Harry Styles brings London to its knees for a second night in a row at the Apollo

 

As much as you brace yourself for the sheer excitement of 5000 young girls yearning for a glimpse of Harry Styles, nothing can prepare you for the caliber of high octane screams that occur when his figure appears anything but shyly from behind his eponymous pink curtain.

Outside the venue, the sight is awe-inducing. Thousands of girls had camped overnight – you can spot under the scaffoldings hundreds of mattresses and sleeping bags piled one on top of the other.

Harry’s seen as a safe haven by his millions of fans. In a way – he is a refuge. Inside the venue, thousands of people show up with rainbow flags and Black Lives Matter posters are spotted all across the front row of the venue. Hundreds of girls and boys alike proudly strut the hallways of the Apollo wearing his pink merchandise.  Treat People With Kindness it says. If their idol wears his heart on his sleeve, then so should his fans.

 

You wonder whether Styles is an activist or an artist. Is this a concert or a rally? It’s a bit of both. Harry’s idols would not turn their concerts into safe places – but Harry’s carving his own path. His platform is our youth – our future doctors, future politicians and future parents. If this is his way of educating the masses, then it’s a way that we should all stand behind.

As the lights go down and Styles makes his appearance, there’s a secret yearning for earplugs as you shield yourself from the deafening screams. It’s all in good spirit though.

As he jumps from song to song with the flair of a performer with three decades under his belt, it’s obvious to the naked eye that Harry Styles was in his element in One Direction as much as he is on his own. It’s his versatility that’s catchy. He’s at ease and in good spirits. His vocals silence the room with the rendition of Ariana Grande’s Just A Little Bit Of Your Heart. Fan favourite Kiwi is clearly Styles’ favourite to perform though. His inner Mick Jagger shows up as Harry glides and kneels and prances, much to the joy and arousal of his audience. He’s a teaser.

“Feel free to be whatever you want and whoever you want in this room,” Harry chants to the audience. That’s what they’re here for, after all. “I wouldn’t get to do this if it hadn’t been for you” he carries on with the grateful innocence of a child. And a child he is – one that might not even be aware of what even greater of a journey lies ahead of him. “He’s a Bowie in the making,” I hear shyly from an eager fan sat behind me. He’s not – He’s Harry Styles in the making.

 

 

Coverage: Adina Ilie

FAULT Magazine Meets Sorcha Richardson

 

 

Dublin born, Brooklyn based singer/songwriter Sorcha Richardson first hit our Radar back in 2015 with the release of her critically acclaimed ‘Petrol Station’ and we’ve been hooked ever since. With the release of track ‘Waking Life’ and about to embark on tour with Imelda May, we caught up with Sorcha to find out more about her career, music, life, future and of course, FAULTs.

You’re about to set off on tour with Imelda May, excited?

I can’t wait!  Rehearsals have been so much fun. I’m excited to travel with the guys in my band. I’ve played in Cork a handful of times but it will be my first time playing the rest of the cities. And the venues are incredible. Some of the nicest in Ireland. I can’t wait to see Imelda’s show too.

Do you find your songs take on new meaning and experiences when you perform them live to a crowd?

Yeah there’s a few in the set that feel extra special to play live.  Waking Life is one.  I wrote it when I was feeling a bit dissatisfied with life and so it feels very triumphant to play it to a room full of people.   There’s another song in the set that isn’t out yet, which I wrote about leaving Dublin for New York and the consequences of that decision on my relationships with the people I left behind here.  That’s a special song to me anyway but it has an added weight when I perform it in Ireland.

You’ve been performing for many years now, what’s been your toughest hurdle to climb in your progression as an artist?

I used to have such bad stage fright and I really didn’t enjoy performing because of it. All throughout school I played the drums in bands and never ever thought of myself as a singer.  So when I moved to New York and decided I wanted to sing these songs I’d been writing, I felt so vulnerable to be at the front of the stage with a microphone rather than at the back behind a drum kit. It took a lot of really bad gigs to get over that fear. And it still comes back every now and then, usually if I haven’t played a show in a while. But now I really love performing, especially the full band shows. They kind of just feel like a party.

