KNOX released 'In Dim' during the opening weeks of 2015, an enthralling return which matched future-facing production to some glorious melodies.

Crystal-tinged, chrome-plated pop, the EP has now inspired a series of remixes. 'Thieving of Well Remixes 2' drops on March 9th via Boyznoize Records, comprising two radically different interpretations of 'Redline'.

A fixture on the continental drum 'n' bass scene, Kabuki grabbed hold of the track, turning it into a sharp-edge, 160BPM chunk of paranoia with some serious jungle fixations.

The producer explains: “When I heard “Redline” for the first time, I immediately knew how to remix it in a way that would be relevant in bass music circles while keeping the essence of the song intact. The resulting 160 BPM post jungle workout is remarkably close to my original vision, which is something that happens only very rarely. Fortune favors the bold!”

Check it out now.

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Leonard Nimoy may be intrinsically tied to one character, but the Star Trek actor enjoyed a career which spanned decades and disciplines.

Cast as Mr. Spock, the sole alien on the bridge of the Starship Enterprise, the character would become the series' conscience.

Enjoying global fame, Nimoy himself would display some ambivalence towards the character, penning two autobiographies: 1977's 'I Am Not Spock' and 1995's 'I Am Spock'.

A painter, poet and musician, Leonard Nimoy confirmed last year that he was suffering from chronic obstructive pulmonary disease, a disease he attributed to years of smoking – despite giving up the habit some three decades before.

Undergoing treatment, the actor's wife Susan Bay Nimoy confirmed news of his death to the New York Times. He was 83.

A full tribute to Leonard Nimoy will appear in next week's Clash Film Column.

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BM Soho is a landmark music shop, a hub for new talent and a place for like minds.

Sadly, reports emerging today (February 27th) appear to suggest that it has shut.

As FACT point out, the shopfront is empty bar only a few records, with a sign in the window stating: “due to circumstances BM Soho has to close”.

Opening as Black Market Records back in 1988, the shop became a hub for hardcore, jungle and drum 'n' bass.

Recently hosting in-stores from the likes of grime crew Butterz, the shop remained a bustling, energetic destination for anyone looking to explore the bass sphere.

More on this as it comes in.

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That was the week in which…
The Oscars were dished out, with all of the big prizes going to the predicted winners.

There’s something disconcertingly depressing about being a British actor who has been nominated for their first BAFTA or Oscar. Your career will have gone something like this:

You’ll probably have graduated from drama school as one of the hot picks among your contemporaries. After a couple of minor roles, you’ll get a break in a respectable indie or as part of an ensemble cast in a TV period drama. Suddenly you’re relatively hot property despite not being all famous in the grand scheme of things. Perhaps your next step will be a supporting role in a superhero movie, or maybe you’ll play the lead’s best friend in a big rom-com.

It doesn’t really matter because you’ll be juggling the profile earned from the former with growing credibility earned from a succession of “serious” films from respectable directors. You’re thirty-ish and you’ve landed the dream role as the lead in a heart-rending true life tale that’s got enough of a budget for both slick production values and powerful marketing. It’s a critical smash. The audience isn’t as large as that of your secondary role in the comic book adaptation, but it’s still pretty big.

You win! Years of dedication to your art has been rewarded. The celebrations pass like a glorious daydream.

You leave the party. Someone poses a question about your film that’s so perfunctory that they can’t have seen it. The next day you’re on breakfast TV. The presenters are talking about whether you looked good or not. The conclusion? Of course you did! The next day you head to the airport for a holiday where you’re papped before you’ve even had a chance to check whether you’ve remembered your passport.

Two weeks later you’re back home. The papers have been full of photos of you on holiday. The gossip columns are speculating about your love life. Whereas interviewers would ask about your acting, now they only want to ask about your celebrity status and your famous friends.

You have a choice: retreat into theatre and try to get cast in Harmony Korine’s latest moment of commercial suicide. Or you do it all again.

The big film…
In keeping with the attitude above, why tackle Will Smith’s Focus or Jennifer Lopez’s The Boy Next Door when we could allocate the space to three imaginative indies?

Also out:

White God
If you’re a teenager whose only friend is a dog, you have problems: problems which are only accentuated when your father decides to dump your pooch on the motorway in order to avoid having to pay a newly introduced tax on mixed breed canines.

