch to make them aware of his submission during the nominations voting period,” (link) seems logical if a little harsh and leaves four remaining contenders for the prize – which a cynic could suggest amounts to little more than plenty of exposure on the night and the right to call yourself an Oscar winner for the remainder of your mortal days.
‘Let It Go’, performed by Idina Menzel, from Disney’s Frozen seems the most likely contender, although Pharrell Williams’ ‘Happy’ (from Despicable Me 2) and – groan – U2’s ‘Ordinary Love’ (from Mandela: Long Walk To Freedom) could both take the honour. Rounding out the numbers – and surely as likely to win as Liverpool are to take this year’s Premier League – is Karen O’s ‘The Moon Song’ (below) from Spike Jonze’s Her.
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Bare-knuckle boxing, prison beatings and psychotic hillbillies: Set in Pennsylvania at the height of the economic recession, Out Of The Furnace is a bleak statement on how the often-forgotten industrial towns fare during hard times.
In the back-broken town of Braddock where everything’s either rotten or rotting, there’s a feeling of constant unease and frustration that could spill over at any minute. And yet Out Of The Furnace isn’t the explosive revenge movie its trailer suggests.
Christian Bale (pictured, main) is quietly accomplished as the dutiful son and runs in sharp contrast to his brother, Casey Affleck, who is a ticking time bomb of pent-up anger and absolute aggression. The match that lights his fuse comes courtesy of a gnarled and knotted Woody Harrelson; a terrifying wheezing warlock of wanton destruction who acts as self-elected marshal of the backwoods community that sucks a naïve Affleck in.
Completing an incredibly impressive cast are Forest Whitaker, Willem Dafoe, Zoe Saldana and Sam Shepard, all of whom offer solid performances but are all equally underused, leaving us without any deeper sense of personality or compassion for their characters and the story as a whole. Lacking the sense of action promised in the trailer, it’s a heartfelt tale of family bonds, loyalty and the self-destructive nature of youth. Words: Gareth Kolze-Jones
Out Of The Furnace, official trailer
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If the January blues have left you with awkward questions about your place in the world, debutant director Simon Horrocks could be a source of inspiration. To cut a long story short, Horrocks was working as a ticker seller in a cinema when he finally decided to chase his childhood ambition: to become a film director. And so Third Contact eventually came to fruition – delivered on a budget of approximately £4,000, it premiered at the BFI IMAX last year.
Third Contact centres on David Wright (Tim Scott-Walker), a lovelorn psychotherapist whose already fragile psyche is shattered after the apparent suicides of two patients. Wright’s investigation into their fate only accentuates his existentialist crisis.
The killer question is simple: could Horrocks create an immersive experience with so few resources? The gloomy noir photography certainly has some elegant touches as he demonstrates an atmospheric eye for capturing the beauty in the mundane, but certain other scenes, mostly exteriors, feel more observational than cinematic. Horrocks’ carefully refined conceptual ideas allow his cerebral if occasionally pretentious dialogue to flourish, but the supporting cast behind the convincing Scott-Walker is frustratingly inconsistent.
Despite evident strengths, Third Contact can’t match the powers of the like-minded Shane Carruth. Yet with an abundance of ideas, Horrocks should hopefully find the financial backing to fulfil his potential next time around.
Latest screening info can be found here.
Third Contact, official trailer
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Who? A former model who makes her film debut next month, Stacy Martin’s boyfriend is musician Daniel Blumberg (Hebronix, Yuck, Cajun Dance Party).
What’s she been in? Absolutely nothing, before now.
What’s coming up? Stacy shares the role of Joe, the central character in Lars Von Trier’s Nymphomaniac, with Charlotte Gainsbourg. With the role calling for constant succession of sex scenes, Stacy excels with fearless, vulnerable, vacant style.
They say: “She pulls it all off with a grace you wouldn't expect with all of the guttural rutting involved.” (Link)
She says: “What scared me wasn't the nakedness but it was interacting naked. Shia [LeBeouf] was very professional but we didn't actually do anything sexual." (Link)
Nymphomaniac, official trailer (maybe not entirely safe for work)
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Do you like Tarantino? Do you like Tarantino enough to really like Death Proof, too? Got a spare $40,000 burning a metaphorical hole in your online bank account? Then why not snap up Stuntman Mike’s car on eBay? You even get Mike’s costumes thrown in for free (disclaimer: you may have to pay extra to hire Kurt Russell). Check it out.
Birmingham’s Flatpack Festival returns in March for its eighth programme which promises to explore the wild frontier of film. So far, that includes The Great Flood (a documentary exploring the Mississippi floods of 1927, scored by Bill Frisell) and Phono-Cinema-Théâtre (the first ever UK screening of a series of short films which were made for the 1900 Paris Exposition). More information.
Last weekend’s box office was again dominated by The Wolf Of Wall Street which grossed almost three times as much as the highest new entry, Jack Ryan: Shadow Recruit. Sadly, Universal seem unlikely to invest this minor fortune in Quaaludes and women of ill repute.
Finally, Clash film scribe Paul Weedon captured this epic moment of film advertising fail which was intended to promote the rather unappreciated (a whopping 6% at Rotten Tomatoes) I, Frankenstein…
I've been looking forward to I, FRANKENRANKEN for ages. It's finally coming to a cinema in Bristol in Janu. pic.twitter.com/nOvSbijy1x
— Paul Weedon (@Twotafkap) January 24, 2014
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Words: Ben Hopkins (except where indicated)
Christian Beisswenger is far from a newcomer.