Waking Life touches on hope, dreams and the realism of “life isn’t always how we planned it” and lyrically it’s very cinematic “flowers dying in the kitchen” “wrapped your fingers around my bleeding heart like branches overgrow” – would you say the visual aspect of lyricism enters your mind much when you song write?

100%. Writing songs is so visual for me  It’s almost like I’m watching a moving in my head as I write.  Sometimes I’m trying to capture that visual and translate it into words. Other times I’ll know that a lyric feels right because of how vividly I can see it in my head.  Even when I write about very concrete memories, it’s like they take on an altered, distorted shape in my brain.  Like a reimagined version of events that’s almost as vivid as the real thing.

Is it hard to find inspiration when you’ve got such a unique artistry or do you just find it in places outside of simply the realm of music? 

Sometimes I just don’t feel that creative. But there’s lots of things outside of music that inspire me – a lot films, books, photography. I like reading and watching interviews with musicians or writers, even if they’re not talking about music. It’s just fascinating to me to hear different people’s turns of phrases.  There’s times when I’ll be on the train and overhear a snippet of a stranger’s conversation and that finds its way into a song.

You’re Irish born but you’ve lived in NYC for a while now, do you still feel a close connection to Dublin as home, see NYC as home or neither and feel slightly displaced in both?

Dublin will always be home.  Even spending these last few months here has been amazing cause I’ve been able to have a bit of a routine that feels like normal life rather than coming home for a 2 week holiday.   New York feels very much like home too but I don’t feel anchored to New York in the way that I do with Dublin.  It’s always felt like a very transient place to me.  People come and go a lot. It sometimes just feels like everybody’s passing through.

Right after moving to New York I had this feeling like I was in some kind of no-mans land between the two places.  I had a life in Dublin and a life in New York and they felt really disconnected from each other.  And it felt like the longer I was away from home, the bigger the gap between them would come because I was adding more and more weight to my life in New York and less and less to my life in Dublin.  But in the last 3 years or so, a lot of my Irish friends have also left home, (a good few for New York) and are friends with my New York friends and so the two worlds have kind of blended into each other.  It feels less like I’m displaced in both and more like I’m part of a generation of young Irish people who have all done the same thing.

You’ve mentioned that birthdays are a time where you reflect and reanalyse your wants and goals, what will you be hoping to achieve for when your next birthday roles around?

It was my birthday a couple weeks ago.  I want to have a better party next year.  This time around I had my friends come to my house and then I made a rash decision to go to a bar in the city centre that just resulted in everybody getting separated. In hindsight we should have just gone to the bar on my street.   So I definitely want to have a better party next year. I also want to tour more. I’d be down to live pretty nomadically for a year. Maybe also be making something that resembles an album.  I should also learn to parallel park because driving around Dublin and not being able to parallel park is a nightmare.

 

What is your FAULT?

Not knowing when to leave the party / leaving my phone at the bar

FAULT Magazine Attends The UK Music Video Awards 2017

 

Last night FAULT Magazine attended the 2017 UK Music Video awards at London’s Roundhouse. Now in its 10th year, the award honours the greatest and most creative music videos and the people that make them – say what you will about 2017, it’s undeniably been a great year for music and music videos.

Hosted by the hilarious Adam Buxton, the night saw big wins for Kendrick Lamar who won the Artist of the Year award and alt-j’s 3WW won Best Alternative Video and Best Cinematography.

The night saw US director Ryan Staake win big, for his work on Young Thug’s Wyclef Jean – picking up a Video of the Year, Best Editing and Best International Urban Video award. By now, you’ll no doubt have seen the music video which nearly never was – but thanks to his innovation and problem-solving skills Ryan managed to pull it off!

In the Pop categories, Dua Lipa’s New Rules triumphed among the UK videos, while Haim’s Want You Back took the International award with US director Jake Shreier collecting the trophy. Other international directors who took awards include Barcelona’s CANADA for Beck’s Up All Night, and France’s The Blaze, who directed their own video for Territory. British directing team The Sacred Egg won the UK Rock/Indie Video trophy for their work on Royal Blood’s Lights Out and Hector Dockrill took the UK Urban Video award for Ray Blk’s Patience.