So far that sounds suspiciously like territory which has been well-pawed by the likes of Marley & Me and Lassie Come Home. Fear not, though, for White God’s family-friendly synopsis results in something more akin to a woof-centric Watership Down mixed with a “down, boy!” twist on The Handmaid’s Tale’s dystopia.

Lili is the unfortunate owner left to scowl the streets after her cutesy four-legged pal Hagen is abandoned in traffic. Her story – the usual rebellious teen traits, if we’re honest – pales next to Hagen’s new life. Tortured and tormented in his training to become a fighting dog, Hagen gathers his fellow mutts in a barking mad plot to avenge the cruelties that have been bestowed upon them by their two-legs-bad human overlords.

It’s a film that commences in stunning fashion, as many of the film’s 247 live action dogs hurtle through an abandoned Budapest in scenes that recall 28 Days Later if Cillian Murphy had been a huge pack of over-excited animals. Elsewhere we have cinematography which captures a hound’s eye experience and dark human-killing humour which is a ragtime’s score away from being an outtake from Gremlins. Beyond a tale of man versus beast, White God is an allegory for Europe’s political and social tensions.

As director Kornél Mundruczó explains: “A cluster of the elite reserves its right to power while, as if in a political reality show, politicians are stars that we vote on and off. If we don’t pay attention, one day the masses will rise up.”

It’s a story that remains universal enough to apply to other forms of societal imbalance. It’s a film with undeniable flaws: the initial melodrama is compromised by the brutish idiocy of each adult character; Lili’s woes drag the running time way past what would be ideal for such a story; and the balance between reality and fantasy works better than a sense of humour which doesn’t always feel deliberate. Yet the audacity of creating something so distinctive means that its fails are soon forgotten about. If you have an interest in cinema’s wilder edges, this is a must see.

Also out: Catch Me Daddy

Best known in these parts for encouraging Jake Gyllenhaal to rub out a bunch of hipsters in The Shoes’ promo for Time To Dance, Daniel Wolfe and his brother Matthew have taken a similar gnarly attack on their feature-length debut Catch Me Daddy.

The film’s time-honoured narrative tropes don’t suggest anything out of the ordinary – at its core this is a chase film in the oldest traditions of the western – but such ideas are radically recontexualised. Yes, it’s a case of drifters being pursed by bounty hunters, with the distractions mostly of the circumstantial kind. Emotively, however, it’s something else as caravan-dwellin’ British-Pakistani teenager Laila is forced out on the run to escape the clutches of a gang who aim to deliver her back to the family from which she’s already escaped.

Its nerve-jangling stop-start tension is drawn from what’s at stake: it’s evident that Laila’s fate if caught would be savage in nature, and the desperation of the man on her tail is symptomatic of the fact that poverty can lead people to extreme behaviour. What’s more, it’s stylistically stunning. Robbie Ryan’s cinematography imbibes the rain-swept Yorkshire moors with a barren elegance that’s only interrupted when the chase detours to a small-town club or a remote fast-food joint. The Wolfe brothers’ use of music is similarly imaginative with cross-genre sounds inventively underlining the visceral horrors of the hunt.

As the film edges towards its conclusion, the mystery is how this can be resolved. After rich layers of misery, will Laila’s be as horrendous as she fears? Will there be a glimpse of optimism in a black fog of gloom? Or will there be a curveball? Not only have the siblings have delivered a film that’s dramatically powerful and with an evident sense of flair, but they’ve done so while respecting the seriousness of a harrowing real world issue. It’s a great debut.

Also out: It Follows

Not again, you might lament when presented with It Follows which is – yeah, you guessed it – another horror in which sexuality, defined narrative rules and a complete absence of adult role models are all in place. The credibility of all such films should be rendered pointless given that Scream lampooned them almost twenty years ago.

Thankfully it’s not long before it’s apparent that this is a film that cleverly alters its themes to be slightly out of kilter with more hackneyed expectations. Jay (The Guest’s Maika Monroe) receives an unwelcome surprise after having sex with her new boyfriend, and this one can’t be solved with antibiotics. She’s hit with a curse that spreads like an STD: a follower that can be anonymous or ominous that will steadily stalk its victim to an eventual death. And unlike It Follows’ spiritual predecessors, the quickest way to avert the curse is to pass it on…

The premise itself provides enough thinking matter to overcome a lack of immediate visual terror. When it comes it can work brilliantly – there’s one house-bound moment as creepily disconcerting as anything from the late 90s / early 2000s Japanese horror scene – but it can also fail dramatically: an encounter with a hidden follower on a beach is almost kitsch.

