The experiences in childhood can form a person for the rest of their life.
Perhaps that's why Public Access T.V. are so keen to reminisce. Hailing from New York, the band's name references a form of television open to amateurs – beloved of punks, it spawned a true DIY community.
New track 'Middle Child' opens with a drum beat which cheekily apes The Stone Roses' 'I Am The Resurrection' before settling in a noisy garage punk groove.
Brattish, blistering guitar music, 'Middle Child' is only the band's second track to hit the web. Already causing a stir, you can tune in below then send us your opinion on Twitter.
Public Access TV are set to play the following shows:
3 Liverpool Sound City
4 Glagow Stag & Dagger
9 Brighton Great Escape
The internet has demolished genre boundaries.
These days, 'shuffle' is the norm allowing styles from different decades, continents to bleed into one another.
An Israeli troupe, Acollective profess to love all manner of new music. So that's everything from dixieland jazz to J-Pop, indie to left field dance.
Snapped up by Alcopop! Records here in the UK, the label is set to release new single 'OTM' shortly. Taken from the band's upcoming album, it's a potent introduction to their skittish, hyperactive sensibilities.
Backed with visuals directed by Marc-Antoine Locatelli, you can watch the video for 'OTM' now.
– – –
Acollective's new album 'Pangaea' will be released on July 7th.
London is crowded.
In a way, that's it strength. Sounds seep through walls, demolishing boundaries in the process. LV are a production duo who have recorded with the likes of Butterz and Hyperdub – notably 2012's fantastic 'Sebenza' full length.
New cut 'Imminent' feature Benin City vocalist Josh Idehen on vocals. The production is half-way between itchy UK Funky and straight up kwaito, sparse but with a futuristic edge.
Idehen's vocals are half-spoken, half-rapped and trace life on an estate. Returning home to find police tape across the street, the vocalist attempts to find out what's happened: "What I wanted to do was tell a story about what essentially was 'the norm' at the time when I lived in Hackney."
Lyrically tense but musically exuberant, it perfectly captures the reality and atmosphere of estate life. Forthcoming on Keysound, you can check it out below:
'Imminent' is set to be released on May 16th.
Bass is an international language.
A subliminal force, bass underpins club movements across the globe, allowing producers from radically different backgrounds to intersect.
Bass Culture Clash: Brazil x England is a special event, aiming to bring together the twin cultures of Brazil and England ahead of this summer's world cup.
Taking place this Saturday (May 3rd) in London's historic Roundhouse venue, the line up fuses Brazilian styles with some homegrown flavours.
Little Simz takes to the stage, while JUS NOW also represent the UK. For Brazil, fans can expect some furious heat from the likes of Ministereo Público and Soraia Drummond.
Ahead of this, Clash is pleased as punch to be able to unveil a special remix. A.MA.SSA produced 'Segura O Sacode' a whirlwind of tropicalia beats and cutting edge production.
JUS NOW step in on remix duties, adding a defiantly UK-centric spin. The common connection? Bass, of course.
“She looks kinda alien,” muses brand consultant Ollie Olanipekun, “in the best way possible.”
“She’s iconic!” adds Charlotte Roberts, stylist and co-founder of The Mushpit. “Her face just has that indescribable ‘thing’ that makes you want to look again and again. And again.”
The pair – along with photographer Sam Bayliss-Ibram, who defines her as one of his idols – are discussing the appeal of Devon Aoki, the half Japanese, quarter German and quarter English face of Kenzo SS14, pictured above.
Possibly you recognise her solely as Suki or Miho from 2003’s ‘2 Fast 2 Furious’ or the latter ‘Sin City’, her debut film roles which ten years ago upped the ante for the already hugely popular model. Or maybe she caught your eye in the music videos for either Primal Scream’s ‘Kowalski’ or ‘Bones’ by The Killers?
Of course there is the likelihood you’re a fully paid up member of the Devon Aoki fan club, au fait with the multiple Tumblr pages that obsess over her image on a day to day basis; quite literally for ‘devon-aoki-daily’, religiously for ‘fuckyeahdevonaoki’, ‘tiaradevonaoki’ and the rest.
Discovered at a Rancid gig aged just 13, Devon was introduced to Kate Moss in 1995 and had signed to Storm management by 1996; two years later she replaced Naomi Campbell as the face of Versace.
“She’s closed Chanel and fronted a Baby Phat campaign! Who else could?” reckons Sam, who along with Charlotte points to that photo of Suki atop her pink Honda S2000 car as the pivotal Aoki image.