The UK Music Video Awards editorial director, David Knight, says, “More than ever, the music video is the place where musicians collaborate with filmmakers to create astonishing works of creativity. The winners and nominees at the UKMVAs have demonstrated that with their exceptional work in the past year.

All in all, we had a great night at the Roundhouse celebrating alongside such a talented room of individuals! Cheers to the UKMVAs and another 10 years of success celebrating the wonderfully diverse talents out there!

Find a full list of winners below!

Here is the full list of winners:

Best Pop Video – UK in association with Rushes
Dua Lipa – New Rules
Director: Henry Scholfield
Producer: Campbell Beaton
Prod Co: Caviar
Commissioners: Alex Burford / Kirdis Postelle for Warner Bros

Best Dance Video – UK
Bonobo – No Reason
Director: Oscar Hudson
Producer: Matt Posner
Prod Co: Pulse Films
Commissioner: John Moule for Ninja Tune

Best Rock/Indie Video – UK
Royal Blood – Lights Out
Directors: The Sacred Egg
Producers: Natalie Arnett / Tom Birmingham
Prod Co: Riff Raff Films
Commissioner: Jennifer Ivory for Warner Music UK

Best Alternative Video – UK
alt-j – 3WW
Director: Young Replicant
Producer: Sarah Park
Prod Co: Pulse Films
Commissioner: Andrew Law for Infectious Music / BMG

Best Urban Video – UK in association with PPL
Ray BLK – Patience
Director: Hector Dockrill
Producer: Stephanie PaeplowProd Co: Pulse Films
Commissioner: Hal Hudson

Best Pop Video – International
HAIM – Want You Back
Director: Jake Schreier
Producers: Alex Fisch / Jackie Kelman Bisbee
Prod Co: Park Pictures
Commissioners: Semera Khan / Saul Levitz for Polydor Records / Columbia Records

Best Dance Video – International
The Blaze – Territory
Directors: Jonathan Alric & Guillaume Alric (The Blaze)
Producer: Roman Pichon HerreraProd Co: Iconoclast
Commissioner: Manu Barron for Animal63

Best Rock/Indie Video – International
Father John Misty – Things It Would Have Been Helpful To Know Before The Revolution
Director: Chris Hopewell
Producer: Rosie Lea BrindProd Co: Jacknife FilmsCommissioner: Sub Pop / Bella Union

Best Alternative Video – International
Beck – Up All Night
Directors: CANADA
Producer: Laura SerraProd Co: Canada
Commissioner: Kevin Kloecker for Capitol Records

Best Urban Video – International
Young Thug – Wyclef Jean
Director: Ryan Staake
Head of Production: Kevin Staake
Exec Producers: Ryen Bartlett / Nathan Scherrer
Producer: Jeff KopchiaProd Co: Pomp&Clout / FreenjoyCommissioner: Emmanuelle Cuny Diop For Atlantic Records / 300 Entertainment

Best Pop Video – Newcomer in association with giffgaff
Charlotte Cardin – Like It Doesn’t Hurt
Director: Kristof Brandl
Producers: Vlad Cojocaru / Jakob Preischl
Prod Co: Colossale / Bwgtbld
Commissioners: Alex Auray / Jason Brando for Cult Nation

Best Dance Video – Newcomer in association with giffgaff
Obongjayar – Endless
Director: Matilda Finn
Producer: Nick HayesProd Co: Friend
Commissioner: Theo Lalic

Best Rock/Indie Video – Newcomer in association with giffgaff
Lemon Twigs – I Want To Prove To You
Director: Nick Roney
Producer: Andreas AttaiProd Co: Agile Films
Commissioner: Gabe Spierer for 4AD

Best Alternative Video – Newcomer in association with giffgaff
Bonnie Banane – L’Appétit
Director: William Laboury
Producer: Theo GallProd Co: Division
Commissioner Jules De Chateleux for DIVISION

Best Urban Video – Newcomer in association with giffgaff
Oscar Worldpeace – Tate Modern, Wary, Pearls
Director: Taz Tron Delix
Producer: Kiran MandlaProd Co: COMPULSORY

