Annie Lennox announces imminent new album, ‘Nostalgia’

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Iconic Eurythmics singer and solo artist Annie Lennox is set to release her seventh studio album on 27th October ’14. Entitled Nostalgia, the new record features twelve covers of seminal songs primarily from the 1930s and ’40s.

Classics played and popularized by the likes of Billie Holiday, Nina Simone and Louis Armstrong all appear on the album, which marks a return to the industry for Ms Lennox after a four year absence.

Lennox describes the album as “a challenge” when describing her decision to revitalise the old masterpieces: ““I thought, ‘I wonder what my voice would be like. Would these songs suit my voice?’ It was like a little challenge. I just sort of got to know them, became friends with them really and had a great deal of joy in the process.”

Nostalgia Track Listing

Memphis in June
Georgia on my Mind
I Put a Spell on You
Summertime
I Cover the Waterfront
Strange Fruit
God Bless the Child
You Belong to Me
September in the Rain
I Can Dream, Can’t I?
The Nearness of You
Mood Indigo

Nostalgia will be released on 27th October 2014 by Island Records in the UK and internationally, and by Blue Note Recordings in the US.

FAULT Favourite: The Hot Child jeans – a uniquely designed product specifically for men

 

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If jeans were people then we might have just made a new best friend. The Hot Child (or THC for short) label name comes across as a mix between a chilled out ’70s Cali groover and a dangerously trendy NY noughties chick. Suffice to say that this was love at first sight.

The jeans brand, founded by Octavio Silva this year (2014), is stylish, sophisticated and surprisingly personal in its approach. The Ft Lauderdale, Florida resident clearly cares about each individual product and the way his products fit and generally interact with each of his customers. Of course, part of that is synonymous with owning and operating a brand still in its infancy, but Octavio’s evangelising of his product and eagerness to see each set of jeans go to a happy home transcends a simple self-preservation business instinct.

It may have something to do with the founding principle of THC – the all-too obvious yet previously disregarded notion that perhaps, just perhaps, someone should design a pair of jeans with the male physique in mind. After all, we’ve all heard the horror stories about how tight-fitting and skinny jeans can affect fertility in men. When one really sits down and thinks about, it’s simply mind-boggling that no-one has previously thought about creating a product like the one that Octavio and THC have now pioneered.

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With patents pending internationally, THC are set to go big in the next 2-3 years. The brand is quirky, cool, and original. The playful, tongue-in-cheek JUNK tag complements the brand’s USP: its specially designed pouch in the front to hold a man’s…erm…manhood in perfect comfort. On top of all that, this is a company that cares. In a world were so-called ‘ethical’ brands are now two a penny, THC opts not to adopt the term as a label. They prefer to let their actions speak louder than words:

- A stylish product that celebrates individual body shape and prioritises individual comfort and health.

- A commitment to plant a tree for every product sold.

- An information email and follow-up contact for every customer served.

These are the sorts of things ‘ethical fashion labels’ talk about doing, while THC actually does them.

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THC’s first design, DANK, is already a sell-out success – although you can still purchase sets of their second product run via their website here – and, needless to say, a firm FAULT Favourite. We love everything about this product, right the way through from the unique design to its 98% cotton, 2% lycra selvage material. The buttons on the fly ‘pocket’ or ‘pouch’ are beautifully crafted – as indeed is the finishing all over. When these jeans turn heads, you know that it’s just as much because of their superlative quality as for their idiosyncratic design.

Now that we’ve had a chance to think about it, if jeans were people then THC probably wouldn’t be your best friend. They’d be your lover. Now head on over to www.thehotchild.com to get your hands on THC’s Junk!*

* N.B: If you can’t handle the homosexual connotations of this joke then these jeans probably aren’t for you – because you need to grow a pair!

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All images courtesy of THC

Jungle and Beaty Heart perform at Heineken Ignite at London’s Battersea Power Station

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Last night, the FAULT team were lucky enough to be in attendance as Jungle and Beaty Heart jammed their way through a Heineken-fuelled Thursday night special at London’s Battersea Power Station. The party was held in a space that has been used as a pop-up cinema by the Everyman Cinema company throughout the Summer but which was turned into a mini-festival arena for this special, ‘one night only’ event.

