AJIMAL, the moniker of Fran O’Hanlon, has released a brand new single named How Could You Disappear? The song comes before the release of AJIMAL’s upcoming album As It Grows Dark / Light, which is due to be released in the Spring of 2020. The upcoming album will be produced by Guy Massey, a Grammy-winning producer and engineer who has worked with the likes of Ed Sheeran, The Libertines, and The Sherlocks — to name a few.
You can stream How Could You Disappear? via Spotify here.
Vegyn, a London-based music producer, released a new latest single named It’s Nice To Be Alive. The new single comes just before the release of Vegyn’s upcoming album Only Diamonds Cut Diamonds.
It’s Nice To Be Alive combines the experimental elements that have been previously audible in Blue Verb and the 71-track album Text While Driving If You Want to Meet God. In many ways, Vegyn’s ability to communicate ideas through song titles and quite melancholic productions that feel reflective to the listener, reminds us of artists such as Aphex Twin.
1. Blue Verb
2. Nauseous / Devilish
3. That Ain’t No Dang Cat!
4. Aspenz
5. Cowboy ALLSTAR
6. Thoughts Of Offing One
7. Debold
8. Fake Life
9. I Don’t Owe You NYthing
10. Fire Like Tyndall
11. Unknown, Forever Unknown
12. Retro OTW
13. When I Strike…
14. You Owe Me
15. It’s Nice To Be Alive
16. Blue Verb Reprise
With a new album coming, Gang Starr are back with a new song, previewing the upcoming album. This well-produced song named Bad Name was a shock to many fans of Gang Starr, mostly due to it featuring vocals from the late MC Guru. Yet, unsurprisingly, DJ Premier has managed to pull off a solid and respectful production that brings back the memories of their past.
Coming from Tim Baker’s latest album All Hands is a smooth piece named The Eighteenth Hole. In this piece, Baker grabs you in withasuperb vocal performance. In this rendition of the song, Tim is joined by Felicity Williams of Bernice and Nico Paulo who bring in a layer of honey-like warmth. With this marvellous piece released, Tim Baker has emerged as an artist to watch.
Entering with a wave of incredible energy, ear-pleasing vocals, and a catchy beat is ONUR with What U Do. In his latest single, ONUR delivers a grand production that will keep you listening for weeks to come. This radio-ready track is made for the playlists.
In this segment, we showcase our top picks of what to catch at the cinema this weekend, what to stream and our short film of the week.
Our pick of the new releases out on October 18th, 2019:
| Rating | Length |
| 15 | 99 Min |
Released in 2009 and directed by Ruben Fleischer (most recently known for helming the Tom Hardy antihero film, Venom), Zombieland is a post-apocalyptic zombie comedy that was a critical success and rapidly gained following across the world – and took an apocalyptic-sized $75.6 million at the box office. The film features Columbus (Jesse Eisenberg), a nerdy, shy student and survivor of the zombie epidemic, who is attempting to make his way across the zombie-infested world to reach his family in Ohio. Along the way, he encounters Tallahassee (Woody Harrelson), a gun-wielding tough guy who’s struggling to gain his favourite snack, Twinkies, and a pair of sisters (Emma Stone and Abigail Breslin), who are trying to get to the Pacific Playland amusement park, which they believe is a sanctuary that’s free from zombies.
The immense success of the film led the creative team, particularly writers Rhett Reese and Paul Wernick (now known for their work on Deadpool), to want to formulate a sequel as soon as possible to cultivate the original’s success. Even Harrelson, who (in his words) is not a “sequels guy”, stated that he “never wanted to do a sequel in the previous movies I’ve done until this one”. But various creative differences, scheduling issues and concerns regarding the necessity of a sequel, have meant that the sequel was placed on hold.
Fast forward a decade to 2019 and Fleischer along with the cast of the original have finally returned for a sequel. The quartet are now experts at regularly dispensing of zombies but they are now faced with the grave problem that the zombies are ever-evolving – they are becoming more intelligent- and subsequently more of a threat. As well as dealing with the newly evolved zombies, the group must come to terms with the issues within their own dysfunctional family in order to survive in this apocalyptic world.