Vevo MUST SEE Award
Marika Hackman – My Lover Cindy
Director: Sam Bailey
Producers: Lucy Bradley / Katie LambertProd Co: Agile Films
Commissioner: Connie Meade for AMF Records

Best Interactive Video in association with The Mill
Naïve New Beaters – Words Hurt
Director: Romain Chassaing
Producers: Nicolas Tiry / Edouard Chassaing
Prod Co: Solab
Record Co: Capitol Music France

Best Production Design in a Video
Bonobo – No Reason
Production designer: Luke Moran Morris
Director: Oscar Hudson
Producer: Matt Posner
Prod Co: Pulse Films
Record Co: Ninja Tune

Best Styling in a Video in association with i-D
The Blaze – Territory
Stylist: Juliette Alleaume
Directors: Jonathan Alric / Guillaume Alric (The Blaze)
Producer: Roman Pichon Herrera
Prod Co: Iconoclast
Record Co: Animal63

Best Choreography in a Video
Kanye West – Fade
Choreographers: Guapo, Jae Blaze, Derek ‘Bentley’ Watkins
Director: Eli Linnetz
Producer: Kathleen Heffernan
Prod Co: Iconoclast
Record Co: Good Music

Best Cinematography in a Video in association with Panalux
alt-j – 3WW
DOP: Dustin Lane
Director: Young Replicant
Producer: Sarah Park
Prod Co: Pulse Films
Record Co: Infectious Music / BMG

Best Colour Grading in a Video in association with CHEAT
Mick Jagger – Gotta Get A Grip
Colourist: Mark Gethin at MPC LA
Director: Saam Farahmand
Producer: Amalia Rosen-Rawlings
Prod Co: Black Sheep Studios
Record Co: Polydor Records

Best Editing in a Video in association with Cut+Run
Young Thug – Wyclef Jean
Editors: Ryan Staake & Eric Degliomini
Exec Producers: Ryen Bartlett / Nathan Scherrer
Director: Ryan Staake
Producer: Jeff Kopchia
Prod Co: Pomp&Clout / Freenjoy
Record Co: Atlantic Records / 300 Entertainment

Best Visual Effects in a Video
Leningrad – Kolshik
VFX: CGF
Director: Ilya Naishuller
Producers: Dimitry Mouraviev / Ekaterina Kononenko
Prod Co: Fancy Shot / Versus Pictures / Great Guns

Best Animation in a Video
Katie Melua – Perfect World
Animators: Karni & Saul
Directors: Karni & Saul
Prod Co: Sulky Bunny
Record Co: Dramatico

Best Live Session
Mura Masa ft Damon Albarn – Blu (Live)
Director: Colin Solal Cardo
Producer: Christophe “Chryde” Abric
Prod Co: La Blogothèque
Commissioners: Emily Tedrake / Semera Khan for Polydor Records

Best Live Concert
Rammstein – Paris
Director: Jonas Akerlund
Producer: Svana Gisla
Prod Co: Black Dog Films
Commissioner: Rammstein

Best Commissioner
Semera Khan

Best Producer in association with WPA
Nathan Scherrer

Best Production Company
Pulse Films

Best New Director in association with Time Based Arts
Matilda Finn

Best Director in association with Locomotion
Oscar Hudson

Best Artist
Kendrick Lamar

The Icon Award
Jake Nava

Video of the Year in association with Promo News
Young Thug – Wyclef Jean
Director: Ryan Staake
Head of Production: Kevin Staake
Exec Producers: Ryen Bartlett / Nathan Scherrer
Producer: Jeff KopchiaProd Co: Pomp&Clout / FreenjoyCommissioner: Emmanuelle Cuny Diop For Atlantic Records / 300 Entertainment
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BAFTA Announces Breakthrough Brits 2017 in partnership with Burberry

Last night FAULT attended The British Academy of Film and Television Arts, commonly known as BAFTA announced their twenty standout talents in film, games and television. Revealed in partnership with fashion mega-house Burberry and hosted by FAULT Magazine Issue 24 star Maya Jama, the evening saw industry veterans gather to celebrate and impart their wisdom on the twenty budding talents. This year’s initiative is also supported by The Langham London and Audi UK.