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The Dutch beer giant enlisted two major up and coming London-based music acts to ‘ignite’ the evening. Jungle, in particular, have been heralded as part of a trailblazing new breed of contemporary soul artists, and the duo, backed by a hefty entourage of backing dancers and vocalists self-described as a  ‘collective’, certainly proved their worth during a smashing set punctuated by funky beats and smooth, sensual singing throughout.

Photo: Matt Crossick/PA

Photo: Matt Crossick/PA

The bands played to a backdrop of gourmet street food stands set up in a psuedo-festival style along the banks of the Thames. On the other side, of course, the Power Station itself loomed over proceedings like a sleeping giant. An extravagant light show projected onto the iconic towers set up the climax of the evening – aided in no small part by the hundreds of interactive light-up beer bottles that were being slung around by an enthusiastic young London crowd.

 

 

The Ignite London event was part of Heineken®’s ‘Cities of the World’ campaign aimed at inspiring men to cross borders within their city and to explore parts of the capital they wouldn’t normally visit. Through star treatment.co, Heineken provides access to the city’s hottest events and by hailing a complementary Star Cab, Heineken fans can be driven across London to discover a different part of the city for free every first Saturday of the month.

For more information, visit www.heineken.com/gb/oyc/home.asp

Images by Charlotte Page (unless otherwise stated)

FAULT Reviews: Beacons Festival

 Environment (Medium)

To the surprise of most Londoners, BEACONS Festival is incredibly quick and direct to get to. Set in the Yorkshire Dales, BEACONS is approximately a 3 hour train journey from Kings Cross and, unlike other festival commutes, you actually get a seat on the train. Arriving in Skipton was a breath of fresh air, with beautiful scenery and welcoming locals aplenty. So welcoming, in fact, that two kind hearted villagers offered us a lift from the station to the festival site. A quick press pass collection and we managed to catch the end of the romantic-nostalgic set put on by British Sea Power (remember them?). As people lay around in the tent ,the live band, with their back to the audience, serenaded the black and white visuals, closing with a dramatic classical finish.

Raining disco balls

Raining disco balls

We took a long tour of the festival site and were instantly taken aback by how friendly everyone was. Numerous times we were approached for nothing more than a casual chat. Amazingly, the guest demographics were an equal mix of young locals, dedicated music geeks, families and mature adult couples mutually enjoying the festival. BEACONS seemed to be a proud supporter of local produce, dedicating an entire bar to independent bitters and lagers, whilst the food ranged from American BBQ Ribs to Caribbean Jerk Chicken.

Daphni (aka Caribou)

Daphni (aka Caribou)

As the day grew older the atmosphere became electrifying- everyone wanted to party. The first act of the weekend that completely blew the crowd away was Daphni (aka Dan Snaith aka Caribou) when he played Caribou’s new single ‘Can’t Do Without You’. The powerful performance set up the stage nicely for Daniel Avery’s arrival and he delivered an upbeat, fast-paced, techno driven performance, engaging the guests most with his track ‘Drone Logic’. The night went all too quickly, with an early finish of around 1:30am, but the party seemed to go on regardless – whether it was in the form of the silent disco or hidden burlesque shows.

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Daniel Avery

The next day was a beautiful one; the hot weather and bright skies making it perfect conditions for lounging around nursing hangovers. We lay near the Argyle Stage for most of the day where we could pick up quality coffees and cold pressed juices whilst listening to bands such as Years&Years. Before they even came on stage they attracted young gatherings of teenage girls screaming to the lead singer “We love you, Oli, we want your babies!”. What’s rock and roll without groupies, right? Classic…

Jack Master

Jack Master

As the day went on we scouted the area for da time activities and local organic beers. To get us in the mood for the night ahead we dropped in to Moko playing the main stage. New on the scene but claiming her rightful place as the new bringer of Soul music, Moko originates from New Cross in South East London. We were blown away by her show and, from her reaction to the crowd, she was too! Although the crowd didn’t fill the tent, they certainly made up for it in cheers and dancing.