Though this film is highly unlikely to be in contention during award season (nor is it trying to be), Zombieland 2 is being widely praised for its cast, the humorous script and its element of pure fun. And its currently holding an approval rating of 76% on rotten tomatoes – an admirable score for a sequel. So if you’re looking for zombie-infested fun or simply a film to get you excited for the Halloween season then this film is perfect.
| Rating | Length |
| Mature | 1 Season |
Talent shows have become omnipresent in our lives – they have launched some ordinary people into the stratosphere and others have had their dreams crushed by the format. But, their abundancy has led to stagnation and a diminishment in their power or influence – The Voice UK has struggled to propel an artist beyond the show itself and The X Factor has recently turned to a new celebrity format to salvage some form of popularity. Netflix’s new reality series Rhythm + Flow appears to have surfaced at an optimum time. The concept is simple: three famous judges are searching for their next hip-hop superstar, through auditions, battle rounds and tasks, and the ultimate winner will receive $250,000 and a slot at a Spotify gig.
The concept is undoubtedly formulaic. But, where the series really comes into its own, is through its three main judges: Cardi B, T.I. and Chance the Rapper. Their criticism and judgement feels fresher and less outdated than other comparable talent competitions. They respect artists and don’t tend to fall into the “mocking” category that plagues other shows – they provide constructive criticism and never take pleasure in the contestant’s incompetence. It’s honest, entertaining, provides a much-needed platform for hip-hop artists and is sure to either rescue the format or annihilate any other competitors all together.
This short film tells the story of Fran (Katy Wright-Mead). She has passive suicidal thoughts. But, one day she smiles at a guy (Jim Sarbh) in the office – he takes her to the cinema, for a meal and on a short holiday. But, as this guy attempts to get closer to her, Fran struggles to come to terms with the fact that she must learn how to live. This short film is an honest portrait of the dramas and struggles of having suicidal thoughts and also contains elements of dark humour. The premise is simplistic, but the issues dealt with are complex and it’s a true testament to Horowitz’s skill that she manages handle successfully them with care.
Speaking on the short film, Horowitz stated that “In 2013, in a dark Theater in New York’s lower east side I directed a play called killers, written by Kevin Armento and starring Katy Wright-Mead. The play told of a death-obsessed woman, Fran, who didn’t know much about living. It was a little scary, but also funny and kind of sweet. It stuck with me and 5 years later I’ve turned it into a short film. I hope you like, and want for Fran as much as I do!”
In this segment, we showcase the most notable albums out each week. Here are the albums out on October 18th, 2019:
Jimmy Eat World, Surviving: Following 2016’s Integrity Blues, Jimmy Eat World have come out with their 10th studio album Surviving via RCA Records. The record sees the pop punk outfit reuniting with Integrity Blues producer Justin Meldal-Johnsen (Beck, Nine Inch Nails, M83) and is being promoted as one of their most ambitious and personal efforts to date. “Surviving explores some of the different kinds of weights my ego tells me I have to carry, what I see people around me choosing to carry and what I have found to be the truth when I choose to let go,” frontman Jim Adkins explains.
Foals, Everything Not Saved Will Be Lost (Part 2): Foals return with their sixth studio album and the second half of their two-part studio project, Everything Not Saved Will Be Lost. The first part was released back in March to generally favourable reviews. Notably, the album cover was taken by famed National Geographic photographer, Maggie Steber. The indie group have also announced a documentary titled Rip Up the Road to promote project, which will be released on November 15th via Amazon Prime.
Battles, Juice B Crypts: Four years after the release of La Di Da, experimental rock outfit Battles are back, this time as a duo consisting of multi-instrumentalist Ian Williams and drummer John Stanier. Juice B Crypts features a variety of guest artists, including Shabazz Palaces, Tune-Yards, Xenia Rubinos, Jon Anderson of Yes fame, and Taiwanese psych band 落差草原 WWW. Ian Williams said in a statement: ”[Juice B Crypts is] about chord progressions, resolutions, returning home. Take that and throw it into a blender of modern electronic tools like glitching devices, or use melodic lines and take them and regurgitate them and pulverize the traditional stuff but at the same time try and retain harmonic relationships while completely smashing them up.”
clipping., There Existed An Addiction to Blood: This is the third studio album from experimental hip-hop group clipping., out now via Sub Pop. The follow-up to 2016’s Splendor and Misery is described in a press statement as “experimental hip-hop built to bang in a post-apocalyptic club bursting with radiation. It’s horror-core that soaks up past blood and replants it into a different organism, undead but dangerously alive. It is a new sun, blindingly bright and built to burn your retinas.”