To be named a Breakthrough Brit is an accolade to take seriously; since the launch of the initiative in partnership with Burberry back in 2013, winners have gone on to do great things some even collected their very own coveted BAFTA awards.

2016 winner Malachi Kirby (see his interview with FAULT here) career has gone from strength to strength as we’ve seen him ear the coveted part of Kunta Kinte in 2016’s retelling of Roots, a role previously played by Emmy nominated actor LeVar Burton.

The initiative doesn’t just cater to those within the film industry as is commonly thought, Games artist Anna Hollinrake appears on the list for her artwork featured on mobile VR game Lola and the Giant.

Similarly, Creative Director Henry Hoffman whose game Mush has already earned him both a Dare to be Digital competition and a BAFTA Cymru award and now he takes his place as a breakthrough brit as he continues to blur the lines between developer and creative.

Selected by a jury of industry experts including FAULT Magazine Issue 9 star Will Poulter and FAULT 27 star Reggie Yates – the diversity of the expertise speaks volumes for just how much talent there is and at such an early in their careers.

See the highlights from the night in the video below!  

Actors Jenna Coleman, Joe Dempsi, Suranne Jones and Vicky McClure revealed the names on the shortlist on the night and allow us to do the same below.

· Adam Vian and Thomas Vian – Game Directors
· Anna Hollinrake – Games Artist
· Charlie Cooper and Daisy Cooper – Writers/Actors
· Chloë Thomson – Cinematographer
· Daniel Fountain – Game Designer
· Francis Lee – Writer/Director
· Henry Hoffman – Creative Director (Games)
· Hope Dickson Leach – Writer/Director
· Jessie Buckley – Actress
· Josh O’Connor – Actor
· Kit Fraser – Cinematographer
· Lydia Hampson – Producer
· Mahalia Belo – Director
· Molly Windsor – Actress
· Olivia Wood – Games Writer & Editor
· Sarah Quintrell – Writer
· Segun Akinola – Composer
· Susan Wokoma – Actress

Amanda Berry OBE, Chief Executive of BAFTA, said: “Breakthrough Brits, in partnership with Burberry, identifies the very best emerging talent in film, games and television. As it reaches its fifth year, I am so proud of what the initiative has achieved, and the talented people it is has honoured. Over the next year, the Breakthrough Brits will be supported by BAFTA and mentored by some of the industry’s most established professionals. This year’s Breakthrough Brits truly represent the diverse range of talents that make up our industries. We’re thrilled to be recognising these individuals this evening.”

Click here for more information about BAFTA Breakthrough Brits, in partnership with Burberry,

FAULT Magazine In Conversation With Reggie Yates PT.1

Photography Joseph Sinclair | Styling Rachel Gold @ Red Represents | Lauren Alice @MandyCoakleyRepresents using Medik8 and La Roche Posay

Words: Miles Holder

 

For those who grew up watching 1990s terrestrial television, Reggie Yates has always been a household name – the recognisable young face who young POC across the country grew up with as their pillar of cultural representation on children’s television. Programs have come and gone since he made his debut on the Desmond’s in 1993, but still to this day, Reggie is still a mainstay on our television screens.

In 2013, we were introduced to a new side of Reggie through his documentary ‘Reggie Yates’s Extreme South Africa’, I say this was a “new side” of Reggie, but for many of us it was the first time we’d ever gotten to know Reggie Yates the person as opposed to the Saturday morning television presenter. Lying alone in his tent and discussing how South Africa’s race issues were affecting his own perception of self, it was a million miles away from the Reggie I remembered interviewing Atomic Kitten on ‘Smile’ or from his seldom spoken about appearance on Celebrity Fame Academy in 2005. A real Reggie; down to earth, an undeniably, unashamedly “black” Reggie Yates.

As more projects have released, the idea of Reggie Yates as a documentary maker has gone from career pivot to career-defining; critics and viewers alike now hold his work in the same esteem as one might the documentaries of Louis Theroux or Andrew Marr – a merit not many young British stars achieve.

 

FAULT: All those years of presenting children’s television, was the plan always to move into documentary making?