Jon Hopkins

Jon Hopkins

After seeing Jon Hopkins a few months ago at SONAR Festival, I was really excited to see him closing the main stage on the Saturday night. The tent was jam-packed and it seemed the whole festival was in attendance. As I was stood in the press pit I saw that it was filled with huge white beach balls and after a few tracks in, security threw them into the crowd which erupted in a sea of colour! The balls were touch sensitive so that every time they encountered movement their colour changed. This, along with the soul wrenching beats, made for one of the most incredible festival performances I have ever seen.

Crowd

Crowd

 

Words and photography courtesy of Lux & Noah

Zara Martin – exclusive Focus section cover shoot for FAULT Issue 18

 

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Zara Martin was shot in London by photographer Paul Whitfield and styled by Rachel Holland exclusively for the internal Focus section cover of FAULT Issue 18
Click here to order your copy of this issue!

 

FAULT Issue 18 Focus section cover star Zara Martin never misses a VIP party. In fact, she’s usually the one who keeps it going all night when she’s spinning the tunes from behind the decks for the international glitterati crowd. Zara is also a model and TV presenter and you’ll often spot her on red carpet style lists or sitting on the front row at fashion week presentations with her countless celebrity friends, including Tali Lennox, Caroline Flack and Miquita Oliver. For FAULT’s RAW issue, we looked underneath the glamour with Zara to discuss her hidden talents, charity work and what her younger self wouldn’t believe about her now.

FAULT: Which came first: your modelling or DJing?

Zara: I started doing some work for MTV back in the day when there weren’t so many girl DJs. So it was the music connection that helped with the DJing but I’ve always had a model agency. I’m not super tall so I never did any catwalk stuff, more commercial work, so all the cool opportunities came from the DJing. The shows that I do on TV are mostly fashion or music based as well.

It’s slightly strange that my first job was given to me by Al Gore. It was really random.

So you’re a model, a DJ, a TV presenter and you’re creating a line of headphones… do you have any hidden talents?

Well, I’m working on doing some acting at the moment. I went to drama school before I got into all of this but I never finished it. So in my spare time I’m taking classes and auditioning. I’ll be in LA for pilot season and I’ve just got the trailer through for a short film I worked on with Director Wayne Che Yip called Toledo. I have an American accent in it and it’s all really weird. It’s based on a Charles Bukowski poem called ‘For The Foxes’.

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Interview by Olivia Pinnock

What new music are you really pushing at the moment?

I’ve liked Angel Haze for a really long time and it seems like she’s just blowing up at the moment [Ed: FAULT Online featured her recently]. So I’m like ‘see I told you!’ I really like her, she’s just wicked.

Other than that, I love it when acts collaborate and do something a little different like the Iggy Azalea/Charli XCX track ‘Fancy’ is amazing and it kind of reminds me of old Gwen Stefani. I still love The Weeknd, he does this cover of XO by Beyoncé that’s really good!

There are so many good artists about at the moment. It’s hard to pick just one. ..

You also manage to fit in time to be an ambassador for Women for Women International

Women for Women are the most incredible organisation. I met Brita [Fernandez Schmidt], who’s the chairwoman in the UK, and I immediately vibed with her. You know when you just meet someone with such pure energy you just have to know more about them? She’s so inspirational. Every time I see her I feel like I’m not doing enough! So I wanted to get involved. At the moment we’re just working out the best way and I’m trying to get some younger people involved in the organisation and hopefully we’ll be doing some events this year. You’ll be hearing more about it soon.

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Get the full shoot and interview – only in FAULT Issue 18.
Click here to order your copy for delivery worldwide!

What advice would you give your younger self?

Stop messing around and do some work! I wasted a lot of time in night clubs but I have no regrets. I don’t like to live my life like that.