Yet The Citizen's Band is a relatively fresh moniker. Minted in 2012, it finds the producer honing his house instincts, yet supplying something altogether unexpected.
Using Argot-associated imprint Tasteful Nudes label as an outlet, Beisswenger has slowly pushed his new vision out onto dancefloors across North America and Europe.
New EP 'Smalltown Blues' is another ambitious step forwards. Out next week (February 3rd) it's a concise statement from the German producer, who added a rough-neck sensibility to developments in techno.
'Disrupted' rides on a blissful groove, but the melodies above are unkempt, tattered. There's a feeling of chance here, of the human behind the machines which makes the whole package intoxicating.
Listen to it now.
As the creative force behind The Dears, Murray A. Lightburn was known for earnest, passionate songwriting.
Which is perhaps why the singer's new project is so startling. Released last year, 'MASS: LIGHT' matches electronic with sci-fi to score a battle between demons and angels.
An audio-visual concept, Clash caught a 'MASS: LIGHT' show at M For Montreal last year and it was a bizarre, utterly distinct experience.
Now Murray A. Lightburn has confirmed plans to bring his music video/short film 'A Thousand Light Years' to a computer screen near you.
The video will go live on on February 9th via the singer's 'Mass To Light' website, with five showings set to be split every two hours starting at 3pm.
Full information HERE.
Check out a preview below.
Burial has always made it clear that he is to be known through his music.
Largely shying away from interviews, the producer often allows Hyperdub boss Kode9 to introduce fans to new music via some carefully curated DJ sets.
The release of 'Rival Dealers' though, seemed to mark a shift in Burial's approach. Aesthetically, it moved away from the producer's grey-flecked, ghostly 2-step while the London based artist also handed a note to 6Music presenter Mary Anne Hobbs.
Now Burial has posted a selfie (!) on the Hyperdub website alongside a lengthy note to fans.
It's enthralling. Find it below, then check out an extremely rare Burial piece on the Clash site HERE.
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Hi this is will, I just want to say thank you to anyone out there who liked my burial tunes & supported me over the years. its really appreciated. Massive thank you anyone who got my records & all producers, DJs, radio stations, labels, shops, writers & journalists.. anyone who played my tunes, gave them a listen, or helped me out with it, made me want to keep going with it. Also shout out anyone who sent me tunes, messages, anyone I met along the way & a big shout out to anyone who supports or does independent & underground music.
I want to do some new tunes this year to send to my boss Steve and the label because they’ve been going 10 years now and have stuck by me. Hopefully by the end of most years I have done some tunes that are decent enough to release. but Dark Souls 2 is on the horizon soon so I’m not sure if I will have many new tunes for a while because I need to play that game a lot. But I’m going to try to get some new tunes together before it comes out. Also I want to go and find some old tunes I did that still sound alright and never came out.. It would be nice to finally put some of them out on vinyl one day.
Also I want to tell my Mum my Dad my brothers and my sister that I love them to bits. Big shout out to the UK & everywhere else. Cheers & respect to everyone and anyone…be safe & take care
Held in Manchester's Heaton Park, Parklife Weekender has risen to become one of the city's premiere events.
Focussed on new music, organisers have developed a knack for punching well above their weight, curating line ups which feel free and unexpected.
This year's bill is no exception. Snoop Dogg is set to appear at Parklife Weekender, joined by Kendrick Lamar and a live set from Disclosure.
Elsewhere, Flying Lotus will perform twice – once under his usual moniker and then again as his hip hop alias Captain Murphy.
Katy B will unfurl her second album 'Little Red' at Parklife Weekender, while the bill also includes Mount Kimbie, Gold Panda, SBTRKT, Moderat and many, many more.
Tickets are on sale now.
Parklife Weekender runs between June 7th – 8th.
Onitsuka Tiger’s My Town My Tracks campaign is slightly misleading, that is, tracks don’t exactly figure. Or at least not racing tracks, train tracks on the other hand, are suggested if not quite visible.
No bad thing! Who wants to be reminded of the sports playing field when the weather outside is this miserable?
For SS14 the Japanese brand has brought the campaign to Europe, introducing Erik Garbo and the Navigli neighbouhood in Milan. “It’s not a normal place,” he tells the camera. “It’s good for the young people.”
Half Japanese half Italian, Garbo knows firsthand the differences between the two cultures, hence he is the ideal candidate for the campaign’s first European jaunt.
Whether grabbing a gelato or rolling some sushi (he genuinely does both), you’ll find him in the grey and yellow Shaw Runner trainers, as the video below displays.
Very few bands sound like themselves.
At best, a handful of influences shine through, a note hear or a sound there which makes reference to the past.
Peckham's Beaty Heart though, sound like almost nobody else. New single 'Kanute's Comin' Round' is a swirling, psychedelic piece of modernism which is barely recognisable as a pop song.
Yet those dreamy melodies, it's kinetic rhythm pull you in. It's almost impossible to escape from Beaty Heart's grasp, especially when their material is this enticing.
Due for release on March 3rd, you can listen to 'Kanute's Comin' Round' below.
Beaty Heart are set to release their debut album 'Mixed Blessings' on May.