Reggie: No, and to be honest, there has never been a plan until now. It’s only in the last decade that the focus has been on doing projects which I genuinely care for. I know where I’d like to be at forty years of age in my personal and professional life and at the age of twelve I just wanted to have fun and as I’ve matured my desires for my career changed.

FAULT: Your career is an anomaly; it prompted The NewStatesman to run a story entitled ‘Does Reggie Yates Have The Weirdest Career In Television?’ – do you feel as though it’s been weird?

I don’t think I do have the weirdest career on television, I would replace “weird” with “authentic”. When I was eighteen, the BBC were telling me that I was going to be a ‘Blue Peter’ presenter and I was like, “no I’m not.” I never watched ‘Blue Peter’ growing up, and it never spoke to me, and quite frankly, I didn’t care for it. For those reasons, I didn’t do it and they just couldn’t understand and didn’t get it.

FAULT: Blue Peter is a big gig to pass up, what did you do instead?

What I went on to do was doing children shows where it felt like I was allowed to be me in, I helped create ‘The Crust’ a sitcom we did in a tower block, and it had a predominately black cast and I was twenty-one at that point. I always did things that feel right at the time, and that’s why there’s been this crazy flow but if you study my career, it’s always moved me forward, and now, everything aligns. The book makes sense next to the documentaries, the documentaries make sense with the photography, and that’s what I’m spending my life doing. All about empathy and learning, growth, sharing and I’m not just taking pictures for the sake of it like I used to do, I’ve just shot an exhibition for amnesty international on refugees, and their stories are as important as the imagery, and that’s where I am in my career.

The night before our interview I had watched ‘Reggie Yates In A Refugee Camp’ which saw him enter the largest refugee camp in Iraq alongside 30,000 Syrian refugees. A news report played on the television showing the death of an Iraqi journalist only twenty miles from the cafe where Reggie sat. This now deceased journalist, much like Reggie, placed herself in the line of danger to get her story. One does wonder if that journalist was possibly the Iraqi counterpart of Reggie Yates, one whose career mirrors his own  and what it must be like to watch someone with such a shared experience, meet such a tragic end.

 

FAULT: What was it like to sit and hear the news on a journalist, possibly one whose careers closely mirrored your own killed so close by?

I can see why you can make the comparison, but I think I disengaged from the similarities because I’m not a war journalist, and in situations where bombs are going off, that’s the last place I’ll be. I put myself in situations which are difficult, yes, but it’s human interest stories which drive me. I look to find the heart of the issue through the people that I meet, and I don’t feel like I’m in a similar level of danger. It did sadden me though; her life was cut short because she was trying to do the right thing and open conversations and that’s wrong.

 

Throughout the documentary, we’re shown all the damning emotions one might expect from the people now forced to seek shelter within the refugee camp, but through all of this, Reggie reminds us of the power of friendship, love and compassion can make the worst of circumstances, that little bit easier. In the later episode ‘A Week in a Toxic Waste Dump’ we’re introduced to the Burner Boys, a group of young men working in dangerous conditions in the largest electronic waste dumps in the world – Accra’s Agbogbloshie. Much like the formerly discussed episode, we also end with the Burner Boys a little closer to happiness from when the documentary opened.

This isn’t the case with all of Reggie’s documentaries. In the previous series, we’ve seen him come face-to-face with the far-right, misogynists, racists and projects do inevitably end with his subjects no happier or less angry at the world than when the documentaries started.

 

FAULT: Has there has ever been a particular person who he wished he could have steered into seeing a happier way of living?

Every film there’s someone I meet that I wish I could steer to a happier future, but I think I have to be realistic about my capabilities. I can’t fix everybody that I meet in a documentary or the real world. My job is to connect with people and tell their story, but it’s not to change the world, and it’d be irresponsible and unfair for me to promise a relationship with everyone. A lot of people had said to me, “please tell me you stayed in touch with the Burner Boys and did more” but it’s hard because two weeks earlier I was in Iraq, and a month before that I was in jail in North Carolina and what about staying in touch with those guys?

I don’t do these films as a one-off project; I’m not some kid on a gap year building a house in Africa and pissing off forever. I have plans where there is legacy, and I return; for instance in Kenya and Iberia, I’ve been back several times. In Awal, I was affected by being there and my connection to the land from being of Ghanian decent I’ve started the ball rolling on a campaign to bring about change. It’s not something I feel the need to shout about here because I’m not doing it for promotion, I’m doing it out of personal responsibility as a Ghanaian the position that I’m in.