FAULT MAGAZINE ISSUE 18 – THE RAW ISSUE – IS AVAILABLE TO ORDER NOW

 *FAULT MAGAZINE IS AVAILABLE FOR DELIVERY WORLDWIDE*

…Or get your copy digitally via Zinio! 1 year’s subscription = just £14.40

FAULT Focus: Moving Picture Company’s VFX Maestro Sheldon Stopsack

A flaring storm of future sentinels, engineered from Mystique’s DNA and harnessed by nanotechnology, has descended upon X-Men: Days of Future Past. These sentient creations incorporate 100,835 blades and 1019 moving parts inside faces that open up as extra weapons against adversaries. The forces of nature transcend into a seamless computer generated and 2D empyrean, all orchestrated by the Moving Picture Company: a portal from the ultimate heights of technological potential to the world at large.

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Close-up still shot of a Sentinel in X-Men: Days of Future Past

MPC is a global, feature film VFX (visual effects) studio that has recently worked on heavyweight, large-scale international productions including the X-Men trilogy, The Hunger Games, and Guardians of the Galaxy. Powered by technology right the way through from initial concept art to final compositing and stereoscopic workflow, and punctuated by a labyrinth of seemingly-supernatural forces and immersive interactive systems, MPC has been awarded a prestigious Gold Lion in Cannes, an Academy Award for its contribution to Ang Lee’s Life of Pi and a myriad BAFTA and Emmy awards.

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Sheldon Stopsack, VFX Supervisor at MPC

This week’s FAULT Focus interviewee is Sheldon Stopsack, VFX Supervisor at MPC. Since he first started in the industry back in 2002, Sheldon has progressed from his speciality in Lighting to oversee a combined symphony of R&D, CG modeling, Animation, FX and Lighting in his current role. Integrating bespoke and highly complex VFX has led to him managing multi-site projects for the likes of Skyfall, Harry Potter: the Deathly Hollows I and II, X-Men: First Class and The Chronicles of Narnia while he has also simultaneously spearheaded the company’s technological development projects (ACES implementation, Katana adaptation, etc) in London, Vancouver and Bangalore.

FAULT: Sheldon, you worked as CG supervisor on recent projects for MPC like the most recent X-Men film and Guardians of the Galaxy – and have since been promoted to VFX Supervisor for various upcoming projects.   X-Men: Days of Future Past marks MPC’s second return to the Marvel based franchise. The CG sequences, make-up effects and pre-visualization was initially headed up by 12 different VFX studios – after it was originally engineered with 528 shots by MPC. Tell us about the challenges associated with the production stage of the ‘future Sentinel’ sequences?

Sheldon: The development of the future Sentinel was probably the biggest challenge MPC faced during the production of X-Men Days of Future Past. We were involved with the design of the Sentinels from an early stage. Our in-house Art Department provided a wide range of concept work for the killing machines.

The final design of the sentinel incorporated the idea of having hundreds and thousands of individual blades, similar to Mystique’s shape-shifting ability. The biggest hurdle there was the pure complexity of the asset, [all the] while maintaining flexibility. We needed to have control over each blade to allow flaring, transforming, swapping for varying blade instances and shader variations.

At the beginning we looked into existing technology that could be adapted for our needs. MPC’sin-house fur and feather system called Furtility was one of them, however it became quickly obvious that we would need to develop a new system that scaled better for our needs. We ended up developing a new system for which we build a low resolution version of the sentinel.

Individual blades were represented by a much simpler five sided geometrical shape that acted as a proxy. These were rigged up in a traditional way, ensuring optimal performance for animators. From the blade proximity we then cached out point cloud data for position and orientation. But also blade ID and various other primVars.

At render time, we then swapped out the proxy representation for a full scale render model. Dependent on the state of the sentinel at that time we could use different blade types (eg, damaged blades) or use primVars to drive various shader attributes to change the sentinel appearance (eg refracted ice for Iceman or glowing hot as Sunspot).