While her late ‘90s/early ‘00s hey day was shared with other models such as Jacquetta Wheeler, Maggie Rizer, Angela Lindvall, Audrey Marney, Liberty Ross, Anouck Lepere and Frankie Rayder, hers is the face that most often defines the era and continues to speak to the industry today.
Says Roberts: “I think she captures something for me. A mood. It's that mood where, say, you've had an argument with your boyfriend and have gone off in a strop to smoke and sulk and you kinda wanna punch someone. Yeah, she kinda encapsulates that mood for me; a powerful little sex bomb about to blow.”
Like Alek Wek before her, her look – as well as her height – was an anomaly within the business that almost by default caused a ripple. That she arrived at a time when models had to be interesting as opposed to simply beautiful, only further caught the imagination of designers and photographers alike.
“I'm pleased to be a part of a 'new breed' of models who perhaps don't exactly fit the status quo,” she was previously quoted. “I think it's important that there is a change, especially in fashion.”
Roberts suggests “that sulky, bratty vibe she does so well” is what makes Aoki so unique against a backdrop of girls with “maybe a more obvious or conventional sex appeal."
“She's got that innate sense of cool and nonchalance and also 90% of the time looks like she doesn't give a flying fuck which automatically makes you a 1000% cooler. I like that she can look sexy, innocent, mysterious and weird all in one image,” she continues.
It is this spirit that The Mushpit Tumblr page, curated by Roberts and her co-founder Bertie Brandes, is full of, likewise the pages created by other twenty somethings; a nostalgic gaze at an era they were too young to fully engage with but old enough to appreciate. It’s what Devon Aoki the model signifies to many, that crossover at the Millennium where many of 2014’s young adults were approaching adolescence.
Today you’ll find her model card on the special bookings board (reserved for actresses and musicians who like to dabble), though if her fans in Kenzo and H&M – for whom she fronted the Isabel Marant campaign last year – are anything to go by, modelling is still very much on the cards (if you will).
Additionally, that Jeremy Scott, who for years has lauded Devon as his muse, has taken over at Moschino (thus further cementing his place within popular culture), means we can but hope for a return to the Aoki fronted campaign, such as the label’s SS01 Jeans campaign that graced us with twin Devon’s.
As if to further whet one’s appetite, when asked for a model today that possesses Aoki like qualities, both Ollie and Charlotte reply Lindsey Wixson, interestingly the same model picked by Scott to close his first Moschino show earlier this year.
Words: Zoe Whitfield
Just a round up of some of the best albums Clash heard in the month of April 2014. Well, albums that came out in April, anyway. We’re living in the future right now, playing albums that are out in June and stuff. It’s thrilling, but we keep forgetting to put out the recycling. You know, more immediate things. Schedules, eh.
Click the image above to scroll through the album covers. Click artist names for related content.
– – –
Kelis – ‘Food’
(Ninja Tune, released April 21st)
“‘Food’ is a fabulous and immediate record, rich with muted brass and low-key electronics. It’s also the warmest, most relaxed and purely enjoyable thing Kelis has ever done. Wonderful.”
– – –
Todd Terje – ‘It’s Album Time’
(Olsen Records, released April 7th)
“Its encased plasticity doesn’t mask any novelty. Athletic brightness betters gaudiness while wearing ’80s fashions well, banging out rhythms with fingers that’ve have just come from the cake bowl. It’s album time, and Terje feels epic.”
– – –
Damon Albarn – ‘Everyday Robots’
(Parlophone, released April 28th)
“The phrase ‘slow-burner’ is tossed around rather carelessly, but ‘Everyday Robots’ is a definite contender. Weeks on from the first listen, it feels like it’s always been there. It doesn’t burn out so much as creep up and these songs offer yet another new guise for a remarkable talent.”
– – –
Sd Laika – ‘That’s Harakiri’
(Tri Angle, released April 28th)
“Sometimes these obscure noise releases with their morbid artwork and darkened press shots can mask their complete lack of listenability behind a protective black veil of excessive complexity, and the desperation of its listener to feel exclusive. Sd Laika defeats this. His music marries complexity with club-ready thump, resulting in a dystopian dancehall of morbid booty shaking.”