Mostly, however, its obvious atmospheric reference point is Halloween – especially so as Rich Vreeland’s soundtrack feels like a thunderous laptop-based reboot of John Carpenter’s foreboding synths. If you’re expecting the bolder bombastics of a typical teen slasher, this is going to be disappointingly understated. If you prefer a conceptual update on 80s aesthetics, It Follows will be worth hunting down.

“I’ll be back,” groaned Arnie Schwarzenegger back in 1984’s original Terminator film. And he’s been back time and time and time again with several sequels. And he’s adapted the line when he’s been back in numerous other films too. Now it looks like he’ll be back once more with yet another Terminator film. Is it really worth telling us you’ll be back when you hardly go away?

It’s rumoured that Russell Crowe is interested in buying long past it soccerball club Leeds. Russ, a bit of advice: even if we disregard wages, debts and ground improvements, it’ll cost you £300 million in transfer fees to get the club back to anywhere near their early Seventies glories. Feel free to give it a go, though, it’ll make for more entertaining viewing than Noah.

For the second week running, last weekend’s UK box office is spectacularly uneventful. This time I’ve taken the executive decision not to bother to report on it. If you’re really missing my update, have a crack at it yourself. The formula? 1) Google the stats 2) add some crap puns.

Finally! So you’ve read this column to help kill the last few hours of the working week, yet – nuts! – it’s still another 30 minutes before you can get away with going to the pub. So why not watch a video in which MythBusters’s Adam Savage builds a replica model of the maze from The Shining?

Words: Ben Hopkins

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It seems rather odd to talk about Black Yaya releasing his debut album.

After all, the songwriter – real name David Ivar – forms one half of beloved indie pop outfit Herman Dune.

But here we are, focussing on the songwriter's first full scale solo effort, with 'Black Yaya' due to be released on Monday (March 2nd).

An intriguing figure, David manages to squeeze all manner of obscure topics into his songwriting – an indie pop renaissance man, his literate yet emotive approach continues to thrill.

Probed on his tastes and current obessesions, Black Yaya becomes the latest entrant for Culture Clash.

– – –

John Darnielle – Wolf In White Van
I went from being a youth to being a man with John Darnielle (aka The Mountain Goats) as a soundtrack. Through the end of High-School and beyond, I've loved his lyrics. His songs almost always had a narrative, a strong story, which I always believed to be true (I found out later he made up most of it).

Wolf In White Van is his first novel, and it's a thrill to read. I was moved, scared and moved again all through this dark tale of solitude made of beautiful words…

Darren Aronofsky – Pi
I love Darren Aronofsky. Pi is one of the best films I've ever seen, beautiful, deep. I want to write music for his films one day.

Slip-N-Snip Folding Scissors
Made in the USA, I always carry them in my pocket (even through airport security). In case my mustache grows a little too long for me to enjoy the head of a beer, I can quickly and easily trim it anytime thanks to this genius piece of American design…

Kyle McNeill – I Was Happy
Still haven't seen him perform around Los Angeles. What I hear is that he's a kid and that he is amazing. I got his record last year and can't stop listening to it. Sounds like Chet Baker meets Creedence to me, nothing like a kid.

TV Show
Jonathan Ames – Bored To Death
I despise TV. I never want to be around one, I never owned one. I have watched Bored To Death by Jonathan Ames though and have loved it, there's got to be a little bit of writing in moving pictures for me to love them.

Love my Martin-015
Gotta love a guitar that serves you so well.

– – –

'Black Yaya' is set to be released on March 2nd.

Catch the songwriter at the following shows:

4 London Rough Trade East
8 Bristol Start The Bus
9 London The Lexington
10 Coventry Tin Music & Arts
11 Manchester Soup Kitchen
12 Leeds Brudenell Social Club
13 Glasgow Mono
15 Hull Adelphi Club

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Cat's Eyes played their first show in the Vatican, and seem poised to return to religious themes when it suits.