 

FAULT: You touched on a point saying that you’re not a student on your gap year going in and fucking off. How do you respond when people counter with the argument that you’ve gone into Iraq, made your documentary and then like you say, fucked off?

It’s a very easy answer; the difference is I’ve made a film about it which you and many people have seen across the country. It’s started a conversation which wasn’t there before, and we don’t know what the legacy of that documentary will be – it could sell internationally, and it explains displacement in a way I’ve never seen before. I’ve done something different and original, and it will effect change even if it’s just in the attitude of the audience watching it.

 

FAULT: Do you have any career regrets?

I don’t have any. There are things I could have done better, things go wrong all the time, there are documentaries which I’ve made which have been a bit rubbish, but I’ve learnt from all of them, and it’s cheesy textbook crap, it reigns true. It’s essential that I celebrate my failures as much as my successes because of nothing is a better teacher than failure.

 

 

In Pt2 – we’ll discuss Reggie’s new book, future projects, race and above all else – FAULTS.

Coming Soon…

 

Unseen: My Journey by Reggie Yates published by BBC Books, price £18.99 | THE INSIDER S2 is available on BBC3

5 Things Every Music Lover Needs

Music lovers seem to live by their own soundtrack. There is always music playing. Whether the music is of the same genre or a unique mix that works for that person, having access to music is essential. When you are a music lover, you need to be connected to the tunes you love. Make it easy by keeping these things around.

Check Your SIM

Music lovers need to have a way to take their music with them wherever they go. Having the right mobile phone and the right data plan is a good way to go. If you don’t have a mobile phone plan that offers unlimited data, you are missing out. Whatever phone you have, consider swapping the SIM card for a prepaid plan with unlimited data. Not only does this option let you keep your phone number and your phone, it lets you listen to the music you love all day long, without any commitments to a carrier or contract to consider.

Headphones Matter

When you love music, you want to make sure you can always hear it. Headphones are an easy way to do that, but not just any will do. Invest in headphones that are over-the-ear and noise-canceling for the best, most uninterrupted music quality. You will be able to experience the songs you love with clarity and volume, all with just the right amount of bass. Bose or Beats by Dr. Dre are the industry leaders because they provide all these characteristics while making sure that you never miss a call. Both headphones have answer buttons so you can answer the phone and talk without removing your headphones.

Buy a Portable Speaker

You should also invest in a Bluetooth speaker. Music is meant to be shared and a Bluetooth speaker makes it easy to do so. They are portable and the sound quality can be impressive depending on which model you buy. Plus, many of these devices are small and durable. Some are even waterproof. Set it up while you clean the house or are together with friends so nothing comes between you and the music. Whether your travels take you to the beach, a rooftop deck or your back porch, a portable speaker helps you stay connected to your favorite music.

Take Out Music Subscriptions

Music subscriptions are also a good idea. There are record clubs that deliver curated records each month and many of them come with extra goodies like art prints or a cocktail recipe and you can specify the types of music you like best. Remember music subscription services as well. Even if you prefer vinyl or owning compact discs of your favorite songs, a subscription service like Spotify or Apple Music makes it easy to discover new music and listen to songs that you might like in a moment but don’t want to keep forever. Plus, if you have unlimited data, you can stream your favorite songs wherever you go. You can help your friends discover new music, share playlists and follow curated collections.

Consider Novelties

Music lovers may also enjoy music-related novelties. There is a large variety of fun and kitschy products that let you explore music and demonstrate your interest in fun ways. From scrapbooks that let you collect ticket stubs from all the concerts you attend to doormats and coasters that look like your favorite records, from measuring spoons that look like musical notes to flash drives that are disguised like mix tapes, with a little research you can find something that indicates your interests and fits your lifestyle.