A sentinel attacks Storm (played by Halle Berry)

A sentinel attacks Storm (played by Halle Berry) in X-Men: Days of Future Past

The X-Jet, Cerebro’s crimson-hued virtual world where Xavier searches for mutants and Sunspot’s confrontation with the sentinels were all orchestrated in a CG environment by MPC. Tell me about the collaborative process with [Animation Supervisor] Benoit Dubuc and [VFX Supervisor] Richard Stammers – from concept to final composite? How were the fight sequences between the mutants and the Sentinels developed?

The orchestration of the sentinel fighting our hero mutants was an important part for us and, of course, for the client. Benoit handled this part incredible well. The challenge was introducing the correct mix of agility without competing with the scale and weight of each sentinel. Richard had a clear idea of what the character of these sentinel was supposed to be. Throughout the process Benoit and his team blocked out each individual shot and went through various iterations of animation. The challenge here is to find a consistent language. Even though the Sentinels are impersonal futuristic killing machines, it was important to have a uniform and distinct characteristic.

Sheldon and MPC’s work on display in Guardians of the Galaxy

Sheldon and MPC’s work on display in Guardians of the Galaxy

Your work on Skyfall was an altogether different challenge – a hybrid approach that included over 1300 visual effects shots ranging from the MI6 building’s explosion, the Komodo Dragon casino attack, the Merlin helicopter crash at the manor and the London Underground encounter. What was your methodology with regards to the CG sequences and explosions for Skyfall? How did you manage the workflow amongst the various VFX offices?

Projects like Skyfall are very different from a typical VFX project that requires unreal effects work. The goal here was almost to hide that fact that any visual effects work were used and to provide the audience with an experience that they don’t question – or ideally even notice. Even though realism always plays a key role in our work, it is much less forgiving on something like Skyfall where our work needs to blend in with the non VFX surroundings.

On Skyfall we had the pleasure to work with Steve Begg as the client VFX Supervisor. Steve is a real veteran in the business and planned the helicopter crash into the Manor as a miniature shoot. The resulting plates gave us a great basis to work from.

To add more realism to the crash we decided to replace larger parts of the helicopter adding more natural movement, vibration and crumbling. We re-projected the plates onto a roto-animated version which was matching the miniature shoot perfectly. This re-projection then got baked out into a texture pass and which we partly reused on the enhanced animated version.

Newly revealed areas or destructed parts were filled in with a full CG version of the helicopter, which obviously had to blend in perfectly. A similar approach was used for the Lodge itself. We had to sell the impact with a lot more fx simulated destruction with explosions, fire and smoke. In addition we spiced up the plates with a lot atmospherics such as wind and downdraft.

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Voldemort’s killer spell in action, as visualized by MPC

How did you transform the fantasy world of wizards in the climactic showdown with Harry Potter and Lord Voldemort as Lighting Supervisor for Harry Potter and the Deathly Hollows I & II?

As Lighting Supervisor at the time I was overseeing the entire processes from Look Development of all character and assets to final Lighting all shots MPC was involved in.

It was a great experience to be involved in the last two Potter Movies which brought the series to an end. MPC obviously had a long history with the Potter Franchise and we wanted to finish it with a spectacularly high quality of VFX. Even though both parts were worked on almost simultaneously, we took a huge leap between the two by introducing a complete new shader library, which was a further step for us into the physical based direction. This made it a bit more difficult to re-use existing Look Development that was done for the first part, but the benefit of having a more accurate shading and lighting result made it worth the effort.

With the last two Potter movies we were also facing a new level of complexity when it came to fx rendering – and it certainly gave us a taste of which direction the industry was going and what future requirements would need to tackle.

Marvel's Guardians Of The Galaxy L to R: Drax the Destroyer (Dave Bautista), Gamora (Zoe Saldana), Groot (voiced by Vin Diesel) and Peter Quill/Star-Lord (Chris Pratt) Ph: Film Frame ©Marvel 2014

Marvel’s Guardians Of The Galaxy
L to R: Drax the Destroyer (Dave Bautista), Gamora (Zoe Saldana), Groot (voiced by Vin Diesel) and Peter Quill/Star-Lord (Chris Pratt)
Ph: Film Frame ©Marvel 2014

What other projects can we expect from you and MPC in the near future?