Helmed by Rachel Zeffira and Faris Badwan, the project recently turned its attention to film work.

Scoring new film 'Duke Of Burgundy', the duo have completed an album's worth of new material.

Lead single 'Requiem' is out now, with Zeffira now stepping in to help shoot the accompanying visuals.

Sacrilegious, the clip features a peeping tom inside a church. Sucked into various portals, the camera soars through various body parts – including some rather racy orifices…

Check it out below.

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Germany's music scene tends to focus on Berlin, often excluding other areas, cities.

It's remarkable, then, that the scene outwith Berlin is so fertile. An electronic duo from Frankfurt, Lea Porcelain have a dark, twisted yet oddly enticing sound.

There's a sense of cold wave, here, in their pared down use of clinical synths and shattered percussion.

A distinct package, the duo's aesthetic extends to their usual of visuals, which have a dis-orienting, DIY feel.

'Similar Familiar' arrives with a woozy, hypnotising video, which matches Lea Porcelain's uncompromising production.

Check it out now.

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Daniel Hermann has always been involved in music.

The producer's grandfather was an organ builder, with Daniel picking up whatever instrument was available during his teens.

Later settling on electronic production following a meeting with, Daniel Hermann chose the name Flug 8 for his fresh direction.

Flitting between making music and taking photographs, the German artist returned earlier this year.

A broad, painterly document, new album 'Trans Atlantik' is out now. Clash is able to premiere the video for 'Ostsee' and it's a bold counterpoint to the music itself.

Check it out now.

'Trans Atlantik' is out now – Rough Trade / iTunes

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Gengahr are unusual of moniker and unusual of style.

The North London group make pop songs, for sure, but these are oblique, off piste pop songs.

New single 'She's A Witch' is both instantly contagious and oddly melancholic, the erupting narrative underpinned by some downcast harmonies.

Out shortly via the good folks at Transgressive, the video has now gone online. Opening with a Medieval battle, it's an odd, if striking clip which reflects the group's love of comedic horror.

Check it out now.

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Following a stint as a Fashion Scout One to Watch and two seasons under Fashion East, this week Helen Lawrence stepped out on her own, making her debut solo appointment with London Fashion Week.

An MA graduate from Central Saint Martins, the knitwear designer returned to her BA campus of Chelsea College of Art and Design for a sunlit, mid-morning display that exhibited the kind of chilled vibes traditionally reserved for Sunday brunch (a great thing).

Upon a foam carpet that mirrored details from her AW14 collection, Lawrence showcased eight looks of intelligent knitwear that saw her experiment with new techniques and ultimatelypresent a new silhouette.

Clash caught up with Helen post-show to talk it through.


This was the first season properly on own; what were you most apprehensive about ahead of the presentation?
I think it's always a little nerve wracking showing alone for the first time, but I was excited to be back at Chelsea where I did my BA. 

What was the biggest difference you noticed between the catwalk show platform and doing a presentation?
It was great to be able to talk to the audience and get instant feedback. 

The collection was inspired by Phyllida Barlow's work. How did you go about translating sculpture into knits? 
I wanted the garments to have a wrapping element and be quite abstract. We started mixing contrasting yarn types so the knits would create this effect without adding extra fabrics for binding. We used lambswool and elastic yarns to create the bobbling effect.  

Madeleine Østlie cast the models How did the process go down?
It was great to work with Madeleine. We decided to street cast, and wanted to work with models that had an interesting look. I think the outcome was perfect; the guys looked really good!

You collaborated with Kult Domini on the footwear, how did this come about? 
Kate and I share a studio; this is our second season working together on shoes. It’s nice to be able to bounce ideas from each other, and as we're with each other every day, we spend a long time chatting about the shoes we're going to make.

You worked with Studio Lune on the set, with ceramics by Tessa Rudick. What was the inspiration behind this? 
As well as taking inspiration from Phyillida Barlows, I'd researched a lot of 70's ceramic pieces for their unusual shapes and colour combinations, as well as strange interiors, mainly spaces with colourful sands and rocks.

Finally, what's next for Helen Lawrence? 
Paris, sleep, and then SS16!

Interview: Zoe Whitfield
Photography: Daniel Sims


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