FAULT Premieres Jake Bugg’s ‘Waiting’ ft. Noah Cyrus and photoshoot preview

Photography: Conor Clinch | Curated by Rachel Gold | Styling: Alexx Dougherty |Words: Miles Holder

In a time when sensation and the absurd makes the artist, Jake Bugg is a fresh retreat from all the industry fluff. Jake Bugg first came to prominence with the release of his self titled debut album and while his sound has evolved, his impeccable songwriting talent hasn’t wained.

Today, we’re very proud to premiere the latest music video to come off from album ‘Hearts That Strain’ as well as a preview of our exclusive photoshoot and interview with Jake for our upcoming print issue. Entitled ‘Waiting’, The video is shot in LA by acclaimed director Andrew Douglas. The yearning tone that we’ve all come to love from Jake Bugg’s vocal (especially on this new record) blends surprisingly effortlessly with the juxtaposed country vocal of  Noah Cyrus, perfectly evoking the song’s sultry yet melancholy sound.

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You told NME that this album was “make or break it” for you and that’s a lot of pressure to put on yourself?

I think I’m always going to feel that way when making music and quite honestly, it’s the truth. If my music doesn’t work out, then there’s a chance I can lose the ability to continue doing the things I love. For me, that’s playing music and travelling the world, and I’m always going to feel that but I’m really happy with the album, we’ll just have to wait and see.

 

You were very young when your debut came out and you were c0ntintually lauded as the “next big thing”, was that kind of media expectation and hype unhelpful from your perspective?

I got into this to play music and travel the world, and that side of the press comes with it so there will always be media pressure, but I didn’t get into it for the journalist approval, so I never let it affect me.

 

Hearts That Strain was fully recorded out in Nashville, what was your main reason for recording it out there?

There’s a whole sophisticated music scene out in Nashville, and I love country music, so that was one reason. The level of musicianship is so high in Nashville too so it was also great to get out there and play with amazing people and I’ve always been inspired by a lot of the musicians out there too.

 

Lyrically, Southern Rain is one of the darker songs on the album but you’re singing it over a comparatively sunnier melody, is that something you always intend to do with your songwriting?

I believe it’s nice to have songs and even the darker songs there should be a glimmer of hope. I like that you say that, I like to hear people’s interpretations of songs and I think it’s important for everyone to keep their narrative and that’s one of the reasons I’ve never liked music videos so much because they paint a story for the listener. I’ve always like the idea of one song meaning one thing to me as the writer and an entirely different thing to you the listener.

What’s changed most about you since your debut?

My determination to get the finishing product when it comes to my songs. I’m determined to work a lot harder, and it’s worked. This album was written and produced in a couple of months, and to me, it’s my best body of work.

 

 

What is your FAULT?

My biggest FAULT is thinking that music is the most important thing in the music industry because it’s quite obviously not that way anymore.

 

Is that something you’ve come to accept or does it still effect you?

There’s no escaping it, and the only thing I can do is try to stick to what I do best and try to write the music that I do. I’m never going to compete with the stuff in the charts because it’s not about your song making it talent, success in the industry is just fueled so much by your celebrity and sales figures. Fashion first, music second.

 

Look out of the full photoshoot and interview in FAULT Issue 27 – COMING SOON…

Astroid Boys assemble an exclusive FAULT playlist

It may only be midweek, but that didn’t stop Astroid Boys joining us for an exclusive Rock VS Grime playlist. Here are there top picks from both worlds.

 

Manga st hilaire – running out

It’s an old song but the lyrics are spot on.
Relatable. Honest. Powerful.

Mace – fresh prince of the diff

A top Cardiff boy talking about being king of the ends and he is. He always brings good energy

Sonny double 1 – mo farah

A top Cardiff anthem and always gets the crowd bouncing
Known him since I was a kid.

Faith – berry

London born Cardiff resident – beautiful girl beautiful voice. Great song

Daniel og – solange

Classic good flow. Raps. Vibes. Beat selection.

Turnstile – gravity

Energy energy energy.

Trash talk – awake

We have great memories of touring with them – great band and great tunes.

Death grips – guillotine

Pure unrelenting brutal aggression.

Expire – just fine

Good memories of arms swinging in Europe supporting them on tour.

Rotting out – street prowl

Makes me wanna cycle really fast down hill

 

Check out Astroid Boys’ own ‘Cheque’ below.

 

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