– – –
Ought – ‘More Than Any Other Day’
(Constellation, released April 28th)
“Frankly, this is music that’s made to make a difference, or else turn in ever-decreasing circles until it consumes itself. It has too much fire to not either spread or self-combust entirely. Passion is a puzzling thing, expressed in myriad manners. But it can never be fabricated, and Ought’s heated brand of it is amongst the most bracing sounds anyone can encounter in 2014.”
– – –
SOHN – ‘Tremors’
(4AD, released April 7th)
“In a relationship exposing and attending to each other’s vulnerabilities, between fireside rocking chair and disrobed cosmic disco, ‘Tremors’ realises the transfer between London and Vienna SOHN has made. Sure to be a hit with the disenfranchised, give the man a single bulb to perform under on stage and fans will be riveted.”
– – –
Part of a wave of producers exploring a fragmented vision of R&B, Brooklyn's Ang Low continually stands out.
Perhaps that's because of the American artist's commitment to the pop song. Sure, his work always sounds fantastic – the production, the arrangement impeccable – but the song, the heart is always in place.
New EP 'Life Goes Down' is out now via Luv Luv Luv, and it's a gorgeous introduction to his world. The title track has received the visual treatment, shot using a similar palette to his music.
Sat on a (presumably) Brooklyn stoop, there are faint traces of the 90s in its cinematography. Moving against a delicate mural, it's a simple but highly effective video.
Check it out now.
– – –
'Life Goes Down' is out now.
If boredom sits at the heart of punk, then Australian kids must make the perfect punks.
The sheer size of the continent means that – for many people – doing nothing is a recurring problem.
Straight Arrows know a thing of two about boredom. Forming a band for fun, the group's approach has gradually become more and more irreverent.
Heading in a strictly DIY direction, the band's debut album became something of a cult success. Follow up 'RISING' is due later this year, recorded partly in frontman Owen Penglis’ house until the neighbours started to complain.
Touring with the likes of Ty Segall, the Black Lips and the late, great Jay Reatard should give you something of an indication as to the sounds contained there.
Scrappy garage punk delivered with a snotty smile on its face, Clash is able to preview 'RISING' with new track 'Make Up Your Mind'.
Not even reaching the three minute mark, 'Make Up Your Mind' is perfect for those lazy, hazy summer days.
Limited to 500 vinyl copies, 'Make Up Up Your Mind' is out now. New album 'RISING' follows on June 23rd.
2. Fruit of the Forest
3. Can't Stand It
5. Continental Son
6. Don't Tell Me
7. Rotten Teeth
8. Make Up Your Mind
9. Without Ya
10. Dont Call My Name
12. Changing Colours
13. Never Enough
Rinse is a powerhouse in bass culture.
Yet one of the label's new signings is – by their standards – something of a curveball. States Of Emotion are an indie band, making their music entirely in that old fashioned guitar-bass-drums kinda way.
Eschewing electronics, their atmospheric songwriting swoops and soars. There's precious little of Rinse in there, and – perhaps – that's exactly why they are needed.
New single 'The Way That I'm Wired' will be released on June 2nd, and comes accompanied by a mysterious new video.
The clip features model Jimmy Q and heightens the notion that with States Of Emotion nothing is what it seems.
Watch it now.
'The Way That I'm Wired' will be released on June 2nd.
In an industry littered with deeply individual artists, Bob Hoskins still stood out.
Perhaps it was his background. Brought up in Finsbury Park, Hoskins' did not come from an acting dynasty and left school with just one O-level.
Yet he was a natural actor. Gaining his first audition by change, Bob Hoskins quickly grew in stature, first becoming a regular on British television.
Taking on Hollywood roles, the actor spent the 80s appearing in roles as diverse as 'Who Framed Roger Rabbit?' and Terry Gilliam's hypnotic 'Brasil'.
Perhaps best known for playing cockney hard men, Bob Hoskins is well remembered for his starring turn in 'The Long Good Friday'. Perhaps the pinnacle of the British gangster movie genre, his performance – in turns disgusting and absorbing, horrifying and hilarious – earned widespread plaudits.
Remaining a hugely prolific actor, Bob Hoskins retired in 2012 after confirming he was suffering from Parkinson's Disease. Recently contracting pneumonia, the actor's family issued a statement a few moments ago confirming that Bob Hopkins had passed away on Tuesday (April 29th) in hospital. He was 71.
The statement reads: "We are devastated by the loss of our beloved Bob. Bob died peacefully at hospital last night surrounded by family, following a bout of pneumonia. We ask that you respect our privacy during this time and thank you for your messages of love and support."