Vagabon, Vagabon: Indie singer-songwriter Vagabon aka Lætitia Tamko has released her sophomore self-titled record, previously known as All the Women in Me. Vagabon changed the name of the record when she learned the poet it references, Nayyirah Waheed, preferred not to be quoted. The album follows 2016’s critically acclaimed debut Infinite Worlds, and is reportedly a departure from it, featuring less indie-rock guitars and more cinematic synths as the artist searches for a new musical identity.
Other albums out today: Anna Wise, As If It Were Forever; James Arthur, You; Nils Frahm, All Encores; Playboy Carti, Whole Lotta Red; Ringo Starr, What’s My Name; Third Eye Blind, Screamer.
Timo Kuilder, an artist and illustrator based out of Amsterdam, Netherlands, released a splendid series named Drunk Glasses. In this mini-series, Kuilder explores drinks with minimalistic features that are pleasing to the eye. Kuilder’s use of rough textures with retro-like colours brings out a homely feel to the series.
You can find more work by Timo Kuilder here.
Issey Miyake’s SS20 collection debuted at the Paris Fashion Week. This was also the first debut collection of Satoshi Kondo. He had worked in the fashion house for over a decade, capturing the essence of the brand.
A Sense of Joy was the name for the collection, and rightly so as this is what was brought to the audience. The show presented an unconventional way to do a catwalk. The catwalk had high energy and lively music. There have been many other fashion houses who have had unconventional catwalks. But this one was focused on a performative act, which helped it anchor its audience with a memorable experience.
Throughout the show, many loose-fitting garments were displayed. As the models danced and spun around, different silhouette looks were created from initial garments. In terms of colour and print, the whole collection utilised playful and vibrant elements.
Massimo Colonna, an Italian photographer and digital artist, revealed a superb mini series named Migration. In this mini-series, Colonna combines the migration of birds with minimalistic architecture to bring out the focus on the moving subjects. These simple, but eye-pleasing artworks deliver a poster-like appearance that elevate their surroundings by utilising shapes.
Writing about the series, Colonna described as “Project of three images depicting scenes of distant lands, exotic, sometimes unattainable. Within these landscapes a flock of birds moves creating unusual shapes, geometric, an evolution in the way of migration. In a historical moment in which even the sky becomes advertising space, nature changes in angles and corners”
You can find more work by Massimo Colonna here.
Welsh singer-songwriter Chloé Davis aka twst may have only released two singles so far, but she already displays all the quintessential qualities of a modern pop star in the same vein as Billie Eilish or Charli XCX, or some unique amalgamation of the two. twst’s sound is cutting-edge and incredibly infectious – it’s impossible to listen to the single ‘Girl On Your TV’ and not feel an urge to replay it over again and again. It has the intimate but surreal quality of someone trying to make a hit alone in their bedroom – except it actually feels like a hit. Indeed, twst recorded and self-produced the tracks within the four walls of her bedroom, although it’s no surprise that they were mixed by none other than innovative pop producer Rob Kinelski, known for working with Billie Eilish among others, whose production flourishes here are palpable but not overbearing. Both ‘Girl On Your TV’ and ‘Always’ brilliantly depict our psychological relationship to the digital world and how it affects our day-to-day interactions, but it’s done through the lens of a young person who understands the nuances of that experience rather than someone commenting from the outside. “HD shows in me perfection/ But it fucks with your perception,” she intones on ‘Girl on Your TV’, while on ‘Always’ she has a conversation with a Siri-like personal assistant. It’s hyperreal, post-ironic, metamodern – whatever you want to call it, it’s truly something special. And we can’t wait to hear more.
We caught up with twst for this edition of Artist Spotlight, where we showcase up-and-coming artists and give them a chance to talk a bit about their music.
mothers maiden name.
The decision was made from a place of wanting to find somewhere I felt I belonged. I was very misunderstood by my family and I don’t think they knew how to deal with me. For all the obvious reasons why this would be hard at such a young, difficult age, I was desperate to be in a place where I fitted in and I felt like I could do that most comfortably in isolation where I could begin to create my own world.
When I have a new idea, most of the time I have a clear vision before I’ve even started writing or producing the song. So self-producing feels very natural and efficient because it’s just me and my computer and once I’ve found the tone for the production, it usually happens very quickly from there.
The only real challenge, and one that scares me, is not knowing how to do something technically, when I’m on an inspired mad flow. So being able to overcome that as effectively as possible without it harming the creative wave is something very practical to learn.