MPC just finished working on The Guardians of the Galaxy and it has a wide range of new projects already lined up, including Disney’s The Jungle Book, Batman V Superman: Dawn of Justice, Night at the Museum 3, Frankenstein, Into the Woods, Cinderella and The Hunger Games: Mockingjay: Part 1.

I am currently preparing my next gig, which is Terminator: Genesis

Interview: Rocio Frausto
Edit: Nick Artsruni
Images: Courtesy of MPC (unless otherwise stated)

Example – FAULT Issue 18 star announces new single and UK tour dates

Example was shot in London by photographer Rachell Smith and styled by Dan Blake exclusively for FAULT Issue 18  Click here to order your copy of this issue!

Example was shot in London by photographer Rachell Smith and styled by Dan Blake exclusively for FAULT Issue 18
Click here to order your copy of this issue!

Elliot John Gleave, aka FAULT Issue 18 star Example, has just announced the release of his fourth single from most recent album, Live Life LivingThe release of ’10 Million People’, a tribute to the UK’s clubbing culture in the early ’90s, on 5th October coincides with the start of Example’s live tour of the UK. The latter kicks off in Llandudno, North Wales for the start of a nationwide tour which will see Example play 90 minute sets filled with tracks from his 5 studio albums to date (and much more).

Listen to the track here:

 

 Check out more from our shoot with EXAMPLE for FAULT ISSUE 18 – the RAW ISSUE in this online teaser

…or order your copy of the issue here

EXAMPLE UK OCT-NOV  ’14 TOUR DATES:

OCTOBER 2014
Fri 17 LLANDUDNO NORTH WALES ARENA
Sat 18 STOKE VICTORIA HALL
Sun 19 GRIMSBY AUDITORIUM
Tue 21 NEWCASTLE O2 ACADEMY
Wed 22 CARLISLE SANDS CENTRE
Thu 23 YORK BARBICAN
Sat 25 LEEDS O2 ACADEMY
Sun 26 BATH PAVILION
Mon 27 BOURNEMOUTH O2 ACADEMY
Wed 29 NEWPORT CENTRE
Thu 30 PLYMOUTH PAVILION

NOVEMBER2014

Sun 02 SOUTHEND CLIFFS PAVILION
Mon 03 MARGATE WINTER GARDENS
Tue 04 FOLKESTONE LEAS CLIFF HALL
Thu 06 EASTBOURNE WINTER GARDENS
Fri 07 NOTTINGHAM ROCK CITY
Sat 08 SHEFFIELD O2 ACADEMY
Mon 10 LEICESTER O2 ACADEMY
Tue 11 PORTSMOUTH GUILDHALL
Thu 13 LONDON O2 ACADEMY BRIXTON
Mon 17 CAMBRIDGE CORN EXCHANGE
Tue 18 NORWICH UEA
Wed 19 LIVERPOOL UNIVERSITY MOUNTFORD HALL
Fri 21 BIRMINGHAM O2ACADEMY
Sun 23 HULL CITY HALL
Tue 25 GLASGOW BARROWLAND
Thu 27 MANCHESTER O2 APOLLO

TICKETS ON SALE 9.00AM FRIDAY 22 AUGUST
GIGSANDTOURS.COMTICKETMASTER.CO.UK

For further information please go to: www.trythisforexample.com

Ariana Grande and FAULT Issue 15 star Big Sean release new track, ‘Best Mistake’

So, FAULT Issue 15 Music cover star Big Sean is at it again! Check him out on this new track by 21 year old singing sensation Ariana Grande: ‘Best Mistake’.

 

 

Here’s the shot of the Detroit-born rapper with model Elle Evans in FAULT issue 15 that went viral as soon as it was published. Sean split from his girlfriend at the time, Naya Rivera, shortly afterwards…

 

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Big Sean was shot by Steven Gomillion & Dennis Leupold (GNL Studios) and styled by April Roomet exclusively for the Music section cover of FAULT Issue 15
To get your copy of this back issue click HERE