There is no equivalent English word for “hikikomori”. The Japanese word describes both the condition of acute isolation and those suffering from it, so the attraction seemed obvious to me but I was also drawn to it phonetically. I love the sound of it. I was inspired by the Kawaii aesthetic at the time as seen in goytv video. Ultimately, I named the label “hikikomori baby” as a reference to the time where I lived quite reclusively after leaving school and home. I started to build my own way of seeing the world, without too many rules or much guidance. I found some kind of personal hyper reality. The concepts that I’ve been writing about are heavily based upon the feelings of isolation, loneliness and my connection to technology during this period.
The “baby” part of “hikikomori baby” is post-ironic. Which in itself is ironic (post).
When I wrote girl on your tv, I was deeply feeling the over sexualisation of women in the media. I was really, really angry at the time. My head was kinda warped during this period too. I was seeing this sexualisation in a way in which I’d never seen before. So in goytv, my character is the sexualised girl and I’m asking the person who views me this way, to view me differently. This in turn, inspired the duet with the Siri like voice in “Always” as I am fascinated by the connection between technology and emotions and how far these are able to intertwine.
This process was like self-documentation for me. I really wanted to capture the idea of building myself as a character through the lens of the internet. Capturing the awkwardness, vanity, vulnerability and also irony.
Audio/visual releases
Live performances
We gonna make some clothes, scissors , thrifting
Jewelled crocs
reading reading reading
Coffee
beats
everyday school
Following his critically acclaimed debut feature The Witch (2015), Robert Eggers’ The Lighthouse is a haunting masterpiece. The film attracts you by its chillingly mesmerising sound design and stunning visuals, but also by the career defining performances from Robert Pattinson and Willem Dafoe. Together, they push the story’s intensity and horror to its absolute limit.
Set in the 1890s, The Lighthouse follows Ephraim Winslow (Robert Pattinson), a newly recruited apprentice to Thomas Wake (Willem Dafoe), a mad lighthouse veteran. The pair is tasked with four weeks’ work on a remote New England island. As the film progresses, Winslow slowly submits to the hypnotic madness of the island as well as Wake’s strange behaviour…
The first thing about The Lighthouse that really stands out is how extremely atmospheric it is. By presenting the story in black and white and in a restrained 1.19:1 aspect ratio, Eggers displays the grittiness of the environment that our characters inhabit; as well as creating a claustrophobic feeling that traps the audience on the island. The sound design is impressive and helps enhance the nightmare-fuelled and haunting experience. From the lighthouse’s blasting siren to the seagull’s eerie squawks, the film drills those sounds into your mind and they will stick with you for weeks.
Saying that Robert Pattinson and Willem Dafoe are both phenomenal in the film is truly an understatement. From Pattinson’s portrayal of Winslow’s growing annoyance toward the bizarre events, to the point at which he starts to act out of his personality, and finally to his descent into madness, his performance is impressive. Willem Dafoe portrays his strange, intense and slightly insane lighthouse keeper to its perfection. The many tremendous monologues from Dafoe are expressed with such depth and emphasis, really putting us into Winslow’s perspective and terrifying us at the thought of what Thomas could do to him. The intensity they bring to their characters is brilliant.
Just like Eggers’ previous film The Witch, The Lighthouse slowly intensifies its creepiness throughout the film. One of the ways it does this is by having characters suddenly act dramatically around each other. On multiple occasions in the film, the characters are engaged in normal conversation when it turns to either an authoritative warning from Wake to a full confrontation between them. Surprisingly, the next thing we’ll see is the characters having a cheery dance or them getting drunk with each other. The unpredictability of the film really makes the audience so uncomfortable to a point where you don’t know whether to laugh or be completely shocked and terrified.
Another way that Eggers manages to create the uncomfortable tension in the film is by cutting to Winslow’s surreal dream sequences many times throughout the film. Eggers keeps the audience guessing as to what is real or what are just Winslow’s delusions. By doing this, the film leads the audience into this disturbingly hypnotic trip without losing any interest.
The Lighthouse delivers a truly unique horror experience. The captivating performances from Pattinson and Dafoe never fail to fascinate and amaze. With such strong entries in the pantheon of horror in recent years, this film firmly secures itself as one of the best in recent memory. Robert Eggers demonstrates himself as an exciting horror director to pay attention to for years to come.
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